Showing posts with label Total Dhamaal. Show all posts
Showing posts with label Total Dhamaal. Show all posts
Fenil's Bollywood Talk # 942
11:38 PM
DHAMAAL 4 OPENS WELL; ALPHA HAS 30 CR+ WEEKEND DESPITE NEGATIVITY
Dhamaal 4 has released today and managed a fine opening. The advance booking of the film began, well, way in advance, in the sense that nearly all single screens got a chance to play the film with no competition from holdover releases. The spot bookings came into play; earlier, it seemed doubtful that the film would open at more than Rs. 10 crores.
However, Dhamaal 4 is set for an opening of Rs. 13 crores, which is way beyond expectations. Welcome To The Jungle had opened at Rs. 15 crores and ended up earning Rs. 60 crores in the weekend, excluding the paid preview. Hence, Dhamaal 4 should now aim to collect Rs. 48-50 crores in three days. The franchise factor and the comic nature of the film have proved beneficial.
Total Dhamaal had opened at Rs. 15.91 crores and then went on to collect Rs. 150.07 crores in its lifetime. It had a clean run and a great word of mouth, which led to such huge collections.
In the case of Dhamaal 4, the response at present seems mixed. However, this film also enjoys a clean run. There’s no competition for the next three weeks, until the release of Spider-Man: Brand New Day. So, if it has a strong weekend and holds well during the weekdays, it’ll have a healthy run. Even a Rs. 100 crore + lifetime will be good enough.
Meanwhile, last week’s Alpha also fared better than expected. It opened at Rs. 9 crores and then went on to collect Rs. 11.50 crores on Saturday and Rs. 13 crores on Sunday. Hence, it collected Rs. 33.50 crores in its first three days despite bad word of mouth and immense negativity on social media. It yet again proved that trolls have zero impact on the box office.
However, due to negative reports, the film did crash on Monday. Its first week collections amount to Rs. 46.25 crores. The best scenario for the film would be to earn Rs. 60 crores in its lifetime.
Salman Khan advised me to meet Sanjay Leela Bhansali as I am someone who will fit into his films-Kangana Ranaut
8:10 AM
Madhureeta Mukherjee (BOMBAY TIMES; May 21, 2022)
She kicks, punches, shoots, slays, breaks bones and shatters glass — soaked in blood, sweat and revenge — Kangana Ranaut as Agent Agni in the just-released action spy thriller Dhaakad, delivers one deadly blow after another, like a true action star. The actress, who has skillfully flexed her muscles in various genres earlier, has now cracked the action space — with guts galore. In a conversation with us, she talks about her warrior spirit, how playing a hardcore action girl was cathartic and what we need to do to save our film industries. Read on...she is on fire...
We know how involved you get in creating and fleshing out your character in every film. In Dhaakad, you portray seven dramatically different looks. How much did you actively participate in creating each one of those?
I was not involved in it at all, because we had such a talented team, and Razy (director Razneesh 'Razy' Ghai) is so competent. Having directed about 400 ad films, he had such a clear and international vision. When I was approached for this film, I was wondering...will I be able to fit into this part at this age and stage? At the time when I started my career, I did not fit into the format of a Bollywood heroine, and I was always trying to find my ground and figure where I belong. I was quite jobless after Gangster. I would get offered those druggie, edgy or homeless kind of roles. When I did Fashion, also because of my body type, I was appreciated, and then I did Krrish 3. Back then, I felt that I would be offered more action roles, so maybe I could create a category for myself and be able to fit in. So, I actively trained in kickboxing and martial arts. Lekin aisa kuch hua hi nahi, things derailed for me, and I did films like Double Dhamaal. I was disoriented and stopped training. Then films like Queen happened, aur main acting mein bahut deep chali gayi, and with every character, I would try to learn accents, gain weight and lose weight. Cut to two years ago, I had put on 20 kilos, and personally, too, I have metamorphosed into an individual where there is a certain way I think and dress… (like I wear a lot of sarees now). I have come to be a certain person.
So, when this film came your way, you were in an entirely different mind space?
Yes! Razy was sitting in front of me and telling me about this role and I was thinking about those days when I wanted it so badly. And there I was, as far as I could’ve been from this character (Agent Agni). When he approached me, I was shooting for Thalaivii, and mentally and physically, I was in a different mind space. I was wondering whether I would be able to pull off all those looks, miniskirts and firing guns? It was not just the weight, there was a lot more resistance I had as a person. So, when I met him, in my mind, I was sure that I wouldn’t do it, but he didn’t give up on me. These different looks were a part of it, and my major concern was to be able to pull it off convincingly.
Florian Hurel, the make-up artiste, who worked on these different looks for you in the film, mentioned in an interview that you are one of the very few artistes who possess the courage to experiment and then own each of those not so common looks. This is evident in the way you style yourself on and off screen.
Florian Hurel was the make-up artiste and Sheetal Sharma designed the looks with the director, and to fit into their vision was my challenge. I tell this story to a lot of people. When I first met Salman Khan before Gangster, I showed him my portfolio. He advised me to meet Sanjay Leela Bhansali and said that you are someone who will fit into his films. I went to meet him with my portfolio, which showcased various looks. He went through my pictures, looked at me with great curiosity and said, “Are you a chameleon or what? You change with every look.” I asked him, “Sir, is it a good thing or a bad thing?” He said, “I don’t know, you will figure it out.” And it was such an appropriate answer because, yes, it was difficult to get a break in the industry. You don’t know what you are, and you could be anything. Once you are successful, I guess it is a boon. Razy wanted me for this part as he knew that as a spy on a mission, I could transform with every look. But for my first break in the industry, people could not slot me, and that became a challenge. So, it was good and bad. Over the years, I could not find my ground and say this is my space, which every actor has. At this stage, of course, it seems like a great thing.
Personally, are you a fan of the action spy thriller genre? Any inspirations from other women on screen who you think have pulled off action superbly?
I like action films, but the kind of grounded and raw action that you see in Dhaakad. The superhero kind of films and that kind of action is not my zone. I think Charlize Theron is somebody who looks tough and looks good doing action. You need that physicality, and you need to look convincing, and she pulls it off really well. Baaki toh thoda modelling type ho jaata hai.
During Manikarnika - The Queen Of Jhansi, you had said that it was physically the toughest role you had played. You even met with an accident while shooting, which left you with a scar on your forehead. Would you say that you had to push your limits harder for Dhaakad?
