5 September, 2015 Vol. 6 Issue 52 `200
India’s Premier Film Trade Magazine
It’s A
Date!
Team Calendar
Girls – actors Ruhi
Singh, Satarupa
Pyne, Akanksha Puri,
Avani Modi, Kyra
Dutt; director Madhur
Bhandarkar; and
producer Sangeeta
Ahir – @ BOI PAGE 14 >>
Jokes
Apart!
Team Kis Kisko Pyaar
Karoon – lead pair
Kapil Sharma and Elli
Avram, producer Ratan
Jain and producerdirector duo AbbasMustan – @ BOI
PAGE 10 >>
Volume 6 • Issue 52 • 5 September 2015
PUBLISHER
Nitin Tej Ahuja
nitin@boxofficeindia.co.in
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Vajir Singh
vajir@boxofficeindia.co.in
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Carol Lobo
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www.hbdesign.in
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be liable for legal action.
T
hat India is an under-served nation in terms of properties and screens available for film exhibition is no
breaking news, particularly to the informed readership of this trade publication. With approximately 10,000
screens serving a population of around 125 crore, the Indian average of 1,25,000 people per screen is
nowhere close to comparable figures for the world’s most evolved market, the US, which has 40,158 screens for
a population of 319 million or 7,944 people per screen.
Moreover, as we all know, India is hardly a homogenous entity and vast inequalities prevail among various
regions in our vast land when they are compared on almost every socio-economic parameter. How wide is that
disparity in relation to access to cinema, or more specifically the most dominant contributor to the Hindi film
business – the multiplex?
With India politically organised as a federation of states and Union Territories, this week we are examining the
prevalence of multiplexes in each state and Union Territory and mapping these with their respective populations
to figure out, well, the state of each state! Take a look at the table below:
State/UT
Population*
Number Of Multiplexes
People Per Multiplex
Bihar
10,40,99,452
2
5,20,49,726
Odisha
4,19,74,218
3
1,39,91,406
Assam
3,12,05,576
7
44,57,939
Jharkhand
3,29,88,134
8
41,23,516
Andhra Pradesh^
8,45,80,777
21
40,27,656
Tripura
36,73,917
1
36,73,917
Tamil Nadu
7,21,47,030
20
36,07,351
Uttar Pradesh
19,98,12,341
60
33,30,205
Kerala
3,34,06,061
11
30,36,914
West Bengal
9,12,76,115
35
26,07,889
Karnataka
6,10,95,297
28
21,81,974
Rajasthan
6,85,48,437
34
20,16,130
Chhattisgarh
2,55,45,198
13
19,65,015
Jammu and Kashmir
1,25,41,302
7
17,91,614
Madhya Pradesh
7,26,26,809
42
17,29,209
Himachal Pradesh
68,64,602
4
17,16,150
Uttarakhand
1,00,86,292
7
14,40,898
Punjab
2,77,43,338
40
6,93,583
Maharashtra
11,23,74,333
164
6,85,209
Haryana
2,53,51,462
42
6,03,606
Goa
14,58,545
3
4,86,181
Gujarat
6,04,39,692
130
4,64,920
Delhi
1,67,87,941
42
3,99,712
Andaman and Nicobar Islands
3,80,581
1
3,80,581
Daman and Diu
2,43,247
1
2,43,247
Chandigarh
10,55,450
6
1,75,908
Meghalaya
29,66,889
Nil
N.A.
Manipur
25,70,390
Nil
N.A.
Nagaland
19,78,502
Nil
N.A.
Arunachal Pradesh
13,83,727
Nil
N.A.
Pondicherry
12,47,953
Nil
N.A.
Mizoram
10,97,206
Nil
N.A.
Sikkim
6,10,577
Nil
N.A.
Dadra and Nagar Haveli
3,43,709
Nil
N.A.
Lakshadweep
64,473
Nil
N.A.
*As per 2011 Census of India
^Since Census data precedes Andhra Pradesh’s bifurcation in 2014, Telangana and Andhra Pradesh are being treated as one
unit for this exercise
As we can see from the table above, the numbers vary very widely. Keeping aside the states or Union
Territories with no multiplexes, the numbers range from a high of almost 5.2 crore people per screen in Bihar to a
‘low’ of 1.75 lakh people per screen in Chandigarh – a deviation of an astounding 30,000 per cent!
There are some other interesting insights too. For example, entire states like Bihar, Odisha, Arunachal
Pradesh, Goa, Mizoram and more are home to fewer multiplex properties than are present within a 2wkm radius
of this publication’s office in Mumbai’s Andheri West! There couldn’t be a more apt illustration of how uneven the
geographical distribution of multiplexes in India is.
Of course, the most evident takeaway from the numbers above is the fact that while we may be a huge country
in terms of our landmass, population and love for cinema, we are a long way away from the cine-density of other
major film markets.
But as the cliché goes, every problem presents an opportunity and, if nothing else, it is obvious that despite
all the headlines we have seen over the last few years about big-ticket mergers and acquisitions in the exhibition
space, there still remains a huge gap (and potential) in the market for exhibitors to tap into.
Note to the governmental powers-that-be: Some financial incentives from you will go a long way in helping us
go forth and multiplex, thereby serving your stated vision of Make In India!
REG: MAHENG/2009/56446
Nitin Tej Ahuja
5 September 2015
Box Office India
03
TAKE ONE
The State Of States
India’s Premier Film Trade Magazine
GOLD REVIEWS
Welcome Back
Banner: Base Industries Group,
Eros International
Producers: Firoz A Nadiadwallah,
Sunil A Lulla
Director: Anees Bazmee
Cast: John Abraham, Shruti Haasan,
Nana Patekar, Anil Kapoor, Paresh
Rawal, Dimple Kapadia, Naseeruddin
Shah, Ankita Shrivastava, Supriya
Karnik, Shiney Ahuja, Aslam Khan,
Neeraj Vora, Rajpal Yadav, Ranjeet
Writers: Rajiv Kaul, Anees Bazmee
(story), Raaj Shandilya (dialogue),
Rajiv Kaul, Rajan Aggarwal, Praful
Parekh, Anees Bazmee (screenplay)
Music: Anu Malik, Abhishek Ray,
Meet Bros Anjjan, Mika Singh
T
he mark of a successful
filmmaker is being able to present
a film with panache along with
his traditional style of filmmaking. And
when a film has a hit prequel – in this
case, Welcome, which also had a huge
star cast – expectations soar even
higher. With Welcome Back, the sequel
to Welcome, Anees Bazmee sticks to his
signature style of story telling and comes
up with an entertainer. However, the
youth may find it difficult to connect with
this kind of presentation.
Replete with one-liners and full of
scenes that defy logic, Welcome Back
is clearly aimed at the masses, just like
the first film was. So if you’re looking for
intelligent cinema, this film is not your
cup of tea. Alternatively, if you enjoyed
the first part, this film will definitely be a
treat for you!
Story: It’s been seven years since
Welcome and now Uday Shetty
(Nana Patekar) and Majnu Bhai (Anil
Kapoor) have left the underworld for
good. They are now living in Dubai.
Now big businessmen yet lonely and
single, the duo fall under the radar of
con woman Poonam aka Maharani
(Dimple Kapadia) and her daughter
Babita aka Rajkumari Chandni (Ankita
Shrivastava), who pose as queen and
princess of Nazafgarh. Both Uday
and Majnu fall head over heels in love
with Babita. Meanwhile, Dr Ghungroo
(Paresh Rawal) discovers that his wife
(Supriya Karnik) was married before and
has a son who lives in Mumbai from
her previous marriage. After a funny
confrontation with his wife, Dr Ghungroo
is on his way to meet his stepson.
Uday Shetty’s father (Nana Patekar
in a double role) lands up to meet
Uday with Ranjana (Shruti Haasan),
his daughter from a third marriage.
The duo – Uday and Majnu – now
have to look for a match for Ranjana
because the Queen of Nazafgarh,
Poonam, commands them to marry
her before thinking about marrying
the Princess of Nazafgarh.
The search for a match leads to Ajju
aka Ajay (John Abraham), the justdiscovered stepson of Dr Ghungroo.
They assume that Ajju will be a good
match as he hails from a decent family
but Ajju turns out to be a dreaded
gangster. With Uday and Majnu at
loggerheads with Ajju, enter blind don
Wanted Bhai (Naseeruddin Shah) whose
son Honey (Shiney Ahuja) is also in
love with Ranjana. How the film unfolds
further forms the crux of the story.
Directorially, Aneez Bazmee, as
always, focuses on gags and punches
and less on the technicalities of
filmmaking. This is Bazmee’s forte and
he has successfully entertained the
audience with this style of story telling
for many years. But one of the major
problems with Welcome Back is its
half-baked screenplay. The writers and
director have done nothing to enhance
the subject, resulting in a mediocre
comedy. From beginning to end, you
wonder why the writers failed to take a
potential sequel winner, add the right
punches and gags, and make this film
an out-and-out entertainer. But if you
look at Welcome Back as an individual
film, it manages to keep you entertained.
No doubt, the first film was definitely a
superior product but the sequel does
manage to hold your attention.
Notable among the hilarious moments
is the one where Uday and Majnu are
at the graveyard. Some sequences from
the 2007 prequel are a delight, like
Uday’s ‘aaloo lelo kanda lelo’ scene and
Majnu’s painting. A special mention of
the dialogue of the film. With a couple of
really funny one-liners, the main USP of
Welcome Back is its dialogue. Locations
and costumes are top-notch.
As is the case with most of Bazmee’s
movies, technically the film fails to
impress. With poor CGI and effects,
it is visually uninspiring. Songs have
always been a trump card in Bazmee’s
movies. But, this time, the music is a
big letdown. Bazmee tries to use all
the ingredients he can to make the film
entertaining but its soul, the music, is
definitely missing. Cinematography by
Kabir Lal is just about okay, and the
difference in quality between the long
shots and the close-ups is obvious.
The stock shots are tedious. Editing by
Steven Bernard could have been crisper
and, with a runtime of 153 minutes, the
film could have been shortened.
Performance-wise, John Abraham
plays his part with zest and
flamboyance. Shruti Hassan portrays
her part with credibility. Nana Patekar
is fabulous in his part. Anil Kapoor, as
always, is OUTSTANDING!!! Paresh
Rawal delivers a splendid performance.
Dimple Kapadia has very little scope
but she looks gorgeous. Naseeruddin
Shah impresses throughout. Ankita
Shrivastava needs to take a crash
course in acting. Ranjeet, in a minute
role, is notable. Supriya Karnik is okay.
Shiney Ahuja is okay. Aslam Khan is
good. Neeraj Vora and Rajpal Yadhav in
discreet roles are just about okay. The
others fit the bill.
Verdict: The film has all the ingredients
it needs to entertain front benchers, the
masses and also a certain section of
multiplex-goers but its cost will probably
keep it from reaching the safety mark.
Karo Dil Ki
04
Box Office India
5 September 2015
NEXT ATTRACTION
SEP 2015 - DEC 2017
Sep 11, 2015
Hero
Sep 18, 2015
Katti Batti
Meeruthiya Gangsters
MSG - 2 The Messenger
Ranviir The Marshal
Dunno Y2-Life Is
A Moment
Sep 25, 2015
Kis Kisko Pyaar Karoon
Bhaag Johnny
Calendar Girls
Oct 02, 2015
Singh Is Bliing
AZHAR
BAJIRAO MASTANI
CALENDAR GIRLS
DILWALE
HERO
KIS KISKO PYAAR KAROON
Talvar
Oct 09, 2015
Jazbaa
Oct 16, 2015
Titli
Pyaar Ka Punchnama 2
Saala Khadoos
Wedding Pullav
Hogaya Dimaagh
Ka Dahi
Oct 22, 2015
Shaandaar
Oct 30, 2015Tere Bin Laden - Dead
Or Alive
Guddu Ki Gun
Ishq Ne... Krazy
Kia Re
Nov 12, 2015Prem Ratan Dhan Payo
May 13, 2016
Azhar
Mirziya
May 20, 2016
Sarbjit
Ghayal - Once Again
Nov 27, 2015
Tamasha
Dec 04, 2015
Hate Story 3
Dec 18, 2015
Dilwale
Bajirao Mastani
Jan 22, 2016
Airlift
Aug 12, 2016
Mohenjo Daro
Feb 12, 2016
Fitoor
Aug 19, 2016
Bombay Mumbai
Sanam Re
Diwali, 2016
Shivaay
Mar 18, 2016
Kapoor And Sons
Ae Dil Hai Mushkil
Mar 25, 2016
Baadshaho
Christmas, 2016 Dangal
Apr 01, 2016
Love Games
2016
Ram Lakhan
Apr 15, 2016
Fan
Jan 20, 2017
Saheb
Apr 29, 2016
Baaghi
Diwali, 2017
Son Of Sardaar 2
5 September 2015
Box Office India
June 03, 2016 Jagga Jasoos
Housefull 3
Raaz 4
Eid, 2016
Raees
Sultan
SINGH IS BLIING
05
TRADE GUP
UTV Does It Again!
J
ust when most of us in film trade
believed that UTV’s unbelievable
winning streak at the BO would finally
come to an end with Phantom, one of
India’s leading studios once again pulled
a rabbit out of the hat and delivered a
success, with a superb opening weekend
last week and steady weekday numbers
for the film. Sure, luck plays a hand in a
business like the movie business, but what
is now clear to most with us, is that this
studio has through the years developed an
uncanny creative ability to spot winners,
and once it finds them, takes them further
than anyone would have imagined possible.
Look at the facts yourself – UTV’s track
record last year was PK, Kick, 2 States,
Haider, Heropanti and Filmistaan, not
to mention Guardians of the Galaxy and
Captain America, each film very different
from the others in genre, each with
different creative collaborators with wildly
varying creative sensibilities. But all these
films had two things in common: (a) each
one was successful and (b) they were all
UTV productions and releases.
This year, so far, the studio has delivered
Cinderella, Avengers Age of Ultron, ABCD 2
and now Phantom. When Bang Bang and
Haider were slated for a BO clash last year,
no one gave the Vishal Bhardwaj movie
a chance. Bhardwaj himself was
coming off a series of commercial
failures and so was Shahid Kapoor.
But the team was not fazed.
Through razor-sharp strategic
marketing and distribution, the
studio ensured that Haider got just the
right promotion and platform it deserved to
shine. And the rest is history!
This year, Phantom seemed like the
movie that would finally smudge this stellar
track record. Saif Ali Khan has had a series
of failures at the box office, and a movie
like Baby, which released early this year on
similar themes, had diluted the uniqueness
of the premise of Phantom. But UTV, once
again, was ready to prove everyone wrong.
To start with, it made a call that would
prove to be the wisest release date change
of the year. It moved Phantom’s release
from April to August. This ensured (a)
that the positive rub-off from Kabir Khan’s
Bajrangi Bhaijaan’s success would give
Phantom more firepower and momentum
(and let’s also not forget the successful run
of producer Sajid Nadiadwala who’s been
delivering hits one after another); (b) the
audience would get a longer break from
watching Saif on screen and would be
more open to his next outing; and (c) there
would be enough of a gap in audience
E Niwas Moves On
B
ox Office India was the first
to announce last year that E
Niwas had decided to launch
South actress Anushka Shetty in
Bollywood via a film titled Juvenile.
Everything was almost set and the
director had spoken to Dhanush,
who initially liked the script. But,
then, things didn’t work out.
Reason: The film revolved around
an 18-year-old boy and Dhanush
decided he wouldn’t be able to pull
off a character that young. Since
Niwas hasn’t been able to find
another young actor for the role, he
has moved on to another script.
“I have kept my last film on hold
as I didn’t get a young actor to cast.
Currently, I am working on a crime
drama, which is based on a true
story. I have only taken the inspiration
from the story and the rest is fiction. At the moment, I am at the
casting stage and so I haven’t decided on it yet,” says Niwas.
memory between Baby and Phantom to
ensure that comparisons were fewer. It
proved to be a master stroke. The movie
opened to an incredible weekend at the
box office.
And the reason for all these abovementioned successes: it’s been largely
driven by the creative calls, strategic
decisions and tactically sound calls taken
by UTV.
Bela Sehgal’s Next
B
ela Sehgal, editor turned director,
made her directorial debut with
Shirin Farhad Ki Toh Nikal Padi,
a love story focusing on a middle-aged
couple, featuring Farah Khan and
Boman Irani, which released in 2012.
For a long time, there were rumours
that Sehgal would direct a sequel to her
debut film. But since the film gained
neither traction at the box office nor
critical acclaim, she decided to move on.
We now hear that the director is
gearing up for another film, another love
story but this one is based on young couples. A source close
to the film reveals, “It’s a fresh and modern love story based
on today’s times, where everyone is gearing up for a career.
It’s an emotional drama too. Bela, who is currently overseas, is
looking for A-list actors to cast.”
The film will be produced under the banner of Sanjay Leela
Bhansali Productions and will probably start rolling early next
year as SLB is concentrating solely on Bajirao Mastani, the
shooting of which is underway.
For more trade news please log on to www.boxofficeindia.co.in
06
Box Office India
5 September 2015
The Notorious Babloo
Srivastava
M
any a filmmaker has been keen to make a film on Babloo
Srivastava, the notorious goon from the badlands of Uttar Pradesh,
but every time a director has attempted a film on Srivastava, the
project has been jinxed. The first director to take a shot at it was Ashish R
Mohan, who had planned to cast Abhishek Bachchan in the lead role. But
he was not happy with the way the script had shaped up, so he moved on to
another story. The script was then tossed to Manish Vatsalya, who made his
debut as an actor. But Vatsalya went on to direct a film called Jeena Hai Toh
Thok Daal. The director had signed Arshad Warsi to play Babloo Srivastava’s
character, and the film was titled Babloo. Now we hear that Warsi too has
opted out of the project as he didn’t like the draft.
A source close to the film reveals, “A few months ago, Arshad had a
narration from the writers but he felt there was nothing new or appealing
about the story. He believed it could have been better written. So he decided
to move on and inform the team so that they can look for another actor.”
