With no new Hindi movies opening in the U.S. or Canada on Friday, May 2, 2014, old favorites continued to pull in crowds at the North American box office. The Lunchbox — now in its tenth week — earned $255,736 from 141 screens ($1,814 average), bringing its total earnings to $2,968,497 so far.
2 States also held up well in its third week. It earned $167,377 from ninety-one screens ($1,839 average) to bring its total North American earnings to $1,978,594.
With The Lunchbox set to pass $3 million in North American earnings this week and 2 States about to the clear the $2 million mark, it’s worth noting the significance of these achievements. Both movies are romantic dramas, as opposed to action-packed spectacles. Neither film features A-list superstars (industry and audience respect for Irrfan Khan notwithstanding).
A look at the last five years of box office receipts reveals similarities among the sixteen Hindi films that managed to earn more than $2 million in North America during that period (five in 2013, five in 2012, two in 2011, one in 2010, and two in 2009). Four films are action sequels: Dhoom 3, Krrish 3, Dabangg 2, and Don 2. A small list of actors show up in multiple movies on the list:
Hrithik Roshan: Krrish 3 and Zindagi Na Milegi Dobara
[Somebody in Bollywood needs to cash in by bringing back Shahrukh Khan and Kareena Kapoor Khan for Ra.Two, featuring Deepika Padukone and Katrina Kaif as the villains.]
The Lunchbox continues to earn big, thanks to its partnership with a Hollywood distributor — Sony Pictures Classics — which has dramatically expanded its potential audience compared to a typical Hindi film. Though movie adaptations of popular books are far rarer in India than in Hollywood, the success of 2 States should start to change that.
The only other Hindi movie showing in the U.S. the weekend of May 2-4 was Queen. Now in its ninth week, it earned $190 from one theater, bringing its total earnings to $1,417,405.
The edgy thriller Talaash is now available for streaming on Netflix. This accessible mystery is a great way for newcomers to get acquainted with some Bollywood bigwigs, including superstars Aamir Khan, Kareena Kapoor, and Rani Mukerji, as well as rising star Nawazuddin Siddiqui.
2012 was a good year for Hindi movies. Of the fifty 2012 releases that I reviewed this year, thirty-one earned positive reviews of 2.5-stars or higher. The ten films below were the best of the best. (Click on the title of each movie to read my original review.)
English Vinglish — a personal drama about a mother’s quest to regain her self-worth — proved to be one of the years most delightful surprises, thanks to a triumphant return to the big screen by Sridevi.
I awarded a perfect four-stars to three movies this year — movies that could not be more different from one another. Supermen of Malegaon is one of the most fun and fascinating documentaries I’ve ever seen. While it never released theatrically in the U.S., the whole movie is available for free with English subtitles on YouTube.
Evaluated in a vacuum, Barfi! is a wonderful and heart-wrenching movie. But given director Anurag Basu’s apparent lifting of whole scenes from other films, I have trouble recommending it with a clear conscience. Therefore, I instead recommend the (unfortunately-titled) Jism 2, a movie so bad, it’s good. There’s no movie I had more fun watching in 2012.
The best film of the year was a meticulously crafted thriller with character development to spare and a magnificent, evocative setting. My best Bollywood movie of 2012 is Kahaani.
This is a movie I could watch over and over again. Vidya Balan reaffirms that she’s the most talented actress working in Hindi films at the moment. Her co-star, Parambrata Chatterjee, holds his own alongside her, playing a police officer with a crush that’s doomed to go nowhere.
One aspect of Kahaani I particularly appreciate is its positive take on marriage. Balan plays Vidya, a pregnant woman from London searching for her husband, Arnab, who’s gone missing in Kolkata. Everyone tries to tell her that he has probably just run out on her, but she refuses to believe them. She knows in her heart that not only would he never leave their unborn baby, but he wouldn’t leave her, either.
So often, we’re confronted with cultural tropes that portray marriage negatively. Husbands are depicted as either incorrigible philanderers or hapless morons barely tolerated by wives who only need them for baby-making and yardwork.
Isn’t it more satisfying to see an onscreen marriage in which both partners really know and value each other? That’s what makes Vidya’s search so frustrating and engrossing: there’s real love at stake.