Yes, the training was really tough. There is a 15-minute long action sequence, and it is something you have never seen before in our cinema. I trained in kickboxing and other martial arts, including Jiu-Jitsu and Krav Maga, to play this part. It is a draining role, and even to be angry, it takes a lot of your energy. We shot for 20-25 nights for that action sequence, and putting in that energy for days and days is exhausting. There are times your body is numb, you have no energy left, but you have to drag yourself on set. Having said that, for me, what works is that, by nature, I am a violent person. I mean in my ideologies. I have that thought process. If we were in different times, I would probably have been a warrior. My school of thought is not — tum ek thappad maaro, toh mein dusra gaal de doongi. I believe in, mujhe khoon do, main tumhe azaadi doonga. So, my very core is right wing. Coming from that space, this part was a bit cathartic. So, it is not like it was imposed on me, I also enjoyed it. It is in my nature, only that my body was not ready for it. In KGF - Chapter 2, there is this dialogue that the lead actor Yash says, “Violence, Violence, Violence! I don’t like it. I avoid, but, violence likes me.” I would tweak that for myself and say, “I like violence and violence also likes me (laughs!).”
You have worked with Arjun Rampal way back in 2011 for Rascals ,it was in a different space and time. After all these years, how was it teaming up with him for such an intense film? In an interview with us, he said that when he heard that you were playing the protagonist, he knew you would give it your all.
The evolution of Arjun as a creative force is tremendous. When we did Rascals, I didn’t understand him as an artiste. We became good friends, and we would party together. During Dhaakad, whenever we sat together, he would talk about the film, how he could add to my character and how we could do certain scenes. It became such an inspiring experience to see how much he is consumed by the entire process and the extent to which he has grown. He is writing scripts, he wants to direct and is producing films. Also, when he was offered the part, people around him were apprehensive about him working with me, but he was so nonchalant about it. He is his own person, and I have huge respect for such people. He doesn’t roam around in herds; he takes his own call.
In a previous interview with us, you had said, “Movies with women leading the show are being made, but they are mostly small-scale films. So, if it works, it’s fine, else it doesn’t hurt the producer’s pockets to a large extent.” But now, would you say that there’s been a change — in the way people view films led by women and the budgets that back those films?
It is high time… kyun ki uss chhote se budget mein aap kya karenge? Woh 20-30 crore mein social message wali films ban sakti hai. They will mostly be offbeat films, not mainstream. The budgets are not to show off that we have so much to spend, but so that we get more creative freedom. Today, if Razy has brought in an award-winning DOP, Tetsuo Nagata, for Dhaakad along with the kind of action crew that we had, it is because we could monetarily back that scale. This is the liberty that every artiste wants. We also need a good budget for a woman-led film, so that we can deliver.
Which also helps in achieving pay parity that has been a larger ongoing discussion in the industry for years. You seem content with what you are being paid for your work now, right?
Yes, of course. For me, it was important to feel that I am well paid, and not exploited. Don’t I go to a set and give my 100%? There are so many injuries that I have taken upon myself for these roles. So, just because I am a woman, not getting paid as much as my male counterpart is a very sad and unfortunate reality. Ab mere saath aisa nahin hota hai.
You recently made your OTT debut with the reality show Lock Upp. Do you want to explore this space further, with different kinds of content?
Yes, sure. The medium also gives you a global platform and being a creative person to have that is great. I would love to explore it more.
There is a lot of talk about pan India stars and pan-India movies lately. Actors from the South and Bollywood have been expressing that we should represent our cinema to the world as Indian films and not Hindi, Tamil, Telugu, etc. We should be one united film industry. Your thoughts?
I had said this long ago, that we should bring India together with our movies. While growing up, I didn’t know much about people from the South and their culture, but today, when we see their films, we get to know so much about them — what they eat, what they wear. Movies expose us to that. I was more exposed to American culture through their movies, over South Indian films or, say films from the North East. Cinema only brings us together. It’s high time that we come together and save our screens rather than let Hollywood take over, like what happened with the German and French film industries. We need to save our industry, and for that, we need to come together as one force.
Do you wish to be India’s new action star?
Hopefully!
All time top satellite premieres - 5 films enter the league in 2020
8:22 AM
Box Office India Trade Network
This year there have five films which are among the top 25 television
premieres of all time. WAR, TANHAJI: THE UNSUNG WARRIOR, BAAGHI 3, SAAHO (Hindi) and DARBAR (Hindi) are the five films from this year and
they all topped the 1 crore mark for their premieres while WAR crossed 2
crore.
WAR had the best premiere but was the weakest one of the lot in subsequent screenings. The dubbed films SAAHO and DARBAR have had great results and for SAAHO, this is coming after a very good box office run of 150 crore nett. The other film to get good numbers on television this year was PATI PATNI AUR WOH which hit 88 lakh plus and STREET DANCER which got over 70 lakh despite releasing on satellite six months after digital release.
The films which were not upto the mark were DABANGG 3 (repeats are steady but a very low premiere), GOOD NEWWZ and BALA. HOUSEFULL 4 and TOTAL DHAMAAL released last year have had extraordinary runs through the Covid-19 period.
Below are the top 25 premeires of all time. The
numbers are impressions which are the number of television sets viewing
the film.
