The trailer for ‘War 2’ has all the ingredients of a quintessential masala potboiler, promising to deliver an exhilarating cinematic experience. As the sixth instalment in the expansive Spy Universe of Yashraj Studios, this film boasts impressive production values, breathtaking action sequences and a palpable energy that is sure to captivate audiences worldwide. Starring Telugu superstar NTR Jr and Bollywood icon Hrithik Roshan, the film is set to release on August 14th. With simultaneous release in Hindi, Telugu and Tamil, War 2 is expected to make a big impact at the box office. Initial projections suggest that the Hindi box office alone could exceed Rs 50 crore on its opening day, with a global total—encompassing all three languages—expected to surpass Rs 100 crore. If the film crosses the Rs 100-crore mark on its first day, it could potentially gross upwards of Rs 300 crore throughout its theatrical run. Audiences can expect breathtaking visuals, including high-speed chases, intense ground battles, and aerial dogfights, all choreographed to perfection. director Ayan Mukerji, known for his work on Brahmastra brings his visionary approach to the project, while writer-producer Aditya Chopra, celebrated for hits like Tiger 3 and the original War ensures a compelling script. War 2 is shaping up to be the quintessential masala entertainer, blending style, substance and sheer excitement—a formula that has historically resonated with audiences, reminiscent of the fervour generated by the Dhoom franchise for Yash Raj Films.

An increasing number of Bengali actors are heading to Mumbai, reflecting a growing trend of migration from Tollywood to Bollywood. Over the past few years, noted actors like Saswata Chatterjee, Jisshu Sengupta, and Parambrata Chattopadhyay have featured in several Hindi films and web series. Even big names such as Prosenjit Chatterjee and Jeet have stepped into Bollywood. Meanwhile, many TV stars from Bengal are also seeking roles in Hindi serials, hoping to make it big in Mumbai. Casting directors like Mukesh Chhabra have gained prominence, especially with the rise of social media. Known for discovering Sushant Singh Rajput, Chhabra is considered a star-maker. He recently visited the sets of Raktabeej 2 and reportedly selected Mimi Chakraborty to play Dona Ganguly in the upcoming Sourav Ganguly biopic. He recently conducted a three-hour workshop in Kolkata which was hosted by Pritimoy Chakraborty, who runs the Kolkata studio. This open-to- all workshop generated widespread interest, especially among Tollywood actors like Tota Roychowdhury, Debdut Ghosh, Debleena Dutta, and Dibyajyoti Dutta. The initiative aimed to build confidence among Bengali actors. He noted that many actors face challenges in diction and presentation, which are crucial in Mumbai’s competitive industry. The workshop addressed how to audition, develop mental strength, and present oneself effectively. Debleena Dutta stated that Kolkata’s work opportunities have visibly shrunk with nepotism affecting casting decisions. Debdut Ghosh highlighted that TV serials in Kolkata have dropped from 40–50 to around 20, and films have declined from 70–100 to around 20. Likewise, investment has halved from Rs 1,200 crore earlier.

Metro In Dino directed by Anurag Basu, has opened to disappointing box office numbers, grossing approximately Rs3.35 crore, a stark contrast to its hefty production budget of Rs100 crore. Despite the film receiving mixed reviews, with some intellectual critics praising its love story, music, and performances—particularly from the lead actress—audience reception has been lukewarm at best. The disconnect between critical acclaim and public enthusiasm is evident, as mainstream viewers have not resonated with the film, leading to a significant drop in expectations. The film’s three-year production timeline raises questions about its viability in an increasingly saturated market. The concept of love anthologies, once fresh and engaging, has been extensively explored across numerous OTT platforms, diluting its novelty. When “Life in a…Metro” was initially conceived in 2007, it boasted a unique premise and a strong musical score, but the landscape has shifted dramatically. With audiences now inundated with similar narratives, the film struggles to stand out. Moreover, the star cast, featuring Aditya Roy Kapoor, Sara Ali Khan, and Pankaj Tripathi, lacks the mass appeal necessary to draw in larger crowds. While each actor possesses talent, they do not command the box office clout that would ensure a successful opening. The ambitious attempt to revisit a concept after 18 years has proven misguided, as audiences have moved on, leaving the film feeling outdated.

