Showing posts with label Sooryavanshi. Show all posts
Showing posts with label Sooryavanshi. Show all posts
Rain machines to waterproof makeup: All that goes into shooting a rain song
8:14 AM
Natasha Coutinho (BOMBAY TIMES; July 27, 2024)
Who can forget Aishwarya Rai Bachchan dancing in the rain in Barso Re (Guru) or Sridevi's seductive blue sari from Kate Nahin Kat Te (Mr India)? The ethereal, romantic beauty of rain songs are imprinted in our collective memory, and they have been a staple of Hindi cinema over the decades. But the shooting of rain songs is quite the opposite of the romance they portray – with logistical challenges, detailed coordination between production departments and an extensive backend crew that must function in sync. This monsoon, we explain the mechanics of a rain song shoot.
KAREENA KAPOOR’S SARI KEPT GETTING HEAVIER WHILE REHEARSING IN THE RAIN: SUDHIR MISHRA
Bhage Re Mann, Chameli
Kareena plays a sex worker in Chameli, but the rain song brought out the child within her. Rain songs are difficult to shoot and you have to constantly coordinate with the cinematographer to get the desired effect and the correct camera exposure. I wanted the set to look very realistic, like a Mumbai street in the rains. Kareena was dancing in a sari and there were several rehearsals before the final take, and the outfit kept getting heavier in the water. But the difficulty did not show on her face. Saroj Khan was the choreographer and she ensured that her dance and expressions were perfect. The film was shot in 28 days and we put aside two days just for this song.
THERE WERE 24 WATER TANKERS IN PLACE TO SHOOT TIP TIP BARSA PAANI
Tip Tip Barsa Paani, Sooryavanshi
No rain song is complete without rain machines that are used to create what production teams call ‘controlled rain’.
Swapnil Bhalerao, who was the production designer for the new Tip Tip Barsa Paani song from Sooryavanshi, says, “We had around 24 water tankers on set for the shooting of the song. For closeup shots, we use three-four nozzles to shower water over the actors. To ensure hygiene, we use alum to purify the water. Some actors demand that mineral water is used for closeups. If the rain song is being shot in winter, the water must be heated as well. While shooting rain songs in the day is relatively easier, for night shoots we have a safety team to look after the electrical setup. The SFX department is in charge of creating thunder and lightning effects in the song.”
Tip Tip Barsa Paani was shot over four days on a set in Hyderabad.
WATERPROOF MAKEUP IS A MUST WHILE SHOOTING A RAIN SONG
Cham Cham, Baaghi
One crucial aspect of a rain song is the makeup of the actors involved, since it needs to stay in place for hours while the song is shot. Makeup artist Suraj Shekhar Sharma, who oversaw Shraddha Kapoor's makeup during the shoot of Cham Cham, says, “We use waterproof high-definition makeup that does not come off, and a primer and fixer to ensure it stays in place. During shot breaks, we keep an eye out to see if a touchup is required. It’s very important to dry their hair between takes so that an actor doesn’t fall ill.”
Cham Cham, which also featured Tiger Shroff, was shot over four days, partly on a set in Mumbai and at a real railway station in Kerala.
VINTAGE FABRIC WAS SOURCED FOR AISHWARYA’S BARSO RE COSTUME. IT SURVIVED THE ARTIFICAL RAIN
Barso Re, Guru
Aishwarya Rai Bachchan’s costume was created from fabric sourced from shops in and around Chor bazar in Mumbai. Antique saris and brocade borders with gharchola and bandhani fabric were chosen to create her ghagra-choli in Guru’s iconic Barso Re song.
“The costumes were sturdy, but I was paranoid that the vintage fabric may disintegrate in the pressure of the artificial rain. There were scenes of her jumping into a river and swimming, and swinging from a tree. She had to wear the costumes through the entire course of the shoot, which lasted a couple of days. It would be a disaster if the colour started running from the fabrics. Luckily though, it all worked out fine,” says Ameira Punvani, costume designer of Guru.
FACT BOX
Rs. 25-30 lakh is the per day cost of shooting a rain song, depending on the scale of production
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Dancing in the rain is difficult, as there is always the danger of slipping and falling. Lip syncing to the lyrics and having the correct facial expression can also be tough to pull off. Aesthetics go for a toss and it’s important as a choreographer to remember that the dance steps should not be too difficult for the actors to pull off. I was part of a music video for the song Aao Na sung by Vishal Mishra, where I realized first-hand the difficulty of lip syncing in a rain song
- Terence Lewis, choreographer
Indian Police Force is a Rohit Shetty show; matches the films from Singham franchise to Sooryavanshi-Sharad Kelkar
10:46 AM
Even as he wants to cut down on voice-acting, Sharad says he dubbed for The Legend of Hanuman as it presents Raavan in a unique way
Priyanka Sharma (MID-DAY; December 30, 2023)
Those who have watched the Hindi version of Salaar: Part 1—Ceasefire will immediately recognize the deep baritone of Sharad Kelkar, who dubbed for leading man Prabhas. Over the years, Kelkar has become one of the most dependable voice actors, in addition to his on-screen work. But he is now consciously steering away from dubbing. Reason—acting.
“I haven’t dubbed for a Hollywood film for ages. I want to concentrate on my acting career. I want people to notice my acting skills over my voice. Acting is my main profession and passion,” he explains.
However, the actor has made an exception for The Legend Of Hanuman. Kelkar, who has lent his voice to the character of Raavan in the third season of the Disney+ Hotstar offering, attributes it to the show’s writing.
“Sharad Devarajan and Jeevan J Kang of Graphic India [production house] have created Raavan’s character so differently that I was drawn to it. The dubbing was done before, and the animation was created on it. So, I had the liberty to present Raavan the way I wanted to. The characterization is so in-depth. We didn’t steer away from his known physical attributes. But at the same time, he is shown to have a soft corner, be friendly and emotional.”
As he moves into 2024, Kelkar is looking forward to Indian Police Force and his Tamil sci-fi film, Ayalaan. “Indian Police Force is a Rohit Shetty show, that too, set in the cop universe. So, it has to match the films he has made, from the Singham franchise to Sooryavanshi [2021]. Ayalaan marks my Tamil debut and is big on VFX.”
Experts, writers and filmmakers react to Bollywood's new trend of creating cinematic universes
8:27 AM
Experts says it’s an exciting idea worth exploring
Rishabh Suri (HINDUSTAN TIMES; December 19, 2022)
The evolution of a ‘shared universe’ — which primarily consists of a franchise featuring an umbrella of multiple movies, each telling its own stand-alone story focusing on a different character (or group of characters) and set within the same continuity — appears to be the direction the film industry is headed. And like the West, which regularly releases blockbusters through the Star Wars, Marvel and DC universes, Bollywood also appears to have adapted to the trend.