So, once again, the hunt for a new actor is on.
Flying Jacqueline
Fernandez
T
iger Shroff is busy with Baaghi but by the
time he is free, Jacqueline Fernandez will
get busy with Dishoom, which will be shot
at a stretch for a month. So why we are giving
you Fernandez and Shroff’s dates? Well, because
both of them feature in Remo D’Souza’s next
Flying Jatt. The director wanted to start shooting
the film immediately, which he did, as both the
actors had allotted him 10 days. But now D’Souza
has to wait for two to three months to start the
actual schedule because in the next few months,
Fernandez will be juggling between Housefull 3
and Dishoom. She will be able to start D’Souza’s
film only after that.
Flying Jatt is produced by Balaji Motion
Pictures.
PS: We also heard that Remo has started
working on his other scripts.
Jagga Jasoos
Postponed Again
A
nurag Basu’s Jagga Jasoos seems to be the
longest film of his career, as shooting started at
the end of 2013 and is still underway! People
who know Basu know he loves to take his own sweet
time to shoot and sometimes reshoot. But this has got
to be the longest shoot he’s ever done. We are already
in mid-2015 and Ranbir Kapoor, the main lead in Jagga
Jasoos, has finished shooting Bombay Velvet, Tamasha
and soon he will start shooting for Karan Johar’s Ae Dil
Hai Mushkil, which he will finish in three months. In
mid-January 2016, he will resume shooting for Basu’s
Jagga Jasoos.
But there’s another issue. The film had started rolling
in South Africa and the makers also shot a schedule in
Thailand in early 2014. In the meantime, Kapoor had
to don three different looks – one for Bombay Velvet;
Tamasha didn’t demanded anything specific; and an
altogether different look for Johar’s film. Alas, when he
returns to shooting for Jagga Jasoos, the earlier footage
will look dated. So Basu has decided to reshoot when
the film starts rolling in January.
So the film will be shot between mid-January and
April, that is, if Basu is happy with the shoot as he has
a penchant for reshooting. But there’s another hiccup –
the music of the film is not ready. Pritam wants to take
his time and craft the songs according to the scenes,
which means it will be a while before the editing and
music are done. In all probability, the film will be
postponed, yet again, from June 3, 2016.
PS: The film was to release on May 29, 2015, then
August 2015 and then November 27, 2015. The
current date is June 3, 2016.
Guess Who?
T
his producer is known for his creative calls and also
as a marketing genius. He is also known to take
decisions starting at the scripting stage. So when
this writer started scripting, he was told he had to work
with a co-writer. But the writer wasn’t comfortable with
the arrangement and told the producer he would much
rather work alone. Since the producer recently became
5 September 2015
Box Office India
good friends with the writer and has been giving him a lot
of work for the small screen, the writer thought he would
back him up. But surprise, surprise! The producer chose to
back the other writer. Now creative differences between the
producer and the writer are mounting, which threaten to
compromise on the scripting. Let’s hope they sort out their
problems or this film might not happen.
07
STRAIGHT NEWS
Movers & Shakers
Viacom
Appoints
V
Music Workshop At
Whistling Woods
Photo courtesy: Jitu Savlani
P
ercussionist Taufiq Qureshi performed and conducted a workshop on music at
the Whistling Woods International campus as part of the 5th Veda cultural hub
initiated by Subhash Ghai to develop the artistic skill of students. The event began
with the screening of a spiritual audio-visual titled, Feel The Rhythm of Your Heart.
This was followed by a 15-minute documentary made by the 5th Veda team, which
gave the students a deeper understanding of rhythm, its origin and existence today.
Qureshi explained his art of music designing with a demonstration of the title song
from the film Dhoom 2.
Eros Teams Up With Excel
E
ros International has announced its association with Excel Entertainment
for the worldwide release of Rock On 2. Written and directed by debutant
filmmaker Shujaat Saudagar, Rock On 2 is the eagerly awaited sequel to the 2008
rock musical drama, Rock On. While Farhan Akhtar, Arjun Rampal, Purab Kohli
and Prachi Desai will reprise their roles from the original film, Shraddha Kapoor
joins the star cast to play the lead female role. The film will be shot in Shillong, the
rock capital of India.
YRF, Vistaprint Launch
Y
ash Raj Films (YRF) and Vistaprint have announced the launch of an exciting
first-of-its-kind ‘personalised’ merchandising platform called Film-Me. Users
can add their very own images and expressions on products, which will be
designed using YRF’s movie library content. Merchandising for movie content is not
new but customised and personalised content introduces a whole new dimension.
So instead of simply having a generic T-shirt which just carries a movie logo, fans
can now actually buy a T-shirt with their own picture or name on it alongside the
actor’s silhouette and the movie logo in the background.
It’s A Deal
E
ros International has acquired the worldwide rights of Excel Entertainment and
Dharma Production’s upcoming film, Baar Baar Dekho. This love story, which
will go on the floors soon, features Katrina Kaif and Sidharth Malhotra. The film,
which will release in 2016, marks the directorial debut of Nitya Mehra.
08
iacom International Media
Networks (VIMN) Northern Europe
has appointed Pete Flamman as Senior
Vice-President (SVP), Brands. Flamman
is responsible for the holistic brand
strategy and operational management of
the entire brand of Viacom International
Media Networks, including MTV,
Nickelodeon, Comedy Central, VIVA,
Spike and Paramount. Earlier, Flamman
was SVP and COO for the EMEA area
and also held the position of Managing
Director of the kids’ brand, Turner.
Ketan Mehta
As IFP Jury
D
irector Ketan Mehta has been
roped in as a jury member of the
India Film Project 2015, which will be
held in Ahmedabad from September
18 - 26, 2015.
This year, the film festival is expecting
close to 15,000 filmmakers from across
20 countries as participants. In the last
four years, more than 21,000 filmmakers
have been a part of IFP, and have made
1500 films.
IFP challenges one to script, shoot, edit
and submit a short film in just 50 hours
once the theme is announced.India.
INOX Acquires
M
ultiplex chain INOX Leisure has
acquired three multiplex properties
in Gujarat. While two multiplex properties
were acquired in Gandhinagar, the third
was acquired in Rajkot.
INOX took over operations of a multiplex
located near Adalaj in Gandhinagar
comprising three screens and 1308 seats
with effect from August 31, 2015. Another
multiplex property located at R-21, R-World
near the Akshardham Mandir in Gandhinagar
comprising six screens and 686 seats was
also acquired. The third property is located
at Old Dharam Cinema Building in Rajkot,
which has three screens and 612 seats.
With these latest acquisitions, INOX
is now present in 54 cities with 100
multiplexes, 389 screens and 1,02,035
seats across India.
Box Office India
5 September 2015
All figures in crores (rupees)
Last Week
Current Week
Weekly Change
Rel date
Movies
Box Office
Exh
Dist
Bookies
Exh
Dist
Bookies
Exh
Dist
Bookies
September 4,
2015
Welcome Back
Weekend
33
37
35
32
40
35
-1
3
0
First Week
54
58
56
52
60
56
-2
2
0
Total
67
78
76
65
78
75
-2
0
-1
Weekend
24
25
25
24
30
25
0
5
0
First Week
38
39
37
38
45
38
0
6
1
Total
48
50
50
50
60
50
2
10
0
Weekend
16
22
18
15
20
16
-1
-2
-2
First Week
24
35
28
24
32
26
0
-3
-2
Total
30
45
35
30
40
35
0
-5
0
Weekend
10
12
11
10
12
11
0
0
0
First Week
16
18
17
16
18
17
0
0
0
Total
20
20
20
18
20
20
-2
0
0
Weekend
7
9
8
8
10
9
1
1
1
First Week
11
14
12
12
15
13
1
1
1
Total
14
16
14
16
18
16
2
2
2
Weekend
30
32
30
40
45
42
10
13
12
First Week
45
46
45
56
62
58
11
16
13
Total
60
65
62
68
78
70
8
13
8
Weekend
6
8
7
6
10
7
0
2
0
First Week
10
11
10
10
16
11
0
5
1
Total
13
15
14
12
20
13
-1
5
-1
Weekend
15
18
17
First Week
21
25
24
Total
30
35
32
September 11,
2015
September 18,
2015
September 25,
2015
September 25,
2015
Hero
Katti Batti
Kis Kisko Pyaar Karoon
Calendar Girls
October 2, 2015 Singh Is Bliing
October 2, 2015 Talvar
October 9, 2015 Jazbaa
October 22, 2015 Shaandaar
5 September 2015
Box Office India
Weekend
32
40
35
30
35
30
-2
-5
-5
First Week
48
60
52
45
55
50
-3
-5
-2
Total
60
73
65
55
65
60
-5
-8
-5
09
TRADE TRAC
Dynamic Trade Estimate of Box Office
@BOI
Jokes Apart!
The lead pair of Kis
Kisko Pyaar Karoon,
Kapil Sharma and
Elli Avram, with
producer Ratan Jain
and producer-director
duo Abbas-Mustan in
conversation with Team
Box Office India
BOI: Let’s start with Abbas bhai and
Mustan bhai. One usually associates
suspense thrillers with your names. How
come a comedy this time?
Abbas Burmawalla (AB): Our films
always include an element of comedy,
whether Baazigar, Khiladi or Ajnabee.
After Baazigar, Shah Rukh said that
since we had done a thriller film with
him, we should do a slapstick comedy.
And we made Baadshah, which worked
just as well. Coming back to Kis Kisko
Pyaar Karoon (KKPK)… we were working
on some stories when the writer Anukalp
(Goswami) narrated this story to us. He
said, ‘I am narrating this to you but it
doesn’t belong to your genre.’ We heard
the story and we loved it.
Mustan Burmawalla (MB): When we
heard it, the first thing that came to
mind was, whom should we cast as the
lead actor? We didn’t want to cast just
10
any actor. Since this was an unusual
character, we wanted an actor who
would fit the role perfectly. We told the
writer, ‘Jo character hai na woh dimaag
mein rehna chahiye.’
AB: We told the writer to not be
impatient and that we would work on
the film when the time was right. The
good thing was that Anukalp belonged to
Kapil’s (Sharma) writer team.
MB: We saw his show, his popularity, his
sense of timing and his humour and we
thought of contacting him for the film.
Since we didn’t have a phone number
for him, we asked Anukalp to have a
chat with Kapil and let us know what
he had to say. After he spoke to Kapil,
we met him and narrated the subject to
Kapil. He immediately said okay and the
film was on.
BOI: Kapil, what was your reaction when
the project came to you?
Kapil Sharma (KS): Anukalp had told
me about it earlier although he had not
narrated the whole film to me. All he
had said was that he had an idea and
Abbas-Mustan sir wanted to meet me.
He said there were three wives and
one girlfriend in the story. I thought
this one-liner sounded good. I went
to meet Abbas-Mustan sir and they
said it was a character that could be
done only by me. I had never really
planned on getting into films and I was
happy doing stand-up comedy. I used
to do theatre, and I am talking about
serious theatre, not comedy. So I was
surprised. But I honestly believe that
when things happen unexpectedly,
they usually turn out to be a good
thing. When we all met, there was a
positive vibe and we decided then and
there that we would do this film, and
Box Office India
5 September 2015
that we would start in about a month.
MB: Kapil said we should inform him
about the dates and that he would adjust
the shoot of his show. That’s how our
film started.
BOI: Kapil, how many films did you
reject before you said ‘yes’ to this one?
KS: To date I have heard about 40
scripts. Writers always visit our office
and I always hear them out. I listen to
all the scripts as it helps to know what
people think of me. Abbas bhai and
Mustan bhai saw something in me; they
thought I had good timing. Secondly,
Abbas-Mustan sir were backing this
project and Anukalp is a friend. So there
was mutual trust among us. When you
share a vibe like that, you understand
each other’s perspectives.
BOI: With Ratan Jain coming on board
as co-producer, it was like a reunion
of the Khiladi, Baazigar, Baadshah and
Humraaz team.
MB: (Cuts in) We have been associated
with Ratanji for a long time, so we
understand each other very well. When
you work with a corporate house, the
formalities run into 50-60 pages. When
we started our careers with him, woh
zubaan waali baat thi.
KS: Woh hi sabse achi baat hoti hai…
MB: Likha padhi aaj tak ki hi nahi. We
share that kind of trust not only with
Ratanji but with his entire team. So it is
very easy.
BOI: With regard to KKPK what made you
back the project as a producer?
Ratan Jain (RJ): I came into the project
at a later stage, when Abaas bhai,
Mustan bhai, Kapil and Anukalp were
already working on the film. I knew
that Abbas bhai was planning to work
with Kapil, and at one point, I even told
Abbas bhai that we should do it together.
So, he said okay, let’s meet. Every film I
have done with Abbas bhai and Mustan
bhai has been a success.
KS: Touch wood!!!
RJ: And who doesn’t know about Kapil? I
used to watch his show and so I thought
this was something new. If the film was
being made with a regular hero or a
newcomer, I wouldn’t have backed the
project. I would have told Abbas bhai,
paise vaapas kaise ayengey? But when
you do business, you acquire a level
of confidence. You know that you can
promote the film, you can market the
film, you know how to present the film
to the audience. And when you are
sure you can do it, you produce the film
and leave the rest to fate. When Abbas
bhai told me about the film, I didn’t ask
him what the story was about or kitni
biwiyaan hain. For me, it was, Abbas-
5 September 2015
Box Office India
Mustan and Kapil Sharma are on board,
so let’s do the film.
BOI: KKPK had the longest promotional
campaign in the history of Bollywood!
AB: We were shooting in Rajasthan. It
was a deserted place and we thought it
would be fun to shoot on that day. After
some time, people started showing up
and it was surprising to see that people
there knew Kapil Sharma.
KS: Woh log patthar todne wale thhey…
saare majdoor and they stopped their
work and came to watch the shoot.
AB: It didn’t seem like they watched
films but they had watched Kapil
Sharma’s show. And there were around
10,000 people.
BOI: Kapil, how do you feel about the
entire industry promoting you for an
entire year?
KS: Since everybody knew we were
working on this film, everyone who came
on the show inquired about the film.
And television has such a wide reach.
So whenever a star used to come on
my show, they would ask about the film.
Besides, Abbas bhai and Mustaan bhai
have been in the industry for long that
they have a long-standing relationship
with everyone. So whenever Amitabhji
(Bachchan), Abhishek (Bachchan) or
Akshay (Kumar) would ask about the
film and the production, toh meri bhi
promotion hoti gayi! Abhi toh jitni film
aa rahi hai, unke promotion ke saath
mere film ki bhi promotion ho rahi hai.
Recently, when Abhishek was on the
show, he was very excited. The moment
he entered the show, he asked me about
the trailer. He said, ‘Our films keep
releasing but this is your first film.’ It
feels really nice.
BOI: A lot of actors have said that they
will host a Comedy Nights With Kapil for
your film.
KS: Oh yes, even Shah Rukh bhai
said… the other day, even Abhishek
said he would come when we are
promoting my film. Everyone is excited
and there is a craze to see what I have
done in the film.
BOI: You are quite famous on television
but now you have stepped out of your
comfort zone by making your film debut.
Was that tough?
KS: Actually, these people (AbbasMustaan) kept me in my comfort zone.
It was tough for the directors who were
shooting, but it wasn’t challenging for
me. In fact, we work for six to seven
hours at a stretch in television. For
instance, when the Happy New Year
team came on my show to promote the
film, there were so many people that we
fell short of sets. We arranged for bean
bags and then shot continuously for
six to seven hours. That meant I had to
stand and talk continuously for several
hours at a stretch. But on the film’s sets,
we did one scene and then there were
lighting arrangements that had to be
done. So, I was relaxing. I felt this was
easy because they trusted me. We used
to rehearse our lines, we even discussed
improvisation. So I wouldn’t say it was
outside my comfort zone.
AB: There were one or two scenes that
were to be filmed in one go or they
would lack the right feel. One of these
was a drunken scene. We told Kapil
to come prepared and explained how
we wanted to shoot it. Since it was a
night shoot at a highrise building, we
were prepared. We knew it would take
all night as it was a long scene and we
thought there would be at least 11 to 12
retakes. We were all set for the night,
we had ordered food and we started the
shoot. The lighting was done by 7pm
and we filmed the first take at 8pm.
That take was passed and there was no
need for a second take! We were done
by 9pm.
KS: I suggested to Abbas bhai that we
do a second take but they were, like,
this is the perfect take, we don’t need
another. I was, like, really? He said, ‘Yes,
it seemed like you were drunk.’ I told
him, ‘Nahi, aaj toh nahi pee hai lekin,
jo pehle pee thi uska experience kaam
aya! ’ (Laughs)
MB: He did a great job. He not only
had to act as a drunkard but incorporate
humour in the act. We didn’t have to tell
him anything, he just nailed it.
KS: That scene had lots of colours.
First, it was about a man who is
frustrated, sad and drunk, and how
that combination of feelings turns into
humour. That was new for me to do,
when it comes to acting. And there
was the climax scene. So our sirs’
11
@BOI
(Abbas-Mustan) assistant Mohammed
bhai came to meet me early in the
morning. The scene was very intense
and emotional, so when he came to
meet me, he was more emotional than
I was. He told me, ‘This is the scene
and it is very emotional.’ Ab saari film
toh hasi mazaak mein nikal gayi, yeh
climax ka scene bada emotional tha. I
read the scene, which was two to three
pages long. I asked sir if we had to do it
in one shot because it is difficult to get
emotional over and over again. Also, the
location was very crowded. Sir was, like,
we have to do it two or three times but if
you say it in one flow, you don’t have to
say it again.
MB: Even that scene went perfectly. It
was a very nicely done dramatic scene.
AB: Whenever there was a funny scene,
we used to use improvisation but there
were some scenes that were special and
we would ask Kapil to come prepared for
those. Believe it or not, all those scenes
were done in the first take.
KS: There is one scene in the film where
my character is blowing a flying kiss to
all three wives.