There is a new player in the eternal Indian cycle in which the cricketers want to be actors on screen and actors want to play cricketers on screen. He is Suresh Raina who will be making his debut as the hero in a Tamil film that has just been announced. Considering the former Test, ODI and IPL batsman has had offers from Bollywood that he turned down in life after cricket, his choice of medium is piquant. But then Raina may have found an easy choice in his favourite city Chennai to take a serious offer to don the greasepaint, that too as the protagonist. And he will be playing a role that may come naturally to him as he is a cricketer in the film. No, it is not a biopic, just a story woven around cricket and politics.  A close lieutenant of Dhoni who was ‘Thala’ (boss or chief), Raina was known as ‘Chinna Thala’ in his CSK playing days when he was as much a batting super star as his boss. Raina may feel at home in Kollywood where he will take on this new role. The film is being directed by Logan for the Dream Knight Stories banner and will be a medium budget release with big ambitions. There have been movies in which cricketers like Bravo, Irfan Pathan and Harbhajan Singh have also starred. Where Raina and his film may end up is anybody’s guess. But this won’t be the last story you will read on cricketers chasing films and film stars chasing cricketers to play them on screen. This cycle began early with Salim Durrani one of the first to try a hand at becoming a matinee star while others like Sandeep Patil also fell for it.

Vivek Oberoi may have been crucified by Bollywood because of his fallout with Salman Khan but the same actor today is a successful entrepreneur and real estate baron in Dubai.  The actor’s company has a turnover of Rs 1200cr and many Bollywood stars have bought apartments in Dubai through him. Oberoi’s second act or changing career track has impressed one and all. The 49-year old Vivek, son of actor Suresh Oberoi, made his debut as a gangster in Ram Gopal Varma’s Company which was a runaway hit. More success followed. But his relationship with Aishwaraya Rai seemed to have upset Salman Khan. This rivalry saw him losing out as most producers decided to back Salman and sidelined him. With not many offers coming his way, it is learnt that for a fleeting moment he contemplated what Sushant Singh Rajput did. Then he picked up the gauntlet, moved to Dubai and plunged headlong into the real estate business. He was successful. There is a lesson here for lakhs of people; Vivek did not allow lobbies in Bollywood to decide his future and is now doing films on his terms. He was recently seen in Kesari Veer and will be seen playing vidyutjeeva in Nitesh Tiwari’s Ramayan. The actor now lives in Dubai and shuttles between Mumbai, Delhi and Dubai. Not many are aware of his philanthropic activities in the areas of education (he does not like to talk about it) and healthcare. He helps the underprivileged children of Vrindavan and also cancer patients. Vivek had a reason to change his track and fortunately he was successful. Others have tried but in vain. Rajesh Khanna plunged into politics full time while people like Shatrughan Sinha, Hema Malini, Ravi Kishan managed both the world. Amitabh Bachchan’s eternal regret is his political odyssey. 

Diljit Dosanjh, a popular figure in the Punjabi music and film industry, finds himself at the centre of a brewing controversy that could significantly impact his career. His film Sardaarji 3, which features Pakistani actress Hania Aamir, has sparked a fierce debate within the Indian film fraternity. It reflects deeper tensions between Indian and Pakistani artists, particularly in light of the ongoing geopolitical issues between the two nations. The Federation of Western India Cine Employees (FWICE), a prominent body representing various stakeholders in the Indian film industry, has voiced its discontent regarding the film’s release. Their concerns stem from a broader sentiment within the industry that seeks to distance itself from Pakistani artists due to past incidents, including provocative social media statements made by some Pakistani celebrities. The FWICE’s opposition is significant, as it holds considerable influence and credibility within the industry, and their stance could lead to serious repercussions for Dosanjh. When confronted with the backlash, Diljit’s dismissive comments about Bollywood raised eyebrows. His apparent indifference to the Indian film industry, which has nurtured his career, could alienate him from a substantial segment of his fanbase. Such behaviour may be viewed as irresponsible, especially for someone in his position, and it poses a risk of escalating tensions further. As the situation unfolds, the potential for a ban on Diljit’s work in India looms large, threatening to overshadow his popularity and success. While he may continue to thrive in international markets, the lack of support from the Indian film community could hinder his growth and acceptance within his home country. While Jasbeer Jassi stood by him, Mika condemned his stand.

