Hindi
Simran: Ill-defined
Gujarati NRI family or a Gujarati abroad seems to be the current theme for filmmakers. We recently had Jab Harry Met Sejal and this week has seen the release of Simran.
Simran is about a Gujarati family settled in the US that consists of a mother, a father and a daughter. The daughter, KanganaRanaut, is a divorcee and, mainly, a rebel without a cause. She works at a hotel in the housekeeping department. Her job is the usual – making beds and cleaning room, but, she is particular about calling her job as one in housekeeping department; that probably gives it dignity according to her. Still, she does not think much of her father’s business of vending Gujarati savouries.
Kangana is always at loggerheads with her father except, of course, when she needs a favour, especially monetary help. While her father and mother are keen on getting her married again, her priority is to move out to a place of her own. She has been saving for a new house due to which her contribution to the household is nil.
Asked to accompany her cousin to Vegas, she agrees. Her cousin has a rendezvous planned with her boyfriend there.Deciding to leave her cousin alone with her man, she wanders into a casino. On the bar counter she spots a handsome man and decides to hit on him. As the hunk goes to a gambling table, she follows him there where she meets another Gujarati who encourages and teaches her to gamble.
Kangana has that customary beginners luck, wins some money and immediately decides cater to some urges to buy a dress and other things. And, she is back to the gambling table. The beginners luck has worn out and she starts losing and, like most gamblers, wants to one more go finally also losing her savings. The casino loans her money, 32,000 dollars!
Kangana’s troubles have started. Since her savings are finished, her credit rating falls and her application for a loan for her new home is denied. The gun totting black collector for the casino is at her back, threatening all the time.
To lay her hands on money, Kangana decides to rob banks. Her three attempts are successful but, strangely, no bank seems to have 50,000 dollars which she now owes to the casino including interest. Kangana loses her job when the black casino collector comes to her workplace. To add to her troubles, the stolen money which she kept in her locker in the hotel changing room is also gone.
Kangana decides on one final robbery.
In the meanwhile, she has come close to the guy her family has chosen, takes a liking to him as well. But, it is also the time for her troubles to climax.
The film’s story does not quite convince a viewer. There is no logic to the protagonist’s behaviour. Her attitude, way of life and thinking are not identifiable. The walking into a bank and scaring the teller enough to hand over all the money on a lipstick inscribed threat chit seems easier than cashing a cheque in any bank! For one who never cares for the feelings of her father or the saamaj which he often cites, it is strange that she decides to lead the police away from the population lest the samaaj sees her. The direction of the movie is passable but has taken too many liberties. The cinematography is good as the US locations provide ample scope. Using Gujarati dialogue frequently does not help the cause with other audiences as has been seen in earlier films that have resorted to a regional language. The music works well for the film.
This is purely a KanganaRanaut vehicle with other actors being incidental. She excels. Soham Shah in a small role is sincere.
Simran has had a poor opening. The chances of picking up are dim during this dull period.
Producers: Bhushan Kumar, Krishan Kumar, Shailesh R Singh, Amit Agarwal.
Director: Hansal Mehta.
Cast: KanganaRanaut, Soham Shah.
Hindi
UFO Cine Media Network unveils ‘India’s biggest cinema moment ever’
Dhurandhar 2 and Toxic tipped to deliver rare pan-India scale for brands
MUMBAI: UFO Cine Media Network is pitching an upcoming dual-film release weekend as what it calls the largest advertising opportunity cinema has offered in India, banking on an estimated 100 million cumulative footfalls nationwide.
The initiative, branded “India’s Biggest Cinema Moment Ever”, is anchored around the simultaneous release of Dhurandhar 2 – The Revenge and Toxic, two high-profile action films expected to dominate screens across regions and languages. Trade projections, supported by cinema measurement tool Procat, suggest the combined lifetime theatrical run could deliver one of the widest audience concentrations seen in recent years.
Dhurandhar 2 – The Revenge, an India–Pakistan spy thriller, is set to release in five languages, broadening its appeal across northern and southern markets. The franchise has already built a sizable multilingual following through theatrical runs and streaming platforms. Toxic, fronted by pan-India star Yash, is expected to draw heavy footfalls across southern circuits and beyond, buoyed by the actor’s proven box-office pull.
UFO, which operates an in-cinema advertising network spanning more than 4,100 theatres, is positioning the release window as a rare moment of synchronised national attention. Its footprint covers multiplexes and single screens across over 1,500 towns and cities, allowing advertisers to deploy campaigns at scale during a single weekend.
Executives at the company argue that cinema’s value lies not just in reach but in attention. Unlike digital or television, audiences are captive, emotionally engaged and free from distraction, they say, translating into stronger recall and measurable returns for brands. With advertisers increasingly focused on performance-led media planning, UFO is framing the dual release as comparable in scale to India’s largest broadcast and sporting properties.
Industry observers note that as theatrical exhibition expands deeper into Tier 2 and Tier 3 markets, such tentpole weekends are becoming anchor moments for annual media strategies. If Dhurandhar 2 – The Revenge and Toxic deliver as expected, the weekend could set new benchmarks not only for box office numbers, but also for cinema’s evolving role as a high-attention advertising medium.