AB: Yes, but those girls don’t know that
and each one feels the kiss is meant for
her. And the watchman…
BOI: Yes, and it is funnier still, that all
three girls live in the same building.
AB: Yes, that is inspired by day-to-day
life today. That’s exactly how it is in
Mumbai, especially for those who live
in apartments. Often, people don’t
know their neighbours even though they
might meet, say, in the lift. In the film,
the protagonist’s friend gives him an
idea. He says instead of wasting his life
travelling from Borivli to Juhu, he should
take an apartment for each wife in the
same building and no one will know
kaun kiski biwi hai. But that’s when the
tension builds, how is he to keep each
one separate from the others? This is not
forced humour but situational humour,
where the protagonist has three wives
without anyone suspecting.
BOI: Then you added Elli (Avram)
to the mix.
AB: No, she was already there. He has
special names for each of his wives
one on his mobile phone so that no
one knows what’s going on, names like
‘Head Office’ and ‘Inquiry Office’. Elli’s
name is ‘Inquiry Office’. So the girls have
no clue to what is really going on. In one
scene, Elli tells him, ‘I pray to God that,
in future, you open 10 such offices.’
Now, she doesn’t know yeh kaunse
office ki baat kar raha hai.
Elli Avram (EA): Yeah, I am very happy
that he has three offices and I am, like,
‘I hope you have 10 more.’ He is, like,
12
‘No, please don’t say that!’
BOI: How did you decide to cast Elli?
AB: First and foremost, we thought
only of the actor because the entire
story revolves around him. In the film,
his character wonders kis kisko pyaar
karoon, and we thought this feeling
should come out effectively in the film.
The character’s name is Shiv Ram
Kishan, Kumar Shiv Ram Kishan.
BOI: You have brought SRK into this film!
AB: That was the initial one-liner and
then Anukalp suggested that we title the
film Kis Kisko Pyaar Karoon. Before that,
the name was Kumar Shiv Ram Kishan,
the girlfriend knows him as Kumar, and
his first wife knows him as Shiv, the
second as Ram and the third as Kishan.
The fun begins when his parents visit
him because they know nothing about
his multiple marriages; they don’t know
about the other two and then there is a
girlfriend as well!
KS: The parents’ track is very good
because even they are separated, unka
bhi talaak hua pada hai. So, his parents
are, like, ‘Our daughter-in-law is very
nice, she takes care of us. We want to
stay with her.’ Now the thing is, which
daughter-in-law they are talking about
because maa ek bahu ko jaanti hai and
baap dusri ko. That track was very funny.
BOI: After Comedy Nights…how similar
are TV and films as mediums?
KS: In films, actors have to work
hard before the film starts rolling, by
memorising the script, the dialogue etc.
After that, the crew works hard and the
actors are relaxed. I am speaking from
my own experience. For example, in
TV, even if you suffer from a slipped
disc, you still have to work. With films,
the pace is much more relaxed, except
for action films, of course, which are
tough because there is so much more
to consider. I was happy working in this
film and I didn’t have to work as hard as
I usually do. For the first six months, the
media wasn’t ready to accept the fact
that Abbas-Mustan sir were making a
comedy. I was, like, arrey zaroori thodi
hai hamesha murder mystery karengey.
EA: Actually, when I first heard about
the script, I knew that Abbas-Mustan sir
were casting Kapil Sharma, and the first
thing I thought after reading the script
was that no one could do this character
better than Kapil. He was perfect.
KS: Aww so sweet.. hum log soch ke
aaye thhey ki ek dusre ki tareef karengey.
EA: Seriously, because the character
needed perfect comic timing and I
thought that the guy in the film should
look like Kapil Sharma, someone who is
sweet but ordinary looking. A guy with a
six-pack wouldn’t have made sense for
this character.
BOI: Are you saying that, on-screen, you
wanted a boyfriend like Kapil Sharma?
EA: Yeah, the cutie. But it was fun and I
was very excited. I remember laughing
a lot when I heard the script. I liked the
role and my character as well. And, I
remember, mein jab parlour gayi thi, tab
wahaan ke ladkiyon ne mujhse pucha ki
mein ab kaunsi film kar rahi hoon. Toh
I said ke Abbas-Mustan ki film and they
were like, acha actor kaun hai and I said
Kapil Sharma. Aur itni excite ho gayi,
they were like, ‘Oh my God Kapil Sharma
ka picture, abhi toh dekna padega!’
Aur woh log normally film dekhte nahin
theatre mein aur phir unhone pucha ke
film comedy hai and I was like full on
comedy. They said ki abhi toh zaroor
dekhna hai. So, woh dekh kar acha laga
ke jo log normally picture dekhte nahin
hai woh bhi Kapil Sharma aur AbbasMustaanji ke film ke liye excited hai. Aur
Abbas-Mustaanji film ke bare mein toh
sabko pata, ke inki film ki story bahot
achi hoti hai, toh log aur excited hai.
Box Office India
5 September 2015
BOI: The audience is so looking forward
to Kapil Sharma’s comedy but what is
the response you are receiving from the
trade?
RJ: There wasn’t much of a response
from the trade before the trailer launch.
And we generally make big-budget
films. So there had to be a reason we
made this film but there was still little
or no reaction from the trade. But
after the promo release, everything
changed. We have a team who works
on trailers and promotions, and Abbas
bhai said we should show them the
film. They have a team who supported
me and gave me the confidence to
believe that this film was very good.
Simultaneously, we started closing deals,
Vashuji (Bhagnani) and with him Aditya
Chowksey… they started immediately
and then they started working on the
campaign. The promo release met with
a great response. I started receiving
calls from people I speak to barely
once in six months. When their phone
calls congratulating me on the promo
started coming, I felt a big boost. Now
I am receiving a good response from
everywhere.
AB: A few producers had approached
us, asking us what we were doing after
this film. They said they too wanted do
a film with Kapil Sharma and us, and
were wondering how they could take
it forward. We told them we hadn’t yet
given it any thought and would only after
this film released.
MB: We will do our next film with Kapil,
there is no doubt about that, woh toh
hona hi hai. But we have to decide what
specifically to do next and how. We
have understood how to present Kapil
because we have done his first film. We
know which variation to bring in when he
does a particular scene. Also we have
to look into a co-star to cast opposite
Kapil. Kapil delivers great performances,
but the person in front of him should
be able to do the same. It is not easy to
star opposite him. When he improvises
during a shot, ek extra punchline maar
diya, hum log sochte hain kamaal bol
diya yaar but saamne wala confuse ho
jaata hai. In this film, we have Rohit
Sharma, who does good comedy but
Arbaaz Khan has a prominent part to
play because he is the brother of one of
the wives.
KS: I believe this is one of Arbaaz bhai’s
best roles in comedy.
MB: Arbaaz bhai not only had to have
great comic timing but his gestures also
had to be funny, because he is partially
deaf. So he had to react by looking
at hand gestures. For instance, when
Kapil’s says, ‘I have no interest in your
sister’, he thinks Kapil is saying they
won’t take dowry. And the lines for all
5 September 2015
Box Office India
these scenes were either improvised or
written on the spot. There are some lines
which weren’t even rehearsed, direct
take mein bol diya jo bolna hai.
BOI: Kapil, what kind of reaction are you
receiving from your industry friends?
KS: I am receiving great reaction. Even
though we have releases in a variety
of genres, humour is a universally
loved genre. For instance, why is the
protagonist in Paa so lovable? Because
one, the character is a kid and, two,
there is humour. The element of comedy
is always present and people know me
because of my show. And this is exactly
the kind of film they were expecting for
my debut. So let’s see how it goes.
BOI: Ratanji, when you cast someone
like Kapil, you get to ride his popularity
and it increases the curiosity quotient
as well. But what about people who
wonder why they should pay good money
to watch Kapil on the big screen when
they can watch him on television for
free? What would you like to say to
them?
RJ: Television has only so much appeal
as opposed to films, which follows a
certain script. There are superstars
like Shah Rukh Khan who started their
careers in television and tomorrow even
Kapil can become a Shah Rukh Khan,
he definitely has the calibre. I did not
think his television background was a
hurdle; in fact, it was an advantage. If
an actor is popular on television, and if
he is talented, I don’t think there should
be a problem in marketing, promotion
and distribution. It ultimately depends
on what you think. If you don’t have
confidence or faith, you can’t make
the film in the first place. And, as I
said earlier, I made this film because
Abbas-Mustan bhai, Kapil Sharma were
working on the film. I didn’t even hear
the story or the subject; I just told them I
was on board.
AB: It is also your greatness that you
trusted us and you like working with us.
RJ: It is fun and exciting. You get that
sense of confidence automatically. Also,
if this film was made with anyone less
than a star, I would have probably said
‘no’ to the project. I would have said, ‘Ya
toh bada actor lijiye ya phir mat banaiye.’
For us, Kapil was already a huge star.
EA: People will also see Kapil in a
different type of role. They will see him
singing, dancing and sharing great
on-screen chemistry with all four of
us. That is not exactly how we see him
on his show. People will see Kapil in a
different avatar.
KS: On television, we need punchlines
and one-liners, so we don’t go into logic.
But, here, there are a lot of emotions,
there is a story and a back story. We get
so see different emotions behind every
relationship, like my relationship with
my mother, how I handle my wives, etc.
Accidental shaadi hui hai phir bhi nibaah
raha hai. Then there is music in this film.
EA: Exactly! On his show, he only plays
host but, here, he is a hero.
RJ: For me, they complemented each
other, Abbas-Mustan bhai aur Kapil
Sharma. If they weren’t directing, I would
have had second thoughts. If for this
particular film, Kapil nahin hota, then I
would have given it more thought. When
you get two right things, the project turns
out to be good.
BOI: The name ‘Abbas-Mustan’ is
synonymous with a nail-biting climax.
What is the climax of this film like?
EA: We can’t say.
AB: Everyone who watches this film will
like the climax, which does justice to the
film. When we heard this film for the first
time, the first thing we thought about
was the climax.
MB: It is very important to sum up
everything properly. How he handles the
situation in the end is very important.
AB: As we said, the end is very
emotional. The way it has been shot and
the emotions Kapil brings to the scene
are very beautiful.
KS: When a guy has three wives, he is
usually a negative charater. But, here,
he is not negative; everything happens
accidentally. He didn’t even want to
get married! He loves just one girl, who
is Elli. So how he ended up marrying
three wives and how he juggles them
makes the story, which has been written
beautifully.
EA: Even my character is very stubborn
and I want to marry him but he is
delaying the process. That is also fun.
Kapil also has to manage my father, who
is played by Manoj Joshi, who is very
traditional and stern. But I am daddy’s
little girl and he will do anything to keep
me happy. So it is very funny.
KS: Every character is memorable, even
if on screen for just five minutes. It is
not only the lead that the audience will
remember.
13
@BOI
Real To Reel
Team Calendar Girls – featuring Ruhi Singh,
Satarupa Pyne, Akanksha Puri, Avani Modi, Kyra
Dutt; director Madhur Bhandarkar; and producer
Sangeeta Ahir – in conversation with Team Box
Office India
Box Office India (BOI): Madhur is known
for content-rich films. What was the idea
behind Calendar Girls? What was the
idea behind introducing five new faces
or spending money on the look of the film
instead of signing big names?
Madhur Bhandarkar (MB): There are two
things. First, presenting very high-octane
content and, two, this film required
new girls. It is basically a platform
for newcomers. We wanted talented
newcomers and ones we could groom
for the industry as well. The film is edgy,
it has a lot of drama and obviously it is a
very contemporary film. It talks about the
realism of today. Around 75 per cent of the
story is real. It talks about morality, values
and what is going on in high society and
the glamour world. When I told Sangeetaji
(Ahir) about this concept, she was very
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excited about it. Sangeetaji and I go back
a long way and we have always wanted to
work together.
When I narrated the script to her, she
instantly said we should make this film
because the title ‘Calendar Girls’ is very
catchy. She said coming from Madhur
Bhandarkar’s stable, it will be fresh. That’s
how the journey started.
Sangeeta Ahir (SA): The concept is an
eyeopener for the public, people who have
not seen this industry but have only had
a glimpse of it on television or read about
it in the papers. They all believe that this
is a platform for Bollywood or the glamour
world. So there is this crazy curiosity to
know what calendar girls are all about.
That was one reason I thought newcomers
would be the USP of the film.
Madhur never makes films that are filmy
or have unnecessary drama but he does
open a lot of cards. The film is a message
to empowering women. We talk about
equality, but are you ready to accept a
woman who dons a bikini or will you judge
her? Would we accept it if our daughters
wore bikinis? Do we have the courage to
accept that? Are we just paying lip service
to empowerment? The film shows the bold
journey of these women and how strong
they actually are. It looks easy but their
journey is very tough.
This film gives you a perspective on
women’s empowerment. We see so many
women wearing sarees and championing
different issues and protesting but how
challenging is it to achieve something like
that? That’s what inspired me to take on
this film. It was very important for me to
show this journey, especially to parents,
Box Office India
5 September 2015
because nowadays everyone wants to be
part of the glamour world and Bollywood.
Is this the first step towards Bollywood? So,
yes, this film does open up a lot of cards.
And Madhur has done that fabulously.
BOI: Madhur’s films are always high on
content and then he chooses an actor,
whether Bipasha Basu, Tabu or Priyanka
Chopra, who enhances the script and takes
it to a different level. Was it a risk giving
five new girls such a huge responsibility?
MB: Definitely but the film business itself is
a very risky business, as we all know.
SA: The content in this film is so big that
it takes the film to another level. Today,
the participants on dance reality shows
showcased are amazingly talented, and it
leaves you stunned. So, today, apart from
films or regular careers, reality dance and
music shows are also becoming career
choices. There is a first step for everyone
and, for each of these actresses, this is the
first step.
MB: If this film had five established actors, I
couldn’t have made it the way I wanted to.
BOI: But didn’t that make your job that much
more difficult? How did you manage to
extract the right kind of performances from
each one of them?
MB: Absolutely! When we started looking
for faces, we zeroed in on 60-70 girls,
whom we filtered to 35-40-20, and then
we finally locked five girls. Obviously,
they all auditioned very much like my
earlier films Chandni Bar and Fashion.
Then we decided on who would play
which character. We did workshops and
they had to also get the right chemistry
among themselves. Calendar Girls is
not about bikinis; in the song Awesome
mora mahiya, you see a bikini for only
for 60 seconds. The film hinges on the
performance of the characters, its content
and on the drama. It’s shocking, it’s edgy
and sometimes very emotional.
When I was sure about their
performances… we had a team including
my writers, assistants and DoP… we sat
down and discussed the potential in each
of the girls and chose the leading girls. We
did look tests. When you look at these girls,
each one looks like the girl-next-door. You
feel that, yes, this girl is from Rohtak, this
girl is from Pakistan. Established actresses
would perhaps not get the characters
right, so the script demanded fresh faces.
Secondly, the Kingfisher Calendar platform
is for newcomers; they become actresses or
achieve stardom later. Initially, they are just
new faces.
BOI: If we ask all five of you about the
process before you started shooting,
how difficult was it to meet Madhur’s
expectations?
Satarupa Pyne (SP): We did a 15-day
5 September 2015
Box Office India
workshop where we got to know each
other. The best part about the film was
that we were asked to be ourselves. I
am Bengali and in the film too I play a
Bengali. My Bengali accent helped me
play my character. To make your debut
with Madhur Bhandarkar is a huge
achievement. You also have to be lucky
to get a break under such a fantastic
director. I also feel lucky to play who I am.
I have been a model in real life too, I have
posed for a calendar, so I already had the
elements that my character demanded.
Ruhi Singh (RS): Madhur Bhandarkar is
a perfectionist and we kept wondering
whether we would meet his expectations.
But since he is a perfectionist, he knows
how to bring the best out of his actors.
That’s why his films are perfect too.
He got all of us to play our respective
characters perfectly. Madhur taught us
how to act and how to react. We were all
very nervous but even if we had just one
line to deliver, he would narrate it to us,
and show us how to do it. He made sure
we were always comfortable.
SP: On the day we started shooting, I was
nervous and emotional. I felt like crying and
it so happened that the scene I was doing
required me to cry. Before the shoot, when
I felt all choked up, someone accidentally
pushed me and I started crying. That was
so real, and it came naturally to me. But the
other day, when we were shooting another
scene which also required me to cry, I was
trying to act because I was feeling quite
normal. So he (Madhur) came to me and
asked, ‘Why are you acting? If I slap you,
how will you cry? Cry exactly like that.’ He
wants things to happen naturally.
Avani Modi (AM): I was the fourth one to
start shooting. One day, just before my
schedule, I met Madhur sir in his office. I
was very nervous about playing a Pakistani
in the film. I have never met anyone from
Pakistan in my entire life. But since Madhur
had cast me in this role, I had to prove
myself. So I told him I was very scared and
he said just one thing, ‘Tu kyun tension le
rahi hai? Tujhpe toh main bahut confident
hoon.’ That was enough for me to know he
had faith in me and knew I could do it. It
boosted my self-confidence. Uske baad toh
humne aag laga di.
Akanksha Puri (AP): From day one, none of
us felt any pressure and we all were in our
respective comfort zones. That’s exactly
why we are in the film. I am playing a South
Indian actress in the film, Nandita Menon,
and although I am not South Indian, I am
very close to Nandita. He (Madhur) saw that
in me and allowed me to portray it in the
film. From day one, energy levels were very
high and there was no pressure, we were
like a family. He kept saying ‘my film is my
baby and all my actors are like my family’.
He treated everyone like family, that’s why
the atmosphere was so much fun.
AM: I want to add something about
Sangeeta ma’am. She is a lady producer
but she made sure we were comfortable.
SP: When we were on the sets, we were
treated like queens. We felt even more
motivated because we felt like stars and
our performance naturally came out as
stars. (Laughs)
AM: We just didn’t just have a stylish
director but a stylish producer too.
SP: When she used to walk in, we used
to try and make out what brand she was
wearing. She was an inspiration to us. The
food on the sets was amazing too!
