Theatrical trailers are unreliable indicators of which Hindi films will actually open in the U.S. For example, the trailer for Paan Singh Tomar ran in local theaters a year after the film’s release. Still, I was sure that the coming-of-age drama Purani Jeans would open in the Chicago area. Its trailer ran here for a month, and there was little competition from other Hindi films releasing the same weekend.
Nope. Purani Jeans isn’t opening in Chicago area, and neither is any other new Hindi film. Chicago area Bollywood fans have two options in theaters the weekend beginning Friday, May 2, 2014, and, no, Kaanchi isn’t one of them.
Director Hansal Mehta’s biographical drama Shahid is now available for streaming on Netflix. I tried to watch this in the theater last year, but the English subtitles were incomplete on the print released internationally. Thankfully, the subtitles on Netflix are in perfect condition, so I’m looking forward to finally watching this.
The International Indian Film Academy awards are over, and Mike Davis was in Tampa, Florida, to cover the event. Head to his blog — Just Me Mike — to read his reports and view photos from the festival.
My favorite IIFA related photo came courtesy of Parineeti Chopra’s friend, Nitasha, the day after the festival ended. The actress and her buddies appear to have ordered one of everything on the menu at a Tampa area IHOP:
The weekend of April 25-27, 2014, was terrible for new Hindi films in the United States and Canada but great for 2 States.
Of the three new films that released in India on April 25 — Revolver Rani, Samrat & Co., and Kaanchi — only Kaanchi made the trip overseas. Even then, it only opened in the U.S., not Canada. From twenty-eight American theaters, it earned just $14,694. Its first weekend per-screen average of $525 was among the worst of the year so far.
On the other hand, 2 States performed very well in its second weekend in North American theaters. It earned $418,064 from 133 theaters (up from 131 last week) for a per-screen average of $3,143. That brings its total earnings to $1,706,309, moving it ahead of Queen into second place on the list of highest grossing Hindi films in North America in 2014, behind The Lunchbox.
Now in its ninth week of release, The Lunchbox earned $303,292 from 176 theaters ($1,723 average per screen). Total earnings stand at $2,591,410.
Other Hindi films showing in a handful of theaters included:
Queen: Week 8; $4,339 from three screens; $1,416,230 total
Kaanchi: The Unbreakable fancies itself an inspiring story of a simple country gal taking on the powers of corruption. In reality, Kaanchi is a tale of personal revenge, and a really boring one at that.
The story begins with an uninformative framing device that has no narrative payoff until over an hour into the film. A Mumbai police officer, Bagula (Chandan Roy Sanyal), sits handcuffed in an interrogation room, trying to explain his role in the tumultuous events sparked by a woman who’s gone missing. Bagula says that the woman is his childhood friend, Kaanchi (Mishti).
Kaanchi (Mishti) is the female version of the big-man-on-campus Bollywood hero whom everyone seems to love even though he’s an immature, annoying asshole. Kaanchi is every bit the asshole — temperamental, jealous, and vain — yet she’s the favorite daughter of her mountain village, Kochampa.
While Kaanchi trades verbal barbs with her boyfriend, Binda (Kartik Tiwari), members of the wealthy Kakda family arrive in town, intending to force out the villagers in order to build a luxury resort. This troubles Binda, but Kaanchi could give two shits. She’s too busy worrying about other girls flirting with Binda.
Kaanchi befriends Sushant — heir to the Kakda fortune — and he falls in love with her. This sets off a chain of events that results in Kaanchi fleeing the village in a rage, vowing revenge. Thus ends the first hour of a two-and-a-half-hour-long movie.
Kaanchi’s reunion with Bagula in a Mumbai dance bar is unintentionally hilarious. Scantily clad ladies sing, “You’re sexy. You’re like a taxi,” to which Bagula responds, “I’m a carefree big boy.”
Only Rishi Kapoor — who plays one of the villainous Kakda brothers — gets a better character introduction: strumming a guitar on a round bed while a pair of busty women in lingerie chomp on Ritter Sport chocolate bars.
There are nine or ten pointless musical numbers that serve only to waste at least forty minutes of runtime in an already overly-long film.
Among the dance numbers, the highlight is “Thumka,” but for the wrong reasons. It features the least flattering outfits I’ve ever seen on white backup dancers. Each dancer wears a monokini, black elbow gloves, gladiator sandals, a bobbed wig, and black, control-top pantyhose. A few of the dancers look like they’re wearing athletic cups inside their hose. Check out these sartorial abominations:
The acting throughout is pretty abysmal. Kapoor’s performance is hammy and out-of-place. Mithun Chakraborthy — who plays the other Kakda brother — has cotton balls stuffed in his cheeks for no apparent reason.
Misthi doesn’t do herself many favors in her debut performance. She moves as though she’s wearing a back brace, and her high-pitched shrieking sounds insane, rather than powerful.
Throughout the incredibly dull second half of the film, side characters refer to Kaanchi as a representative of young India, fed up with politics as usual and tired of a corrupt system. However, Kaanchi doesn’t see herself that way. She never mentions the threat the Kakda family poses to her village, nor does she mention the rigged system that benefits such wealthy families.
Had Kaanchi decided to fight for Kochampa or on behalf of the underclass, that would’ve constituted character development. But Kaanchi doesn’t develop at all throughout the film. She begins and remains a temperamental young woman who’s used to getting her way. After the interval, she just redirects her temper.
This isn’t a political or inspirational movie, no matter how badly writer-director-producer Subhash Ghai would like to frame it as such. Kaanchi is a messy, dull revenge flick, and that’s all.
Director Subhash Ghai’s Kaanchi: The Unbreakable debuts in two Chicago area theaters on April 25, 2014. The drama follows a courageous young woman who takes on the powers that be.