Take, for instance, Singham (played by Ajay Devgn), Sooryavanshi (Akshay Kumar), and Simmba (Ranveer Singh), who assembled to fight the baddies in Rohit Shetty’s film Sooryavanshi. In fact, the filmmaker has even announced the fourth instalment in this ‘copverse’, Singham Again, which has a new addition: Deepika Padukone, his first female cop!
Another instance of this trend infiltrating Bollywood can be seen in the works of producer Dinesh Vijan, who has already begun creating the characters for his horror-comedy universe. The latest release, Bhediya, starring Varun Dhawan, included a special cameo by actors Rajkummar Rao and Aparshakti Khurana (from the cast of Stree, 2018).
Hardik Mehta, who helmed Roohi (2021), also by Vijan, tells us, “A good film [regardless of universe or franchise] will last longer. I was pleasantly surprised by Bhediya’s end, though. What I liked about it was that the main story was not dependent on Stree.”
Hussain Dalal, the writer of films such as Mere Pyaare Prime Minister and the upcoming Shehzaada, says, “This universe is a format that guarantees success. It’s an intelligent thing that the West taught us.”
Dalal also wrote the dialogue for Brahmastra (part of Astraverse), which was a big hit and audiences will see the plot unfold in its pre-declared trilogy. From a producer’s perspective, too, exploring this seems to be a lucrative option, as Anand Pandit notes: “I think it’s very interesting. As a producer, you can stick to your genre and create loyal viewers. This universe concept will absolutely work. And if the content is good, that will be an add-on.”
However, trade expert Atul Mohan says the Hindi film industry “always copies the trends in the West”. “The problem with us could be that unlike Hollywood, where they work on it (franchises) properly, here they look at franchises as a gimmick,” he adds.
Except Sooryavanshi, all holiday releases post pandemic fail to work at the box office
8:08 AM
Box Office India Trade Network
The holiday releases have seen disaster results though it was off to a great start with SOORYAVANSHI last Diwali. Since SOORYAVANSHI, there have been five major holidays with four this year and one last year. Last year there was 83 on Christmas, which failed badly.
Then on Republic Day, there were no releases while Eid in April proved a total disaster with HEROPANTI 2 and RUNWAY 34 as both films took in just 58 crore nett combined. On the Raksha Bandhan/Independence Day, the industry probably saw its lowest point of all time as LAAL SINGH CHADDHA and RAKSHA BANDHAN took in just 105 crore nett combined with multiple holidays and on top LAAL SINGH CHADDHA was an event film.
Now Diwali is not much better as both RAM SETU and THANK GOD will hit 110 crore nett between them and that is best case scenario as final totals could be under 110 crore nett. The Diwali performance is not as bad as Independence Day as neither RAM SETU or THANK GOD were event films like LAAL SINGH CHADDHA.
There have been four event films post the pandemic and they are SOORYAVANSHI, '83, LAAL SINGH CHADDHA and BRAHMASTRA; two have worked while the other two tanked. BRAHMASTRA missed a holiday period; so, if it had worked out for this film and it got a Diwali or Raksha Bandhan/Independence Day, it could have done 15-20% more even with a clash.
The results of major holiday releases this year are as follows.
Eid
Heropanti 2 - 24,91,00,000
Runway 34 - 33,51,00,000
TOTAL - 58,42,00,000
Raksha Bandhan/Independence Day
Laal Singh Chaddha - 59,58,00,000
Raksha Bandhan - 45,23,00,000
TOTAL - 1,04,81,00,000
Diwali
Ram Setu - 75,00,00,000 (expected)
Thank God - 35,00,00,000 (expected)
TOTAL - 1,10,00,00,000 (expected)
The mainstream commercial films like Sooryavanshi and RRR also have a beautiful narrative-Sudha Chandran
8:15 AM
Sudha Chandran wonders why makers aren’t approaching her for film roles, adds she’s busy with TV but will make time for films if offered
Kavita Awaasthi (HINDUSTAN TIMES; April 10, 2022)
A popular face on television shows, Sudha Chandran has also been a part of many movies. The actor shares that she is often quizzed about not taking up films.
“I am really surprised when people ask me, ‘Why are you not doing films?’. My answer is, if I get an offer, I will definitely do it, but offers are not coming my way. And this is the saddest part. I don’t know why I am not being cast for films,” she wonders.
Having been a part of many Hindi films such as Pati Parmeshwar, Thanedaar (both 1990), Malamaal Weekly (2006), as well as regional films, she says that it’s just a matter of a good role coming her way.
“I have done such wonderful films. Maybe producers and directors think as I am busy with TV shows, so I might not have time for films. But if I get a good role in a film, I’ll definitely take it up and make the time. Especially today, when there are films like Gangubai Kathiawadi, or Ram Leela (2013). You want to be a part of such good films because they have such wonderful roles. Today, more than ever, there is so much scope for an actor like me to perform. But I don’t know why I’ve not been called or cast as yet. That’s the million-dollar question I’ve been asking myself every day,” she laments.
Talking about the kinds of films being made nowadays, Chandran says, “Look at the variety of films today — be it RRR, Gangubai Kathiawadi, The Kashmir Files (TKF), Raazi (2018), or Sooryavanshi (2021)! The genres, the roles, the stories are just wonderful. And audiences have received them so beautifully and leaves them with a great impact. The mainstream commercial films like Sooryavanshi and RRR also have a beautiful narrative and are like paintings on celluloid. I feel this is the best phase of the film industry,” she ends.
That people will watch films only on OTT is a misconception. OTT will never be the first choice-Taran Adarsh
8:27 AM
With RRR earning a whopping Rs 370-crore over two days, trade analysts assured Indians will always crave for larger-than-life cinematic experience
Mohar Basu, Uma Ramasubramanian (MID-DAY; March 28, 2022)
Fears of a massive hike in ticket prices serving as a deterrent were allayed as SS Rajamouli’s RRR had a promising start at the box office. Its two-day collection figure sits at approximately Rs 370-crore (Friday — Rs 257.15-crore, Saturday — Rs 114.38-crore), giving trade analysts reason to cheer.
