Monthly Archives: December 2016

Bollywood Box Office: December 23-25, 2016

Dangal closed out 2016 with the year’s biggest opening weekend in North America, on its way to being the year’s most successful Bollywood film. From December 23-25, 2016, Dangal earned $3,078,278 from 357 theaters* ($8,623 average). That was enough to rank it in 11th place among all movies at the North American box office for the holiday weekend, according to Box Office Mojo.

After adding its weekend take to its earnings from Wednesday night previews and Thursday showings, Dangal‘s official total is $3,907,781. Early reports have the movie earning about another $1 million on Monday, putting its six-day total at about $5 million. It will be the highest-earning Hindi film of the year in North America by the end of the week. Sultan currently holds that title with $6,191,282.

*Although Bollywood Hungama reports Dangal as showing in 331 theaters in the United States and 26 theaters in Canada, I suspect that 331 is actually the total number of theaters for all of North America combined (which would make Dangal‘s per-theater average $9,300). However, without access to Rentrak’s raw data to confirm my suspicions, I am using 357 as the total number of theaters in my calculations.

Other Hindi movies still in theaters:

  • Dear Zindagi: Week 5; $4,908 from seven theaters; $701 average; $2,446,761 total
  • Befikre: Week 3; $3,974 from fourteen theaters; $284 average; $810,760 total
  • Kahaani 2: Week 4; $974 from three theaters; $325 average; $488,278 total

Source: Rentrak, via Bollywood Hungama

Movie Review: Dangal (2016)

dangal3 Stars (out of 4)

Buy the DVD at Amazon
Buy the soundtrack at Amazon or iTunes

Walt Disney Pictures’ stamp is all over Dangal, the true story of a father’s quest to fulfill his own dreams of wrestling gold through his daughters. The movie is eminently watchable entertainment for the whole family.

Dangal is based on the life of Mahavir Singh Phogat, played in the film by Aamir Khan. The story begins in 1988, after Mahavir has shelved his own desire of parlaying his national wrestling title into success on the international stage. A recurring theme in the film is India’s failure to compensate or cultivate international-caliber athletic talent, forcing athletes like Mahavir to abandon their sports in favor of stable jobs.

Mahavir’s one hope is that his wife, Daya (Sakshi Tanwar), will give him a son he can raise to be an Olympic champion. When Daya births a girl, Geeta, Mahavir’s disappointment is so deep that the entire town becomes obsessed with folk remedies for begetting male children. When Daya births a second girl, Babita, it’s as though she’s let down all of Haryana, not just her husband. By the time Mahavir’s fourth consecutive daughter is born, he’s abandoned his dreams entirely and metamorphosed into a pot-bellied salaryman.

This obsession with a male heir is played for laughs, but it’s hard not to feel for Daya, Geeta, and Babita. Mahavir isn’t cruel to them, but his disappointment surrounds him like a cloud. It would be hard to live in a home with someone who only sees you as a reminder of what you’re not.

It’s clear that Mahavir doesn’t really see his girls for who they are, because only when they get in trouble for beating up some local boys does he realize that they could become Olympic wrestlers themselves. He immediately institutes a rigorous training program, drafting the girls’ cousin, Omkar — the movie’s narrator and comic relief — as their unwitting sparring partner.

Because Dangal is a Disney co-production, it’s guilty of glossing over issues that might bog down a family entertainer, as several of Disney’s American sports movies have been accused of doing in recent years. Mahavir — and, by extension, the film as a whole — has no regard for his daughters’ emotional welfare. Part of his training regimen requires Geeta (Zaira Wasim) and Babita (Suhani Bhatnagar) to cut their hair short and wear boys’ clothing, sublimating their femininity right as they become teenagers, as if adolescence isn’t already hard enough. The movie tries to absolve Mahavir of guilt with a scene of the girls’ 14-year-old friend being forced into an arranged marriage, as is that’s the only alternative.

Geeta shows real promise as a wrestler, making it to the national athletic academy as she hits adulthood. Her exposure to a world that doesn’t adhere to her father’s ascetic rules sets up an in-ring competition between the two that is the movie’s most powerful moment. Khan and Fatima Sana Shaikh — who plays Geeta as an adult — are tremendous in the scene.