Aamir Khan, hailed as one of Bollywood’s most bankable stars, has consistently pushed the boundaries of Indian cinema with his choice of diverse and thought-provoking roles. However, his latest film, Sitare Zameen Par, which garnered approximately Rs 10.70 crore on its opening day, raises critical questions about the viability of niche cinema in a commercial landscape dominated by mass appeal. While the film showcases Aamir’s commitment to storytelling that resonates with a more elite audience, its limited screen release and lack of mainstream entertainment elements have significantly hampered its box office potential. Unlike his contemporaries, Shah Rukh Khan and Salman Khan, who frequently deliver mass-centric blockbusters, Aamir’s foray into niche narratives may alienate the average moviegoer. The film’s intellectual depth and artistic merit, although commendable, do not cater to the broader audience base that thrives on high-octane entertainment and relatable themes. The expectation for Aamir Khan films to cross the Rs 100-crore mark within the first three days has become a benchmark of success in Bollywood. However, Sitare Zameen Par weekend collections appear to be around Rs35-40 crore, a figure that many industry insiders deem disappointing for a film featuring such a prominent star. This trend raises concerns about the sustainability of niche cinema in a market that increasingly favours commercial viability over artistic expression. As the film fraternity navigates this evolving landscape, it is imperative for stars like Aamir Khan to strike a balance between artistic integrity and audience engagement. While niche films have their place in cinema, the current climate suggests that a more mass-oriented approach may be necessary to foster the growth of Indian cinema as a whole.

The question of whether Aamir Khan’s overexposure could hinder the success of Sitare Zameen Par is a compelling one. Aamir Khan is not only a celebrated filmmaker but also a masterful marketer. His ability to craft and dictate marketing strategies has played a significant role in the success of many films he has produced and starred in, including Lagaan, Rang De Basanti, Taare Zameen Par, Ghajini and more. He has consistently demonstrated an understanding of what resonates with audiences, employing innovative marketing techniques that have included unique promotional stunts and celebrity engagements.  However, with Sitare Zameen Par, Aamir’s omnipresence in the media raises concerns. He is currently everywhere — on podcasts, TV interviews, and social media—actively promoting the film by inviting celebrities and influencers to his home for discussions. While this level of visibility can create buzz, it risks becoming counterproductive. The saturation of Aamir Khan in promotional activities may lead audiences to feel overwhelmed, diluting the film’s impact and excitement. Effective marketing should strike a balance between visibility and intrigue. While traditional methods such as social media campaigns, public relations efforts, and billboard advertisements are essential, they should be complemented by innovative strategies that captivate the audience’s imagination. The current promotional approach for Sitare Zameen Par seems to rely heavily on routine visibility without offering a compelling narrative or unique engagement. Aamir Khan has previously employed similar strategies with his son Junaid’s film Loveyapa where he invited notable personalities like Raj Thackeray, Sachin Tendulkar and Salman Khan for special pre-release screenings. However, despite the visibility, the film did not perform well, highlighting that increased exposure does not guarantee success.

The New Indian Express has a whole op Ed by Prabhu Chawla on titled ‘Bollywood flops as the South shines’. Chawla quotes chapter, verse, stats, stars and spectacle as huge budget films are crashing. Even with the most tantalising attractions, big budget films of cult figures and classic heroes are cringing; in some cases even manipulated data on pre-booking and daily takes are cleverly presented to give an impression all is well. Recently, a top hero seeing how his latest much-touted film tottered, took to “rewarding” influencers for good reviews. The disturbing trend has festered for over three years. Khans and the Punjabi machos have not been able to draw sustained crowds, repeat audiences and clever Pan India plans have failed. Even OTT has built a strong resistance. Take Salman’s Sikander with every trick in the trade to showcase Bhai and Rashmika, fiery action, fierce fights and oodles of glamour could not stave off its tepid reception. SRK at least had a medium hit in Jawan. But it is Akshay Kumar who wears the crown for serial flops. Housefull 5 has fallen flat. It would be unfair to single out Bollywood alone; the South too has had its share of cringeworthy flops of Vikram, Suriya and even Kamal Haasan. The super star Rajini has snagged a new formula …sign up a big name from every “film wood” …it’s bound to draw the fans of the star and the sum of the parts would rake in overflows. It’s not the money spent or the overwhelming star cast, sets and show that have made Tamil films like Parking, Ayodhya, Tourist Family and few others succeed at box office. These engaging movies have all developed strong, relatable plots and gripping story telling which the audience identifies.