Analyst Taran Adarsh says, “S S Rajamouli is a star in his own right and is enough to pull a show. The fact that the film has [good] content will enable it to enjoy a good run. Now, every common man knows who the director of RRR is. It’s a well-made film. I wouldn’t like to bracket it as one belonging to the south market. Films such as this establish that the theatrical experience will always remain our first love. That people will watch films only on OTT is a misconception. OTT will never be the first choice.”
With Baahubali, Rajamouli was the first to showcase the influence that a south film can have on a pan-India audience. The success of recent offerings like Pushpa, and now, RRR, has only added credence to the narrative. The NTR Jr and Ram Charan starrer has lent a new lease of life to single screens, which struggled to stay afloat during the pandemic.
Manoj Desai, executive director of G7 Multiplex and Maratha Mandir, says, “RRR is doing extraordinary business. The film is running to packed theatres at all my centres. It will surpass [the collection of] Pushpa: The Rise - Part 01. Post the pandemic, Sooryavanshi and The Kashmir Files from Bollywood, and Pushpa and RRR from the south film industry have performed well. There is immense craze for south films. The masses relate to the story, plot, emotions, visual effects, and the action in such films.”
With KFG 2 also gearing up for a release, things finally seem to be looking up for the theatre business.
Gurmeet Seble of Delhi Single Screens Association had previously told mid-day that “unless a big money spinner came their way” single screens would be forced to remain shut. “Though these properties are self owned, they have staggering operational costs. So owners don’t wish to keep theatres running if people do not show up. RRR has brought the masses back in a big way.”
#TrendingNow: Indian movies and web series across the globe
8:15 AM
Badhaai Do is among Netflix’s most-watched films globally this year, and the latest example of how desi OTT movies and series are striking a chord with audiences from Europe and Southeast Asia to Latin America
Niharika Lal (BOMBAY TIMES; March 24, 2022)
Since its release last week on Netflix, Badhaai Do was trending in the No 1 spot in India till March 20, and was in the Top Ten list globally in the non-English films category. In fact, Badhaai Do is the sixth Indian film this year to make it to the global top 10 rankings of the platform, as Indian content increasingly finds a vast audience overseas.
DESI FILMS AND SHOWS TAKE OVER GLOBAL OTT RANKINGS
In the last two-and-a-half months alone, six Indian language films and two series made it to the Netflix Top 10 list, which is published weekly. These include Minnal Murali (Malayalam), Sooryavanshi (Hindi) and Badhaai Do (Hindi) among other films; and Yeh Kaali Kaali Ankhein: Season 1 and Fame Game: Season 1 in the TV series category.
Similarly, Gaurav Gandhi, Prime Video Director & Country Manager, Amazon India stated last year, “Our Indian Amazon Originals enjoy incredible popularity both in the country and outside India. In fact, one out of every five viewers for these shows is from outside the country.”
As per the CII Big Picture Summit 2020 report by the BCG (Boston Consulting Group) and CII (Confederation of Indian Industry), the increasing acceptance of Indian content among global audiences includes, but is not limited to, the Indian diaspora of over 32 million spread across multiple countries. Countries with significant Indian language speaking population — such as Bangladesh (Bengali), Mauritius (Bhojpuri), Nepal (Maithli and Bhojpuri), Singapore (Tamil), etc — also consume Indian content, states the report.
Karan Bedi, co-chair, CII sub committee on OTT and Digital content and CEO MX Player, says, “MX Player’s shows are popular in countries such as Bangladesh, US, UK, UAE, Canada, and Australia. We focus on the Indian diaspora in these countries and the content is also curated for a global audience.”
‘LOCAL, AUTHENTIC STORIES ARE IN DEMAND EVERYWHERE’
With platforms like Amazon boasting of viewership in 240+ countries and territories worldwide, Girish Johar, producer and cinema business analyst, says that streaming platforms have helped Indian content reach not just the conventional top markets, but even countries which were out of bounds for traditional distributors.
He explains, “Traditionally, the top markets were the US, UK, New Zealand, and Australia. Some films did release in selected Southeast Asian countries, but now we are able to tap European countries, West Indies, Brazil, and so on. ”
He adds, “Through users on social media, too, we get this picture that Indian content is being consumed and liked in foreign countries. Be it south films such as Minnal Murali or Hindi films such as Gulabo Sitabo, Indian cinema has received a lot of praise from global audiences.”
Agrees Karan Bedi, “Some global OTT platforms are present in 150+ countries. For Indian content — films and shows, releasing the same day across these countries, now you have got (viewers in) countries in Eastern Europe and Latin America.”
Bela Bajaria, Netflix head of global TV, had said at a conference last year that the shows that have been the most successful globally have been “the most authentic and the most specific”.
Monika Shergill, VP-Content, Netflix India, adds, “Last year, Netflix’s 28 Indian original titles were across 7 languages, 8 formats and 11 genres across films, series, comedy, reality and documentaries. From blockbuster hits like Dhamaka, Yeh Kaali Kaali Ankhein to differentiated stories like Cinema Bandi, The Disciple and Axone, our aim is to have authentic stories and it is this authenticity that audiences love. Malayalam cinema’s first superhero film, Minnal Murali which trended in the Top 10 in 30 countries from Argentina to Nigeria, or Red Notice, which India enjoyed with dubs in Hindi, Tamil, Telugu — are examples of how great stories are universal.”
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SUBBING AND DUBBING OF FILMS BIG REASON FOR THEIR INCREASING POPULARITY
Due to subbing and dubbing in various languages, Netflix reached out to a wide audience. The Tamil anthology film Navarasa has been in the Top 10 in 10 countries, including India, Malaysia, and Sri Lanka. More than 40% of the film’s viewers came from outside India in its first week on Netflix. Likewise, in its first week alone, the Dhanush-starrer Jagame Thandhiram drew an equal share of audience from outside India as it did within the country, and was in the Top 10 in 12 countries outside India. It was also No 1 in 7 countries, including India, Malaysia, and the UAE.
Badhaai Do (Hindi), Minnal Murali (Malayalam) and Sooryavanshi (Hindi) were among the Indian films that made it to the global top 10 on Netflix. A Thursday, Atrangi Re and Maaran were among the Indian films that topped the global list on Disney+ Hotstar in the last month
*Lists not in order of ranking.