Perhaps the best endorsement of Dangal is as a wrestling tutorial. A sequence of Mahavir explaining to his charges the way points are awarded in international competitions pays off later, as the final thirty minutes are just tournament footage.

The tournament footage is beautifully framed, showing the audience the points accrued or time remaining in the round at critical moments. The editing gives a clear sense of the stakes and allows the audience to apply the knowledge they’ve acquired throughout the film. It’s nice to come out of a movie feeling smarter than before.

Despite a failure to address certain troublesome issues, Dangal is ultimately a heartwarming story. It’s appropriate for all ages, and nicely paced to hold the attention of younger audience members. If nothing else, you’ll leave the theater with a new appreciation of the sport of wrestling.

Links

Bollywood Box Office: December 16-18, 2016

The headline from the North American box office during the weekend of December 16-18, 2016, is this: two-week-old Befikre averaged less per theater than either Kahaani 2 or Dear Zindagi. Oy.

  • Befikre: Week 2; $103,707 from 139 theaters; $746 average; $754,779 total
  • Dear Zindagi: Week 4; $46,089 from 56 theaters; $832 average; $2,420,106 total
  • Kahaani 2: Week 3; $19,917 from 24 theaters; $830 average; $483,781 total

Source: Rentrak, via Bollywood Hungama

Movie Review: Lion (2016)

lion3.5 Stars (out of 4)

Buy the book at Amazon
Buy the soundtrack at Amazon or iTunes

Lion releases in theaters across North America on Christmas Day.

Lion‘s heart-wrenching international odyssey is carried on the tiny shoulders Sunny Pawar, the adorable star of this true story of a lost Indian boy’s attempt to find home.

5-year-old Saroo (Pawar) lives in a village in Madhya Pradesh with his preteen brother Guddu (Abhishek Bharate), baby sister Shekila (Khushi Solanki), and their mother (played by Priyanka Bose). Guddu and tiny Saroo do a variety of odd jobs — legal and otherwise — to supplement their mom’s wages as a laborer.

One night, Guddu takes Saroo with him on the train to look for work in a neighboring town, leaving Saroo asleep on a bench on the train platform. After Saroo wakes up alone, he searches for Guddu on an empty passenger train before dozing off in one of the seats. When Saroo wakes again, the train is moving, and it doesn’t stop for two days.

Saroo ultimately winds up in Calcutta, more than 1,000 kilometers from home. He doesn’t speak the local language, and he couldn’t explain where he was from even if he did because he’s just a little kid. As far as he knows, his mother’s full name is “Mom.”

His cleverness and adaptability help him survive on the street for months, staying fed and avoiding child traffickers. He’s so competent that it’s easy to forget that homelessness is just as new to him as the city and the language.

What makes this sequence so effective is that little Sunny Pawar is the picture of childhood vulnerability, with skinny limbs, chubby cheeks, and giant, brown eyes. His very being calls out to evolutionary parental instincts: “Protect me!” Yet, as Saroo, he’s overlooked by most adults as just another street kid. (A note at the film’s end states that 80,000 children go missing in India every year.)

Eventually, Saroo winds up in an orphanage that looks more like a prison. The staff do what they can to find the boy’s mom under the limitations of Saroo’s knowledge and communication technology circa 1986 (i.e. an ad in the local newspaper). When their efforts fail, kindly Mrs. Sood (Deepti Naval) shows Saroo a photo of John (David Wenham) and Sue (Nicole Kidman) Brierley: his new adoptive parents from Australia.

After a typical Tasmanian childhood, Saroo (played as adult by Dev Patel) moves to Melbourne for a course in hotel management, falling in with a group of international students that includes some Indians. Meeting them awakens buried memories of his birth family, inspiring a years-long quest to determine exactly where he’s from.

When Saroo starts his search in 2008, he has at his disposal the satellite images of Google Earth and tables of historic data on train speeds. Even if he’d wanted to look for his birth family at a younger age, the technology to do so wasn’t widely accessible.

Despite the cast’s star-power, most of the supporting roles feel peripheral to the story. That applies especially to Rooney Mara as Saroo’s American girlfriend, Lucy, who exists just to be pushed away by Saroo as he becomes obsessed with his research. Wenham is solid in his few scenes, and Kidman shines in a monologue about why she adopted Saroo.