Deepika Padukone has acquired significant sass after motherhood. Naturally when she has overtaken all female leads in Bollywood, is the brand ambassador to many snazzy brands and is now able to call the shots and crack the whip, she is a true Diva. Was she shown the door by Sandeep Vanga from the film Spirit or did she toss her regal mane and walk out? Now the buzz is she has walked out of Kalki 2 also? So, what are the reasons for this huff and puff?  After the success of Jawan, it is rumoured Deepika has set the base remuneration of Rs 25 crore plus10 % share in profit, and working time restricted to 8 hours. Next…Spirit demanded some risqué scenes and she was not agreeable, so chose to walk out. And walked into SUN Pictures Pan World, under production …#AA 22xA6 (sounds like a rocket out of NASA) directed by Attlee. The lead is iconic star Allu Arjun, a name that has carpetbagged crazy global fans and dizzy fanfare after the twin Pushpas. This blend of mega scale, lead popularity and now Deepika’s electric presence is expected to bring big money to SUN and Kalanithi Maran, he of the gilded golden goose touch. One cannot but help ponder over the pole-vaulting success dynamics of stars …when a lead is unknown, an able director with a strong script and a production house that wagers big money on the project go all out for a hit film. Three or four such hits, the unknown turns Diva…the scales turn, equations spin upside down. This happens so often in cinema …the chronicler of fantasy. Till the next Deepika Padukone. 

The Indian cinema landscape is undergoing a transformative phase, characterized by bold choices and innovative storytelling. Aamir Khan’s decision to release his ambitious film, Sitare Zameen Par on YouTube channels instead of traditional OTT platforms exemplifies this shift. This choice aims to reach a broader audience, tapping into the millions who turn to YouTube for entertainment. By opting for this route, Khan seeks to engage a diverse demographic, ensuring that the film’s poignant themes of childhood, creativity, and the nurturing of talent resonate across various backgrounds. Sitare Zameen Par is set to spark conversations and inspire change in societal perceptions regarding education and artistic expression. Conversely, Sajid Khan’s Housefull 5 takes a different approach within the same industry. Renowned for its comedic flair, the Housefull franchise embraces the absurd and entertaining. This latest instalment promises to innovate further by introducing multiple endings, a groundbreaking concept in Indian cinema. This narrative technique will witness different endings in different Cinema and in fact, different screens as well. Such an approach could redefine audience excitement in the suspense genre in Bollywood, encouraging future filmmakers to explore unconventional storytelling methods. Both films, despite their differing genres, highlight the willingness of Indian filmmakers to experiment and take risks. Aamir Khan focuses on socially relevant themes, while Sajid Khan delivers entertaining escapism, showcasing the diverse storytelling that Indian cinema is embracing. As filmmakers navigate the digital landscape, blending traditional and modern distribution methods will likely become more common. With both Sitare Zameen Par and Housefull 5 exemplifying the coexistence of meaningful narratives and entertaining spectacles, audiences are invited to engage with some experiments as well.

Kartik Aaryan has recently made headlines by clinching two of the most prestigious awards in Indian cinema: the Popular Best Actor for ‘Bhool Bhulaiyaa 3’ and Critics’ Best Actor for ‘Chandu Champion’ at the Zee Cine Awards 2025. This remarkable achievement underscores his versatility as an actor, proving that he is not only adored by fans but also respected by critics. His recent film, Chandu Champion portraying the character of Paralympics Gold Medalist Murlikant Petkar has garnered significant praise, highlighting his ability to take on diverse roles. Additionally, his portrayal of the quirky Rooh Baba in Bhool Bhulaiyaa 3 further solidified his status as a popular actor earning him accolades and recognition. Kartik’s journey has not been without its challenges. He faced a significant setback when he had a public fallout with renowned filmmaker Karan Johar. Reports surfaced claiming that Aaryan was unprofessional, so Johar’s Dharma Production dropped him from Dostana 2. It was followed by Shah Rukh Khan promoted Red Chillies Entertainment dropping him from Good-Bye Freddie. This conflict with such a heavyweight in the industry was a bold move, demonstrating his courage and confidence. Despite the controversy, Kartik managed to deliver hits like Satya Prem Ki Katha and Bhool Bhulaiyaa 2 establishing himself as a bankable star. In an unexpected turn of events, news has emerged that Kartik and Karan are set to collaborate on a new film. This development serves as a reminder that in the film industry, relationships can be complex and ever-changing. It is a testament to Kartik’s maturity that he can mend fences and move forward, proving that in Bollywood like politics there are no permanent friends, no permanent enemies, only permanent interests.