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INDIAN SHOWS THAT ARE POPULAR ACROSS THE GLOBE
MX PLAYER ORIGINALS:
Aashram, Indori Ishq, Bhaukaal, Cartel, Campus Diaries, Raktanchal, Ek Thi Begum (Hindi), Matsya Kaand, High, Samantar (Hindi) were among the global Top Ten
ON ALT BALAJI:
Lock Upp, Broken But Beautiful Season 3, Bekaaboo Season 2, Cartel, The Married Woman, Puncch Beat Season 2, Crimes And Confessions, Pavitra Rishta, His Storyy, and Girgit were among the most popular shows last year
ON DISNEY+ HOTSTAR:
Rudra, Human, The Great Indian Murder, Aarya Season 2, and Special Ops 1. 5 were most popular globally in Feb-March
ON NETFLIX:
The Fame Game, Yeh Kaali Kaali Ankhein, Aranyak and Mighty Little Bheem
INDIAN CONTENT SHINES @ INTERNATIONAL EMMYS
The 48th International Emmy Awards were a historic event for India as, for the first time ever, an Indian series, Delhi Crime ,won an Emmy for Best Drama Series. Series such as Sacred Games, Aarya 2, Made In Heaven, Inside Edge, Four More Shots Please!, the Netflix special Vir Das: For India and the anthology Lust Stories have also been nominated for Emmys.
Last year, Nawazuddin Siddiqui was nominated for the International Best Actor Emmy for his role in Serious Men. Siddiqui also became a household name all around the world for his stint as gangster Ganesh Gaitonde in his Netflix debut series titled Sacred Games. In an interview he mentioned that the locals of Italy recognized him as Gaitonde and appreciated his performance.
'83 is the top overseas grosser of 2021; beats Sooryavanshi
8:33 AM
Box Office India Trade Network
The Overseas market was dull in 2021 like the Indian market as only '83 and SOORYAVANSHI managed to collect well but this is two films doing well as compared to one in India. The standout performance was SOORYAVANSHI although '83 collected a little more that came over the Christmas and New Year period which is easily the most lucrative period for the box office in Overseas with a prolonged holiday period.
Also SOORYAVANSHI was that film for the mass circuits like Maharashtra, Gujarat and CP, CI. So an $8 million plus overseas total is actually more impressive than its India business. SOORYAVANSHI became the second highest Akshay Kumar grosser in Overseas after GOOD NEWWZ but that was a more overseas friendly film and released over the New Year period.
The rest fared poorly though TADAP surprised in United Kingdom as it beat the likes of BELLBOTTOM, ANTIM and CHANDIGARH KARE AASHIQUI. Overall TADAP could not do much in Overseas but UK has done pretty well as it has collected £187k till date and is still running after 9 weeks of release. It might add another £3-5k and a £190k final total which is not much less than films like BALA and DE DE PYAAR DE which released pre-Covid in 2019.
The top ten grossers Overseas ins 2019 are as follows.
1. 83 - $8.5 million (expected)
2. Sooryavanshi - $8.35 million
3. Bellbottom - $1.92 million
4. Antim - The Final Truth - $1.8 million
5. Chandigarh Kare Aashiqui - $1,060,000
6. Bunty Aur Babli 2 - $1,000,000
7. Tadap - $620,000
8. Mumbai Saga - $470,000
9. Thalaivii - $380,000
10. Chehre - $320,000
Sooryavanshi is the only hit of 2021, the worst year ever for the industry
8:28 AM
Box Office India Trade Network
The year 2021 was the worst ever seen in history for the Hindi film industry with SOORYAVANSHI being the only HIT film and no other successes. There were BLOCKBUSTER films like SPIDER-MAN: NO WAY HOME and PUSHPA: THE RISE - PART 01 but they were from Hollywood and the Telugu film industry respectively.
There were 57 releases from the Hindi film industry in 2021 compared to 59 releases in 2020 and the 57 films cumulated around 490 crore nett while in 2020 it was 745 crore nett from the 59 releases. The disaster year was due to the Coronavirus pandemic but also the films that did releases at the fag end of 2021 were not up to the mark.
The year was so bad that becoming a FLOP was actually a minor achievement. SOORYAVANSHI was a HIT while ANTIM, TADAP and ROOHI were the flop films and every other single film was a DISASTER. The problem with these films was they did okay for a week or so but could not do anything after. The saving grace was the revenue from digital rights which meant that despite very poor theatrical results, the losses were not huge. 83 lost a record amount of money while SATYAMEVA JAYATE 2 also lost a reasonable amount but most others got away with it.
There were releases like BELLBOTTOM which had high costs and CHANDIGARH KARE AASHIQUI which had reasonably high costs but did not suffer much due to good prices for digital. This is despite very poor theatrical performance. Going forward things will get better as Covid now looks behind us though you can never be 100% sure.
It will probably take time to get back to pre-Covid levels as the content has to adjust to the new box office scenario post pandemic. The larger Hindi film audience is in the states and not in the metros while most films were targetting metros pre-Covid. The footfalls were dropping pre-Covid and a change in content was going to be needed anyway to hold footfalls and all Covid-19 has done is accelerated this need for change.
The classifications for 2021 is as follows.
All Time Blockbuster
-
Super Blockbuster
-
Blockbuster
-
Super Hit
-
Hit
Sooryavanshi
Semi Hit
-
Average
-
Below Average
-
Flop
Antim - The Final Truth
Tadap
Roohi
Disaster
The Rest (53 films)
Sooryavanshi is the 12th highest grosser in Mumbai circuit
8:35 AM
Box Office India Trade Network
SOORYAVANSHI emerged the 12th highest grosser ever in Mumbai circuit with business close to 86 crore nett. Pre pandemic, the film would probably have been a 100 crore nett film in the circuit and possibly even the third best of all time after BAAHUBALI 2: THE CONCLUSION and TANHAJI: THE UNSUNG WARRIOR.
The appreciation for the film in this circuit was very good which is not the case in some other circuits for whom it was a very average film. But Mumbai is a big circuit and so, it takes the film a long way to give a good overall picture. In fact both SOORYAVANSHI and PUSHPA: THE RISE - PART 01 (Hindi) have done well in practically the same markets though obviously SOORYAVANSHI has higher numbers.
Both films have found the most appreciation in Mumbai/Gujarat while there were few takers for both in East Punjab. The gap is bigger between the two films where they have found little appreciation as PUSHPA: THE RISE - PART 01 (Hindi) will do around 55% of SOORYAVANSHI in Mumbai but only 30% in East Punjab.
In Delhi NCR it is even lower (Delhi shut in second week otherwise similar gap as East Punjab). So where the films have found less appreciation the Akshay Kumar factor comes into play for more footfalls and though Rohit Shetty films have a slight south feel they will still be closer to home than an outright South film be it in East Punjab, Delhi/UP, Rajasthan, West Bengal or CI.