I admit, I’m pretty excited for Dabangg 2. The original Dabangg was funny and clever, and I’m hoping for more of the same in the sequel. I’m also looking forward to the obligatory moment in the movie where Salman Khan removes his shirt, causing all of the women in the audience to scream.
The South Barrington 30 is the only area theater holding over any other Hindi movies after Thursday. It’s giving a third week to Khiladi 786 ($352,684 in total U.S. earnings) and a fourth week to Talaash ($2,706,375 in the U.S. so far).
The only other Indian movie showing in the Chicago area this weekend is the Tamil romance Neethaane En Ponvasantham at the Golf Glen 5.
Salman Khan films seem to generate a kind of force field. They pull in such a large share of the available audience that there are never any releases of note within a couple of weeks of the release of anything starring Salman Khan. The pattern holds true again for Dabangg 2, which opens on December 21. No new Hindi films are opening in the Chicago area on Friday, December 14, 2012, and there likely won’t be anything new besides Dabangg 2 in area theaters until Matru Ki Bijlee Ka Mandola debuts on January 11, 2013.
Talaash: The Answer Lies Within is exactly I wanted it to be: an engaging thriller with great performances.
Talaash opens with footage of Mumbai’s red light districts set to a jazzy theme: an intro to the excellent soundtrack by Ram Sampath that permeates the film. The action begins as a car veers suddenly from a seaside road near the red light district, soaring over a wall and crashing into the ocean.
The car’s driver is Armaan Kapoor (Vivan Bhatena), a famous actor. The circumstances of Armaan’s death — Why was he in such a seedy part of town? Why was he driving instead of his chauffeur? — are suspicious enough to lead Inspector Surjan Shekhawat (Aamir Khan) to treat the case as more than a simple accident.
The case also provides Surjan with a convenient escape from the tension at home. He and his wife, Roshni (Rani Mukerji), are struggling with the recent accidental death of their young son. Both blame themselves, but Surjan refuses to discuss his feelings with Roshni, choosing to throw himself into his work.
Surjan finds an investigative ally in Rosie (Kareena Kapoor), a coy prostitute who knows which of Mumbai’s least savory residents has clues to Armaan’s death. Two persons of interest in the case include a pimp named Shashi and his much abused errand-boy, Tehmur (Nawazuddin Siddiqui).
Rosie does more for Surjan than just help his case. She provides him with a place free from memories of his son. At home, Roshni stares at Surjan with expectation, waiting for the chance to really talk with her husband, whereas Rosie’s eyes hold an invitation.
Khan is powerful as the tortured Surjan. Whether it’s investigating Armaan’s death or following beguiling Rosie, Surjan is desperate for a problem to solve. All that comes from thinking about his son’s death are the questions of what he could’ve done to prevent it.
Mukerji is likewise terrific as Roshni, who is just as saddened by her son’s death, but even more troubled that Surjan won’t work with her to heal their wounds. She stares at her husband with such longing before finally resolving to find peace on her own.
Kapoor’s Rosie is too coy at the start, and it takes a while before she seems like a real person and not a caricature of a prostitute. When she finally starts to discuss serious topics with Surjan, she does so with an evasive glibness.
As is the case with seemingly every movie he’s been in recently, Nawazuddin Siddiqui again steals the show. Pitiable Tehmur is the perfect target for abuse: his mother was a prostitute and he has one misshapen foot, so he has no other option but to do what Shashi says. Siddiqui plays Tehmur as resourceful and scrappy, and he seizes an opportunity to get rich quick, even if it gets him in way over his head.
The sweetest relationship in the film is between Tehmur and Nirmala, a prostitute who’s been told she’s too old to be of any value. World-weary Nirmala is not overly affectionate with Tehmur, but because she’s the only person who treats him with any kindness at all, he acts as though she’s promised him eternal love. The relationship wouldn’t be so affecting without someone as skilled as Siddiqui playing Tehmur.
In Talaash, director Reema Kagti and her co-writer Zoya Akhtar have created an entertaining thriller that uses every one of its 139 minutes wisely. It’s easily accessible for anyone who’s a fan of thrillers, as the English subtitles are well-translated from Hindi.