The Indian box office is currently witnessing an exhilarating showdown as two major film franchises go head-to-head this week. First up is Final Destination: Bloodline, the sixth instalment of the iconic horror thriller series, making its much-anticipated return after a 14-year gap since its fifth film. This franchise has built a loyal fan base over the years, thanks to its masterful blend of suspenseful storytelling and innovative horror elements. The captivating narrative and high production values have earned it a cult status, making it one of the most awaited releases in the horror genre. On the flip side, we have Mission: Impossible – The Final Reckoning, the second part of the franchise’s final instalment and the eighth entry in this legendary action series starring Tom Cruise. Initially set for a May 23 release in India, Paramount Studios has opted to advance it to May 15 coinciding with Final Destination: Bloodline. The stakes are high, particularly for Tom Cruise starrer which has previously achieved remarkable box office success in India, demonstrating a strong appetite for action-packed thrillers. Meanwhile, Final Destination: Bloodline is poised to draw horror enthusiasts eager for the next chapter in this beloved saga. As excitement builds among moviegoers, early projections indicate that Mission: Impossible – The Final Reckoning could rake in Rs20 -22 crore on its opening day. However, with both films vying for audience attention, this week promises to be a pivotal moment for Indian cinema.

As the release date of Housefull 5 approaches on June 9, renowned producer Sajid Nadiadwala finds himself at a crucial juncture. This highly anticipated instalment of the successful franchise is expected to be a litmus test for both Nadiadwala and the current state of the Indian film industry, particularly amidst the backdrop of rising political tensions between India and Pakistan. The challenges posed by these tensions could impact audience turnout and overall box office performance. Nadiadwala, who recently faced a string of disappointing releases — including Sikandar, Chandu Champion and Bachchan Pandey — has invested significantly in acquiring the rights to the trending song “Lal Puri” hoping it will resonate with audiences. The recent underperformance of his films, coupled with a generally lacklustre box office climate, has raised questions about the viability of his production house, Nadiadwala Grandson Entertainment. Housefull 5 boasts an impressive ensemble cast featuring Akshay Kumar, Riteish Deshmukh, Abhishek Bachchan, and more, making it one of the biggest films in recent times. The film’s success is not just vital for Nadiadwala; it could also serve as a bellwether for the exhibition sector in India, gauging whether audiences are ready to embrace cinema again after a period of uncertainty. As the film aims to capture the essence of what the Housefull franchise represents—comedy, entertainment, and escapism—its reception will be closely watched. Will it manage to overcome the prevailing sentiment and deliver a blockbuster experience, or will it join the ranks of recent flops? For Nadiadwala, Housefull 5 is not just another film; it’s a pivotal moment that could redefine his career and the future of Bollywood in these testing times. 

This year’s Annual Met Gala at the NY Metropolitan Museum of Arts had many celebs from Hollywood and Bollywood flaunting their plumes and blinding the drooling audience with their bling and sass. One Indian actor invited much attention with her drop-dead gorgeous looks and her prominent baby bump. Kiara Advani dazzled and dazed those present, celebrating motherhood in unapologetic terms. Married to Sid Malhotra in 2023, Kiara didn’t think that her pregnant look was an impediment for a ramp walk. On the contrary, she was much appreciated for her panache with which she wore designer Gaurav Gupta’s bold outfit, décolletage and all. But wait, there was a fly in the ointment …there always is especially in the world of show fashion and haute celebrity. Did Kiara’s costume remind the fashionistas about Aishwarya Rai’s last year Cannes costume? The haute monde seemed to think so …Kiara got some trolls too. But hey, who cares …celebs like Aishwarya go on and on, like Dhoni, Rohit Sharma and the aged super stars of filmdom. Aishwarya has walked the Cannes ramp in many bizarre outfits …got trolled too. The fact is India and Indian celebs draw crowds globally…the Met Gala had Shah Rukh Khan, Priyanka Chopra and Alia Bhatt striding stylishly with chic and panache.  Kiara has arrived and plans to shine till the next Diva walks on her stilettos.

