Tag Archives: Akshay Kumar

Bollywood Box Office: February 10-12, 2017

There’s something fascinating going on with Akshay Kumar’s box office returns in North America, and I’m not sure how to make sense of it. His latest film — Jolly LLB 2 — earned $743,719 from 197 theaters ($3,775 average) in the United States and Canada during its opening weekend of February 10-12, 2017. (Box Office Mojo lists the film as opening in 173 total theaters, making for an average of $4,299 per theater.) This total is consistent with the opening weekend returns of Kumar’s three 2016 releases — Airlift, Housefull 3, and Rustom — which ranged from $674,890 for Housefull 3 on the low-end and $815,933 for Airlift on the high-end. The only difference is that Jolly LLB 2 opened in sixty more theaters than Housefull 3, Kumar’s biggest release of last year, so one would’ve expected larger returns with Jolly LLB 2‘s wider release.

Here’s where things get weird. Kumar released four films in 2015: Baby, Gabbar is Back, Brothers, and Singh Is Bliing. Those four films opened in an average of 140 theaters — ranging from 99 for Baby to 181 for Brothers — so their opening weekend theatrical footprint was slightly larger than the average opening weekend theater count of 122 for his three 2016 releases (though still smaller than Jolly LLB 2‘s 197 theaters). The average total earnings for Kumar’s four 2015 releases was $721,024. Yet, Kumar’s three 2016 releases plus Jolly LLB 2 earned an average of $747,887 in their opening weekends! In the span of a year, Kumar became popular enough in North America than his films now earn the same amount in one weekend as they earned over their entire theatrical lifespan in 2015! How the heck does that happen?!

Those earnings aren’t just front-loaded, either. Kumar’s films have seen their box office longevity increase as well. In 2015, the average Kumar movie finished its theatrical run with a total that was 1.91 times the amount it earned in its opening weekend. In 2016, that average multiplier jumped to 2.26.

The other impressive anomaly at the North American box office this weekend is Dangal‘s performance in its eighth weekend in theaters. It earned $11,441 from six theaters ($1,907 average), bringing its total to $12,329,706. This is notable because Bollywood movies don’t earn more than $10,000 in a weekend by this point in their life-cycles. Even though Kapoor & Sons hung around theaters for ten weeks last spring, it stopped earning five figures after its sixth weekend.

Other Hindi movies showing in US and Canadian theaters:

  • Raees: Week 3; $105,069 from 63 theaters; $1,668 average; $3,508,519 total
  • Kaabil: Week 3; $40,343 from 34 theaters; $1,187 average; $1,373,722 total

Sources: Box Office Mojo and Rentrak, via Bollywood Hungama

Advertisements

Movie Review: Jolly LLB 2 (2017)

jollyllb22.5 Stars (out of 4)

Buy the soundtrack at iTunes

In spite of a compelling performance by Akshay Kumar as Jolly LLB 2‘s flawed hero, narrative inconsistencies keep the well-intentioned black comedy from achieving its full potential.

Kumar plays Jolly Mishra — a different character from Arshad Warsi’s title character in the original Jolly LLB — an ambitious lawyer who yearns to be more than an errand boy for the more established attorney, Rizvi. In order to raise money to establish his own practice, Jolly assures a pregnant young widow, Hina (Sayani Gupta), that Rizvi will take on her case, collecting the fees from her up front and keeping them for himself.

Hina’s case is politically dangerous. She believes that her husband, Iqbal (Manav Kaul), was falsely arrested on terrorism charges and murdered by police, all for the sake of securing a promotion for notorious Officer Suryaveer Singh (Kumud Mishra). With crooked, wealthy Lucknow attorney Sachin Mathur (Annu Kapoor) defending Singh, every other lawyer knows that Hina’s case is a lost cause.

When Hina learns from Rizvi that he never agreed to take her case, she realizes that Jolly duped her, declaring as much in front of Jolly, his wife Pushpa (Huma Qureshi), and his father, who spent decades working as Rizvi’s legal secretary. Devoid of hope, Hina kills herself. Rizvi fires Jolly, and Jolly’s father tells his son he never wants to see him again.