BOI: You girls were eating?
SP: Eating and how! We were called
‘Calendar Cows’ on the sets! Our spot
boys were surprised to see us eating so
much. They were worried because we
had to wear bikinis.
RS: We were pampered so much during this
film that I am sure our next film will be very
difficult. People say that when you travel,
you don’t get very good hotels. But when we
went to Mauritius for Calendar Girls, each
one of us was given a room to ourselves.
And we were staying in a palace-like hotel.
BOI: You must be aware that Madhur
Bhandarkar takes inspiration from real
life for his films. After this film releases,
will you be ready to answer questions
pertaining to which individual your
respective characters resemble?
SP: We have been following him (Madhur).
He has to merely look at a journalist to know
what question he is going to be asked.
SP: But he did not explain the reference to
us because we would have tried to copy the
individual. So he didn’t reveal the real-life
characters. We merely followed his vision.
RS: As Satarupa just said, Madhur sir knows
how to handle the media. Being a Miss
India, I was taught to be patient, diplomatic
and keep a cool head. If I had my crown
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@BOI
with me right now, I would have given it
to him (Madhur). He can just answer just
about any question.
MB: You know, if I wasn’t a filmmaker, I
would have become a journalist.
AM: Yesterday, someone said, ‘He is the
journalist of the film industry.’
MB: Absolutely, and that reflects in the
film too.
BOI: Speaking of answering questions,
how did your director answer all your
questions? Did you, as a producer, ever
ask him where and how you would be
spending money?
SA: We were totally in sync and I never
interfere with creative calls.
MB: Everyone knows I make films within
their budget. I have been doing that for so
many years.
BOI: Your films – Page 3, Fashion, Heroine
and now Calendar Girls – have quite a
similar backdrop, which is the glamour
industry. How do you manage to not repeat
scenes or take any references? How do
you make each film different from the
others?
MB: As I said, the glamour world is like an
ocean. There are lots of things in it. Page
3 isn’t only about the glamour world. The
film industry is completely different, and
so is the fashion world. Calendar Girls is
also completely different. We have been
talking about ‘calendar girls’ for a long
time but nobody had revealed even a little
of this world.
The professional span of a calendar
girl is strictly just a year. After that,
the question is, where do they go and
what happens to them? I was looking
at some calendars and every page had
the name of the model written on it. I
was surprised to see that 99 per cent of
these models vanish within a year. Some
get married, some switch professions,
some go into depression. Career-wise,
none of them had achieved anything.
Only a microscopic minority make it to
success. So I did some research and I
realised that no one knew where these
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girls had gone. It intrigued me and so I
made this film.
BOI: The glamour industry has an ugly side
too. While scripting, how do you know
what you could show in the film and what
you couldn’t?
MB: I have always maintained that I
make films rooted in reality and based
on what is happening in society, and, as I
mentioned earlier, 75 per cent of this film
is based on real issues. But, sure, since
we work in related industries, we have
relationships to maintain and we have to
tweak the characters so that it doesn’t
hurt people’s sentiments. People called
me after Fashion, Page 3 and Heroine.
People called me even after Corporate.
I remember people stopped buying
strawberries at traffic signals after watching
Traffic Signal.
If you read stories about these things
in newspapers, why can’t I capture it on
celluloid? When you take those stories
and package them into an hour-long
capsule for television, why can’t I make it
into a film? I am merely portraying facts;
I am not being judgmental. I believe I
am holding up a mirror to society. These
things happen in real life and one has
to show the good side and the bad side.
Whether Fashion, Page 3 or Heroine,
they showed both sides. People claim I
am obsessed with the glamour industry
but that is because the glamour industry
is huge. Don’t we hear gossip about
these people every day? What we see on
television is just the tip of the iceberg,
what we see in my films is very minimal.
BOI: Sangeeta, when you read the
script, did you identify with any of the
characters?
SA: Yes, I did.
MB: That’s why she made the film. She
used to say, ‘Madhur tu bade pange le
raha hai.’ I appreciate her guts in making
and standing by the script. She gave me
a free hand and said, ‘You make what
you want, we will handle it if anyone gets
offended.’ I feel the youth should watch
this film because the calendar girls are
all very young. We see so many people
coming to Mumbai, wanting to become
actors, directors and producers, and
this film will shock them and make them
aware of the reality. Even though we are
in the film industry, there is so much
we are not aware of. When I showed a
paedophile in Page 3, people asked if that
actually happens. Then the Nithari case
broke and everybody related to Page 3.
Recently, when the Maggi controversy
happened, I received so many tweets on
the fact that had already shown this in
Corporate. I have always been inspired by
real life and, sometimes, real life is more
deadly than reel life.
BOI: Were there any bits in the movie
that shocked you, because he must have
shown how success is usually followed
by downfall?
AM: Of course. I can’t reveal any details
but there was a scene I did that reflected
just this.
BOI: Was it scary for you?
AP: The trailer includes a protest scene,
where they say, ‘Pakistani kalakar Bharat
chodo.’ I have read about this in the
newspapers and watched this on TV but
when I shot the scene, it felt so real.
KD: My character didn’t have any
shocking scenes but whenever I caught
a glimpse of my co-stars’ stories… Yes,
there were some shocking stories.
BOI: Let’s talk about the bonding
between each one of you, both in the
film and off screen.
AP: We bonded very well.
Kyra Dutt (KD): All my co-stars including
myself have cried in the film and we
bonded very well.
MB: The bonding was superb. It was so
good that every young girl will connect
with the characters, who share their ups
and downs. There are so many things
that happen at various stages in the
characters’ lives but the way they interact
with each other is amazing.
Box Office India
5 September 2015
BOI: Since the film features only
newcomers, how are you planning to
promote the film?
MB: In today’s times, marketing is
necessary not only with newcomers but
also with stars. Producers say that if you
shoot for 60 days, you should also promote
your film for 60 days. It is mentioned in
the contract as well. As far as marketing is
concerned, I am going all out to promote
the film. We have 12 colleges and we are
embarking on a nine-city tour across the
country because we have to connect with
the audience, especially the youth. The
marketing strategy is already planned.
There are TV shows, interviews, channels,
discussions… So the plan is in place,
including regional channels. When big
stars promote their films, imagine the kind
of publicity we will need! We have started
and will keep going till September 25.
BOI: Both of you kept the release date
under wraps because you did not want any
problems with the censors. Who took the
decision to first get the film cleared?
MB: We are both responsible for that
because we wanted the film to have a
good release. Secondly, we didn’t want
the censors to hold back the film because
of its content. When the censors saw the
film in the first round, they gave us an ‘A’
certificate because of some English swear
words which they felt were offensive. They
suggested that we edit a few words and
we did. Then we thought why not apply
for a ‘U/A’ certificate, so that a larger
audience could watch and relate to the
film? That’s why we kept the dates under
wraps. But when the censors watched
the film, they liked it so much that they
themselves told me, ‘Please don’t cut the
film, Mr Bhandarkar. If you cut the film,
you will butcher it. Please keep it as it is
because the film requires this kind of high
drama and we are not going to cut anything
except for the two to three words which
were mentioned earlier.’ So we took the
certificate and announced our release date.
pain of these girls. I always believe,
the shorter the length, the greater the
impact. It’s a compact film with impact.
film, you will realise that each one has a
distinct character in terms of language as
well personality. There are many layers.
BOI: Do you all have the same screen
presence?
AM: (Cuts in) He treated everybody equally.
SP: He told us we were roses from the
same bouquet.
AP: He treated all the girls equally. If one
was present, he would immediately ask
about the others.
RS: While we were shooting, he personally
made sure that none of us felt left out.
KD: When we are at an event or at an
interview, he makes sure all of us interact
or are seen together in pictures.
SP: Even though we are five of us, we
wanted to debut with this film because
we were so confident that he would treat
us equally.
RS: When there are so many women,
there are always some insecurities. Mr
Bhandarkar is a perfectionist and he made
sure all the girls had distinctive characters.
We never competed with each other, we all
just did our best every day.
AM: That’s why I say that Madhur
Bhandarkar ne humme chun chun
ke nikala hai.
MB: Completely, there isn’t room for
comparisons, that yeh ladki same dikh
rahi hai. In the first 15-20 minutes of the
BOI: With all five of you making your
debut, what are your expectations?
RS: We are very confident of the
response that we have been getting,
especially after the songs.
MB: They dubbed their parts
themselves as I wanted to stick to their
authentic voices. Time laga but they
have done a fabulous job.
SP: We all have great expectations.
AM: We all have a feeling of gratitude.
I am blessed that I made my debut
in the film with Madhur Bhandarkar
as a director, and also Sangeeta
ma’am was wonderful as producer.
But as far as expectations are
concerned, I am expecting more
for the film rather than for myself.
I just hope the film does well.
BOI: Any final words?
SA: I am just waiting for support from
people. He audience is always looking
for something different. And here’s
something different. I hope they accept
it in a good way and sabko acha lagey,
bas.
MB: Public ka support chahiye, aur
zyaada kuchh nahin.
BOI: Sangeeta, how happy
are you with the product?
SA: I am very happy and I
am very proud as well.
MB: Content-wise, it is big.
Even the Censor Board
said, ‘Fashion aur Page 3 se
zyaada drama tune isme laya
hai.’ This one has five stories
intertwined.
BOI: It must have been
difficult to wrap five stories
into two hours.
MB: Yes, and to justify the
characters and at the same
time make the film with
content. You can feel the
5 September 2015
Box Office India
17
DESI TADKA
Let The Good Times Roll
As Tu Hi Re released this week, lead actors Swwapnil Joshi, Sai Tamhankar and
Tejaswini Pandit; director Sanjay Jadhav; and producer Utpal Acharya talk about their
hit films as a team, competing with other film industries and Marathi cinema going from
strength to strength
Box Office India (BOI): Can you tell us
about the film and how you conceived it?
Sanjay Jadhav (Sanjay): This is actually
our third film together… Swwapnil (Joshi),
Sai (Tamhankar) and mine. Duniyadari was
the first, then Pyaar Vali Love Story and
now Tu Hi Re. After Pyaar Vali Love Story,
even the producers are the same. The new
addition is Tejaswini (Pandit).
Our film’s story starts after eight years
of marriage and is the kind of love that
happens in Indian households after years
of marriage.
BOI: You just said it was an obvious
decision to cast Sai and Swwapnil. Was
that due to the comfort factor?
Sanjay: It is all about the comfort zone. We
are thick friends, almost like family. And if
you have such talent in your family, why
would you go elsewhere to look for talent?
BOI: Utpal, as a producer, how did you
come on board?
Utpal Acharya (UA): I have known
Sanjay for 12 years and this is the most
successful director-actor pair after
Duniyadari. Pyaar Vali Love Story was
their second movie and that’s where our
journey began. Now I am also part of their
family. So Tu Hi Re was the next logical
choice because of its story.
There is so much good content but there
is no proper exploitation to monetise this
industry. So my contribution to this industry
is to take this whole process to a studio
structure with increasingly significant and
more earthy Marathi content.
18
BOI: Sanjay, you just said that Sai and
Swwapnil are like family. At the script
level, do you keep them in mind as
your characters?
Sanjay: Actually, yes, like anda pehle
ayaa tha yaa murgi? Similarly, I don’t
know which comes first… keeping them
in mind inspiring the story or starting
with the story and having them come to
mind automatically.
BOI: Can you elaborate on your characters
in the film?
Swwapnil Joshi (SJ): Interestingly, it is
the first time I will be playing characters
in two different age groups. I am playing
a guy in his 20s and a guy in his 30s.
The perspective of life is very different
for a 20-year-old and a 30-year-old
today. Traits like being carefree, negligent
and arrogant and this entire ‘dekh lenge’
attitude continues till my character gets
married. Then, this nonchalant nature
matures, and with circumstances, the
reactions are different.
It’s about how his entire life turns around
and the circumstances and compulsion he
has to undergo, and while doing that, how
love plays an extremely significant role.
My character has two completely different
shades in the film. As an actor, too, this
was a very challenging space, far from my
comfort zone.
Sai Tamhankar (ST): I play Siddharth’s
(Swwapnil) wife, Nandini, who is total ‘wife
material’. Every woman who watches her
in the film will relate to her. Either they
have been like that for years or are on the
verge of becoming her. So unlike the bold
image that I have, I think this is going to
be a refreshing change as I am playing a
non-glamorous wife this time. It’s been
a long time since I have played such a
beautiful, layered character. My character
has immense value for this thing ‘love’.
So there are three different perspectives
regarding love in the film. For all of us, this
film is far removed from our respective
comfort zones.
Tejaswini Pandit (TP): I play a character
called Bhairavi and she belongs to an
extremely rich family. She doesn’t say
much and largely conveys her thoughts
and feelings through her expressions.
She is deeply in love with Siddharth.
There comes a point when her life
takes a U-turn and she goes to the
extreme level of love. I think all the three
characters are extremists when it comes
to love in their own unique ways.
BOI: The Marathi film industry is regarded
as one of the richest regional industries
with regard to content. How have you
seen this change come about?
Sanjay: We are very happy that Marathi
films are also making a mark in terms of
content and growing box-office numbers.
The best part is that, in the process, we
are also entertaining people. During the
last decade, there were films that did
not make money but things changed
after Shwaas, and they picked up after
Duniyadari. Marathi cinema had contentdriven films earlier too but filmmakers are
now trying to strike a balance with the
Box Office India
5 September 2015
me like a friend but after that Friday,
they started treating me like a friend,
philosopher and guide. (Laughs)
commercial aspects of filmmaking.
ST: I think we have cracked the code
on how to package our films. Thus,
presentation and marketing have
improved, especially in the last five to six
years. I am very proud that in Marathi
cinema, content is king. It is not about the
actor or a star but about content and that
is why we are progressing so fast.
BOI: Utpal, compared to other regional
industries, what was it about Marathi
cinema that attracted you as a producer?
UA: First, the Marathi film industry is based
in Mumbai, which is the hub of cinema.
A couple of years ago, distributors and
producers used to struggle to get proper
showcasing for their films and multiplexes
used to complete their quota of Marathi
films because they had to renew their
licence. And let’s face it, Duniyadari was
the gateway to the commercial aspect of
Marathi cinema, in terms of the way films
were being produced, the content and the
way marketing was taking centre stage. So
the overall packaging of Marathi cinema
had changed.
BOI: Sanjay, how did life change for you
after Duniyadari?
Sanjay: Hugely, I mean ye sirf kitaabon
mein padha tha that raaton raat zindagi
badal jaati hai. I had one kind of life on
that Thursday night, the night before my
film released, and when I woke up the
next morning, my life was completely
different. The way people perceived me
changed overnight. Earlier, when I used
to enter a room, people used to treat
BOI: What about you, Swwapnil?
SJ: It was a 360-degree change, not only
for me but for everyone associated with
the film. I think Duniyadari also brought
in a lot of commercial viability to Marathi
cinema. To add to what Sai said earlier,
in Marathi cinema content is king but
what was lacking was the glamorisation
of that content. We are competing with
not only Hindi cinema but Hollywood
as well. When a patron comes to watch
a film, and has `150 in hand, he has
a choice of watching Spiderman or a
Shah Rukh Khan starrer or a Marathi
film. So we had content but didn’t know
how to reach out to the audience and
how to make our content larger than life.
Ultimately, as a viewer, I don’t care if you
have a budget or not or whether you get
a subsidy or not. All I care about is ki
mera `150 vasool hota hai ya nahin. That
changed tremendously after Duniyadari.
BOI: Talking about markets, what changes
have you witnessed in the Marathi
industry? What did you learn about
marketing? For instance, we don’t usually
see many trailer launches for Marathi
films yet you did one at a multiplex.
ST: I think it’s an amalgamation of what
you have – you have the resources,
so fund it correctly and channelise it
accurately. Also, you have to come up
with something new every time because
the competition is very shrewd. Like we
started promoting Duniyadari six months
before its release and we changed our
Twitter handle when Pyaar Vali Love Story
was releasing. Now, we came up with
the unplugged version of a song where
we, the lead actors, are singing. I think
we should come up with something new
every time. It works and also gives new
ideas for promotion and marketing.
Sanjay: Frankly, we are learning from
Hindi cinema.
ST: Definitely.
Sanjay: We are learning from Hindi
cinema’s marketing strategies and the
way they reach out to people. That is
also what we realised in Duniyadari, that
we have to reach out to people, it cannot
happen overnight so we have to slowly
make them aware of our product.
BOI: Sanjay, how much has everyone here
changed after Duniyadari?
Sanjay: They have changed a lot. Sai has
lost a lot of weight… But, no, actually, it
is not about Sai or Swwapnil. I think all
of us have gone through several phases
and, after you taste success, you try
to remain grounded. Then you try to
improve yourself. If you watch Sai’s films or
Swwapnil’s films, you will notice that with
every film, they have improved and I am
not just talking about my films.
BOI: Can you comment on each
one of them as an actor as well as
human beings?
Sanjay: Wow, that’s a very difficult
question.
ST: Clear your mind!
TP: It’s a trap!
Sanjay: They are all growing, one film at a
time. They are learning from their mistakes
and their successes. After Duniyadari, we
realised that agar itna mehnat karengey,
toh we can have crores of rupees flowing
in. As human beings, they are still
grounded and the best part about our
chemistry is that agar humme se koi bhi
zyada udne ki koshish karta hai, toh baaki
ke do usko zameen pe laane ke liye hai!
As for Tejaswini, she has put in so much
effort and proved her mettle long ago, and
all of us wanted to work with her. I think
this is her first outright commercial film, so
we are excited to see how people are going
to receive her. Before this film, I knew her
personally but I didn’t know what kind of
an actor she was. Now that I have worked
with her, I can say she is superb.
BOI: What is Utpal like as a producer?
Sanjay: He is a gem. All directors want
producers like him. He didn’t see a single
print from the time the film began till the
copy was ready. I am lucky he trusted me,
which is very important because there is
so much pressure on a director that the
producer needs to approve the budget, the
5 September 2015
Box Office India
19
DESI TADKA
songs… Here, there was none of that.