1. Baahubali 2: The Conclusion - 1,85,76,00,000
2. Tanhaji: The Unsung Warrior - 1,43,85,00,000
3. Dangal - 1,04,26,00,000
4. PK - 1,04,21,50,000
5. Tiger Zinda Hai - 1,03,40,50,000
6. Sanju - 1,01,86,00,000
7. Bajrangi Bhaijaan - 90,77,00,000
8. Simmba - 89,33,00,000
9. Kabir Singh - 87,21,50,000
10. Golmaal Again - 87,08,50,000
11. Sultan - 86,30,50,000
12. Sooryavanshi - 85,87,00,000
13. Uri - The Surgical Strike - 84,11,00,000
14. 3 Idiots - 79,19,00,000
15. Housefull 4 - 79,03,50,000
Cape of Good Films, a production house that has been silently succeeding
8:01 AM
The content house believes in creating content that challenges norms
HINDUSTAN TIMES (January 3, 2022)
Cape of Good Films, a logo sitting quietly on the poster of many successful films, actually has a lot to boast about with the success that the production house has seen over the last few years. Founded in 2009, this boutique content house started working its way up to making films that are meaningful, yet commercial in nature.
The company’s partner, Rana Rakesh Bali, says, “Every story can be told through the medium of cinema, provided it is treated sensitively, keeping in mind the audiences you are making the film for. No one comes to the theatre, paying their hard-earned money to be taught a lesson. If you want to say something serious, say it in a way that educates them while still making them smile. That is the mantra Cape is run by.”
In the last six years, through its associations with massive hits — from Airlift (2016), Toilet: Ek Prem Katha (2017) and Mission Mangal (2019) to National Award-winning and critically acclaimed films such as Rustom (2016), Pad Man (2018), Chumbak (2017), and commercial grossers such as Kesari, Good Newwz (both 2019), and 2021’s biggest hit Sooryavanshi — Cape of Good Films has had it all.
Path-breaking films by Cape also include Naam Shabana (2017) and Durgamati: The Myth (2020), which were headlined by strong female protagonists. Its films, such as Laxmii (2020) and the recently released Atrangi Re (2021), are breaking new records for the highest viewership on OTT platforms too. The content of these diverse films by the content house spans genres like no other. Their foray into producing music videos also struck a chord with Filhall and Filhall 2 shattering records.
What stands out about Cape is that there is no face to it. “It is just a team trying to make what they believe in and want to keep it such. The feeling emanates from the fact that the films that we make are larger than an individual and an entity, and should be preserved that way,” Bali shares.
The content house now looks forward to dishing out sought after films such as Raksha Bandhan, Ram Setu and OMG 2. It enters 2022 with a firm belief in backing and making content that breaks stereotypes, challenges notions, and makes the audience fall more in love with what they have always loved — movies!
Mass film hai toh theatre mein chalegi is not how things are working evidently-Varun Dhawan
8:35 AM
Rachana Dubey (BOMBAY TIMES; January 2, 2022)
For Varun Dhawan, 2022 is a special year for several reasons. To begin with, he’s completing a decade as an actor and a year of marriage. He’s also at an interesting point in his professional journey where he’s eager to experiment and break new ground with every passing film, and if all goes well, even make his debut on the digital platform. In a chat with BT, he spoke about all of the above and more. Excerpts:
In the last decade, we have seen you deliver several noteworthy films and memorable performances, how do you see 2022 unfold for you?
I feel most of last year was spent completing films that had either already started or were committed to. A lot of people were forced to stay home, and I was one among them. This year, hopefully I should be able to do a lot more work and be on the sets doing what I love the most — shooting films. With Coronavirus cases escalating again, it’s going into that zone where you will have to deal with things, but hopefully, work should not stop this time. I wish to get out and work a lot more. Today, I have become more selective about my professional choices, but let’s see if that makes a difference.
You have two releases lined up this year, Bhediya and JugJugg Jeeyo. The medium of release is fast becoming fluid where a film, originally planned for a theatrical release opens on a digital platform. Does that bother you as an artiste?
As human beings, any change will bother us initially, but all changes are not necessarily bad. Times have proven that both mediums can co-exist. Sooryavanshi and Spider-Man: No Way Home have proved that when there is something exceptional and compelling, the audience will rush to theatres. I do feel that cinema, as it is, has gone through many changes and people’s choices have also changed a lot. Today, you have to give the audience something massive and different, something solid to come into theatres. Mass film hai toh theatre mein chalegi is not how things are working evidently. OTT platforms are a constant for now and they’re definitely here for the future. As an actor, it doesn’t bother me where my films release. When you’re not ready for it, it might bother you a bit. But in the changing scenario, every movie getting off the ground is being made with the thought that it could release anywhere — on the big screen or the flat-screen in your house. We can no longer pre-decide that yeh picture toh idhar hi jayegi. And it’s okay as long as you reach your target audience. We have to make do with the fact that there was a pattern of release which has now changed. It doesn’t matter where a film opens as long as the work is mounted correctly. The idea is that wherever these films release, people should be able to enjoy them. Of course, we wish to see both Bhediya and JugJugg Jeeyo opening in theatres. Today, the notion about what works in theatres is changing. Also, the theatrical business is moving towards becoming extremely binary where the big hits will be humongous and the ones that don’t do well, will be left far, far behind. In these times, films and their underlying thought have to be universal. That is the aim with which I approach every film now.
With several leading actors opting for planned digital debuts, we’d like to know if you also have something in the works that will mark your foray into the OTT space this year?
Let’s see... is all I can say right now. I am really not in the capacity to say anything more because so many things were planned and are being planned, but this pandemic can move things around as we all have seen. So, right now, even jokingly I can’t make any announcements. Besides, I am contractually bound to not break any news at the moment.
You shot two films in the midst of the pandemic. Do you find the way of functioning in the new normal challenging?
The greatest challenge today is to battle the risk at which you put your health when you step out to work. Everyone who is getting out of their homes is putting themselves at risk because all of us will, in some manner, be surrounded by people. Coping with that part is difficult and thinking of ways to stay healthy while shooting today is a challenge. But having said that, I am exceptionally eager to get back to a set and start shooting. I am raring to go. The pandemic and the time I have seen in the last year has made it so clear to me that this work is what I love. I love cinema and I love being on a set and doing my work. In the last year alone a lot of content has been consumed across the spectrum — domestic and always be something new out there. So, we have to do our best to protect our theatres at this time and put out the best we can on OTT because the world is watching us.
Have the last two years given you the time to introspect and zero in on what you’d like to focus more on in the time ahead?