Jolly is a complicated character. He’s a doting husband to drunken Pushpa and a loving father to their son, but he doesn’t work for any ideals higher than his own ambition. It’s impossible to pay penance for driving Hina to suicide, but Jolly takes on her case in the hopes of righting some of the wrongs he did by her and her family. Kumar’s grounded performance makes us believe that Jolly can become a better man by the end of the movie than he is at the beginning.

The case pits Jolly — who has the truth on his side — against the nakedly corrupt Mathur, who is sleazy in typical sleazy movie lawyer fashion. The presiding Judge Tripathy (Saurabh Shukla) isn’t explicitly corrupt, just distracted by his daughter’s upcoming nuptials.

Tripathy is the weak link in Jolly LLB 2. It’s hard to figure out how exactly he fits into the story. He’s not funny enough to provide true comic relief, but he’s clearly too light for a somewhat grim case involving suicide and extrajudicial police killings. He’s prone to drawing out conversations, leading to dull patches. Unlike the other characters, his balance is off.

The judge is also tasked by the script with driving the tension in the courtroom, but he’s not consistent in the way in which he does so. Tripathy believes or discounts witnesses’ testimony depending on the needs of the story at that moment, not because of any internal logic. Some of his other decisions are so blatantly provocative that it dispels the illusion of organic story flow. We can all but see writer-director Subhash Kapoor pulling the strings.

In Jolly LLB 2‘s favor, Kumar and Qureshi look great together and share a comfortable rapport. Rajiv Gupta is the film’s unsung hero as Jolly’s harried assistant, Birbal. Shukla’s dance sequence as Tripathy rehearses for his daughter’s wedding is pretty funny.

Jolly LLB 2‘s sentiment is admirable, especially at a time when citizens in India and around the world are desperate for reassurance that their justice systems aren’t fundamentally irreparable. The story just needed more refining to maintain a consistent tone throughout.

Links

Bollywood Box Office: September 9-11, 2016

The two latest Hindi films to open in North America did quite well in their first weekend in theaters. Let’s start with the wider release of the two: Baar Baar Dekho, starring Katrina Kaif and Sidharth Malhotra. During the weekend of September 9-11, 2016, Baar Baar Dekho earned $609,640 from 143 theaters, an average of $4,263 per theater. Those numbers are significantly better than figures for Kaif’s other 2016 romance, Fitoor, which co-starred Aditya Roy Kapur. Baar Baar Dekho has already earned more than Fitoor did in its entire run ($513,879) despite the fact that it opened in twenty fewer theaters.

By a very different metric, the weekend’s other new release — the golf comedy Freaky Ali — also posted good numbers. Freaky Ali earned $42,637 from 42 theaters ($1,015 average). That may not sound like much, but Bollywood movies that open in fewer than 50 theaters in North America are lucky to earn $20,000 in their opening weekend. The second highest opening weekend gross among the Under-50 club this year was Mastizaade, which earned $28,529 from 46 theaters. A final tally for Freaky Ali in the $60,000 range would be commendable.

Naam Hai Akira didn’t fare nearly as well as the new releases. Its business fell by 88% from last weekend, with returns of just $15,364 from 66 theaters ($233 average). Ouch. Its total earnings after two weekends are $210,865.

Rustom continues its impressive run into its fifth week, earning $17,335 from sixteen theaters ($1,083). Total earnings of $1,900,485 rank Akshay Kumar’s Rustom in fourth place for the year, just ahead of Kumar’s Airlift.

Other Hindi movies still in North American theaters:

Source: Rentrak, via Bollywood Hungama

Movie Review: Rustom (2016)

Rustom3 Stars (out of 4)

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

An open-and-shut murder case turns out to be anything but in Rustom, a movie based on a real-life case from 1959. Period costumes and decor give this drama a stylish flair.