I’m surprised that Kangana Ranaut’s Revolver Rani isn’t opening here. Given the phenomenal recent success of Queen — which also starred Ranaut — I was sure the makers of Revolver Rani would try to capitalize on her current “It Girl” status.
The romantic comedy/family drama 2 States produced the best opening weekend for a Hindi film in North America in 2014. During the weekend of April 18-20, it earned $1,026,353 from 131 theaters in the U.S. and Canada. Its per-screen average of $7,835 is the year’s second highest, behind the opening weekend of The Lunchbox.
Since the release of Queen on March 7, the North American box office has been hostile territory for newly released Hindi films. The mean opening weekend per-screen average for Hindi films (besides Queen) released between March 7 and April 11 was just $1,085. Between January 10 and February 28 (excepting the anomalously high opening weekend average of The Lunchbox), the mean per-screen average was $3,469.
Queen averaged $4,154 in its debut weekend and went on to dominate in both per-screen average and gross earnings for the next four weeks. It remains to be seen if 2 States heralds a revitalization of audience interest in new Bollywood fare, or if it will follow Queen‘s path and dominate the box office until the next big thing comes along (probably Akshay Kumar’s Holiday on June 6).
In its seventh week of release, Queen continued to beat the mean opening weekend per-screen average of new movies released from March 7 to April 11. It earned $13,291 from nine theaters for an average of $1,477. Its total North American earnings stand at $1,408,129.
The Lunchbox continued its impressive run as it expanded into 156 North American theaters. It earned $343,242 over the weekend, bringing its total to $2,135,144.
In its second weekend in theaters, Bhoothnath Returns earned $23,956 from twenty-three screens, bringing its total to $139,032.
Main Tera Hero closed out its third weekend by earning $5,344 from eleven screens. Its total earnings stand at $274,673.
As a woman who’s lived her entire life in Illinois, I would never have expected to find a movie about the cultural differences between families from North and South India so personally relevant. But those cultural differences are only the hook in 2 States. The real story is about alcoholism and the effects it can have across multiple generations.
The majority of the problems for the characters in 2 States (based on the novel by Chetan Bhagat) stem from the warped style of communication that Krish Malhotra (Arjun Kapoor) developed in order to deal with his abusive alcoholic father, Vikram (Ronit Roy) and his martyr mother, Kavita (Amrita Singh).
Krish — a Punjabi guy from Delhi — meets and falls in love with Ananya (Alia Bhatt) — a Tamil Brahmin gal from Chennai — in graduate school. They want their parents’ approval before they get married, but an introductory meeting goes terribly wrong. Vikram doesn’t even show up, and Kavita spews slurs against South Indians. Ananya’s mother, Radha (Revathy), calls Kavita classless and drags her husband, Shiv (Shiv Kumar Subramaniam) as far away as she can get.
Krish and Ananya persist in trying to win their parents’ approval, but their efforts are hampered by Krish’s evasiveness and conflict avoidance. Because he knows it will upset his mother, Krish doesn’t tell her in advance that Ananya is coming to visit, making Kavita even angrier. Krish also doesn’t tell Ananya the truth about his troubled relationship with his father until Ananya fruitlessly tries to make small talk with him.
I’m a couple of generations removed from the alcohol abuse on both sides of my family, but its effects still linger in the way we all communicate. Listening to Krish’s family evade, pacify, generalize, and blow up over little things felt familiar.
The characters feel so authentic because they are portrayed as damaged human beings, not monsters. Even in Vikram’s worst moments, Roy gives him an air of fragility. Singh plays Kavita as a woman whose hurtful words come from a place of fear.
Kapoor infuses Krish with an air of desperation. He’s as desperate not to lose Ananya as he is not to upset his mother. Part of his character development is choosing which he fears most. Krish is a relatable alternative to the typical cocksure, big-man-on-campus type of Bollywood hero.
Bhatt is terrific as Ananya: a woman with much more confidence than Krish, despite having challenging parents of her own. Revathy and Subramaniam find the right balance, making their characters chilly but not stony. At least with them, Krish knows he stands a chance.
Certain aspects make 2 States a good starter Bollywood film, not least of which are the well-written, well-acted characters. There aren’t an overwhelming number of songs, but those that exist are placed appropriately. The biggest song-and-dance number — “Locha-E-Ulfat” — is a kind of dream sequence when Krish is in the first throes of love. It features a cool single-take shot in which the camera weaves around, following Krish as he dances through the library stacks. (Watch the video of “Locha-E-Ulfat” here.)
Where the movie loses a lot of non-Indian viewers — especially those new to Bollywood — is in its jokes and stereotypes about North and South India. Some jabs are explained, but jokes about regional food and drink preferences are glossed over. I had to turn to Wikipedia to learn that “Madrasi” — the term Kavita uses to describe Ananya and her family — is an ethnic slur. Kavita also makes many, many cringe-worthy comments about the differences in skin tone between North and South Indians.
Nevertheless, the point is sufficiently made: the two families hate each other. It’s up to Krish to overcome his fear of conflict to win the woman he loves.
One of the most hotly anticipated Bollywood films of the year opens in the Chicago area on April 18, 2014. 2 States stars Arjun Kapoor and Alia Bhatt as a pair of young people trying to build a relationship despite the objections of their parents.
It’s worth noting that the Big Cinemas Golf Glen 5 in Niles — one of two local theaters to carry Bollywood movies virtually every week — is no longer managed by Phoenix Big Cinemas, and its present closure may be permanent. If so, that makes the South Barrington 30 the most reliable place to find Hindi films in the Chicago area, followed by the Cantera 17 and River East 21.