UA: To elaborate on that, we discussed
and debated the budget and concept
but that was on the script level. After
that, he did his own thing. And once
his part was done, when it came to
marketing and promoting, he gave his
feedback and it helped a lot. Also, as
he said, I didn’t watch the film because
creativity is his forte.
BOI: Utpal, since you have so much
experience working with corporate
houses, what have you learnt from them
to make it as a solo exhibitor?
UA: Organise, organise, organise! This
industry was not at all organised initially
and that was the challenge. Plus there
were learnings from Hollywood as well
as Hindi cinema. Hollywood taught me
how to perform on a limited budget,
especially for a Marathi film, and how to
market and promote it. Thanks to social
media, we can connect to the mass
market.
PARTY
BOI: How are budgets fixed since the
budget of investment is limited?
Sanjay: Yes, the budget of investment is
limited because we have to release our
film in Maharashtra because that is our
territory. As a filmmaker, I have to keep
my budget in mind and at the same time
the producers know the requirements.
UA: We cannot compromise on the
quality of production as that will
reflect on screen but there are other
adjustments we can make. Not only
in Marathi but even in Hollywood and
Bollywood, it is suprising to see what
can be achieved at a limited price.
BOI: How do you feel about the
audience waiting for a Swwapnil
Joshi film?
SJ: Our audience always wanted good
cinema, which they are getting now. It
is their time to reciprocate and they are
reciprocating. As Utpal pointed out, our
film released with Happy New Year and
our audience went and watched it. They
would not have done that five years ago.
Yesterday, we did another interview and
we were asked what was in store for
Marathi cinema. We all said we have to
explore markets beyond Maharashtra.
Five years ago, it was an achievement if
a producer could break even. Now we
are saying that Maharashtra is no longer
a challenge and we have to explore
markets outside the state. We can also
predict market trends now.
TP: Swwapnil correctly said Duniyadari
brought glamour to the Marathi film
industry, which it lacked up until then.
Another change is that actors have
started taking interest in marketing. Your
content might be good but if the film
doesn’t reach the audience, there is no
point doing good cinema.
SJ: This is also happening on a
360-degree level. At one point, I
realised that my Twitter account had
been ‘verified’. I later learnt that they
had a team to analyse how many fake
accounts there were, and it required
my account to be verified. My Twitter
verification has nothing to do with me; it
is the growing power of Marathi cinema.
UA: We are using all our devices to
promote and release our films. We are
releasing films with subtitles so that we
can address the non-Marathi speaking
pockets. We have started receiving calls
from exhibitors asking us to show our
films. So it is all about the growing power
of Marathi cinema.
WHAT: The Transporter Refueled Special Screening
Joe Rajan and Pratap Sarnaik
Atul Agnihotri
Alvira Khan Agnihotri
Vindu Dara Singh
with wife Dina
Elli Avram
Daisy Shah
FRAME2FRAME
TP Aggarwal, Shatrughan Sinha and Rahul Mittra at
the Indo-US Chamber of Commerce Summit
20
Zoa Morani and Kunal Kemmu promote Bhaag Johnny
Elijah Wood, Taapsee Pannu and Ali Fazal at
the after party of Wood’s maiden India tour
Box Office India
5 September 2015
Album: Katti Batti
Banner: UTV Motion Pictures,
Emmay Entertainment
Producer: Siddharth Roy Kapur
Music Composers: Shankar Ehsaan Loy
Lyrics: Kumaar
Label: Zee Music Company
A
fter offering the short yet
elegant music album of Dil
Dhadakne Do, ShankarEhsaan-Loy (SEL) is back on the music
front with the soundtrack of Katti
Batti. The film has its sweet and bitter
moments, and the album seems to
carry this flavour flawlessly.
The composers have brought
together a mixed bag of known as well
as upcoming singers for the six track
album, which includes a remix. The
recently released cheery number Lip
to lip, that has been doing the rounds
on television, opens the album. Sung
by Ritu Pathak and Nikhil D’souza,
the romantic duet is treated with a
blend of Punjabi-pop music and some
sax interludes. The breezy musical
treatment is likeable and grows on
the listener. The vocals of Pathak and
D’souza bring out the blissful flavour of
this feel-good song.
SEL has reverted to the club-rock
sound for the party anthem Sarfira.
And, when it comes to a rock song who
is better than the team of Siddharth
Mahadevan and Neeti Mohan? The
track receives the typical club-techno
treatment but the vocals is what
elevates the song. Though not the
entire lyrics, it is the hook line that
attracts the listeners’ attention and is
quite addictive.
Shankar Mahadevan goes behind
the mic for Sau aasoon, along with
Rasika Shekhar. The situational
track highlights the despair of the
protagonist and is beautifully rendered
by the singers. Shekhar’s husky
vocals complement Mahadevan’s
emotional singing. There isn’t much
experimentation on the musical front
with the song relying on simple guitar
tunes and drum beats.
Jaago mohan pyaare comes next
and seems to follow the on-going trend
of quirky songs. Filled with energetic
rock beats, the song is sung by Rasika
Shekhar, Siddharth Basrur, Digvijay
Singh Pariyar and Raman Mahadevan.
The quirky lyrics is the standout factor
of this upbeat number.
Ending on a high, the composer
introduces the winner track Ove janiya.
The soulful melody once again proves
that the trio are the king of melodies. The
mellow Punjabi track is sung by Mohan
and receives a simple yet heartrendering
musical treatment based primarily on
piano notes and the combination of
guitars and drums.
Verdict: A situational and filmy album.
– Swagata Panjari
Boy Wonder
Singer Divya Kumar on lending his voice to big films like Bahubali, Hero, Manjhi: The Mountain Man,
ABCD2, Dil Dhadakne Do and many more
J
ee karda (Badlapur) singer Divya
Kumar is rocking the charts this
year with his melodious tracks
Sun saathiya (ABCD 2), Phir bhi yeh
zindagi (Dil Dhadakne Do) and Manohari
from the magnum opus Bahubali. The
versatile singer, who recently also sung
for Manjhi: The Mountain Man, Hero and
Meeruthiya Gangsters, talks about his
experience of working with the legendary
composer MM Kreem on Bahubali.
“He is a great composer and I was
fortunate to get the opportunity to
record the song for him in Bahubali. I
was quite happy when I got a call from
sir’s (Kreem) studio and they asked
me to record this song and I went to
Hyderabad for this. At the time, I didn’t
know that the song was being recorded
for Bahubali,” reveals the young singer.
Kumar says he wasn’t given any
brief for recording the Bahubali track.
“Manohari is more like an item song.
They just gave me a scratch to listen to
and asked me to prepare accordingly.
I heard the song a couple of times and
then recorded it. I guess, sir was familiar
5 September 2015
Box Office India
with my singing style and assumed I
would do justice to this song.”
Having worked with several versatile
composers, the young vocalist hopes
to adapt to the disciplined style of
Kreem. “He is extremely disciplined and
particular about what he wants, so I
would love to incorporate this in the way
I work.”
Apart from Bahubali, Kumar has also
crooned for Sachin-Jigar’s composition
Jab we met in the film Hero. He says,
this time around, he knew what film he
was recording for but wasn’t sure if his
version of the song would make it to the
album. “There were several voices that
were tested for the song and I had sung
the scratch, so I wasn’t sure if my version
would be used or not. I didn’t have to
prepare a lot for this song.”
For the Meeruthiya Gangsters’ song
Babaji ka ghanta, Kumar stepped into
the shoes of Sukhwinder Singh, who
had rejected the song due to its crass
lyrics. “This project came through a
friend and has quirky lyrics. Lyrics are
very important for me. I know, nowadays,
lyrics are crass but if the script demands
such lyrics, then it is acceptable.
Meeruthiya Gangsters is the story of
a gangster, so harsh lyrics suit the
character,” he reasons.
Kumar has also sung Dum kham for
Manjhi: The Mountain Man composed
by Hitesh Sonik and is also part of the
Marathi film album, Tu Hi Re.
– Swagata Panjari
21
SOUND BOX
Of Breakup And Makeup!
HIT YA MISS
Business Watch
Name of the Film
Phantom
Week 1
Week 3
Week 4
Week 5
Week 6
W
45,34,00,000 (2069)
Baankey Ki Crazy Baraat
82,93,580 (248)
Kaun Kitney Paani Mein
28,13,698 (206)
All Is Well
Week 2
15,30,00,000 (1400)
37,74,000 (198)
9,24,00,000 (565)
2,68,47,523 (476)
71,24,00,000 (2405)
7,08,00,000 (1114)
51,57,500 (185)
20,13,721 (12)
3,02,058 (28)
1,35,926 (13)
Bangistan
5,15,00,000 (705)
27,25,772 (105)
4,08,865 (42)
1,83,989 (19)
Jaanisaar
15,19,467 (84)
1,36,752 (!4)
61,538 (7)
Discontinued
Drishyam
44,63,00,000 (1595)
17,89,00,000 (1262)
7,55,00,000 (775)
3,38,00,000 (656)
1,17,15,000 (412)
2,21,00,000 (300)
95,92,518 (158)
38,37,007 (83)
5,75,551 (37)
2,58,997 (26)
1,16,548 (12)
1,84,62,00,000 (2553)
86,96,00,000 (2238)
28,73,00,000 (1060)
11,26,00,000 (840)
3,38,00,000 (594)
1,17,00,000 (414)
4
43,59,00,000 (1358)
24,38,00,000 (881)
21,51,00,000 (776)
10,70,00,000 (752)
5,12,00,000 (642)
2,93,00,000 (480)
1,50
I Love NY
1,48,67,000 (640)
2,97,340 (23)
1,33,803 (11)
60,211 (5)
Discontinued
Guddu Rangeela
7,61,00,000 (917)
54,00,000 (107)
7,10,000 (43)
3,19,500 (20)
1,43,775 (9)
64,698 (7)
Second Hand Husband
2,45,45,000 (476)
26,19,951 (82)
3,92,992 (28)
1,76,846 (13)
79,580 (7)
35,811 (4)
5,84,374 (36)
1,46,093 (19)
65,741 (6)
29,583 (2)
13,312 (1)
Discontinued
ABCD 2
70,80,00,000 (1794)
24,72,00,000 (1400)
7,08,00,000 (996)
1,60,00,000 (562)
8,08,200 (40)
2,63,690 (18)
Hamari Adhuri Kahani
26,49,00,000 (1206)
4,37,59,000 (751)
1,22,37,000 (471)
20,80,290 (94)
3,12,043 (24)
1,40,419 (11)
Dil Dhadakne Do
56,06,00,000 (1248)
14,61,00,000 (1019)
3,68,00,000 (494)
1,47,20,000 (334)
30,91,200 (226)
13,91,040 (101)
Tanu Weds Manu Returns
70,02,00,000 (1763)
46,71,00,000 (1692)
19,96,00,000 (1040)
8,31,00,000 (651)
3,19,58,529 (448)
1,78,98,849 (338)
Manjhi The Mountain Man
Brothers
Gour Hari Dastaan: The
Freedom File
Masaan
Bajrangi Bhaijaan
Bahubali (Hindi)
Bezubaan Ishq
(Theatres)
All Is Well
22
Bajrangi Bhaijaan
Bahubali
Box Office India
5 September 2015
68
Week 7
Brothers
Week 8
Week 9
Week 10
Week 11
Week 12
Week 13
Week 14
TOTAL
45,34,00,000
Total
82,93,580
28,13,698
••Brothers collected `78,83,57,500 in 3 weeks
••Drishyam collected `74,62,15,000 in 5 weeks
••Bajrangi Bhaijaan collected `3,16,53,02,287 in 7 weeks
••Bahubali (Hindi) collected `1,10,34,61,729 in 8 weeks
••ABCD 2 collected `1,04,33,10,821 in 10 weeks
••Tanu Weds Manu Returns collected `1,51,09,14,622 in 12 weeks
15,67,74,000
11,92,47,523
78,83,57,500
24,51,705
5,48,18,626
17,17,757
74,62,15,000
3,64,80,621
12)
14)
41,02,287 (86)
80)
1,50,00,000 (470)
3,16,53,02,287
61,61,729 (130)
1,10,34,61,729
1,53,58,354
(7)
39,114 (4)
(4)
Discontinued
Discontinued
8,28,77,087
2,78,50,180
ued
8,39,210
18)
1,18,660 (10)
53,397 (5)
46,120 (4)
11)
63,188 (5)
28,434 (2)
Discontinued
01)
2,60,112 (14)
1,17,050 (7)
52,672 (3)
Discontinued
38)
68,59,539 (307)
32,86,792 (92)
2,93,018 (38)
1,31,858 (17)
ABCD 2
5 September 2015
Box Office India
20,754 (2)
Discontinued
1,04,33,10,821
32,35,20,374
76,31,32,074
59,336 (10)
36,701 (2)
Discontinued
1,51,09,14,622
Tanu Weds Manu Returns
23
HIT YA MISS
Phantom
News, analysis and results from North America
www.BoxOffice.com
In May, NCM introduced E!’s Maria
Menounos as the new face of of their preshow branded content offering , FirstLook
CINEMA ADVERTISING PREPARES FOR A BIG 2015
by Daniel Loria
n Since its founding in 2003, the Cinema Advertising Council has
tracked annual spending from advertisers on the silver screen. The first
set of published data, covering 2002, showed CAC members receiving a
combined $185.8 million in revenue. That figure rose by 47 percent the
following year, to $273 million, and continued its ascent until crossing
the $600 million mark in 2010. Today, the CAC reports that cinema
advertising has brought in over $600 million annually for five consecutive years.
Critics would suggest the performance signals a leveling off in interest from advertisers, a conclusion that frankly doesn’t hold, considering
the massive shifts currently evidenced in the video advertising market.
Competition among cinema advertising companies remains strong as
fragmentation and viewer erosion continues to affect the bottom line for
television. Five years of consistent earnings suggests cinema advertising
has the required foundation to innovate and grow as advertisers look for
new platforms and destinations for their commercials.
“The macroeconomic climate is very favorable for us on two fronts,”
explains NCM chairman and CEO Kurt Hall. “First of all, I think the ad
market overall is pretty healthy right now and secondly, there are things
going on in the TV marketplace that are very favorable for us. If you
look at what’s happening with DVR and the change in viewing habits by
consumers and all the over-the-top ways of getting programming and its
related fragmentation, which has led to the decline in ratings for TV, all
of that is very good for us. Advertisers are going to be looking for new
platforms for video advertising where they’ll know their ads are going to
be seen. That’s one of the real strengths of cinema.”
A record year at the box office doesn’t hurt either. This year’s string of
movies has helped advertisers realize cinema’s potential to bring captive
audiences together with a minimum risk of distractions, according to
John McCauley, chief marketing officer and executive vice president of
strategic alliances for Screenvision. “TV continues to underdeliver vis-avis the live ratings,” he explains. “The box office and attendance continue
to be very stable over the last 10 to 15 years, and in particular this year it
really has been a star performer, exceeding our expectations at the beginning of the year. When you have these moments with box office records,
24
BXIndia_Sept5.indd 2
it really starts to get into the public consciousness and [convince] our
agency partners that cinema is a hot business.”
Brands are starting to take note. In 2014, a total of 121 new national
or regional brands began to advertise cinemas—up from 93 additions in
2013—despite a downturn at the box office. The 2014 CAC Revenue
Report lists the leading cinema sales categories in alphabetical order as
apparel, auto, broadcast TV, business and consumer services, cable TV,
cell phones/devices, digital media, entertainment and amusements, insurance (auto/home), and travel/tourism. The same report cites new activity
coming mostly from a range of sectors, including personal care, business
services, digital media, energy, Internet, retail, toys and games, transportation, and utilities categories.
Some brands, however, tend to target more specific demographics and
are better served by niche providers. That’s precisely the specialty of Spotlight Cinema Networks, according to company president Michael Sakin.
“Our whole concept is to be a niche vertical player in cinema,” says
Sakin. “We already had a vibrant art-house world and we started seeing a
new crop of very upscale theaters opening across the country, selling food
and alcoholic beverages, and there’s a different demographic that goes to
them. We’re talking about 25- to 49-year-olds that are college educated,
and there are advertisers that want to have their commercials in front
of those eyeballs—and that might not necessarily be part of NCM and
Screenvision’s audience. We started Spotlight looking to appeal to that
niche, upscale moviegoer.” Brands have responded to Spotlight’s calling.
The company currently maintains a variety of high-end clients, such as
Porsche in the automotive category, the Italian beer Peroni, and newer
tech players like Airbnb.
Opportunities abound for cinema advertising in both the short
and long term. “From a pure evolution of technology and the speed of
innovation, peppering in the box office and fragmentation, it’s a super
exciting time,” says Screenvision’s John McCauley. “We’re at the cusp of
some real change in the business and we’re excited to be here and bring
advertisers on screen to get a tremendous impact with their audience.