1. Baahubali 2: The Conclusion - 2,60,54,00,000 (Sony)
2. Prem Ratan Dhan Payo - 2,51,19,00,000 (Star)
3. Bajrangi Bhaijaan - 2,37,45,000 (Star)
4. Housefull 4 - 2,15,42,000 (Star)
5. War - 2,25,00,000 (Star)
6. Baahubali: The Beginning - 2,07,77,000 (Sony)
7. Dhadak - 1,83,16,000 (Zee)
8. Total Dhamaal - 1,67,93,000 (Star)
9. 2.0 (Hindi) - 1,65,13,000 (Zee)
10. Golmaal Again - 1,63,52,000 (Star)
11. Dangal - 1,62,64,000 (Zee)
12. Baaghi 2 - 1,61,45,000 (Star)
13. Kesari - 1,56,66,000 (Zee)
14. Judwaa 2 - 1,52,66,000 (Star)
15. Tanhaji: The Unsung Warrior - 1,38,40,000 (Star)
16. Tiger Zinda Hai - 1,37,04,000 (Sony)
17. Baaghi 3 - 1,29,06,000 (Star)
18. Saaho - 1,28,20,000 (Zee)
19. Darbar - 1,27,31,000 (Star)
20. Luka Chuppi - 1,25,00,000 (Star)
21. Stree - 1,23,29,000 (Star)
22. Junglee - 1,11,77,000 (Star)
23. Simbaa - 1,11,02,000 (Zee)
24. Toilet - Ek Prem Katha - 1,09,25,000 (Zee)
25. Jolly LLB 2 - 1,08,51,000 (Star)
2. Prem Ratan Dhan Payo - 2,51,19,00,000 (Star)
3. Bajrangi Bhaijaan - 2,37,45,000 (Star)
4. Housefull 4 - 2,15,42,000 (Star)
5. War - 2,25,00,000 (Star)
6. Baahubali: The Beginning - 2,07,77,000 (Sony)
7. Dhadak - 1,83,16,000 (Zee)
8. Total Dhamaal - 1,67,93,000 (Star)
9. 2.0 (Hindi) - 1,65,13,000 (Zee)
10. Golmaal Again - 1,63,52,000 (Star)
11. Dangal - 1,62,64,000 (Zee)
12. Baaghi 2 - 1,61,45,000 (Star)
13. Kesari - 1,56,66,000 (Zee)
14. Judwaa 2 - 1,52,66,000 (Star)
15. Tanhaji: The Unsung Warrior - 1,38,40,000 (Star)
16. Tiger Zinda Hai - 1,37,04,000 (Sony)
17. Baaghi 3 - 1,29,06,000 (Star)
18. Saaho - 1,28,20,000 (Zee)
19. Darbar - 1,27,31,000 (Star)
20. Luka Chuppi - 1,25,00,000 (Star)
21. Stree - 1,23,29,000 (Star)
22. Junglee - 1,11,77,000 (Star)
23. Simbaa - 1,11,02,000 (Zee)
24. Toilet - Ek Prem Katha - 1,09,25,000 (Zee)
25. Jolly LLB 2 - 1,08,51,000 (Star)
Housefull 4 and Total Dhamaal continue to dominate television in the lockdown period
8:41 AM
Box Office India Trade Network
HOUSEFULL 4 and TOTAL DHAMAAL continue to dominate television in the lockdown period with every screening in peak periods fetching a strong rating. HOUSEFULL 4 is now touching 7 crore impressions after seven peak screenings while TOTAL DHAMAAL is at 8 crore impressions after 11 peak screenings. The average of HOUSEFULL 4 after seven screenings is at 99.50 lakh and that is higher than what most films get on their premieres. Only 5 or six films will have topped this number in their premieres last year.
Both films have delivered post release better than any other films in the last decade barring the two BAAHUBALI films. The lockdown period has also seen success for WAR, DARBAR (dubbed) and PATI PATNI AUR WOH.
Three members of the family also saw television premieres in April and late March. The three being CHHAPAAK, SAAND KI AANKH and PANGA and all three failed to register even though they came in lockdown period. The result of the other member THAPPAD of the family is still to come. The impressions for HOUSEFULL 4 and TOTAL DHAMAAL till date are as follows.
Housefull 4
1st - 2,15,42,000
2nd - 1,32,26,000
3rd - 77,93,000
4th - 48,62,000
5th - 55,96,000
6th - 97,84,000
7th - 68,46,000
TOTAL - 6,96,50,000
Total Dhamaal
1st - 1,67,93,000
2nd - 84,58,000
3rd - 73,06,000
4th - 79,84,000
5th- 84,36,000
6th - 52,87,000
7th - 37,41,000
8th - 45,50,000
9th - 60,97,000
10th - 53,28,000
11th - 50,98,000
TOTAL - 7,90,78,000
Fenil's Bollywood Talk # 618
10:25 AM
OTT PLATFORMS, TELEVISION WITNESS A SPIKE IN VIEWERSHIP
Film is a powerful medium and is widely consumed by people across the country. A major chunk of this population regularly watches movies in cinemas. Sadly, theatres have been shut since more than a month due to lockdown and amid rising Coronavirus cases. Most of the people are locked up in their homes and to tide over their boredom, they have started watching more of television and OTT. As a result, their ratings have increased substantially.
Talking of television, the shoots have come to a halt because of obvious reasons. The channels have therefore started to air old episodes of popular daily soaps. Yet, they are getting good viewership. Meanwhile, a masterstroke was pulled off with the decision to have the re-run of successful mythological shows like Ramayan and Mahabharat. These were aired on Doordarshan, just the way it was done in the late 80s. The response was mind-blowing. Doordarshan emerged as one of the top channels in terms of viewership, which has not happened in a long time. Their other shows like Buniyaad, Shrimaan Shrimati etc too have made a comeback and have been lapped up.
Meanwhile, the movie screenings too have recorded an increase in viewings. Last year’s biggest hit War had its television premiere during lockdown and got a huge 2 crore impressions approx, one of the highest ever. The other films like Housefull 4, Total Dhamaal, Pati Patni Aur Woh etc too are doing very well, more so because of the lockdown.
As for OTT, it too has taken advantage. The subscribers of almost all streaming platforms have increased. Some popular series released new seasons of their shows like Money Heist, Four More Shots Please etc and the response has been very encouraging. Also, viewers have been discovering many more shows and movies which they previously missed because of lack of time. Amusingly, a 2011 film, titled Contagion, became one of the most watched films worldwide. It tells the story of a disease that goes out of control and is eerily similar to the current Coronavirus pandemic.
The lockdown or rather the restrictions are expected to go on till a long time. And if you feel, OTT and TV channels will continue to benefit, then you might be mistaken. There’s a fear that viewers will soon reach a saturation point and might move away from these mediums. At a webinar recently, a speaker remarked that many have consumed the material that they would have otherwise consumed in 3 years in just 3 months! Also, OTT platforms, after a point, won’t have anything new to offer as their productions have halted as well. So a few months down the line, they too will feel the pinch as they’ll struggle to bring out new content. There’s similar fear about re-runs of TV shows as well.
Ultimately, the hope is that the curve gets flattened soon and things get back to normal.
Housefull 4 and Total Dhamaal continue to run riot on satellite
9:48 AM
Box Office India Trade Network
HOUSEFULL 4 and TOTAL DHAMAAL are running riot on satellite emerging the biggest television blockbusters in the satellite era after the two BAAHUBALI films. The Coronavirus lockdown has probably given the films a boost in terms of numbers in the recent screenings but they were recording huge numbers even before the lockdown.