I’ve done a lot of introspection in the last two years with the worlds of cinema that I have seen here. The older I get the more variety I want to give a shot to. I want to try and explore things. When you see both the films that I have this year, I do hope that you can see the range that I can deliver and the work doesn’t disappoint the audience. It is challenging to be in this business today but then, what’s not? There’s no point otherwise. I perform the best when there is chaos around me. I like uncertainty in the air, and when I am not at ease. I don’t like getting complacent. I don’t feel comfortable sitting in one place. I want to go out there and tell people that this is not it. There is a lot more left in me. Wait for it.
I just hope and pray things don’t take a turn for the worse. People’s health and pockets must not suffer-Ajay Devgn
8:28 AM
Worried about the Coronavirus pandemic situation, Ajay Devgn hopes the industry doesn’t suffer again
Rishabh Suri (HINDUSTAN TIMES; January 1, 2022)
The New Year has begun on a shaky note for the film industry and actor Ajay Devgn is hoping that things get better. “As of just a few days ago, Delhi was put on yellow alert. Other Indian states have indicated new lockdown restrictions. Sources say the Omicron variant may dampen the beginning of 2022 plans for most people around the globe. This puts all of us, including the entertainment industry, on a back foot. I just hope and pray things don’t take a turn for the worse. People’s health and pockets must not suffer,” says the 52-year-old.
The year looks busy for him, with his directorial project Runway 34 scheduled for release in April, and his much-anticipated web debut, Rudra: The Edge of Darkness, likely to release in March. He will also start shooting for a couple of projects, including Singham 3.
His film, Tanhaji: The Unsung Warrior remains the highest grosser for Bollywood in over two years. It released in January 2020, just when the Covid-19 scare was spreading across the world. Does he see such times coming back?
“Tanhaji: The Unsung Warrior dominated the box office for two years. There are films that made massive money in the middle of the pandemic, too, so I am hopeful. I’d say another film will come and break records. S S Rajamouli’s (filmmaker) RRR shows great potential. Rohit Shetty’s (filmmaker) Sooryavanshi raked in Rs. 196 crore in the middle of a pandemic,” says the actor.
Devgn has spent over three decades in the film industry. Sharing what has kept him going all these years, the actor quips, “Exercise, cinema, family time are all inspiring. Discipline and dedication become a way of life after a point. There are things that are out of our control, like the pandemic. But, we can’t afford to be shirkers.”
2021 Recap: Top 5 action films of Bollywood
8:09 AM
Action is a genre that has a universal appeal. Despite fewer films being released in the year due to the pandemic, we got a chance to see some great action-packed films. In this special feature, we have chosen the five best ones which in our opinion had the best fight scenes.
1. Shershaah
A war drama needs to get its action right. The battle scenes (by Stefan Richter and Sunil Rodrigues) were not too gory, added to the excitement and moreover, looked very authentic.
2. Sanak
Vidyut Jammwal is a pro when it comes to action and in Sanak, his action scenes went one step ahead. Action director Andy Long Nguyen came up with some novel fight scenes, surprising his viewers.
3. Sooryavanshi
Since it was a Rohit Shetty fare, one expected to see mind-blowing stunts and in this regard, Sooryavanshi didn’t disappoint. What was also impressive was that the story jumped from Jaisalmer to Bangkok, and the action in all the sequences was well woven and in sync with the principle plot.
4. Squad
Nilesh Sahay directed this fare and he was also credited as the action director of the film. In the latter category, he managed to impress the audience with the visually stunning and not-so-gory fights and stunts. Rinzing Denzongpa also seemed apt in the action avatar.
5. Antim - The Final Truth
The film had two action directors, Vikram Dahiya and ANL Arasu. Both managed to up the entertainment quotient. Special credit should go to ANL Arasu who directed Salman Khan’s intro fight scene. It led to a lot of whistles and claps in the theatres and was an apt Salman Khan entry fight sequence.
Fenil's Bollywood Talk # 706
9:55 AM
LAST FRIDAY OF THE YEAR TO BE A DISAPPOINTMENT AS JERSEY GETS POSTPONED
All was going well as the Coronavirus cases in the country were dropping steadily. The cinema business, too, had come on track with films like Sooryavanshi, Spider-Man: No Way Home and Pushpa: The Rise - Part 01 emerging as super hits. Sadly, the Omicron variant entered the country, and has led to a significant rise in the number of cases. Nevertheless, the fear of the virus isn’t there like last time and life was going as usual. In states like Madhya Pradesh, Gujarat, Uttar Pradesh etc, night curfew was introduced, mainly to avoid gathering of people post evening during the festival of Christmas and during New Year’s Eve. The business was slightly impacted but no one was complaining.
But then on Monday, December 27, the government of Delhi decided to shut down cinemas with immediate effect. Shahid Kapoor-starrer Jersey was all set to release on December 31. An hour after Delhi’s Chief Minister Arvind Kejriwal made the announcement, Jersey’s producers revealed that their film has been postponed indefinitely. A few people wondered if this was the right call. After all, just Delhi city was shut; the rest of the country is functioning. However, what’s the guarantee that other states won’t follow suit and shut down theatres in their respective territories? Last year, the producers of Angrezi Medium burnt their hands when they decided to release the Irrfan Khan-starrer in cinemas on March 13, 2020, despite the Covid-19 threat looming over their heads. Within 72 hours, most states shut down the theatres and the business of that film was disastrous.
Hence, it can’t be ruled out that the makers of Jersey must have also feared that if the crucial state of Maharashtra shuts from Thursday or over the weekend and so do the other important states, the film will bomb at the ticket window.
Meanwhile, the Omicron cases continue to increase in most parts of the country. In Mumbai, the capital of Maharashtra, the number of cases were around 600 on December 24 while on December 29, the number jumped to around 2500! Such a huge jump has been rare. The good news is that most cases are asymptomatic or mild and don’t require oxygen beds or even hospitalization. A few voices in the medical and scientific community are predicting that Omicron can be a blessing in disguise because though it’s more virulent, it’s also less likely to cause severe illness or even death. Hence, a prediction is made that very soon, herd immunity will be achieved and the pandemic will come to an end.
Sadly, no credible organization or government can afford to put their gear down over these beliefs. One needs scientific evidence and it’ll come in a few weeks. The industry stakeholders do understand that the government will need to put some restrictions in place. They are asking various state governments to not shut down cinemas; instead, they are requesting them instead to reintroduce the rule of 50% occupancy in cinemas in states where 100% occupancy is allowed. Also, they are also requesting that only fully vaccinated individuals be allowed inside cinemas.