The first week of May saw the release of six prominent films, each generating substantial buzz across various media platforms. The line-up includes two Hindi films featuring star power — Ajay Devgn’s Raid 2 and Sanjay Dutt’s The Bhootnii. The South Indian film industry saw three noteworthy entries: Retro a Tamil film starring Suriya, Tourist Family also a Tamil movie and Hit 3, a Telugu franchise film featuring the popular actor Nani. Among these films, Hit 3 is projected to perform exceptionally well at the box office, potentially raking in between Rs 90 to Rs 95 crore over its first weekend. This strong showing is indicative of the film’s popularity and the franchise’s established fan base. Meanwhile, Suriya’s Retro is also receiving positive reviews and expected to gross around Rs 80-85 crore in its opening weekend, further solidifying the trend of South Indian films capturing audience attention. Ajay Devgn starrer Raid 2 is expected to earn around Rs70-75 crore over the extended four-day weekend. Meanwhile Sunjay Dutt’s The Bhootni has not fared as well. It is struggling to surpass Rs 5 crore in its opening weekend; a major setback for the filmmakers. Turning to the Hollywood segment, Thunderbolts has also fallen short of expectations. Initial projections indicate it will earn between Rs 10-15 crore over the weekend, a figure that reflects a lukewarm reception from audiences. In summary, the first weekend of May has clearly demonstrated a prevailing trend: South Indian cinema is currently leading the box office race, with three of the six releases performing strongly. As the weekend progresses, it will be intriguing to observe how these films continue to perform and what this means for the future of Indian cinema as a whole.

This week has been particularly bleak for the Indian box office with a series of film releases failing to resonate with audiences and resulting in dismal collections. Ground Zero, featuring Emraan Hashmi and Sai Tamhankar opened with a mere Rs 1.15 crore, and despite a slight uptick to Rs 1.90 crore on its second day, the total collection of Rs 3.05 crore over the weekend is far from impressive. Lack of effective marketing played a significant role as it struggled to gain visibility and attract viewers. With no substantial draw for Emraan Hashmi, the film was destined for disaster.  So too was Ananth Mahadevan’s Phule. The film was mired in controversy, particularly due to opposition from certain groups in Pune and an outburst from Anurag Kashyap regarding Brahmin representation. Despite the buzz surrounding these issues, the film starring Prateek Gandhi and Patralekha, opened to a disappointing Rs 21 lakh on its first day. Although the reviews praised the direction and storytelling, the film managed to collect a meagre Rs 47 lakh over the weekend. This is one of the most underwhelming openings in recent memory, especially considering the positive reviews. The re-release of the classic Andaz Apna Apna was anticipated to follow in the footsteps of successful re-releases like Sanam Teri Kasam. However, it too fell flat, opening with just Rs 25 lakh on its first day…culminating in a total of Rs 55 lakh over the weekend. This performance is disappointing for a film with such a legacy, indicating that nostalgia alone is not enough to draw audiences back to theatres. Overall, the fate of these three Hindi films can be described as disastrous. Factors contributing to their lacklustre performance include weak scripts, average brand recall, insufficient visibility, and inadequate marketing strategies.

Action thriller Ground Zero featuring Emraan Hashmi and Sai Tamhankar in the lead roles is set for release. Directed by Tejas Deshkar, known for his work in both Marathi and Hindi cinema, the film has generated a fair amount of buzz, primarily due to its intriguing premise and the involvement of notable producers Ritish Sidhwani and Farhan Akhtar’s Excel Entertainment. Originally, a grand premiere was planned in Kashmir, marking as the first major film event in the region in recent years. However, due to security concerns, this event was cancelled. As the film gets ready for its release, there seems to be a palpable lack of excitement surrounding it, which raises questions about its potential success. Emraan Hashmi, while a recognizable name in Bollywood, has not proven to be a leading man who can shoulder the weight of an entire film. His recent works, such as The Body, Baadshaho, Selfie and Mumbai Saga have not particularly stood out, often blending into the background of a crowded cinematic landscape. Even his much-anticipated role as a villain in Tiger 3 failed to leave a lasting impression, as his character was underdeveloped and did not resonate with audiences. The casting of Hashmi as a Border Security Force (BSF) commander in Ground Zero raises eyebrows as his previous performances suggest he may not possess the gravitas required for such a pivotal role. Hashmi’s track record suggests that he may not bring the necessary passion and dedication to the character of a BSF commander. So, one has to wait and watch to see whether Hashmi will deliver a performance that defies expectations.  