The title character Rustom Pavri (Akshay Kumar) is a decorated Navy officer. His ship returns to Mumbai — then Bombay — ahead of schedule, causing him to catch his wife Cynthia (Ileana D’Cruz) in an extramarital affair with their mutual friend, Vikram (Arjan Bajwa).

Rustom returns to his ship to check a gun and ammunition out of the munitions cabinet, logging the withdrawal with the duty officer. He heads to Vikram’s mansion where he shoots the wealthy playboy to death, then turns himself into the police.

Chief Police Inspector Vincent Lobo (Pawan Malhotra) is immediately suspicious of Rustom’s calm demeanor, his refusal to be housed in a Navy jail, and his insistence on representing himself at trial. To Vikram’s bereaved sister, Priti (Esha Gupta), Rustom’s actions feed her hopes of an easy victory in court.

But Rustom has a few things working in his favor. Erach (Kumud Mishra) — a publisher from the same Parsi community as Rustom — uses his newspaper to run stories painting the officer in a favorable light, driving sales and tainting the jury pool at the same time. Erach’s contentious relationship with the trial judge (Anang Desai) provides the film’s comic relief.

Also on Rustom’s side is public sentimentality toward soldiers, a bias that Rustom himself exploits. When representing himself at trial, Rustom casually responds to the prosecutor’s (Sachin Khedekar) complaint about the symbolic impact of the officer’s uniform by saying that wearing his uniform is one of his unchangeable habits, just like breathing or defending his country.

Director Tinu Suresh Desai shows the power of the uniform in an early scene whose significance is easy to miss. Fresh off his ship, Rustom stops to buy some flowers for Cynthia from a street vendor. Just in the background, a pair of young women stare dreamily at Rustom, likely envisioning themselves the lucky recipients of a bouquet from a handsome man in uniform someday.

Writer Vipul K. Rawal draws from the way the jury was influenced in the real case of Officer K. M. Nanavati to make observations about the way blind veneration of the military can lead society to overlook the shortcomings of both individual officers and larger institutions. His story is critical, but not cynical.

Probably the biggest selling point for Rustom is its visual appeal. Costume designer Ameira Punvani showcases a stunning array of attire, adding ostentatious touches to the wardrobes of the wealthy siblings, Vikram and Priti. There are also loads of classic cars and furniture pieces to drool over among the set dressings.

Completing the period aesthetic is the cast, smartly assembled by Shruti Mahajan. Malhotra looks like he was plucked straight from a mid-century detectives catalog. Bajwa was born to play a rich, 1950s Lothario. The way he leers at Cynthia is positively nauseating, and I mean that as a compliment.

Gupta suits the film perfectly as well, poured into her glamorous cocktail attire, haughty expression permanently in place. I wish there were more to her character, but one can’t fault Priti’s single-minded drive to bring her brother’s killer to justice.

By necessity, Rustom has to play his cards close to the vest, so this isn’t one of Kumar’s flashier roles. Still, he fills Rustom with enough charm and intelligence to keep both the audience and the other characters guessing about his endgame.

D’Cruz gets to show the most emotional range as Cynthia, a woman overwhelmed by guilt and loneliness. There’s more to the story than she realizes, leaving her to suffer from a mistake that may or may not be entirely her fault. D’Cruz does a fine job containing Cynthia’s inner torment behind a brave public face.

Rustom is an entertaining movie, its vibrant style counting for a lot, given the relative dearth of period films in Bollywood. It’s also patriotic without being blindly so. Overall, it’s worth a watch.

Links

Streaming Video News: August 15, 2016

I updated my list of Bollywood movies on Netflix with three new additions to the streaming catalog, including two 2016 theatrical releases. The highest profile addition is Airlift, which stars Akshay Kumar in a fictionalized version of 1990 evacuation of 170,000 Indian citizens from Kuwait following Iraq’s invasion. I felt the movie fell short of its potential, but it is a fitting choice for some patriotic Independence Day viewing.