We’re also trying to innovate and be current and bring some solutions
that add to the impact of on-screen.” n
SEPTEMBER 5, 2015 BOXOFFICE
9/3/15 11:32 AM
BXIn
32 AM
STRAIGHT OUTTA COMPTON
TOP 10 GROSSING FILMS IN NORTH AMERICA
TITLE
(Distributor)
Weekend of Aug. 28–Aug. 30, 2015
WEEKEND
GROSS
(U.S. Dollars)
LOCATION LOCATION CUMULATIVE
COUNT AVERAGE
GROSS
1 STRAIGHT OUTTA COMPTON (Warner Bros.)
$13,133,560
3,142
2 WAR ROOM (Sony)
$11,351,389
1,135
3 MISSION: IMPOSSIBLE - ROGUE NATION (paramount)
$8,155,581
3,095
$2,635 $170,242,111
4 NO ESCAPE (Weinstein Company)
$8,111,264
3,355
$2,418
$10,172,124
5 SINISTER 2 (Focus)
$4,665,341
2,799
$1,667
$18,526,943
6 THE MAN FROM U.N.C.L.E. (Warner Bros.)
$4,431,136
2,706
$1,638
$34,142,762
7 HITMAN: AGENT 47 (Fox)
$4,224,446
3,273
$1,291
$15,645,177
8 ANT-MAN (Disney)
$3,073,116
1,690
$1,818 $169,205,642
9 JURASSIC WORLD (Universal)
$3,010,770
1,239
$2,430 $642,978,555
10 THE GIFT (STX)
$3,004,313
1,934
$1,553
TOP 10 GROSSING FILMS IN UNITED KINGDOM
TITLE
(Distributor)
$4,180 $134,019,735
$10,001
Weekend of Aug. 28–Aug. 30, 2015
WEEKEND
GROSS
$11,351,389
$35,830,756
(U.S. Dollars)
LOCATION LOCATION CUMULATIVE
COUNT AVERAGE
GROSS
1 STRAIGHT OUTTA COMPTON (Universal)
$3,812,725
429
$13,563
$3,812,725
2 INSIDE OUT (Disney)
$1,830,035
594
$4,702
$51,460,369
3 HITMAN: AGENT 47 (Fox)
$1,467,276
451
$4,963
$1,467,276
4 MISSION: IMPOSSIBLE ROGUE NATION (Paramount)
$1,359,599
426
$4,872
$28,512,307
5 PIXELS (Sony)
$1,014,487
516
$3,000
$9,821,932
6 THE MAN FROM U.N.C.L.E. (Warner Bros.)
$1,004,828
466
$3,290
$7,661,642
7 SINISTER 2 (eOne Films)
$869,657
416
$3,191
$3,746,472
8 PAPER TOWNS (Fox)
$691,283
495
$2,130
$5,197,486
9 MINIONS (Universal)
$539,137
491
$1,675
$69,016,265
10 45 YEARS (Curzon Artificial Eye)
$505,461
68
$11,344
$505,461
NORTH AMERICAN GROSSES FOR INDIAN FILMS
as of Aug 28, 2015
(U.S. Dollars)
TITLE (Distributor)
BANGISTAN (Eros)
BAJRANGI BHAIJAAN (Eros)
SEPTEMBER 5, 2015 BOXOFFICE
BXIndia_Sept5.indd 3
GROSS
FACEBOOK & TWITTER TRACKING FOR INDIAN FILMS
Weekend of Aug. 28–Aug. 30, 2015, 2015
FACEBOOK “LIKES”
LOCATION COUNT
$48,694
41
$8,004,589
257
TITLE (Distributor)
BAJRANGI BHAIJAAN (Eros)
NEW
42,139
TOTAL
TWEETS
2,639,166
846
25
9/3/15 11:32 AM
WORLD CINEMA
Date Of
Release
Country/
Language
August 26, 2015
Movie/Genre
Cast
Director
First Weekend
France (Tamil/French/ Dheepan (Crome/
English)
Drama)
Jesuthasan
Antonythasan,
Kalieaswari Srinivasan,
Claudine Vinasithamby
Jacques Audiard
Opened at 905 theatres with
the screen average of $6,409
Total: $58,00,411
August 27, 2015
South Korea (Korean)
Opiseu - Office
(Thriller/Drama)
Bae Sung-Woo, Park
Sung-Woong,
Ko Ah-Sung
Hong Won-Chan
Opened at 521 theatres with
the screen average of $7,487
Total: $39,00,489
August 27, 2015
Brazil (Portuguese)
Que Horas Ela Volta?
- the Second Mother
(Drama)
Regina Casé,
Helena Albergaria,
Michel Joelsas
Anna Muylaert
Opened at 496 theatres with
the screen average of $7,462
Total: $37,01,109
August 28 2015
Spain (Spanish/
English/French)
Un Día Perfecto - A
Perfect Day (Drama)
Benicio Del Toro, Tim
Robbins, Olga Kurylenko
Fernando León de
Aranoa
Opened at 229 theatres with
the screen average of $6,463
Total: $14,79,976
August 29, 2015
Japan (Japanese)
Romansu - Round Trip
Heart (Romance)
Yuko Oshima, Koji
Ookura, Yoshimi Nozaki
Yuki Tanada
Opened at 251 theatres with
the screen average of $2635
Total: $6,61,508
For more cinema news please log on to www.boxofficeindia.co.in
SYNOPSIS
The civil war is ending in
Kim Byeong-Gook is a
Val spends 13 years working
A group of aid workers try to
Hachiko Hojo is a young
Sri Lanka, and defeat is
reliable worker who one
as a nanny in Sao Paulo
remove a corpse from a well
train attendant, selling
near. Tamil freedom fighter,
day kills his family and
but she lives with the guilt
in an armed conflict zone.
items on a cart. She’s
Dheepan, flees, taking with
disappears. Detective
of leaving her daughter
The body was thrown into
good at her job but lacks
him two strangers – a woman
Jong-Hoon investigates the
Jessica in a small town,
the well to contaminate the
self-confidence. One day,
and a little girl. He is now
murder and interrogates Kim
to be raised by relatives.
water of the local population.
she meets a movie producer.
a caretaker of a housing
Byeong-Gook’s co-workers.
When Jessica plans to go to
But circumstances soon
They decide to visit various
block but old wounds reopen
CCTV footage shows
college, she arrives in Sao
turn a simple task into
tourist attractions, making
and Dheepan is forced
Byeong-Gook returning to
Paulo to take an entrance
an impossible mission.
Hachiko Hojo look back on
to protect his ‘family’.
work after the murders but
exam. Everyone’s worlds turn
nothing adds up. Everybody
topsy-turvy.
her life along the way.
in the office is anxious.
– Compiled by Rohini Nag
26
5 September 2015
Box Office India
OCTOBER 7–18, 2015
LONDON, UK
WHAT’S IT ALL ABOUT?
Launched in 1933, the BFI London Film
Festival continues to build on its film
heritage with its 59th edition. As Britain’s
leading film event and one of the world’s
oldest film festivals, the event provides a
platform for films seeking global success.
It is also known to promote the careers of
several British and international filmmakers.
The festival awards lottery funding for
film productions, distribution, education,
audience development and market
intelligence and research.
This year, the festival will screen 238
fiction and documentary features, including
16 World Premieres, 8 International
Premieres, 40 European Premieres and 11
Archive films including 5 Restoration World
Premieres. There will also be screenings
of 182 live-action and animated shorts.
Apart from screening, the fest will also
host interviews, screen talks, Q&As and a
new programme called Industry Talks: LFF
Connects.
An upcoming 2015
British drama film,
Suffragette is directed by
Sarah Gavron and written
by Abi Morgan. The film
centres on early members
of the British women’s
suffrage movement of the
late 19th and early 20th
centuries. The film stars
Carey Mulligan, Helena
Bonham Carter, Meryl
Streep, Ben Whishaw,
Aligarh
Brendan Gleeson and
Anne-Marie Duff.
Centrepiece Gala Supported by the Mayor
of London
The Lady In The Van
Adapted by Alan Bennett from his 1999 hit
West End play of the same name, The Lady
In The Van has been directed by Nicholas
Hytner and stars Maggie Smith and Alex
Jennings. The film tells the story of elderly
woman Mary Shepherd (Maggie Smith),
who lived in a battered car on the driveway
of writer Alan Bennett (Alex Jennings) for
15 years.
INDIAN CONNECT
This year, after becoming part of the
Busan Film Festival, Hansal Mehta’s film
Aligarh featuring Rajkummar Rao and
Manoj Bajpayee, has been selected for
this prestigious festival too. The film, based
on real events in Uttar Pradesh, is about
an unlikely but deep friendship between a
college professor and a young journalist.
Last year, five Indian films – Labour
Of Love, Titli, Margarita With A Straw,
Court and short documentary Noon Day
Dispensary – were part of this festival.
Debate Gala
The Program
•Aligarh
•The Apostate
•Salaam Bombay!
•Arianna
•The Club
WATCH OUT FOR
DOCUMENTARIES
Opening Film
Suffragette
•He Named Me Malala
•Belonging
Thrill Gala
•Beeba Boys
•Assassination
•Retribution
•Censored Voices
•The Fear of 13
•Frame by Frame
•Francofonia
•In Jackson Heights
Closing Night Film
Steve Jobs
Danny Boyle’s directorial, Steve Jobs,
features the dramatised account of events
surrounding the Apple co-founder’s launch
of various iconic products beginning
with the iMac in 1998. Starring Michael
Fassbender, Kate Winslet, Seth Rogan
and Jeff Daniels, the film goes behind the
scenes of the digital revolution and paints
an intimate portrait of Jobs and his work.
AWARDS AND CATEGORIES
The fest will hand out various awards
in categories such as Best Film Award
in Official Competition; the Sutherland
Award in the First Feature Competition;
and the Grierson Award in Documentary
Competition. This year, there is also the
newly introduced Short Film Award,
presented to one of a shortlist of 12 films
selected from across the programme.
– Compiled by Swagata Panjari
TOUR GUIDE
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Hotels
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•Last three months’ personal bank statement
•Biometric information
NOVOTEL LONDON
GREENWICH
Mumbai – Kuwait – London – Kuwait – Mumbai
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Mumbai – Newark - Calgary – Frankfurt – Mumbai
BOM ÚAMDÚAUH ÚLHR
LHRÚAUH ÚBOM
Fare : `42, 928
5 September 2015
Box Office India
173-185 Greenwich High Road,
London SE10 8JA, United Kingdom
+44 20 7660 0682
THE MAY FAIR HOTEL
Stratton St,
London W1J 8LT, United Kingdom
+44 20 7769 4041
27
AWAY & BEYOND
BIF London Film Festival
HUNT IS OVER
Sunny Side Up
The province of Carinthia in Austria has clear lakes, majestic mountains and
sunny weather, making it a postcard-perfect destination for film shoots
Q ROHINI NAG
S
ituated amid unique scenery
with high peaks and rolling hills,
Austria’s southernmost province,
Carinthia, offers an impressive region for
filming, with more than 1,000 crystalclear lakes and a gentle, fascinating
mountain world on the sunny, southern
side of the Alps. Carinthia borders the
states of Salzburg, Styria and East Tyrol.
Moreover, it shares a 170 km border with
Slovenia and a 109 km border with Italy.
The southern flair and uniqueness of the
Alps-Adriatic region, at the fascinating
intersection of three cultures, are visible
in the culture and architecture. Carinthia
gets the most sunshine hours per year,
making it a great destination for filming.
Few regions in Europe match the
rugged beauty of Carinthia, and you’ll
find that travelling through it is often
a serpentine journey into valleys and
natural conduits. Carinthia can also,
at times, seem larger than life with its
spectacularly high peaks, gouged valleys,
glistening lakes and the flamboyant show
of opulence in the capital, Klagenfurt.
Carinthia’s deep medieval heritage
28
is another attraction – celebrated in
picturesque walled villages such as
Friesach and Gmünd, and impressive
castles such as the hilltop fortress of
Hochosterwitz. Many of the towns and
villages nestled in Carinthia’s rolling
hills hold an annual summer festival,
with roving performers coming from
neighbouring Italy and Slovenia to take
part alongside the locals.
CLIMATE
Carinthia has a continental climate,
with hot and moderately wet summers
and long harsh winters. The average
amount of sunshine hours is the highest
in Austria. In autumn and winter,
temperature inversion often dominates
the climate, characterised by air stillness,
a dense fog covering the frosty valleys
and trapping pollution to form smog,
while mild sunny weather is recorded
higher up in the foothills and mountains.
FILMING IN CARINTHIA
The Carinthia Film Commission (CFC) has
been instructed to provide film funding
on behalf of the province of Carinthia,
and is available to filmmakers as an
advisory organisation. A maximum of 20
per cent of the total fundable production
costs can be availed. This funding can
be cumulative with funding from other
(Austrian or foreign) funding bodies.
It should be borne in mind that the
proportion of the fundable production
costs that is funded from all public
resources must not exceed 50 per cent.
For cross-border productions financed
by more than one member state and
involving producers from more than one
member state, the total proportion of
the production costs funded by public
resources can amount to up to 60 per
cent of the fundable production budget.
From the aspect of displaying the
cultural and regional variety of Europe,
with the new focus of its film funding,
the province of Carinthia is primarily
pursuing the objective of funding cinema
and television productions in which
the regional culture and the existing
creative potential are expressed as
cultural products. A further aim is to
Box Office India
5 September 2015
expand Carinthia as a film location,
in the hope of making a contribution
towards enhancing the market share of
European films, as well as to the positive
development of the economy and to
increasing employment.
These guidelines thus regulate on
one hand the objectives and tasks of
the CFC, and on the other hand, the
procedure for granting film funding in the
following three areas:
•Project Development
•Production
•Distribution and Promotion
CO-PRODUCTIONS
A production counts as a coproduction when it comprises financial,
technical and artistic contributions
from different producers. One of the
production partners must be eligible
to apply. The artistic and technical
contribution of the production
partners must correspond to his/
her financial contribution.
In the case of co-productions, the
granting of funding in accordance with
these guidelines may – insofar as this
is necessary for the project in question
due to the provisions of the other
funding institutions – be associated
with requirements in the funding
agreement that:
•the revenues from all forms of
exploitation are divided between the
production partners according to their
financial involvement.
•in the event of exploitation regions and
territories being delineated, the market
size and market value of the film in
question are taken into account.
•the production partners have amicably
regulated the world distribution
•the distribution agreements provide for
the option of termination.
Fact File
Country:Austria
Area:
9,535.97 sq km
Population:5,57,371
Currency:
1
Euro (EUR) = 72.49
Indian Rupee (INR)
Films Shot In Carinthia
Point Break (2015)
Shining Through (1992)
The Living Daylights (1987)
The Lady Vanishes (1979)
Julia (1974)
5 Branded Women (1960)
5 September 2015
Box Office India
29
LIGHTS CAMERA ACTION
Tamasha
T
Jazbaa
Dangal
T
he dubbing for UTV Motion Pictures and Nadiadwala Grandson Entertainment’s
Tamasha is underway at Sunny Super Sound. Directed by Imtiaz Ali, the film
features Ranbir Kapoor and Deepika Padukone in the lead.
T
he first shooting schedule of Disney’s Dangal will commence in Punjab shortly.
Directed by Nitesh Tiwari, the film stars Aamir Khan.
Ghayal Once Again
D
ubbing for Sunny Sounds’ Ghayal Once Again is underway at Sunny Super Sound.
Produced and directed by Sunny Deol, the film features Sunny Deol, Soha Ali
Khan, Aanchal Munjal, Nadira Babbar, Narendra Jha and Abhilash Kumar.
Baar Baar Dekho
T
he first shooting schedule of Excel Entertainment and Dharma Productions’ Baar
Baar Dekho recently commenced in London. Produced by Karan Johar, Hiroo
Yash Johar, Farhan Akhtar and Ritesh Sidwani, and directed by Nitya Mehra, the film
features Katrina Kaif and Sidharth Malhotra in the lead.
Shaandaar
T
he Digital Intermediate and VFX of Phantom Films and Dharma Productions’
Shaandaar are in progress at Prasad Labs. Produced by Anurag Kashyap, Vikas
Bahl, Madhu Mantena, Vikramaditya Motwane and Karan Johar, and directed by Vikas
Bahl, the film features Shahid Kapoor and Alia Bhatt in the lead.
30
he dubbing of Essel Vision
Productions and White Feather
Films’ Jazbaa recently concluded at
Sunny Super Sound. Directed by Sanjay
Gupta, the film features Aishwarya
Rai Bachchan, Irrfan, Shabana Azmi,
Anupam Kher, Chandan Roy Sanyal, Atul
Kulkarni and Siddhanth Kapoor.
Sultan
T
he first shooting schedule of Yash
Raj Films’ Sultan will commence in
Punjab in November. Produced by Aditya
Chopra and directed by Ali Abbas Zafar,
the film stars Salman Khan.
Yeh Laal
Rang
T
he first shooting schedule of
Krian Media’s Yeh Laal Rang
is underway in Haryana. Produced
by Raj Malik and directed by Syed
Ahmad Afzal, the film features
Randeep Hooda and Akshay Oberoi.
Box Office India
5 September 2015
Singh Is Bliing
R
ati Agnihotri is dubbing for Grazing Goat Pictures
and Pen Movies’ Singh Is Bliing at Sunny Super
Sound. Produced by Ashvini Yardi, Dhaval Jayantilal Gada,
Kushal Kantilal Gada and Reshmaa Kadakia, the film also features Akshay Kumar, Amy
Jackson and Lara Dutta.
Dilwale
A
nother shooting schedule of Red
Chillies Entertainment and Rohit
Shetty Productions’ Dilwale recently
concluded in Iceland. Directed by Rohit
Shetty, the film features Kajol, Shah Rukh
Khan, Varun Dhawan, Kriti Sanon, Varun
Sharma, Boman Irani, Vinod Khanna,
Kabir Bedi, Sanjay Mishra, Johnny Lever,
Chetna Pandey, Mukesh Tiwari, Murli
Sharma and Jahangir Khan.
Music: Pritam.
Baaghi
A
nother shooting schedule of UTV Motion Pictures and Nadiadwala Grandson
Entertainment’s Baaghi will commence in Kochi shortly. Produced by Sajid
Nadiadwala and directed by Sabbir Khan, the film features Tiger Shroff and Shraddha
Kapoor in the lead.
Force 2
Ramsingh
Charlie
T
he first shooting schedule of Sunshine Pictures and JA Entertainments’ Force 2
will commence in Mumbai in September. Produced by Vipul A Shah and Sheel
Kumar, and directed by Abhinay Deo, the film stars John Abraham, Tahir Bhasin and
Sonakshi Sinha.
T
he edit of The Goodfellas Co’s
Ramsingh Charlie is in progress
at Pixel D Studios. Produced by Nitin
Kakkar, Umesh Pawar and Sharib
Hashmi, and directed by Nitin Kakkar,
the film features Kumud Mishra and
Divya Dutta in lead roles.