The highly anticipated latest Hindi release Jaat which generated considerable excitement with its initial trailer release, ultimately fell short of expectations at the box office. Despite a strong opening, the film’s marketing strategy failed to maintain the momentum created by the initial euphoria. Released on Mahavir Jayanti, Jaat managed to collect Rs 9.5 crore on its opening day (Apr 10), but this figure dropped to Rs 7 crore on Friday (Apr 11). The weekend saw a slight rebound, with Saturday’s collection reaching Rs 9.75 crore and Sunday (Apr 13) peaking at Rs 14 crore, driven by positive word-of-mouth and favorable reviews. However, the following week revealed a decline, with Monday’s (Apr 14) earnings at Rs 7.25 crore and Tuesday dropping to Rs 6 crore, leading to a total domestic box office collection of approximately Rs 53.5 crore within the first six days. Given its production budget of Rs 100 crore, these figures are disappointing, especially since industry expectations were for Jaat to surpass the Rs 100-crore mark during its extended opening weekend. While the film may still prove to be a profitable venture for its lead actors, Sunny Deol and Randeep Hooda, the filmmakers face significant challenges in recouping their investment. The average performance of Jaat highlights the importance of sustained marketing efforts and audience engagement beyond the initial release phase. As the film’s prospects now hinge on OTT platform releases and overseas markets, it underscores the volatile nature of box office success and the critical role of strategic promotion in maximizing a film’s potential.

John Abraham has long struggled to establish himself as a consistent box office draw, and his recent release, The Diplomat, exemplifies this ongoing challenge. Despite the film’s potential, it has failed to recover its production costs, raising serious questions about Abraham’s viability as a producer. The film faced a protracted release timeline of over a year, primarily due to a lack of interest from its production partner, T-Series, and poor marketing strategies. The promotional efforts, which relied heavily on the presence of a real diplomat, did little to enhance visibility or generate audience excitement. Given the backdrop of several recent disappointments, including Veda, Ek Villain Returns and Satyamev Jayate 2, Abraham’s track record at the box office has become increasingly questionable. While Pathaan achieved remarkable success, it is essential to note that this triumph belongs to Shah Rukh Khan rather than Abraham. The disappointing performance of The Diplomat, which received critical acclaim but failed to resonate with mainstream audiences, casts a long shadow over his upcoming project, Tehran. With the fate of The Diplomat likely to influence the reception of Tehran, Abraham faces an uphill battle in securing a successful release. The lack of spectacular content in The Diplomat suggests that Tehran may encounter similar challenges. As audiences continue to demand engaging narratives and compelling performances, John Abraham must reassess his approach to both acting and production if he hopes to revitalize his career and reclaim his status in the competitive landscape of Bollywood. 

Ajay Devgn’s recent trajectory at the box office has raised concerns about his ability to draw audiences to cinemas. While films like Shaitan achieved sleeper hit status, others, such as Auro Kahan Dham Tha were significant disappointments. The much-anticipated Maidan which faced numerous delays, also underperformed upon release, further complicating Devgn’s box office appeal. His filmography in recent years reveals a troubling pattern: while Singham was just average at the box office, it too fell short of expectations of the masses. As audiences increasingly gravitate towards larger-than-life spectacles like Pushpa, RRR or the Marvel franchise, there’s a growing sentiment that they prefer to experience such grand narratives on the big screen. In contrast, Raid 2, a sequel to a content-driven film, may struggle to capture the same level of excitement. The film, while part of a successful franchise, lacks the extravagant elements that draw crowds. Today’s viewers are more inclined to enjoy nuanced storytelling and character-driven narratives from the comfort of their homes on OTT platforms rather than making the effort to visit cinemas for films that don’t promise a spectacular experience. The current cinematic landscape is shifting, and Raid 2 may find it challenging to achieve the box office success that Ajay Devgn once enjoyed. The trailer, while satisfactory, does not evoke the mass appeal needed to draw large audiences. It seems that the class-driven appeal of such films may resonate more with multiplex audiences, but this demographic alone may not suffice to meet the financial expectations that filmmakers have for a big box office return.