Sadly, there’s no guarantee the state governments will listen to the rule, especially the Maharashtra government which has been strict in putting restrictions. Despite cases jumping to 2500+ in Mumbai, the government hasn’t told cinemas to halt operations. However, as seen in the past, if cases continue to rise exponentially, cinemas can be told to stop functioning. If this happens in a lot of states, the fate of the upcoming films can be in limbo. Next week, January 7, sees the release of arguably the most expensive film of Indian cinema, RRR. The makers are going ahead with the promotions as scheduled. However, everyone associated, including exhibitors, are prepared for any eventuality.
It is an established fact that the chances of one getting infected with Covid-19 in a cinema hall is negligible. Also, it’s bewildering to see that political rallies are allowed in a state like Uttar Pradesh, where a night curfew is in place. These rallies attract lakhs of people and where wearing of masks, social distancing etc goes for a toss. Even weddings are permitted and so are restaurants and pubs. Masks are required to be put down in these situations and it can lead to a spread of Covid-19 as compared to a cinema hall where viewers have to wear a mask compulsorily. Hence, the way cinemas are shut in the first sign of rise of cases is highly unjustified but the industry sadly, is yet to develop a spine to question the authorities over this logic.
Cinema shutdown in Delhi will impact major Bollywood releases, say stakeholders
8:28 AM
Industry stakeholders say the move will lead to ‘irreparable losses’, and urge the govt to instead introduce safety measures such as allowing only double vaccinated audiences
Niharika Lal (BOMBAY TIMES; December 30, 2021)
The Delhi government’s order on Tuesday shutting down cinema theatres and multiplexes, in view of the sharp rise in omicron cases in the city, has come as a big jolt to the industry that was just getting back on its feet. An exhibitor says, “We have seen packed theatres this month for films like Spider-Man: No Way Home. The last week of the year is when people prefer going out and watching films. This will be a huge revenue loss for cinemas. ”
‘CINEMA SHUTDOWN COMES AT THE BUSIEST TIME OF THE YEAR’
Theatres in the rest of the country, including other parts of NCR and Mumbai, remain open for now. However, with Coronavirus cases rising across the country, exhibitors fear more cities will soon introduce restrictions and lockdown measures.
Akshaye Rathi, director, Aashirwad Theatres, and an industry expert, says, “This is the holiday season, when kids are on winter break, and business is robust across the sectors, including cinemas. It’s unfortunate that a sector is being closed at this specific time of the year, especially taking into account the scenario in the last one-and-a-half years when cinemas were closed for months. Be it Delhi, or other state governments who are contemplating lockdown, authorities need to find a more pragmatic approach. For example, only allowing double vaccinated audiences to enter cinemas, and other such measures.”
Girish Johar, a producer and film business expert, asks, “Why only cinemas? Cinemas are not being treated as a business. After Sooryavanshi opened big, people were coming back to the cinema. We have seen how Spider-Man: No Way Home changed everything and is now clocking around 200 crores at the Indian box office, which is a big deal. So, what now? Thoda gire, thoda uthe, phir se ye chot. We really hope Delhi gives some relaxation to cinemas.”
Rajendra Singh Jyala, Chief Programming Officer, INOX Pvt Ltd, adds, “Whether it was Spider-Man or '83, theatres had good occupancy, and moviegoers came out to watch these films because they found cinemas to be safe. We’ve worked so hard to gain this confidence. This year-end week is one of the busiest weekends for cinemas. In fact, even on Monday-Tuesday, we had over 50% occupancy in cinemas across NCR, which is a good number for weekday occupancy. We had almost 100% occupancy last weekend. While a few moviegoers may go to watch films in Noida and Gurgaon as Delhi cinemas are closed, this shutdown will adversely affect not just the business of films which are currently running, but upcoming releases, too.”
CONSIDER DOUBLE VACCINATION, REINTRODUCE 50% CAPACITY, BUT RETHINK SHUTDOWN: MULTIPLEX ASSOCIATION OF INDIA
The Multiplex Association of India has urged the Delhi government to consider introducing a double vaccination requirement to enter cinemas, instead of a complete shutdown. Kamal Gianchandani, President, Multiplex Association of India, said in a statement, “The Delhi Government’s decision to shut down cinemas in Delhi while enforcing the ‘yellow’ alert of the Graded Response Action Plan (GRAP) has caused massive uncertainty and could lead to irreparable damage for the Indian film industry. After being allowed to reopen, cinemas have already demonstrated an ability to operate safely for the public and employees via usage of enhanced ventilation systems, hygiene, and other safety protocols. Not a single outbreak of COVID-19 anywhere around the world has been traced to a cinema. While we fully understand the need at the government’s end to take necessary preventive measures, we’d request that cinemas should get equal treatment with comparable industries and institutions.”
“Instead of closing the cinemas, we’d urge the Delhi government to consider introducing a double vaccination requirement to enter cinemas, as is the case in some of the other states (including Maharashtra). Alternatively, the seating capacity restriction of 50% can be reintroduced at cinemas. We call on the government to recognise the unique social, cultural and economic value of the Indian film industry, and to provide the support it so desperately needs to survive this unprecedented period,” the statement added.
DELHI’S THE SECOND-BIGGEST MARKET FOR BOLLYWOOD; THIS WILL IMPACT FUTURE RELEASES: INDUSTRY EXPERTS
Producer and film business expert Girish Johar says that the closure of cinemas in Delhi can have a ripple effect. “The reason is that Delhi is one of the top two cities from the revenue point of view of Bollywood films. I don’t think that producers will release films when they are on tenterhooks.”
Akshaye Rathi, director, Aashirwad Theatres, and an industry expert, says, “The biggest territory for Bollywood films is Maharashtra, which is already operating at 50% capacity. Now, with the second biggest market – Delhi – shutting down, it is too much of a compromise revenue-wise for producers to continue releasing films, especially films which do well in Hindi-speaking markets. For a film like Valimai, there may not be that big of an impact because its main market is Tamil Nadu, but for an RRR or Prithviraj, it is a very tricky situation.”
Makers of Shahid Kapoor-starrer Jersey, have already postponed its release while upcoming films like Prithviraj and John Abraham’s Attack may also be impacted.
I can’t visualize myself on OTT; I am a big screen hero-John Abraham
7:41 AM
Birthday boy John Abraham shares why he isn’t likely to do web projects any time soon
Rishabh Suri (HINDUSTAN TIMES; December 17, 2021)
Actor John Abraham doesn’t believe in crafting answers to please other people. He would rather say what he truly feels, and that’s evident when we ask him whether he would follow in the steps of his contemporaries and release a film on OTT platforms for any reason.