Love Ke Funday
T
he Digital Intermediate of FRV Production Film’s Love Ke Funday is in progress at
Pixel D Studios. Directed by Indravesh Yogee, the film features newcomers.
Vol. 6
st, 2015
22 Augu
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29 Augu
Vol. 6
2015
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PAGE 18
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PAGE 9
>>
REGIONAL TIMES
BENGALI
Last Week
This Week
CHITRA
JOMER RAJA DILO BOR
SYNOPSIS
August 28, 2015
September 4, 2015
Banner: Mahaveer Productions
Producer: Mahaveer Productions
Director: Abhigyan Mukherjee
Cast: Pujarini Ghosh, Neel
Bhattacharya,
Sushmita Bhattacharya
Banner: Pramod Films
Producers: Prateek Chakravorty,
Anushree Mehta
Director: Abir Sengupta
Cast: Abir Chatterjee, Payel Sarkar,
Rajatava Dutta
Ria is a feminist and thinks
that men have no soul. For
obvious reasons she doesn’t
want to get married, but
destiny makes her meet her
perfect match, Deb. On the
morning after their wedding,
Ria finds Deb dead. She soon
finds her way to Yamlok to get
her husband back.
Remark: Interesting plot!
Verdict: Average
TELUGU
Last Week
This Week
BEST ACTORS
BALE BALE
MAGADIVOY
August 28, 2015
September 4, 2015
Banner: Maruthi Talkies
Producer: Kumar Annam Reddy
Director: Arun Pawar
Cast: Ananda Krishna Nandoo,
Madhuurima Banerjee,
Shamili Sounderajan
Banner: Geetha Arts, UV Creations
Producer: Geetha Arts,
UV Creations
Director: Maruthi Dasari
Cast: Nani, Lavanya Tripathi,
Murli Sharma
Verdict: Average
PUNJABI
Last Week
This Week
FARAAR
MYSELF PENDU
August 28, 2015
September 4, 2015
Banner: Sippy Grewal Productions
Producers: Sippy Grewal,
Nitin Talwar
Director: Baljit Singh Deo
Cast: Gippy Grewal, Kainaat Arora,
Jaggi Singh
Banner: Music Box Media
Entertainment
Producer: Surinder Rihal
Director: Surinder Rihal
Cast: Preet Harpal, Sayali Bhagat,
Jaswinder Bhalla
Verdict: Good
MARATHI
This Week
This Week
HIGHWAY EK SELFIE
AARPAR
TU HI RE
September 4, 2015
August 28, 2015
Banner: Arbhaat Films,
Kharapoos Films
Producer: Vinay Vaman Ganu
Director: Umesh Kulkarni
Cast: Girish Kulkarni,
Vidyadhar Joshi, Renuka Shahane
Verdict: Good
Banner: Karan Entertainment,
Indian Film Studios, Dreaming
Twenty Four Seven Entertainment
Producers: Utpal Acharya, Mrudula
Padval Oza, Sheetal Manere, Ashish
Wagh, Deepak Rane
Director: Sanjay Jadhav
Cast: Swwapnil Joshi, Sai
Tamhankar, Tejaswini Pandit
– Compiled by Rohini Nag
32
Box Office India
5 September 2015
FILM
(DISTRIBUTOR)
WEEKS COLLECTIONS THEATRES
PHANTOM
(UTV MOTION PICTURES)
ALL IS WELL
(PHANTOM FILMS/RELIANCE ENT.)
BROTHERS
(SHRINGAR FILMS)
1
14,00,00,000
601
TOTAL
COLLECTIONS
14,00,00,000
2
12,33,000
101
5,70,33,000
3
8,92,000
52
23,32,92,000
EAST PUNJAB
FILM
(DISTRIBUTOR)
WEEKS COLLECTIONS THEATRES
PHANTOM
(UTV MOTION PICTURES)
ALL IS WELL
(PHANTOM FILMS/RELIANCE ENT.)
BROTHERS
(NARSIMHA ENTERPRISES)
CI
FILM
(DISTRIBUTOR)
FILM
(DISTRIBUTOR)
5,17,50,000
115
2
3,81,000
19
1,40,81,000
3
7,08,000
17
8,98,08,000
WEEKS COLLECTIONS THEATRES
PHANTOM
(UTV MOTION PICTURES)
ALL IS WELL
(PHANTOM FILMS/RELIANCE ENT.)
BROTHERS
(AKSHAR ENTERPRISES)
NIZAM-AP
1
TOTAL
COLLECTIONS
5,17,50,000
1
1,91,50,000
131
TOTAL
COLLECTIONS
1,91,50,000
2
1,77,000
12
62,27,000
3
1,91,500
8
3,25,91,500
WEEKS COLLECTIONS THEATRES
PHANTOM
(UTV MOTION PICTURES)
ALL IS WELL
(PHANTOM FILMS/RELIANCE ENT.)
BROTHERS
(INDRA FILMS)
138
1
2,58,00,000
2
1,56,000
7
60,56,000
3
1,16,000
5
3,62,16,000
WEST BENGAL
FILM
(DISTRIBUTOR)
WEEKS COLLECTIONS THEATRES
PHANTOM
(UTV MOTION PICTURES)
ALL IS WELL
(PHANTOM FILMS/RELIANCE ENT.)
BROTHERS
(SHREE VENKATESH FILMS)
ASSAM
FILM
(DISTRIBUTOR)
1
1,68,50,000
148
TOTAL
COLLECTIONS
1,68,50,000
2
1,92,000
10
71,92,000
3
5,10,000
24
3,63,10,000
WEEKS COLLECTIONS THEATRES
PHANTOM
(MD FILMS 1995)
ALL IS WELL
(PHANTOM FILMS/RELIANCE ENT.)
BROTHERS
(GOENKA ENTERPRISES)
TOTAL
COLLECTIONS
2,58,00,000
1
43,50,000
92
TOTAL
COLLECTIONS
43,50,000
2
*
*
16,00,000
3
*
*
94,00,000
DELHI - UP
FILM
(DISTRIBUTOR)
PHANTOM
(UTV MOTION PICTURES)
ALL IS WELL
(PHANTOM FILMS/RELIANCE ENT.)
BROTHERS
(FOX STAR STUDIOS)
CP
FILM
(DISTRIBUTOR)
PHANTOM
(UTV MOTION PICTURES)
ALL IS WELL
(APEX ENTERTAINMENT)
BROTHERS
(A A FILMS)
RAJASTHAN
FILM
(DISTRIBUTOR)
PHANTOM
(UTV MOTION PICTURES)
ALL IS WELL
(PHANTOM FILMS/RELIANCE ENT.)
BROTHERS
(MARUDHAR ENTERTAINMENT)
MYSORE
FILM
(DISTRIBUTOR)
PHANTOM
(UTV MOTION PICTURES)
ALL IS WELL
(PHANTOM FILMS/RELIANCE ENT.)
BROTHERS
(GOLDIE FILMS)
FILM
(DISTRIBUTOR)
PHANTOM
(UTV MOTION PICTURES)
ALL IS WELL
(PHANTOM FILMS/RELIANCE ENT.)
BROTHERS
(AUM MOVIEZ)
ORISSA
FILM
(DISTRIBUTOR)
PHANTOM
(SOURABH ENTERPRISES)
ALL IS WELL
(JWALAMUKHI FILMS)
BROTHERS
(AUM MOVIEZ)
mber
20 Septe
WEEKS COLLECTIONS THEATRES
PHANTOM
(UTV MOTION PICTURES)
ALL IS WELL
(UTKARSH)
BROTHERS
(SPI MOVIES)
5 September 2015
1
55,00,000
108
TOTAL
COLLECTIONS
55,00,000
2013
Premier
Film
Trade
Premier
Film
Trade
Vol. 2
Issue
Box Office India
1,74,70,000
20
3,38,40,000
3
16,35,000
46
17,35,35,000
WEEKS COLLECTIONS THEATRES
141
2014
Vol. 6
Issue
TOTAL
COLLECTIONS
1,98,50,000
1
1,98,50,000
2
2,49,000
2
93,49,000
3
1,76,000
12
4,38,76,000
WEEKS COLLECTIONS THEATRES
1
2,41,00,000
92
TOTAL
COLLECTIONS
2,41,00,000
2
2,34,000
15
88,34,000
3
4,92,000
13
4,89,92,000
WEEKS COLLECTIONS THEATRES
1
2,74,00,000
76
TOTAL
COLLECTIONS
2,74,00,000
2
1,38,000
5
51,38,000
3
84,000
1
3,07,84,000
WEEKS COLLECTIONS THEATRES
136
TOTAL
COLLECTIONS
90,00,000
1
90,00,000
2
90,000
3
38,90,000
3
1,83,000
6
2,38,83,000
WEEKS COLLECTIONS THEATRES
1
50,50,000
75
TOTAL
COLLECTIONS
50,50,000
2
39,000
1
16,89,000
3
*
*
1,22,00,000
150
2 `
at your fingertips.
2012
150
1 Rs
ST
5
8,40,000
Magazine
2011
SPECIAL
ISSUE
1,70,000
2
2014
Sircar
Amitabh
Ali, Rohit
Imtiaz
2013
2010
3
216
150
2 `
ass
with
1
18,45,000
Issue
ercl
in conversation
Shoojit
and
Bachchan
Shetty
Mast
ANNIVERSARY
3
Vol. 5
Magazine
18 September
45,000
10,46,00,000
21 September
India’s
India’s
2
1
TOTAL
COLLECTIONS
10,46,00,000
BIHAR & JHARKHAND
TNK
FILM
(DISTRIBUTOR)
WEEKS COLLECTIONS THEATRES
2010
Log on to
www.boxofficeindia.co.in
33
BOX OFFICE COLLECTION
MUMBAI
BOX OFFICE COLLECTION
FILM
PRODUCER
WEEK
NETT. LAST WEEK THEATRES
TOTAL NETT.
Phantom
Sajid Nadiadwala, Siddharth Roy Kapur 1
45,34,00,000
2069
45,34,00,000
Baankey Ki Crazy Baraat
Anita Mani 1
82,93,580
248
82,93,580
Kaun Kitney Paani Mein
One Drop Foundation, Eleeanora Images Pvt Ltd 1
28,13,698
206
28,13,698
A Modern Day Classic Chehere
Blooming Entertainment (India) Pvt. Ltd. 1
10,000
1
10,000
Gauraiya
B.R. Films Vision
1
10,000
1
10,000
All Is Well
Bhushan Kumar, Krishan Kumar, Varun Bajaj 2
37,74,000
198
15,67,74,000
Manjhi - The Mountain Man
Maya Movies, Viacom 18 Motion Pictures, NFDC 2
2,68,47,523
476
11,92,47,523
Fantastic Four*
Gregory Goodman, Hutch Parker, Robert Kulzer
2
17,00,000
75
6,42,00,000
Brothers
Hiroo Yash Johar, Karan Johar, Endemol India 3
51,57,500
185
78,83,57,500
Gour Hari Dastaan
Sachin Khanolkar, Bindiya Khanolkar 3
1,35,926
13
24,51,705
Bangistan
Farhan Akhtar, Ritesh Sidhwani
4
1,83,989
19
5,48,18,626
Drishyam
Kumar Mangat Pathak, Abhishek Pathak, Ajit Andhare 5
1,17,15,000
412
74,62,15,000
Masaan
Manish Mundra, Guneet Monga, Shaan Vyas, Vikas Bahl,
Vikramaditya Motwane, Anurag Kashyap
6
1,16,548
12
3,64,80,621
Bajrangi Bhaijaan
Salma Khan, Salman Khan, Rockline Venkatesh 7
41,02,287
86
3,16,53,02,287
Bahubali (Hindi)
Shobu Yarlagadda, Prasad Devineni
8
61,61,729
130
1,10,34,61,729
*Including all formats and dubbed language versions
PVR CINEMAX
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
444 screens
474
NO
FILMS
1
2
3
4
5
6
7
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
BROTHERS
DRISHYAM
BAJRANGI BHAIJAAN
BAHUBALI (HINDI)
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
6450
75
1444
83
393
228
290
582399
1992
64781
3560
21919
13649
17857
8,31,09,402
2,54,612
87,07,139
5,27,235
29,02,221
19,76,571
21,87,754
11,63,92,070
3,61,782
1,07,01,296
7,09,210
40,35,367
26,96,527
31,18,046
11,63,92,070
2,99,08,336
4,55,62,222
14,67,17,817
18,15,43,095
71,78,88,757
28,26,28,587
1
2
2
3
5
7
8
INOX
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
372 screens
NO
FILMS
1
2
3
4
5
6
7
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
BROTHERS
DRISHYAM
BAJRANGI BHAIJAAN
BAHUBALI (HINDI)
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
6323
100
1025
113
407
126
252
497532
3561
39064
2532
22143
6149
15319
6,42,26,684
3,91,467
48,46,706
2,93,258
28,95,714
7,55,698
17,72,048
8,70,44,906
5,03,548
61,03,793
3,85,010
38,44,313
9,67,497
23,48,771
8,70,44,906
2,18,16,193
2,75,31,633
11,29,48,755
13,55,94,750
54,67,02,082
21,98,26,222
1
2
2
3
5
7
8
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
349 screens
FILMS
1
2
3
4
5
6
7
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
BROTHERS
DRISHYAM
BAJRANGI BHAIJAAN
BAHUBALI (HINDI)
34
(Collection from 96 stations)
SHOWS
CARNIVAL / BIG / GLITZ
NO
(Collection from 106 stations)
SHOWS
(Collection from 123 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
5353
166
815
56
167
46
174
401276
4498
28141
1713
7559
2123
8384
4,03,28,971
4,57,244
29,47,805
1,74,441
8,97,456
2,00,455
8,90,140
5,85,93,588
6,72,440
36,49,820
2,75,930
12,33,266
2,78,476
12,31,382
5,85,93,588
1,69,90,667
1,40,82,018
8,75,56,512
-
1
2
2
3
5
7
8
Box Office India
5 September 2015
FUN CINEMAS
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
82 screens
NO
FILMS
1
2
3
4
5
6
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
BROTHERS
DRISHYAM
BAHUBALI (HINDI)
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
1383
14
338
14
35
47
122141
511
15736
751
1912
2818
1,51,17,928
75,148
18,30,546
80,660
2,30,342
2,70,635
2,12,72,764
91,209
22,07,168
1,01,531
3,14,085
3,73,079
2,12,72,764
48,17,652
89,62,806
3,10,12,873
2,96,29,834
4,16,69,798
1
2
2
3
5
8
SRS CINEMAS
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
54 screens
NO
FILMS
1
PHANTOM
(Collection from 24 stations)
SHOWS
(Collection from 19 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
1373
107848
1,15,17,126
1,77,14,662
1,77,14,662
1
2
MANJHI - THE MOUNTAIN MAN
127
5736
5,72,775
9,12,044
43,73,322
2
3
BROTHERS
56
1391
1,15,206
1,95,348
2,14,80,736
3
4
DRISHYAM
7
681
56,793
1,05,968
2,18,53,326
5
5
BAJRANGI BHAIJAAN
56
3684
4,26,453
6,87,804
9,68,41,678
7
6
BAHUBALI (HINDI)
14
1297
1,41,562
2,30,511
3,83,95,125
8
WAVE INC.
