Trade predicts that Prabhas-starrer Salaaar’s Hindi version will cross Adipurush’s Hindi collections; Shah Rukh Khan-starrer Dunki will collect Rs. 220-225 crores in its lifetime :Bollywood Box Office – Bollywood Hungama

A lot was expected from the big Christmas releases, Dunki, starring Shah Rukh Khan and Salaar, starring Prabhas. Also, while Dunki was directed by Rajkumar Hirani, Salaar was helmed by Prashanth Neel of KGF fame. These filmmakers have a separate fan base. As a result, the hopes were immense. While the films did well, a lot more was expected from them. We spoke to the trade about their performance at the ticket window.

Trade analyst Atul Mohan said, “People expected more from Dunki as it was directed by Rajkumar Hirani. Also, Shah Rukh Khan’s dream run was going on.” He added, “The plot was superb. Unusually such films show characters struggling to reach foreign shares. But in this film, unko Dunki maarke wapis aana pad raha hai. This was quite fresh. With a plot like this, that too coming from Rajkumar Hirani, anybody would jump at it.”

Girish Johar, producer and film business analyst opined, “Dunki, in my opinion, is a fantastic movie. It is message-oriented and has a lot of soul. The film has to be watched with a heart and not with conventional logic. The mood of the nation was action-oriented. That could be the reason (why it underperformed). Also, the promotions could have been a little better. They underplayed the film, relying a bit too much on word of mouth.”

He also said, “Salaar affected the film more. If Salaar had not released, Dunki would have collected Rs. 30 crores more and would have had first-week collections of Rs. 180 crores.” Dunki collected Rs. 149.77 crores in its first week.

Atul Mohan further explained, “The jokes didn’t land well. But the big problem was that people had too many expectations. People went for a film like Zara Hatke Zara Bachke, for example, without much hope. And it worked. But with Dunki, people expected the moon. It’s not like it has faced outright rejection. Moviegoers don’t mind the film but they come out of the theatre and say, ‘Thoda aur accha ho sakta tha’.”

When asked how much the film will collect in its lifetime, Raj Bansal, the owner of Entertainment Paradise in Jaipur predicted, “Dunki will collect Rs. 220-225 crores in its lifetime. It’ll definitely cross the Rs. 200 crore mark. It doesn’t have strong competition until Republic Day when Fighter releases. Also, on New Year, people will want to watch light, masti waali film.”

Atul Mohan and Girish Johar also agreed and felt that Merry Christmas, starring Vijay Sethupathi and Katrina Kaif and which releases on January 12, is not a strong competition. Dunki, along with Salaar, has a clean run for a month, as a result. Girish said, “Dunki has a couple of weeks more to score. I hope it picks up over the second weekend. Rs. 200 crores plus is a given. Anything above Rs. 225 crores will be a bonus.”

Trade predicts that Prabhas-starrer Salaaar’s Hindi version will cross Adipurush’s Hindi collections; Shah Rukh Khan-starrer Dunki will collect Rs. 220-225 crores in its lifetime

Salaar collected Rs. 87.75 crores in week 1 and experts feel that it’ll cross the Rs. 135.04 crore collections of Prabhas’ previous film, Adipurush. Raj Bansal stated, “Salaar will 100% collect more than Adipurush’s Hindi collections.”

Girish Johar explained why it didn’t perform up to the mark, “Marvel superhero fatigue has set in. A similar scenario might emerge with these action films. Throughout Salaar, the tempo is so high that you are always alert while watching it. You are not consuming or feeling the film. Action, obviously, is praiseworthy. But the audience is saying ‘Ab ho gaya yeh sab. Thoda dil bhi chhu ke jaao’. Thankfully, the twist in the climax worked. Or else, the film would have fallen flat.”

Calling the fight scenes as ‘tappa action’, Girish complained, “How many times you’ll see heroes attacking baddies with such force that they bounce and fall? If you see the film from a particular point of view, it just has slow-motion action. Nothing else.”

As for the lifetime, he said, “The response is muted and not as big as was expected from the makers of KGF – Chapter 2 (2022). Rs. 90 crores toh ho hi gaya hai. Rs. 135 crores toh ho hi jaayega.”

Atul Mohan exulted, “Rs. 125 crores would be the best case scenario for Salaar. After delivering a film like KGF – Chapter 2, agar aap Rs. 125 crores mein nipat jaate ho, toh phir kya faayda?”

Film exhibitor and distributor Akshaye Rathi made his displeasure clear over the fight that erupted over the sharing of screens between the two films, “What happened last week was not business. It was ugly and uncalled for and showed our industry in a really bad light. It only led to a lose-lose situation. It hampered the business of both films. It’s not like one benefited over the other. Both lost out on the business because the advance just didn’t open on time beyond the national chains till the day of release. A lot of business, which could have happened due to these advance ticket sales, didn’t happen. I hope that we can leave aside our squabbles and egos and try to think a little more holistically and sensibly. Here, we literally witnessed a scenario where two production houses and distributors, who were at each other’s neck, ensured that hundreds of distributors all over the country, faced financial losses. That’s not healthy. I really hope we can be a little more sensible and mature in the year ahead so that such scenarios are handled with some dignity and grace.”

He signed off by saying, “I am not talking about these movies in particular. But movies that have hype and not-so-great content can benefit from advances opening up early and having a certain amount of sales. God forbid the advance don’t happen until release day and the content is not up to the mark, you miss out on a chunk of business that could have happened.”