Also new is Laal Rang, a movie that no one but me bothered to watch when it released in April. If you’ve ever wondered why Shah Shahid of Blank Page Beatdown and I are such massive Randeep Hooda fans, watch Laal Rang and understand.

The last addition is John & Jane, a 2005 documentary about Indian call center workers by director Ashim Ahluwalia of Miss Lovely fame.

For everything else new on Netflix, check Instant Watcher.

Opening August 12: Mohenjo Daro and Rustom

One of the biggest box office showdowns of the year happens on August 12, 2016, with the release of two very different period films. The Indus Valley-set Mohenjo Daro stars Hrithik Roshan and is directed by Ashutosh Gowariker. It’s their first reunion since Jodhaa Akbar.

Mohenjo Daro opens in nine Chicago area theaters on Friday: AMC River East 21 in Chicago, Century 12 Evanston/Cinearts 6 in Evanston, Regal Round Lake Beach Stadium 18 in Round Lake Beach, MovieMax Cinemas in Niles, Muvico Rosemont 18 in Rosemont, AMC South Barrington 30 in South Barrington, Marcus Addison Cinema in Addison, Regal Cantera Stadium 17 in Warrenville, and AMC Loews Woodridge 18 in Woodridge. It has a listed runtime of 2 hrs. 35 min.

The weekend’s other new release is Rustom, set in Bombay in 1959 and based on a true crime story. It stars Akshay Kumar, Ileana D’Cruz, and Esha Gupta.

Rustom opens on Friday in six Chicago area theaters: River East 21, MovieMax, South Barrington 30, Cantera 17, Woodridge 18, and Century Stratford Square in Bloomingdale. It has a listed runtime of 2 hrs. 28 min.

Dishoom gets a third week at the Cantera 17.

Other Indian films showing in the Chicago area this weekend:

Box Office Star Analysis: Hrithik Roshan

Though the three Khans dominate the Hindi film industry at home and abroad, it’s important not to overlook Hrithik Roshan’s popularity in the United States and Canada. Check out Hrithik’s North American box office returns since 2001.

HrithikRoshanNABoxOffice

Though not as prolific as other Bollywood heroes, Hrithik is certainly dependable at the box office. Ten of the thirteen films he’s released since 2001 — the ones for which I have reliable data — have earned at least $1 million in the States. His only movie to earn less than $500,000 in North America was 2009’s Luck By Chance, in which he played a small supporting role (despite featuring prominently on the film’s poster).

With the three Khans in a league of their own, let’s pit Hrithik’s track record against that of a more comparable A-list star: Akshay Kumar, an actor as profligate as Hrithik is picky. Though Akshay has had a great 2016 so far — with Airlift earning $1.8 million here in January and Housefull 3 $1.3 million in June — this chart I made in 2014 showed his earnings in North America trending down. None of the four films he released in 2015 made $1 million.

Akshay’s highest finish in the all-time Bollywood box office list for North America is 45th place for 2008’s Singh Is Kinng. Five of Hrithik’s films rank above that, including two in the Top 20 (Jodhaa Akbar in sixteenth place and Zindagi Na Milegi Dobara in eighteenth place). While Akshay may have greater lifetime receipts due to volume, Hrithik’s earning potential for any given film is higher.

Hrithik and Akshay face off in theaters on August 12, 2016, with the release of Mohenjo Daro and Rustom, respectively. Mohenjo Daro reunites Hrithik with his Jodhaa Akbar director Ashutosh Gowariker, but the film’s leading lady, Pooja Hedge, is a newcomer to Hindi films (as opposed to his superstar Jodhaa Akbar heroine, Aishwarya Rai Bachchan). On the other hand, movies with patriotic themes — like Holiday, Baby, and Airlift — have been Akshay’s bread and butter in recent years, and he plays a Navy officer in Rustom. It’s going to be fun to see who wins this box office duel.

Sources: Box Office Mojo and Rentrak, via Bollywood Hungama