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
35 screens
NO
FILMS
1
2
3
4
5
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
BROTHERS
DRISHYAM
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
931
21
196
42
21
103695
444
11772
1189
2362
-
1,80,83,000
52,300
13,79,196
1,71,950
2,84,202
1,80,83,000
54,65,896
55,47,447
2,14,76,711
2,19,06,994
1
2
2
3
5
CITY PRIDE
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
30 screens
NO
FILMS
1
PHANTOM
AUDIENCE
NETT
GROSS
GROSS TOTAL
404
43970
38,97,888
57,06,669
57,06,669
1
2
3
4
PHANTOM
MANJHI - THE MOUNTAIN MAN
DRISHYAM
BAJRANGI BHAIJAAN
1
2
3
4
5
6
7
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
BROTHERS
DRISHYAM
BAJRANGI BHAIJAAN
BAHUBALI (HINDI)
5 September 2015
Box Office India
(Collection from 11 stations)
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
553
70
28
28
42093
1544
796
437
31,58,434
1,51,756
78,242
32,523
-
31,58,434
3,91,041
44,88,076
1,64,37,171
1
2
5
7
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
29 screens
FILMS
1
SHOWS
DT CINEMAS
NO
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
31 screens
FILMS
(Collection from 10 stations)
SHOWS
MUKTA A2
NO
(Collection from 10 stations)
SHOWS
(Collection from 7 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
525
28
133
21
28
14
14
43406
741
5942
504
1439
806
523
84,88,641
1,65,424
12,39,429
1,10,043
3,37,502
2,21,097
1,43,863
1,14,08,167
2,31,524
13,21,063
1,52,428
4,70,897
3,09,971
2,01,400
1,14,08,167
35,30,935
56,97,464
1,32,45,736
2,03,93,633
6,36,02,644
2,53,67,469
1
2
2
3
5
7
8
35
BOX OFFICE COLLECTION
E-SQUARE
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
21 screens
NO
FILMS
1
2
3
4
5
PHANTOM
MANJHI - THE MOUNTAIN MAN
DRISHYAM
BAJRANGI BHAIJAAN
BAHUBALI (HINDI)
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
212
45
17
12
11
24213
2978
965
582
1024
26,65,286
3,29,318
1,33,235
64,966
1,10,367
39,58,750
4,87,950
1,95,470
96,530
1,63,320
39,58,750
11,52,320
86,80,610
2,25,96,598
1,51,04,064
1
2
5
7
8
MOVIE TIME
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
29 screens
NO
FILMS
1
2
3
4
5
6
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
BROTHERS
DRISHYAM
BAJRANGI BHAIJAAN
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
617
7
63
14
14
7
36018
323
1433
336
547
143
38,87,217
32,429
1,60,527
45,419
49,160
15,793
53,74,236
45,400
1,82,762
63,585
71,307
22,903
53,74,236
15,60,400
17,07,177
81,52,528
90,08,997
3,94,54,370
1
2
2
3
5
7
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
5 screens
FILMS
1
2
3
PHANTOM
MANJHI - THE MOUNTAIN MAN
BAJRANGI BHAIJAAN
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
119
28
14
9849
1329
968
15,13,415
2,04,715
1,52,501
-
15,13,415
6,03,234
1,26,72,566
1
2
7
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
10 screens
FILMS
1
2
3
4
5
6
PHANTOM
MANJHI - THE MOUNTAIN MAN
BROTHERS
DRISHYAM
BAJRANGI BHAIJAAN
BAHUBALI (HINDI)
Cinemas
NO
FILMS
1
2
3
4
5
6
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
BROTHERS
DRISHYAM
BAHUBALI (HINDI)
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
161
35
7
14
7
7
13915
2882
293
1360
572
599
19,18,860
3,77,664
44,286
1,93,998
43,968
86,400
31,98,100
3,77,664
73,810
1,93,998
73,280
1,44,000
31,98,100
15,03,542
42,68,340
68,94,478
2,01,37,214
89,03,110
1
2
3
5
7
8
MAXUS CINEMA
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
19 screens
1
2
3
4
5
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
DRISHYAM
BAHUBALI (HINDI)
36
(Collection from 4 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
247
23
70
20
9
12
11806
1320
2193
631
137
788
18,88,743
1,29,657
2,17,946
67,253
8,071
84,987
28,82,481
1,94,272
3,33,537
1,01,644
16,076
1,29,384
28,82,481
8,45,929
8,77,297
49,41,500
63,17,251
1,09,23,025
1
2
2
3
5
8
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
52 screens
FILMS
(Collection from 2 stations)
SHOWS
MIRAJ
NO
(Collection from 2 stations)
SHOWS
SPICE
NO
(Collection from 9 stations)
SHOWS
M2K CINEMAS
NO
(Collection from 9 stations)
SHOWS
(Collection from 20 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
1180
27
98
36
7
77771
782
3645
972
425
67,20,894
72,698
2,74,702
81,913
32,250
94,05,450
1,01,820
3,54,439
1,10,060
40,050
94,05,450
29,63,780
16,46,678
1,36,09,690
2,38,10,140
1
2
2
5
8
Box Office India
5 September 2015
IP CINEMAS
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
5 screens
NO
FILMS
1
2
3
4
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
BROTHERS
AUDIENCE
NETT
GROSS
GROSS TOTAL
175
7
14
14
18755
187
885
606
16,43,952
12,936
90,948
59,484
27,39,920
21,560
90,948
99,140
27,39,920
6,14,650
5,62,874
38,97,070
KT VISION
FILMS
1
2
PHANTOM
DRISHYAM
AUDIENCE
NETT
GROSS
GROSS TOTAL
56
3
2371
60
1,56,127
3,504
2,18,656
4,907
2,18,656
4,80,484
FILMS
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
BROTHERS
BAJRANGI BHAIJAAN
BAHUBALI (HINDI)
1
2
3
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
10895
111
843
75
670
1050
12,39,673
11,300
1,01,751
7,784
32,909
1,56,054
16,39,691
14,524
1,34,620
10120
46070
208340
16,39,691
3,54,740
5,45,430
20,82,660
1,43,63,873
56,67,224
1
2
2
3
7
8
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
3920
164
209
5,00,520
13,907
17,723
6,25,650
17,384
22,154
6,25,650
1,96,972
2,22,120
1
2
3
4
5
6
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
BROTHERS
DRISHYAM
BAHUBALI (HINDI)
AUDIENCE
NETT
GROSS
GROSS TOTAL
129
20
7
5
7
17
3231
390
124
108
312
529
3,39,108
47,452
16,355
11,078
41,809
62,714
4,23,886
61,750
22,180
13,848
56,630
84,848
4,23,886
6,81,674
92,536
29,10,222
40,13,696
95,14,360
1
2
3
4
5
PHANTOM
ALL IS WELL
DRISHYAM
BAJRANGI BHAIJAAN
BAHUBALI (HINDI)
5 September 2015
Box Office India
WEEK
1
2
2
3
5
7
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
19 screens
FILMS
1
2
2
(Collection from 2 stations)
SHOWS
CITY GOLD
NO
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
9 screens
FILMS
(Collection from 1 stations)
SHOWS
WIDE ANGLE
NO
(Collection from 5 stations)
213
9
28
7
10
19
5 screens
FILMS
1
5
SHOWS
CITY PULSE
NO
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
18 screens
NO
1
2
2
3
(Collection from 2 stations)
SHOWS
Q CINEMAS
1
2
3
4
5
6
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
8 screens
NO
(Collection from 2 stations)
SHOWS
(Collection from 5 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
239
37
25
16
20
17468
536
1114
639
611
15,86,365
53,284
1,22,178
59,579
57,524
21,88,758
74,110
1,68,320
83,420
80,460
21,88,758
-
WEEK
1
2
5
7
8
37
BOX OFFICE COLLECTION
STAR WORLD
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
12 screens
NO
FILMS
1
2
3
PHANTOM
MANJHI - THE MOUNTAIN MAN
BROTHERS
AUDIENCE
NETT
GROSS
GROSS TOTAL
237
78
10
14031
2167
122
29,68,676
1,55,841
10,518
32,48,146
1,75,344
19,360
32,48,146
4,41,492
25,57,252
RAJHANS
FILMS
1
2
3
4
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
BAHUBALI (HINDI)
1
2
PHANTOM
MANJHI - THE MOUNTAIN MAN
NETT
GROSS
GROSS TOTAL
WEEK
452
48
16
13
43499
1652
516
810
39,18,726
1,56,531
47,885
79,176
47,74,584
1,75,786
64,448
1,10,310
47,74,584
20,70,301
3,20,278
2,23,42,481
1
2
2
8
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
AUDIENCE
NETT
GROSS
GROSS TOTAL
277
8
7243
110
8,01,857
8,512
9,17,764
8,512
9,17,764
1,26,640
1
2
3
4
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
BROTHERS
DRISHYAM
AUDIENCE
NETT
GROSS
GROSS TOTAL
49
14
35
28
421
341
268
91
32,171
38,598
13,668
4,641
42,100
50,180
26,800
5,460
1,86,420
2,92,460
9,53,332
1,10,498
1
2
3
4
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
DRISHYAM
AUDIENCE
NETT
GROSS
GROSS TOTAL
736
41
28
7
42081
1267
922
165
38,45,430
1,37,244
59,113
12,232
51,74,363
1,77,550
75,143
17,600
51,74,363
19,49,255
6,89,064
75,40,328
1
2
3
4
5
6
PHANTOM
ALL IS WELL
MANJHI - THE MOUNTAIN MAN
DRISHYAM
BAJRANGI BHAIJAAN
BAHUBALI (HINDI)
38
WEEK
1
2
2
5
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
7 screens
FILMS
2
2
3
5
(Collection from 22 stations)
SHOWS
CINEMARC
NO
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
35 screens
FILMS
1
2
(Collection from 6 stations)
SHOWS
GOLD DIGITAL
NO
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
16 screens
FILMS
(Collection from 8 stations)
SHOWS
ERA CINEMAS
NO
(Collection from 9 stations)
AUDIENCE
17 screens
FILMS
1
2
3
SHOWS
K SERA SERA
NO
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
20 screens
NO
(Collection from 5 stations)
SHOWS
(Collection from 2 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
152
14
35
37
14
14
13830
874
1714
2279
943
814
10,64,392
73,027
1,45,163
1,67,555
85,286
67,739
13,30,490
91,284
1,81,454
2,09,444
1,06,608
84,674
13,30,490
5,97,949
4,09,314
33,24,476
85,18,168
-
Box Office India
WEEK
1
2
2
5
7
8
5 September 2015
DEVI
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
3 screens
NO
FILMS
1
2
3
4
5
PHANTOM
MANJHI - THE MOUNTAIN MAN
BROTHERS
DRISHYAM
BAJRANGI BHAIJAAN
AUDIENCE
NETT
GROSS
GROSS TOTAL
50
16
7
6
7
3596
385
144
122
182
2,77,301
28,832
13,355
9,634
15,290
3,96,970
41,430
18,710
13,750
21,660
3,96,970
-
CINE PARK
FILMS
WEEK
1
2
3
5
7
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
6 screens
NO
(Collection from 1 stations)
SHOWS
SHOWS
AUDIENCE
NETT
(Collection from 2 stations)
GROSS
GROSS TOTAL
WEEK
1
PHANTOM
35
-
2,61,676
-
2,61,676
1
2
MANJHI - THE MOUNTAIN MAN
14
-
17,168
-
-
2
3
DRISHYAM
14
-
7,230
-
-
5
PICCADILY SQUARE
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
4 screens
NO
FILMS
1
2
PHANTOM
MANJHI - THE MOUNTAIN MAN
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
63
7
9758
421
12,29,756
51,098
-
12,29,756
5,22,735
PRIYA ENTERTAINMENTS
FILMS
1
2
3
PHANTOM
MANJHI - THE MOUNTAIN MAN
BROTHERS
AUDIENCE
NETT
GROSS
GROSS TOTAL
187
42
21
10280
1598
268
8,28,928
1,31,109
24,239
10,77,830
1,70,476
31,516
10,77,830
4,89,186
16,55,813
1
2
PHANTOM
MANJHI - THE MOUNTAIN MAN
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
7,66,591
89,881
-
7,66,591
2,25,772
FILMS
PHANTOM
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
18,42,085
-
18,42,085
1
2
3
PHANTOM
ALL IS WELL
BROTHERS
5 September 2015
Box Office India
WEEK
1
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
4 screens
FILMS
1
2
(Collection from 15 stations)
SSR RUPASI
NO
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
23 screens
NO
1
2
3
(Collection from 3 stations)
SHOWS
EYLEX FUN N FILMS
1
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
8 screens
FILMS
1
2
(Collection from 9 stations)
SHOWS
MOVIE WORLD
NO
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
11 screens
NO
(Collection from 2 stations)
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
31
6
17
2481
162
424
2,87,796
12,312
49,184
3,72,150
16,200
63,600
3,72,150
1,97,250
12,00,120
WEEK
1
2
3
39
BOX OFFICE COLLECTION
COSMOPLEX
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
5 screens
NO
FILMS
1
2
3
4
5
6
PHANTOM
ALL IS WELL
BROTHERS
DRISHYAM
BAJRANGI BHAIJAAN
BAHUBALI (HINDI)
TOP 3
NO
FILMS
1
2
PHANTOM
ALL IS WELL
AUDIENCE
NETT
GROSS
GROSS TOTAL
91
28
14
14
14
14
5788
739
176
264
168
638
8,06,252
1,00,243
22,996
27,571
19,198
81,230
10,07,819
1,25,304
28,746
34,464
23,998
1,01,538
10,07,819
4,79,038
12,72,512
-
TOP 3
7 screens
1
2
PHANTOM
ALL IS WELL
OM
NO
FILMS
1
2
PHANTOM
ALL IS WELL
AUDIENCE
NETT
GROSS
GROSS TOTAL
41
10
-
4,29,717
26,554
6,10,198
37,706
6,10,198
3,28,676
1
PHANTOM
AUDIENCE
NETT
GROSS
GROSS TOTAL
31
28
2715
705
2,87,168
76,544
3,96,970
1,05,550
3,96,970
-
OM
2 screens
1
PHANTOM
AUDIENCE
NETT
GROSS
GROSS TOTAL
31
24
2508
840
2,86,902
93,944
3,58,628
1,17,430
3,58,628
3,13,804
1
PHANTOM
40
1
2
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
32
1549
1,30,475
1,84,780
1,84,780
WEEK
1
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
(Collection from 5 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
147
13524
11,44,671
12,44,208
12,44,208
WEEK
1
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
5 screens
FILMS
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
REDROCK
NO
1
2
(Collection from 1 stations)
SHOWS
8 screens
FILMS
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
EOS CINEMAS
NO
1
2
(Collection from 1 stations)
SHOWS
2 screens
FILMS
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
BALAJI
NO
1
2
3
5
7
8
(Collection from 1 stations)
SHOWS
4 screens
FILMS
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
SEVEN SKY MULTIPLEX
NO
(Collection from 1 stations)
SHOWS
(Collection from 2 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
85
3059
1,74,081
5,05,030
5,05,030
Box Office India
WEEK
1
5 September 2015
SILVER CITY
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
10 screens
NO
FILMS
1
2
PHANTOM
MANJHI - THE MOUNTAIN MAN
M4U
OM
NO
FILMS
1
PHANTOM
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
17,14,036
2,82,565
-
17,14,036
11,02,899
M4U
2 screens
1
2
PHANTOM
MANJHI - THE MOUNTAIN MAN
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
51,744
-
51,744
SHOWS
AUDIENCE
NETT
GROSS
-
-
2,22,058
53,605
-
1
2
PHANTOM
MANJHI - THE MOUNTAIN MAN
1
2
PHANTOM
DRISHYAM
GROSS
GROSS TOTAL
-
-
3,93,330
1,19,905
-
3,93,330
2,80,351
1
2
PHANTOM
MANJHI - THE MOUNTAIN MAN
AUDIENCE
NETT
GROSS
GROSS TOTAL
68
6
3137
122
3,18,188
10,371
4,75,280
15,680
4,75,280
-
1
2
PHANTOM
MANJHI - THE MOUNTAIN MAN
ROLLING
OMREELS
NO
FILMS
1
2
PHANTOM
MANJHI - THE MOUNTAIN MAN
5 September 2015
Box Office India
1
2
WEEK
1
5
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
2,70,561
66,255
-
2,70,561
1,48,850
WEEK
1
2
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
2 screens
FILMS
WEEK
(Collection from 1 stations)
SHOWS
BMG CINEMA
NO
1
2
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
2 screens
FILMS
WEEK
(Collection from 1 stations)
NETT
PDR
NO
2,22,058
1,73,706
AUDIENCE
5 screens
FILMS
(Collection from 1 stations)
GROSS TOTAL
SHOWS
SM5
NO
1
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
3 screens
FILMS
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
PACIFIC
NO
1
2
(Collection from 1 stations)
SHOWS
2 screens
FILMS
WEEK
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
MOVIE LOUNGE
NO
(Collection from 3 stations)
SHOWS
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
9,35,653
45,206
-
9,35,653
2,32,747
ROLLING REELS
WEEK
1
2
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
3 screens
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
4,95,611
66,718
-
4,95,611
2,40,981
WEEK
1
2
41
BOX OFFICE COLLECTION
OHM CINEMA
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
2 screens
NO
FILMS
1
PHANTOM
OM
1
2
PHANTOM
MANJHI - THE MOUNTAIN MAN
RAGINI
OM
NO
FILMS
PHANTOM
AUDIENCE
NETT
GROSS
GROSS TOTAL
48
4279
5,20,839
5,27,556
5,27,556
WEEK
1
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
2 screens
FILMS
(Collection from 1 stations)
SHOWS
STAR X
NO
1
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
3,08,568
67,773
-
3,08,568
3,48,117
RAGINI
WEEK
1
2
FROM AUGUST 28TH TO SEPTEMBER 3RD, 2015
2 screens
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
28
2193
1,96,870
2,46,087
2,46,087
WEEK
1
PHANTOM - DAYWISE COLLECTION
PHANTOM
1st Day
2nd Day
3rd Day
4th Day
5th Day
6th Day
7th Day
1st week
Mumbai
2,47,00,000
3,85,00,000
3,58,00,000
1,28,00,000
1,06,00,000
95,00,000
81,00,000
14,00,00,000
Delhi UP
1,75,00,000
2,90,00,000
2,70,00,000
96,00,000
80,00,000
73,00,000
62,00,000
10,46,00,000
East Punjab
88,00,000
1,38,00,000
1,35,00,000
48,00,000
40,00,000
37,00,000
31,50,000
5,17,50,000
CP
35,00,000
53,00,000
50,00,000
19,00,000
15,00,000
14,50,000
12,00,000
1,98,50,000
CI
36,00,000
47,00,000
49,00,000
18,00,000
15,50,000
15,00,000
11,00,000
1,91,50,000
Rajasthan
35,00,000
68,00,000
63,00,000
23,00,000
19,00,000
18,00,000
15,00,000
2,41,00,000
NIZAM
60,00,000
65,00,000
61,00,000
22,00,000
18,50,000
17,00,000
14,50,000
2,58,00,000
MYSORE
52,00,000
72,00,000
70,00,000
25,00,000
20,00,000
19,00,000
16,00,000
2,74,00,000
West Bengal
35,00,000
45,00,000
40,00,000
16,00,000
12,00,000
11,00,000
9,50,000
1,68,50,000
Bihar-Jharkhand
18,00,000
24,00,000
22,00,000
8,00,000
7,00,000
6,00,000
5,00,000
90,00,000
ASSAM
8,00,000
12,00,000
12,00,000
4,00,000
3,00,000
2,50,000
2,00,000
43,50,000
ORISSA
10,00,000
13,00,000
13,00,000
5,00,000
4,00,000
3,00,000
2,50,000
50,50,000
TNK
11,00,000
14,00,000
15,00,000
6,00,000
4,00,000
3,00,000
2,00,000
55,00,000
Total
8,10,00,000
12,26,00,000
11,58,00,000
4,18,00,000
3,44,00,000
3,14,00,000
2,64,00,000
45,34,00,000
DISCLAIMER: Box Office Information/Figures/Collections contained in this magazine are compiled from a number of sources, including our own research. While every effort is made to ensure completeness and authenticity
of data/figures/information, Box Office India makes no Representation about the accuracy and reliability of the data. Box Office India, Select Publishing Company, Select Media Holdings Private Limited or their affiliates
shall not be liable for any damages whatsoever arising from use of the information contained in the magazine or the website.
42
Box Office India
5 September 2015
REG: MAHENG/2009/56446