More Pages: Salaar Box Office Collection , Salaar Movie Review

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Ramanand Sagar’s ‘Ramayan’ Returns: The Classic Trumps All Hyper-Hindu Versions

Om Raut’s Adipurush had everything going for it. The lead actor, Prabhas, is a megastar and few today can parallel his mass appeal across the Hindi-speaking belt or what is acknowledged by credible historians as the original Ram Rajya. That he was cast to play Hindu god Ram in a re-telling of Valmiki’s epic, Ramayan, was nothing short of a stroke of genius, most would agree. The film was then mounted on a Rs. 700 Crore budget to give it the kind of sets and VFX that a film of this kind needs, making it the most expensive Hindi film ever.

A still from Adipurush trailer.

(Photo Courtesy: YouTube screengrab)

And if all of that’s not enough, the film came with endorsements from those guardians of our culture, politicians from the ruling dispensation. All of this should have been enough to make it the stuff of legends, the kind of film that people would talk to their grandkids about someday in the same breath that our grandparents speak of Mughal-E-Azam. Except, none of this happened. And while one can keep talking about the poor acting, the shoddy graphics and the ridiculously sadak-chhaap (street jargon) dialogues, there are deeper reasons for the rejection of this fantastical version of the epic. Most of these have to do with mass perceptions that were first created by the eponymous television show that first aired way back in the late 1980s.

For the past three-and-a-half decades, Ramanand Sagar’s ‘Ramayan’ has been the definitive screen version of the ancient epic, and there are reasons for that. The classic is back on TV and has been airing on Shemaroo TV from 3 July.

First and foremost, what Sagar did best was deviating as little as possible from the original source material. While there had been big screen adaptions starting as early as 1931 when V Shantaram and Keshavrao Dhaiber made the silent film Chandrasena, this was the very first time a screen version of the Ramayan was being beamed into millions of households across the country.

And familiarity was the one thing that the veteran filmmaker could count on to mount his show on. No gimmicks, no over-the-top action and no superhero-esque figures—Sagar’s rendition told the story the way that it was handed down for the past two and a half millennia. 

Most of all, what Sagar got right was his Gandhian approach to shaping his characters. Be it Ram’s (Arun Govil) beatific smile or Sita’s (Deepika Chikhalia) understated regality, these characters epitomised the idea of the Ram Rajya that Gandhi spoke about—a utopian society built upon the pillars of morality, virtue and justice.

A still from Ramanand Sagar’s Ramayan.

(Photo Courtesy: Pinterest)

Ram is always depicted as calm and practically devoid of baser instincts like rage and pride. He is the dutiful son who quietly goes into exile to keep his father’s word but he also takes up arms when he needs to, to rescue his wife Sita after she gets kidnapped by Raavan, the king of Lanka.

No angry warrior depictions for either Ram or Hanuman as seen on the back of cars these days; the reasons here for resorting to violence are clearly depicted as a last resort, much like it is in the original. It is these ideals that made Gandhi a worldwide figure that just couldn’t be ignored in the first half of the 20th century.

A still from Ramanand Sagar’s Ramayan.

(Photo Courtesy: Pinterest)

It’s these very ideals that became synonymous with the idea of eastern spirituality, one that had people flocking here from the world over in the 1970s looking for the best versions of themselves. And it’s these very ideals that Sagar showcased though his characters, silencing critics who were up in arms calling it religious propaganda. 

Ramayan became one of the world’s most-watched television serials within weeks of it first airing, bringing together an entire country on Sunday mornings. Fan mails poured in to the makers and actors from Hindus, Muslims, Christians and Sikhs alike. This wasn’t about religion—given its foundations, it was never going to be.

This was the closest India would ever get to proudly owning a piece of culture together, regardless of religious persuasion. Sir William Mark Tully, who was BBC’s India Bureau Chief during those years once wrote, “My feeling is that Sagar’s Ramayana has succeeded because, in spite of whatever faults it might have, it is very Indian, and people are looking for that.”

(Photo Courtesy: Twitter)

And while there was renewed criticism from some quarters around the show descending into hyper-religious territory in its latter years, you’ll find scant mention of it anywhere because its impact had transcended all of that by then; so much so that the re-airing of the series in 2020 during the first COVID lockdown had 77 million people tuning in to DD National, making it the most-watched entertainment program globally.

It’s safe to say that Sagar’s Ramayan connected with India’s masses on an emotional level like no other piece of content ever has.

For the thousands of stories one has heard of devout Hindu ladies worshipping their television sets on Sunday mornings, there are hundreds of anecdotes of equally effusive non-Hindu fans. In her book ‘Telly-Guillotined’, Amrita Shah talks about a Christian lady writing to one of the characters, ‘May our Lord Jesus and Mother Mary Bless you and keep you well,’ and a gushing Muslim fan writing in a letter to Ramanand Sagar, ‘Your name will shine and shine like the morning star in the horizon.’

Sagar’s Ramayan had become a cultural phenomenon that was more than just a piece of content. For most of the actors, this became the role of a lifetime, one they carried over into their real lives and just couldn’t get away from. The impact of the show, on- and off-screen, is unparalleled in the Indian entertainment space. So, when Shemaroo TV announced a few days back that they would be bringing back Sagar’s Ramayan to television screens, can you really blame them for seeing an opportunity and grabbing it? It is, after all, the ultimate palate cleanser for the hordes of disappointed fans who did go to watch Adipurush.

(This is an opinion piece. The views expressed above are the author’s own. The Quint neither endorses nor is responsible for them.)

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