HOUSEFULL 4 has recorded 6.28 crore impressions in six viewings while TOTAL DHAMAAL is at 7.40 crore after 10 viewings. These are peak viewings which register. HOUSEFULL 4 is the biggest ever for Akshay Kumar on satellite as well as box office in terms of collections while TOTAL DHAMAAL is the biggest ever on satellite for Ajay Devgn though TANHAJI: THE UNSUNG WARRIOR is the biggest at the box office in terms of collections and footfalls.
The numbers are impressions which are television sets and the reach which is the number of people would be around 22.50 crore for 7 crore impressions. This is calculated on the reach given for impressions for general viewing programs.
The lockdown is sure to boost numbers and WAR did extremely well with 2 crore plus impressions going by its TRP rating, the biggest ever for Hrithik Roshan and Tiger Shroff. PATI PATNI AUR WOH also scored recording 88.40 lakh impressions which is second best for Kartik Aaryan after LUKA CHUPPI while CHHAPAAK failed even in the lockdown.
The impressions for HOUSEFULL 4 and TOTAL DHAMAAL till date are as follows.
Housefull 4
1st - 2,15,42,000
2nd - 1,32,26,000
3rd - 77,93,000
4th - 48,62,000
5th - 55,96,000
6th - 97,84,000
TOTAL - 6,28,03,000
Total Dhamaal
1st - 1,67,93,000
2nd - 84,58,000
3rd - 73,06,000
4th - 79,84,000
5th- 84,36,000
6th - 52,87,000
7th - 37,41,000
8th - 45,50,000
9th - 60,97,000
10th - 53,28,000
TOTAL - 7,39,80,000
Final classifications 2019: Kabir Singh tops the list
8:50 AM
Box Office India Trade Network
There final classifications of 2019 were as follows as the year delivered 19 HIT films and nine of them of being major HITS. There were further six successful films and then two Below Average films. The year was dominated by Akshay Kumar with three of the top six hits belonging to him.
There was an ALL TIME BLOCKBUSTER film in 2019 also but that came from Hollywood with AVENGERS: ENDGAME. However, despite doing 363 crore nett business, the footfalls of KABIR SINGH were still more than AVENGERS: ENDGAME. KABIR SINGH and WAR were the only films to go over 2 crore footfalls and no film even came close to 3 crore.
The final classifications of films released in 2019 with distributor shares in brackets are as follows.
All Time Blockbuster
-
Super Blockbuster
1. Kabir Singh (135 crore)
Blockbuster
2. War (151 crore)
3. Uri: The Surgical Strike (101 crore)
Super Hit
4. Housefull 4 (104 crore)
5. Good Newwz (96 crore)
6. Mission Mangal (94 crore)
7. Chhichhore (66.50 crore)
8. Dream Girl (65 crore)
9. Bala (50.50 crore)
Hit
10. Saaho (Hindi) (77 crore)
11. Total Dhamaal (75 crore)
12. Kesari (74 crore)
13. Super 30 (70 crore)
14. Gully Boy (66 crore)
15. Batla House (41.75 crore)
16. Luka Chuppi (41.50 crore)
17. Badla (39.50 crore)
18. Pati Patni Aur Woh (37 crore)
19. Article 15 (28.50 crore)
Semi Hit
20. Bharat (102 crore)
21. De De Pyaar De (44 crore)
22. Mardaani 2 (21.75 crore)
Average
23. Manikarnka - The Queen Of Jhansi (43 crore)
24. The Accidental Prime Minister (11.25 crore)
25. The Tashkent Files (5.50 crore)
Below Average
26. Student Of The Year 2 (32 crore)
27. Marjaavaan (22 crore)
Housefull 4 continues historic satellite run
8:48 AM
Box Office India Trade Network
HOUSEFULL 4 continues its extraordinary run on satellite as it beats number of all outright Hindi films. The film has got around 4.75 crore impressions after four peak time screenings which is higher than all the other Hindi films. GOLMAAL AGAIN got 4.56 crore impressions which was the best before HOUSEFULL 4.
The film edged past the box office numbers of GOLMAAL AGAIN and now is doing the same on satellite. Both films are no doubt the biggest comedy films in the recent past. The HOUSEFULL 4 satellite numbers are only behind BAAHUBALI 2: THE CONCLUSION which had around 6.75 crore impressions after four viewings.
Below are the figures for first four screenings of the blockbuster films on television in the recent past. The number is the impressions which is basically the number of television sets which viewed the film.
Housefull 4
1st - 2,15,42,000
2nd - 1,32,26,000
3rd - 77,93,000
4th - 48,62,000
TOTAL - 4,74,23,000
Judwaa 2
1st - 1,52,66,000
2nd - 92,78,000
3rd - 63,78,000
4th - 64,53,000
TOTAL - 3,73,75,000
Golmaal Again
1st - 1,63,52,000
2nd - 1,58,71,000
3rd - 82,70,000
4th - 51,50,000
TOTAL - 4,56,43,000
Tiger Zinda Hai
1st - 1,37,04,000
2nd - 1,03,96,000
3rd - 71,82,000
4th - 74,14,000
TOTAL - 3,86,96,000
Baaghi 2
1st - 1,61,45,000
2nd - 90,84,000
3rd - 61,07,000
4th - 42,10,000
TOTAL - 3,55,46,000
Total Dhamaal
1st - 1,67,93,000
2nd - 84,58,000
3rd - 73,06,000
4th - 79,84,000
TOTAL - 4,05,41,000
2.0
1st - 1,65,13,000
2nd - 80,37,000
3rd - 72,82,000
4th 63,99,000
TOTAL - 3,82,31,000
Box Office India releases its final list of top 25 grossers of 2019
8:08 AM
Box Office India Trade Network
The year 2019 turned out to be pretty decent with the top twenty five films collecting 3600 crore nett plus as compared to 3000 crore nett last year. But a lot is to do with lower GST in 2019 as the GROSS numbers are 4250 crore compared to 3850 crore in 2018. There is a 20% difference in NETT numbers which would be a good result if all things were equal but in actual terms the difference is 10% as in GROSS numbers, all is equal. The 10% growth is roughly how much ticket rates grew in 2019.
The biggest grosser of the year was WAR (Hindi) grossing 292 crore nett but the biggest HIT was KABIR SINGH. It was the universal blockbuster of the year which did equally well in all parts of India. It also had the highest footfalls of the year as it was released outside holiday periods on normal ticket rates. WAR and URI were also BLOCKBUSTERS but could have done better in the Central India markets where there performance was lower as compared to other areas. The other film to top 200 crore nett HOUSEFULL 4 could have done better in North.
