Hindi
Period films don’t work in India
MUMBAI: Period films, whether fantasy or based on real events, don’t work in India. They usually spell disaster at the box office. Rangoon adds to the list of recent disasters like Pankaj Kapur’s Mausam (2011), Kunal Kohli’s Teri MeriKahaani (2012) and Anurag Kashyap’s Bombay Velvet (2015). Just when one thought Kashyap’s indulgence called Bombay Velvet was the ultimate disaster at the box office, Rangoon has come as the bigger one.
The other day, Rangoon director Vishal Bhardwaj stated on a TV show that he had no clue about World War II having been fought on an Indian border and yet he decided to make this film? It was okay to do that if one was making a fantasy but not a period film from a chapter from the history as huge as World War II!
*Rangoon opened on 24 February, a general holiday for Mahashivratri. The holiday could not in any way help the film generate a decent opening response. In fact, it was pathetic opening of five crore.
There was no sign of Saturday adding anything much as the film remained stagnant while the Sunday collections hovering at same levels with nil improvement.
The film ended its first weekend with a tally of Rs 14.5 crore.
The film may not even recover its cost on print and promotion, proving to be a total disaster.
*The Attack On Ghazi, a film on the 1971 war of the Indian Navy drowning the powerful Pakistan Navy submarine, Ghazi, is appreciated but not enough to make its mark on the box office. The film collects Rs 11.4 crore from its Hindi version in its first week. The film may gain some more patronage as the week’s release, Rangoon, is poor.
*Running Shaadi is poor, just managing to cross a crore mark in its first week with a figure of Rs 1.5 crore.
*Irada, despite the presence of Naseeruddin Shah and Arshad Warsi in the cast, fails to get footfalls and falls short of one crore mark in its first week raking in just about Rs 90 lakh!
*Jolly LLB seems to be making the most of poor oppositions despite being a mediocre film, especially compared to the first version. The brand equity of the title and Akshay Kumar in the lead have helped the film sustain. The film has added a good Rs 23.8 crore in its second week taking its two week total to Rs 95.9 crore. However, the film still needs to hold its own to emerge as an earning film.
*Raees adds Rs 20 lakh in its fourth week to take its four week total to Rs 130.6 crore.
*Kaabil collects Rs 50 lakh in its fourth week to take its four week total to Rs 92.7 crore.
*Dangal has added another Rs 20 lakh to its total in its ninth week taking its nine week total to Rs 388.1 crore.
Hindi
Dhurandhar the revenge storms past Rs 1,000 crore in a week, rewrites box office records
Aditya Dhar’s spy thriller sets fastest run to Rs 1,000 crore with record-breaking weekday hold
MUMBAI: The box office has a new juggernaut—and it is moving at breakneck speed. Dhurandhar the revenge has smashed past the Rs 1,000 crore mark worldwide in just a week, clocking a staggering Rs 1,088 crore and resetting the rules of the blockbuster game.
Backed by Jio Studios and B62 Studios, and directed by Aditya Dhar, the spy action sequel opened to the biggest weekend ever for an Indian film globally—and then refused to slow down. Unlike typical tentpole releases that taper off after Sunday, this one powered through the weekdays with rare muscle, posting Rs 64 crore on Monday, Rs 58 crore on Tuesday, Rs 49 crore on Wednesday and Rs 53 crore on Thursday.
The numbers stack up to a formidable first-week haul. India collections stand at Rs 690 crore nett and Rs 814 crore gross, while overseas markets have chipped in Rs 274 crore, taking the worldwide total to Rs 1,088 crore in just eight days.
The film’s opening weekend alone delivered Rs 466 crore, laying the foundation for what is now being billed as the fastest climb to the Rs 1,000 crore club in Indian cinema. Every single day of its first week has set fresh benchmarks, from the highest opening weekend to the strongest weekday hold—metrics that typically separate hits from phenomena.
A sequel to the earlier hit Dhurandhar, the film has not just built on its predecessor’s momentum but obliterated previous records, emerging as the biggest global blockbuster run by an Indian film to date.
At this pace, the film is not merely riding a wave—it is creating one.