An important character who could have used more screentime is Mantosh (Divian Ladwa), another orphan from India the Brierley’s adopted after Saroo. Young Mantosh (played by Keshav Jadhav) arrives in Australia with a load of emotional and behavioral problems, probably as a result of whatever accident left all the scars on his head. The boys share a fraught relationship that boils over when Saroo’s search reminds him of the kind older brother he had before Mantosh.

Bollywood fans will recognize a number of actors like Bose, Naval, and Pallavi Sharda. Stars Tannishtha Chatterjee and Nawazuddin Siddiqui have small but memorable parts as well.

Patel’s performance is compelling, as Saroo’s life crumbles under the weight of trying to appease two mothers: one who’s still searching for him and another who’s afraid of losing him herself. The cocky young man who starts the program in Melbourne is gradually replaced by a shaggy haired, wild-eyed loner who hallucinates his long-lost family.

But Lion ultimately belongs to Sunny Pawar, who is quite skilled for such a young actor. It’s impossible not to fall in love with him.

Links

Streaming Video News: December 15, 2016

I updated my list of Bollywood movies on Netflix with several new additions to the catalog. The 2015 Gujarati kite-flying documentary Famous in Ahmedabad joins the streaming service along with a trio of Pakistani television shows featuring cross-border stars Fawad Khan and Mahira Khan: Humsafar, Sadqay Tumhare, and Zindagi Gulzar Hai. For everything else new on Netflix, check out Instant Watcher.

Three Bollywood films will expire from Netflix in the next few days: Ishqiya (great!), Dedh Ishqiya (also great!), and Revolver Rani (not great).

Two big pieces of streaming video news came out today. First was the announcement of Amazon Prime Video’s expansion into India, including local content licensing agreements with companies like Karan Johar’s Dharma Productions and T-Series. On the heels of that mega announcement, Netflix revealed a new three-year deal with Shah Rukh Khan’s Red Chillies Entertainment to stream films like Dear Zindagi and Om Shanti Om across the globe. This is super news for Bollywood fans in India and abroad!

Bollywood Box Office: December 9-11, 2016

Befikre had a truly terrible opening weekend in North America, performing worse than some of the most notorious flops of the year. From December 9-11, 2016, it earned $488,341 from 308 theaters ($1,586 average), tying it with Fan for the third widest release of the year. Even Mohenjo Daro managed to earn more than $700,000 in its first weekend, and from 69 fewer theaters. Fitoor‘s lousy opening weekend average of $2,082 bested Befikre‘s per-theater average by quite a bit. This is, like, really bad.

[Update: Sumit Chadha told me on Twitter that Rentrak’s real theater count for both the United States and Canada is 284, and not 308 as reported by Bollywood Hungama. That puts Befikre‘s per-theater average at $1,720, which is still bad. Less than $2,000 for an opening weekend is disappointing.]

Kahaani 2 held over well in its second weekend in theaters, retaining nearly a third of its opening weekend business. It earned $86,142 from 66 theaters ($1,305 average), bringing its total to $433,790.

During its third weekend of release, Dear Zindagi took in another $132,332 from 107 theaters ($1,237 average). Its $2,326,837 total ranks it in fourth place for the year, just ahead of co-star Shah Rukh Khan’s Fan.

In its seventh weekend, Ae Dil Hai Mushkil earned $202 from two American theaters, bringing its total to $4,215,728.

Source: Rentrak, via Bollywood Hungama

Streaming Video News: December 5, 2016

I updated my list of Bollywood movies on Netflix with some excellent new additions to the catalog. The splashiest new addition is the 2016 hit Neerja, which I adored. Another big deal is the Tamil movie Interrogation (“Visaaranai“), India’s submission to the 2017 Oscars. Also new are the highly regarded Marathi film Sairat, 2016 Hindi indie The Violin Player, 2014 Marathi film 1000 Rupee Note, and the behind-the-scenes documentary Beyond Bollywood.

Netflix also announced the streaming debut dates of three intriguing documentaries. December 6 marks the release of One in a Billion, a film about Satnam Singh Bhamara, the NBA’s  first Indian-born draftee. 2013’s When Hari Got Married — a humorous look at an arranged marriage — joins the service on December 25. Then on December 31, I finally get the chance to see Big In Bollywood, the 2011 documentary about Omi Vaidya‘s rapid rise to fame following the release of 3 Idiots.