No film got close to 3 crore footfalls which tells there was no really huge BLOCKBUSTER. In fact the last 3 crore footfall film was TIGER ZINDA HAI in 2017 though PADMAAVAT may have got there if it had released all over. Only two Hindi films - KABIR SINGH and WAR - managed to get more than 2 crore footfalls and the third film was AVENGERS: ENDGAME from Hollywood. SAAHO also manged it in all formats and if we take all formats into consideration then this film had the most footfalls of any film in India last year at 2.60 crore.
The ranking of the top films in terms of NETT collections are as follows and these twenty stand above the rest as the 26th film is under 50 crore nett. The GROSS collections may change the positions a little as there is state levy and higher service charges in some states and if films have a higher ratio coming from these areas then it changes the NETT to GROSS ratio.
1. War (Hindi) - 2,92,71,50,000
2 Kabir Singh - 2,76,34,00,000
3. Uri: The Surgical Strike - 2,44,00,50,000
4. Housefull 4 - 2,05,60,50,000
5 Bharat - 1,97,34,50,000
6. Good Newwz - 1,95,78,00,000 (35 days)
7. Mission Mangal - 1,92,67,00,000
8. Kesari - 1,51,87,50,000
9. Total Dhamaal - 1,50,07,50,000
10. Saaho (Hindi) - 1,48,84,00,000
11. Chhichhore - 1,47,32,50,000
12. Super 30 - 1,47,00,00,000
13. Dream Girl - 1,39,37,00,000
14. Dabangg 3 (Hindi) - 1,34,79,00,000
15. Gully Boy - 1,34,21,50,000
16, Bala -1,10,97,50,000
17. De De Pyaar De - 94,50,00,000
18. Manikarnika - The Queen Of Jhansi (Hindi) - 90,81,00,000
19. Luka Chuppi - 88,50,50,000
20. Badla - 87,56,00,000
21. Batla House - 84,99,50,000
22. Pati Patni Aur Woh - 80,41,00,000
23. Kalank - 80,03,50,000
24. Student Of The Year 2 - 65,70,50,000
25. Article 15 - 65,17,50,000
NOTE - Good Newwz is still running in week six but will not change the rankings as it has only 25-50 lakh more to come
Housefull 4 collects historic numbers in the second television screening as well
8:30 AM
Box Office India Trade Network
HOUSEFULL 4 is a huge BLOCKBUSTER on satellite as it sees first two screenings which are second only to BAAHUBALI 2: THE CONCLUSION. That film accumulated around 4.70 crore impressions in the first two viewings while HOUSEFULL 4 has 3.50 crore. These are HISTORIC numbers and best ever for an outright Hindi film edging past BAJRANGI BHAIJAAN. It is way ahead of the other big blockbusters on television like JUDWAA 2, GOLMAAL AGAIN, TIGER ZINDA HAI, BAAGHI 2, 2.0 and TOTAL DHAMAAL. All these films have around 2.50 crore impressions barring GOLMAAL AGAIN which had 3.25 crore apprx. The film is set for a long run on satellite after its strong box office run. The second screening of the film at around 1.32 crore is not far off the first screening of many BLOCKBUSTER films. In fact the second screening would beat all the releases of last year barring TOTAL DHAMAAL, 2.0 (Hindi) and KESARI.
The film was much maligned on release by the trade and media but not only did it sustain very well at the box office, it is now getting the sort of audiences on television that very few films have in the past consolidating the audience verdict. It shows how clueless the trade and media is about what will appeal to the public and what will not and if the content is there which public will like then no amount of negativity can stop the public from consuming.
Below are the figures for first two screenings of the blockbuster films on television in the recent past. The number is the impressions which is basically the number of television sets which viewed the film.
Housefull 4
1st - 2,15,42,000
2nd - 1,32,26,000
TOTAL - 3,47,68,000
Judwaa 2
1st - 1,52,66,000
2nd - 92,78,000
TOTAL - 2,45,44,000
Golmaal Again
1st - 1,63,52,000
2nd - 1,58,71,000
TOTAL - 3,22,23,000
Tiger Zinda Hai
1st - 1,37,04,000
2nd - 1,03,96,000
TOTAL - 2,41,00,000
Baaghi 2
1st - 1,61,45,000
2nd - 90,84,000
TOTAL - 2,52,29,000
Total Dhamaal
1st - 1,67,93,000
2nd - 84,58,000
TOTAL - 2,52,51,000
2.0
1st - 1,65,13,000
2nd - 80,37,000
TOTAL - 2,45,50,000
For how long will I play the guy who falls from the chair and makes people laugh?-Ashish Chowdhry
8:01 PM
Tanvi Trivedi (BOMBAY TIMES; December 23, 2019)
He might be a father to young children — a boy and twin girls — in real life, but Ashish Chowdhry has no qualms about playing daddy to grown-up actors like Shivin Narang and Rajat Verma in the TV show, Beyhadh 2.
Ask him about it and he says, “I was only doing comedy roles in films. I do enjoy comedy, but for how long will I play the guy who falls from the chair and makes people laugh? I am inspired by Kevin Spacey’s roles in international TV shows and felt that it was time to cross over and do something totally different. If Sanjeev Kumar, who was as old as Amitabh Bachchan, can play a senior character in Sholay (1975), then actors today should not run away from playing older characters, just because they don’t want to age on screen. I could not be a part of Total Dhamaal because I was doing Dev on TV. I can’t forever be part of multi-starrer comedies, sometimes you need to do roles that have maturity and depth.”
When it comes to television, Ashish says that he is not after ratings. “I am looking for a good role and want to play it well. I am not running after ratings. Television is a tougher medium and if your character becomes memorable on the small screen, you achieve more popularity than in a film.”
On the personal front, while most celebs regularly post pictures of their children on social media, Ashish rarely does so. He explains, “I don’t believe in making my kids endorse stuff online, nor do I feel the need to register every moment I spend with them on social media. I don’t like to use my kids to increase my number of followers. Having said that, to each his own, I can’t stop anyone from doing what they want to.”
As an actor, I needed a break from serious cinema-John Abraham
7:44 AM
John Abraham discusses why he followed up his hard-hitting offerings with a laugh riot in Pagalpanti, makes a case for mindless comedies
Sonil Dedhia (MID-DAY; November 21, 2019)
Pagalpanti almost immediately stands out in John Abraham's resume — after all, the actor seemed to have found his niche in patriotic films that included Parmanu: The Story Of Pokhran (2018), Satyameva Jayate (2018) and Batla House. Tell him it's surprising to see him in a comedy, and he says the Anees Bazmee-directed venture was a much-needed change for him."As an actor, I needed a break from serious cinema," begins Abraham, alluding that difficult projects such as Batla House take an emotional toll on an artiste. "That's why I wanted to do a film that would make me as well as the audience happy. With Pagalpanti, the idea was to make a movie that would be suitable for all age groups. It doesn't have double meaning jokes, exposure or bloodshed."