“I believe, in my head, I am a big screen hero, and I will appear on the large screen,” he continues, “At this point, I can’t even visualise myself appearing for a subscription fee (on OTT). All my films have been designed for the big screen for the next three years. I don’t have the time to do anything else outside of big screen films at this point... But never say never.”
The 49-year-old, who celebrates his birthday today, also believes that nothing can match the experience of watching a film in a theatre. “Take Sooryavanshi, for example. Watch it [in the theatre] with an audience and see the experience you have. Then go back home and see the experience you have watching a film on a tablet. You tell me the difference,” Abraham says, adding, “Don’t get me wrong. We make OTT films, we respect those platforms. But some films are not OTT films.”
Busy with a packed schedule, the actor’s 2022 is set to be hectic. He confirms that he is starring in the film Pathan, also said to co-star Shah Rukh Khan and Deepika Padukone.
“My film Attack releases on Republic Day 2022, then there’s Ek Villain Returns somewhere in June, on Eid. I have no idea about Pathan’s release, because we have not yet finished shooting for it, so I cannot comment on it,” Abraham concludes.
Bringing Chulbul Pandey and Singham together is a big responsibility-Rohit Shetty
8:25 AM
Building his own cop universe with Akshay, Ajay and Ranveer, Shetty says team developing the final draft of script hopefully to make way for new hero in uniform
Upala KBR (MID-DAY; December 12, 2021)
If Hollywood has its superhero world of Marvel Cinematic universe, closer home, Rohit Shetty has built his own cop universe with the Singham franchise, Simmba (2018) and the recent Sooryavanshi. The filmmaker is happy to have created three heroes — Ajay Devgn’s Bajirao Singham, Akshay Kumar’s Veer Sooryavanshi and Ranveer Singh’s Sangram Simmba Bhalerao — each distinct from one another.
“For me, the most important part of a cop universe should be that the characters should not be the same. Tomorrow if another cop comes on board, he has to be completely different from Simmba, Sooryavanshi and Singham. Each of the three films have a distinct take on cop heroes. When people come to the theatres, they should not feel ‘Arre, yeh toh Singham jaisa hai,’” says Shetty.
Clearly, the filmmaker is thinking of expanding the universe, bringing a fourth hero to join forces with Kumar, Devgn and Singh. In fact, there’s talk that Shetty may introduce another police officer in Singham 3. “At present, we cannot say what we will be doing,” he laughs, before adding, “We have another story for a different cop, but we have not decided whether he will come in Singham 3. [We could also] add a lady cop. We need to write the final draft of that story keeping Sooryavanshi [the last offering in the universe] in mind.”
Speculation is rife that Salman Khan aka his Dabangg cop character Chulbul Pandey will make an appearance in Singham 3. The union of Dabangg with Shetty’s world will be a treat for Bollywood fans. Excited as he is at the prospect, the filmmaker chooses to tread with caution. “Whenever Salman and I meet, we talk about Singham and Chulbul coming together, but nothing has been planned. Bringing both of them together is a big responsibility. Chulbul has a [big] fan following and is a brand in himself. If and when it happens, it will be a big [undertaking]. At present, I don’t see it happening as I am focusing on Cirkus, and then Singham 3.”
Sooryavanshi comfortably beats all outright Hindi films in Gujarat
8:10 AM
Box Office India Trade Network
SOORYAVANSHI is comfortably the second highest grossing film of all time in Gujarat despite coming after the pandemic as it stands at 41.50 crore in the state after its fifth weekend. Only BAAHUBALI 2: THE CONCLUSION stands ahead with a huge 60 crore nett plus.
The Diwali period helps in Gujarat but SOORYAVANSHI has comfortably beaten Diwali HITS like GOLMAAL AGAIN (36 cr) and HOUSEFULL 4 (33 cr) and there is still some gas left in the film and may just edge past the 42 crore nett mark. The Gujarat market is as strong as it was before the pandemic and its not just about the record collections of SOORYAVANSHI but even ANTIM - THE FINAL TRUTH and TADAP have pretty much performed as they would before the pandemic.
The business of the film in Ahmedabad is on par with Delhi city which is phenomenal as for most films in Ahmedabad would not even be 50% of Delhi city.
The top Nett Grossers in Gujarat/Saurashta of all time are as follows.
1. Bahubali 2: The Conclusion - 63.28 crore
2. Sooryavanshi - 41.50 crore apprx (31 days)
3. Golmaal Again - 36.04 crore
4. Housefull 4 - 33.28 crore
5. PK - 33.17 crore
6. Tiger Zinda Hai - 32.09 crore
7. Bajrangi Bhaijaan -31.59 crore
8. Sanju - 29.13 crore
9. Dangal - 28.54 crore
10. Prem Ratan Dhan Payo - 28.07 crore
Somebody had to take that first step and release their movie in theatres. I couldn’t be selfish-Rohit Shetty
8:20 AM
Rohit Shetty discusses taking the lead in reviving cinemas with Sooryavanshi, and shooting Ranveer’s Cirkus during pandemic
Upala KBR (MID-DAY; December 2, 2021)
Ahead of Sooryavanshi’s release, director Rohit Shetty had told himself he would be content if the film made about Rs. 130 crore, considering it was coming on the heels of a long theatre shutdown. Almost a month since, Akshay Kumar’s cop caper has crossed the Rs 190-crore mark in India. “Rs 130 crore would have been an achievement as Maharashtra and some other centres were operating at 50 per cent theatrical capacity. I was always confident about the movie, but my only concern was whether the audience would come to the theatres [amid the Coronavirus pandemic]. I am happy they came in large numbers,” he exclaims. The director is equally grateful to the film fraternity for lending support to the actioner.
During the film’s 19-month wait to the big screen, Shetty had lucrative offers from OTT players for a digital premiere. “I didn’t feel tempted to take up their offer. Sooryavanshi is a big-screen experience. There are 40,000 cine employees in India, and there was speculation about cinemas not reopening [soon]. Somebody had to take that first step and release their movie in theatres. I couldn’t be selfish.”
Elated as he is about Sooryavanshi’s success, Shetty has now moved on to Cirkus with Ranveer Singh. The unit will head to Ooty next week for the final schedule. Was it tough to shoot a movie during the pandemic? “I can’t sit around doing nothing. We wrote the script during the first lockdown. During the shoot, we followed many safety protocols. Luckily, not a single case was reported on the set.”
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