At a time when the emphasis is on content rather than stars, isn't he apprehensive about being part of a mindless comedy? "I am sure films like Total Dhamaal and Housefull 4 got a lot of negative reviews and criticism. But the audience saw them, and both fared well commercially. So, I believe there is space for all kinds of films today," he says, adding that cracking the genre isn't as easy as one might believe. "I had just wrapped up Batla House when I started shooting for this film. So the first two days were difficult for me. I had to shift gears completely as comedy is the toughest genre in the business. But Anees bhai and the entire cast was supportive."
War is the biggest single screen grosser of 2019
8:18 AM
Box Office India Trade Network
WAR is the top single screen grosser with almost 75 crore nett while SAAHO (Hindi) has the highest ratio of single screen business against the multiplex business and both have one thing in common and that is action. The big difference being that War had a star cast while SAAHO (Hindi) was a film from the South and worked for the action only.
The single screen has been coming down for years as they slowly shut down while others get converted into twin screens. But the single screens business is still a sign of stardom for the actors involved and also the reach of the film where the higher the business means the film has reached a larger audience. There are four films in the history of Hindi cinema that have crossed the 100 crore nett mark in single screens and they are BAJRANGI BHAIJAAN, SULTAN, BAAHUBALI 2: THE CONCLUSION and TIGER ZINDA HAI. BAAHUBALI 2: THE CONCLUSION a is among the greatest BLOCKBUSTERS ever and the other three are Salman Khan starrers and its this pull which makes him the top star at this time.
The top ten NETT grossers at single screens across India in 2019 are as follows.
1. War - 74,72,00,000 (28 days)
2. Kabir Singh - 54,82,00,000
3. Bharat - 53,29,00,000
4. Housefull 4 - 44,56,00,000 (17 days)
5. Saaho (Hindi) - 43,89,00,000
6.Total Dhamaal - 38,93,00,000
7. Mission Mangal - 33,15,00,000
8. Kesari - 29,05,00,000
9. Uri - The Surgical Strike - 27,94,00,000
10. Super 30 - 20,17,00,000
I don’t look down upon commercial masala films because they have given me all that I have today-Boman Irani
8:34 AM
Rachana Dubey (BOMBAY TIMES; October 12, 2019)
He was one of the front-runners in the ‘supporting actor’ category in the early 2000s. But he gradually reduced his outings on screen and decided to pursue his childhood dream and make more time for personal milestones. Boman Irani, at the cusp of becoming a director himself, spoke to BT about his upcoming film Made In China, what he seeks in cinema today and becoming a student of the medium at the age of 60. Excerpts:
After being a part of almost every big project in the mid-2000s, you became so selective with your movies that now, we see you only in one or two films a year. Why?
I had been working non-stop for 15 years, and time flew! Why am I not in every second film? Well, because I have a problem with that. I needed a breather for myself and my family. It was okay to be caught up with work when the kids were in college, but with my grandson’s arrival, I realised that I was cut-off from everything happening in my family. I was missing out on many important things, and so, I decided to take it easy. My grandson became a great excuse to take some time off. The second reason to slow down was my childhood desire to make a movie.
So, is that childhood dream finally coming true?
Yes, I realised that I needed a good script, which is very hard to find. So, I wrote something, which I thought was a nice story. It travelled to a few tables, but didn’t make the cut. That’s when I realised that I need to become a student again. It’s foolish to think that if you can write, you are a writer. It’s like saying that if you can fill petrol in a car, you’re an engineer. To be a writer, you have to know the craft. I studied acting by reading books and attending workshops for years. Unfortunately, I couldn’t go to an institute. Creativity goes hand-in-hand with science; in fact, it comes after science. It’s taken me some time to understand the craft of writing films. I travelled to the US, spent time with my mentor and attended workshops there. I know that in the next decade, I can do 60 or even 100 more films, but what after that? Learning something new can keep the excitement levels high. At my age, I am happy to make my debut once again, this time as a filmmaker, who is also a grand daddy.
Now that you are about to make your foray into direction, is there anything you fear?
I do feel a little scared; I don’t know how my film will turn out and how many people will see it, but I’m happy about learning a new craft. I have my fingers crossed.
In the middle of fine-tuning your directorial debut, you also decided to take up the part of a sexologist in Made In China. It seems Dr Mahinder Watsa was an inspiration behind the role...
(Smiles) I wanted to play this character in a matter-of-fact manner. For every part of human anatomy, there’s a specialised branch of medicine. Then why not sex? Sexology is about psychology and science — how it can affect personal equations, family structures and even lead to misconceptions and angst in people. We’ve tried to explain some of these things in a manner that people can understand. Having said that, the film is not about sex. It’s about the journey of a businessman, who wants to impress his wife and family. My character helps him do that.
Recently, while talking to us, writer-turned-director Tushar Hiranandani, who wrote films like Masti (2004), said that your film is a dignified sex comedy. How do you react to that?
I agree with him. While there are a few double entendre jokes in the film, we’ve approached the subject with old-world wisdom. Talking about sex or related problems should not be a taboo.
Over the last few years, the number of films using sex as a storytelling trope has shot up. Why do you think there’s a sudden surge in the demand and supply of such content, especially in mainstream cinema?
The number shot up after Vicky Donor (2012) succeeded. Why do we have this surge now more than ever before? The film will also answer this question. Like I said, it’s common sense to seek medical help whenever you need it. People are okay to go under the scalpel for a wrinkle, but not to a doctor for sex-related problems. It affects the mind, self-esteem and can lead to so much negativity. The film in parts talks about dealing with it. We’ve used humour to address the issue. Films like this have entertainment value with a take-away, and it need not be about sex alone. Every sensible film has a layer beneath the surface. To me, the Hollywood film Rocky (1976) is about a guy who realises that if he can add some spark to a shy girl’s life, he will be happy. 3 Idiots was not simply about education, and every character in that film serviced an underlying message or a thought for the audience.
Today, the way the audience consumes content has changed a lot. Do you think that has compelled filmmakers to push the envelope?
Now, we are judging our films in the first 10 minutes. People send out tweets! What the hell, ya! Watching films used to be such a joy at one time. I remember going to theatres and enjoying my time there. People used to watch three films in a day without really judging the content. Today, the audience has become far too knowledgeable and judgemental about films. They say, ‘First half kharaab tha! Maloom kyun?’ I mean, they have solutions for it also??? Everyone has become an expert. That is why it’s important to learn enough before you say things. In fact, when I launched my company, instead of hosting a party, I invited writers and flew in an Academy Award-winning writer for a workshop. There’s a need for all of us to structure our films well. Even with grand scales, our films often go nowhere. We need to get that right; otherwise no budget, scale or special effects can save it. People who think that a commercial, masala film doesn’t need a structure, need to watch what Manmohan Desai, Yash Chopra and Hrishikesh Mukherjee made. They knew the art of creating a structure for even the most commercial films. We need to sit back and learn a few lessons.
After working in about 93 films, have your parameters for choosing projects changed?
No, I still think that a film must tell you something more than the obvious, it should identify with people. A film like Ben-Hur (1959) has so many themes within that one story. The underlying idea is about fighting oppression by putting your differences aside. It took people from different races to fight it. As a Jew, Ben-Hur rode a chariot rode which had Arab horses. See the message there? While this is one kind of cinema that I seek, I also like to work in films that are designed for people who seek full-on entertainment — which is the reason I will take up something like Total Dhamaal. I don’t look down upon commercial masala films because they have given me all that I have today. I am not a prude. I love commercial cinema as much as I love any other kind of cinema. As an actor, I also look for films that remain with me and ask me questions. I like it when a director tells me upfront about the kind of film he’s making. Inder Kumar for instance, was clear about the space Total Dhamaal came from. I don’t like filmmakers who come to me and pretend that they’re offering me a deep-rooted, heavy, dramatic film. People have tried giving me that churan. Often, I can see through that.
You are one of the best supporting actors in Bollywood and these days, Hindi films are increasingly relying on supporting actors to shoulder a film’s narrative. At such a time, shouldn’t you be focusing more on acting?
I can, but I don’t know if I should. I am very happy that actors are getting lots of work these days, but my reasons to do less work are very clear. It’s not necessary to do every single film. In the last few years, I learnt a great craft. If the movie I’m making doesn’t work, I will be back to doing every second film, like I did years ago. Who knows?
Akshay Kumar and Ajay Devgn are the leading stars of 2019 till date
8:17 AM
Box Office India Trade Network
The top stars for the year are Akshay Kumar and Ajay Devgn and with a couple of releases to come its pretty much certain that the year will belong to Akshay Kumar. KABIR SINGH and URI put up the big numbers but these films did it without the big names. The top actresses have not really had releases this year and so far its Shraddha Kapoor who has had the best year with SAAHO (Hindi) and CHHICHHORE.
The top twenty NETT grossers of 2019 are as follows.
1. Kabir Singh - 2,76,34,00,000
2. Uri - The Surgical Strike - 2,44,00,50,000
3. Bharat - 1,97,34,50,000
4. Mission Mangal - 1,93,25,00,000 apprx (35 days)
5. Kesari - 1,51,87,50,000
6. Total Dhamaal - 1,50,07,50,000
7. Saaho (Hindi) - 1,48,25,00,000 (21 days)
8. Super 30 - 1,47,00,00,000
9. Gully Boy - 1,34,21,50,000
10. Chhichhore - 1,24,50,00,000 (20 days)
11. Dream Girl - 1,05,00,00,000 (13 days)
12. De De Pyaar De - 94,50,00,000
13. Manikarnika - The Queen Of Jhansi - 90,81,00,000
14. Luka Chuppi - 88,50,00,000
15. Batla House - 88,00,00,000 apprx (35 days)
16. Badla - 87,56,00,000
17. Kalank - 80,03,50,000
18. Student Of The Year 2 - 65,70,50,000
19. Article 15 - 65,17,50,000
20. Romeo Akbar Walter - 38,88,50,000
De De Pyaar De's television premiere fares below expectations; Total Dhamaal continues its extraordinary run
8:42 AM
Box Office India Trade Network
DE DE PYAAR DE has managed just about fair ratings one television with a little over 65 lakh impressions. The film was a urban comedy so did not have really have much of a reach but still the television premiere is better than films like URI and GULLY BOY which also did the bulk of there business in urban centres though to a varying degree. The television rating is probably better because Ajay Devgn has a bigger reach than the actor of GULLY BOY or URI and the comedy factor even though the comedy is not the type lapped up by the Hindi belt.
DE DE PYAAR DE may not have hit the target on television but TOTAL DHAMAAL is on a phenomenal run as it racks up close to 5 crore impressions in just five peak screenings. That is almost an average of 1 crore impressions per screening and very few films even manage 1 crore impressions on their premiere. The film is one up on GOLMAAL AGAIN and is probably the biggest film on television after BAAHUBALI 2: THE CONCLUSION and TIGER ZINDA HAI, that is, of all the films released in the last few years. If it keeps on going like this then it would become bigger than TIGER ZINDA HAI. TOTAL DHAMAAL is by far the most watched film of 2019.
The top ten television premieres of 2019 are as follows.
1. Total Dhamaal - 1,67,93,000 (Star)
2. 2.0 (Hindi) - 1,65,13,000 (Zee)
3. Kesari - 1,56,66,000 (Zee)
4. Luka Chuppi - 1,25,00,000 (Star)
5. Junglee - 1,11,77,000 (Star)
6. Simmba - 1,11,02,000 (Zee)
7. Zero - 92,60,000 (Zee)
8. Kedarnath - 72,88,000 (Zee)
9. Race 3 - 70,85,000 (Zee)
10. De De Pyaar De - 66,33,000 (Star)
Below are the figures for peak TOTAL DHAMAAL screenings till date.
1st - 1,67,93,000
2nd - 84,58,000
3rd - 73,06,000
4th - 79,84,000
5th- 84,36,000
TOTAL - 4,89,77,000
Kesari gets huge television premiere numbers
8:23 AM
Box Office India Trade Network
KESARI has got huge television numbers on its premiere with 1.5 crore plus impressions. It is the highest for Akshay Kumar starrers in recent times if we don't count 2.0 (Hindi) which is on fire on satellite racking up around 5 crore impressions on 6 peak time viewings.
The numbers are higher than films like TOILET - EK PREM KATHA, PAD MAN, HOUSEFULL 3, GOLD, AIRLIFT etc. The best of this lot was TOILET - EK PREM KATHA with around 1.1 crore impressions. KESARI ranks third for the year after TOTAL DHAMAAL and 2.0 (Hindi) but its minimal margins and KESARI would not have been expected to put up these numbers as its not in that comedy or action genre but a war drama.
It remains to be seen where it goes on the television circuit and maybe the numbers of TOTAL DHAMAAL or 2.0 (Hindi) may be difficult to match but its a HIT for sure on satellite. In the all time list of television premieres it will be among the top ten.
The top ten television premieres of 2019 are as follows.
1. Total Dhamaal - 1,67,93,000 (Star)
2. 2.0 (Hindi) - 1,65,13,000 (Zee)
3. Kesari - 1,56,66,000 (Zee)
4. Luka Chuppi - 1,25,00,000 (Star)
5. Junglee - 1,11,77,000 (Star)
6. Simmba - 1,11,02,000 (Zee)
7. Zero - 92,60,000 (Zee)
8. Kedarnath - 72,88,000 (Zee)
9. Race 3 - 70,85,000 (Zee)
10. Uri - The Surgical - 61,37,000 (Zee)
Zero does well on television; sixth best television premiere of 2019
8:15 AM
Box Office India Trade Network
RACE 3, RAEES and JAB HARRY MET SEJAL all came at least six months after theatrical release and the best of this lost was RACE 3 with 70.85 lakh impressions and ZERO has beaten RACE 3 by around 20 lakh impressions. It is similar rating to HAPPY NEW YEAR if we go by TRP as the BARC impressions were not there during HAPPY NEW YEAR's time. The difference however is that HAPPY NEW YEAR did well at the box office while ZERO did not.
The next few screenings will tell if ZERO can succeed on television though it will be a surprise if it does. TOTAL DHAMAAL and 2.0 (Hindi) dominate in a big way as 2.0 (Hindi) hits 4.42 crore impressions in five screenings and TOTAL DHAMAAL is at 4.05 crore after 4 screenings.
The top ten television premieres of 2019 are as follows.
1. Total Dhamaal - 1,67,93,000 (Star)
2. 2.0 (Hindi) - 1,65,13,000 (Zee)
3. Luka Chuppi - 1,25,00,000 (Star)
4. Junglee - 1,11,77,000 (Star)
5. Simmba - 1,11,02,000 (Zee)
6. Zero - 92,60,000 (Zee)
7. Kedarnath - 72,88,000 (Zee)
7. Race 3 - 70,85,000 (Zee)
9. Uri - The Surgical Strike - 61,37,000 (Zee)
10. Gully Boy - 52,08,000 (Zee)
Total Dhamaal and 2.0 are neck to neck on television
7:46 AM
Box Office India Trade Network
TOTAL DHAMAAL and 2.0 (Hindi) have a neck to neck race on television as both films prove to be huge blockbusters. TOTAL DHAMAAL crossed 4 crore impressions in its first four main viewings while 2.0 (Hindi) is just a little under 4 crore in its first four viewings.
2.0 (Hindi) has proved to be biggest film of 2018 post its theatrical run with BAAGHI 2 being next best and these two films are far ahead of the others including the biggest theatrical HITS of the year SANJU and PADMAAVAT. The latter was a dud on television after its theatrical release.
If we look at the releases this year then its a one horse race with TOTAL DHAMAAL far far ahead of any release other release of 2019 and it remains to be seen if any other release from 2019 can challenge this domination. At the present no other film is even close.
Below are the figures of TOTAL DHAMAAL and 2.0 (Hindi). The number is the impressions which is basically the number of television sets which viewed the film. Note - All the screenings which regester are peak time screenings.
Total Dhamaal
1st - 1,67,93,000
2nd - 84,58,000
3rd - 73,06,000
4th - 79,84,000
TOTAL - 4,05,41,000
2.0
1st - 1,65,13,000
2nd - 80,37,000
3rd - 72,82,000
4th - 63,99,000
TOTAL - 3,82,31,000
Total Dhamaal and 2.0 (Hindi) have great runs on television
2:34 PM
Box Office India Trade Network
TOTAL DHAMAAL is putting up huge numbers on television as it records around 4 crore impressions in the first four screenings. This is the best number ever after the two BAAHUBALI films and GOLMAAL AGAIN. No other film has reached 4 crore impressions in the first four screenings except TOTAL DHAMAAL, GOLMAAL AGAIN, BAAHUBALI: THE BEGINNING and BAAHUBALI 2: THE CONCLUSION.
If we look at the results from this year then its TOTAL DHAMAAL at the top followed by 2.0 (Hindi) at 3.18 crore impressions (3 screenings) which is second best. 2.0 (Hindi) which did not fare too well on television in its original format down South is a Blockbuster on television in Hindi markets. The figures so far are pretty much comparable to TIGER ZINDA HAI although time will tell if it can sustain like that film as TIGER ZINDA HAI is still rating highly 18 months after release
Below are the figures of the blockbuster films on television tin recent past. The number is the impressions which is basically the number of television sets which viewed the film. Note - All the screenings which are registered are peak time screenings.
Judwaa 2
1st - 1,52,66,000
2nd - 92,78,000
3rd - 63,78,000
4th - 64,53,000
5th - 40,60,000
6th - 34,14,000
7th - 42,80,000
8th - 35,65,000
TOTAL - 5,26,94,000
Golmaal Again
1st - 1,63,52,000
2nd - 1,58,71,000
3rd - 82,70,000
4th - 51,50,000
5th - 49,16,000
6th - 42,19,000
7th - 33,08,000
8th - 33,71,000
TOTAL - 6,14,57,000
Tiger Zinda Hai
1st - 1,37,04,000
2nd - 1,03,96,000
3rd - 71,82,000
4th - 74,14,000
5th - 51,28,000
6th - 45,12,000
7th - 39,17,000
8th -32,48,000
9th - 30,52,000
TOTAL - 5,85,53,000
Baaghi 2
1st - 1,61,45,000
2nd - 90,84,000
3rd - 61,07,000
4th - 42,10,000
5th - 35,59,000
6th - 39,30,000
TOTAL - 4,30,35,000
Total Dhamaal
1st - 1,67,93,000
2nd - 84,58,000
3rd - 73,06,000
4th - 79,84,000
TOTAL - 4,05,41,000
2.0
1st - 1,65,13,000
2nd - 80,37,000
3rd - 72,82,000
TOTAL - 3,18,32,000
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