The recent failure of Sikandar serves as a significant blow to Salman Khan, particularly given its release during the auspicious Eid season — a time when he has historically been a major crowd-puller with hits like Wanted, Bajrangi Bhaijaan and Kick. Unfortunately, the film’s lacklustre performance is just the latest in a string of disappointments that have plagued his recent projects including Dabangg 3, Race 3, Tubelight, Bharat and Kisi Ka Bhai Kisi Ki Jaan. This trend suggests a worrying decline in his box office appeal. Khan’s portrayal in Sikandar has been criticized for its apparent laziness and lack of enthusiasm. His signature mannerisms, which once captivated audiences, now come across as repetitive and uninspired. Even during emotional scenes, his performance fails to resonate, leaving viewers feeling disconnected. This perceived disinterest in his craft raises questions about his commitment to selecting compelling scripts and delivering performances that capture the audience’s imagination. The essence of Khan’s on-screen persona seems to have shifted towards a brand of “toxic masculinity,” where his attempts to appear effortlessly cool have become tiresome and unoriginal. This disconnect between his star power and the expectations of his audience is becoming increasingly evident, as fans seek more meaningful narratives and authentic performances. The unfortunate fate of Sikandar serves as a stark reminder of the consequences of complacency in the film industry. The film has been rejected by both the masses and critics alike, highlighting a growing sentiment that Salman Khan’s current approach to filmmaking and performance is out of sync with contemporary audience preferences. If he hopes to reclaim his status as a box office titan, a re-evaluation of his acting choices and a renewed commitment to the craft may be imperative.

The simultaneous release of three films, Tumko Meri Kasam directed by Vikram Bhatt, Pintu Ki Pappi by Shiv Hare and Baida by Sudhanshu Rai seems to have skidded at the box office. These films are emblematic of a troubling trend in the industry, characterized by poor marketing, lack of visibility, and minimal audience excitement. Tumko Meri Kasam features Adaah Sharma, Ishwak Singh, Isha Deol and Anupam Kher. However, it suffers from a lacklustre promotional strategy that fails to generate buzz. The film’s dark and dull poster does little to entice potential viewers, making it feel like a B-grade production rather than a cinematic offering worth watching. Similarly, Pintu Ki Pappi is struggling with a title that fails to convey its essence, leaving audiences confused and uninterested. With Ganesh Acharya as the producer and newcomers Sushant and Jaanya Joshi in leading roles, this film too lacks the marketing push to draw the audience. A title like Pintu Ki Pappi may be catchy, but without context or appeal, it risks alienating potential viewers. In the case of  Baida, a supernatural thriller that despite its intriguing premise, has not garnered attention. Directed by Sudhanshu Rai who also stars in the film, it suffers from a lack of awareness and visibility. All three films represent small-budget productions that have entered the market without effective marketing strategies or brand recall. The absence of excitement and visibility raises serious questions about how these films expect to attract audiences to theatres. The only commonality among these releases is their dismal box office performance, highlighting the urgent need for filmmakers to prioritize marketing and audience engagement if they hope to succeed in an increasingly competitive landscape.

The recent release Mere Husband Ki Biwi has bombed at the box office, collecting less than Rs 5 crore in its opening three days against a hefty making cost of around Rs 60 crore. This underwhelming performance marks yet another flop for producer Vashu Bhagnani. Bhagnani, once celebrated for his successful films, has seen a string of failures such as Ganpat, Mission Raniganj and Bellbottom. He has faced financial setbacks with projects like Bade Miya Chhote Miya and is currently embroiled in a legal dispute with its director. The direction of Mere Husband Ki Biwi was helmed by Mudassar Aziz, known for his earlier works like Khel Khel Mein, Pati Patni Aur Woh and Happy Phirr Bhag Jayegi. The film’s lead actor, Arjun Kapoor, has struggled to find success as a solo performer, with his recent projects—including The Lady Killer, Kuttey and Bhoot Police — failing to make a mark at the box office. Similarly, the leading actresses, including the likes of Bhumi Pednekar, have also faced a streak of underwhelming films like The Lady killer, Afwaah, Bheed, and Rakshabandhan and thus making it difficult for Mere Husband Ki Biwi to generate excitement among viewers. Rakul Preet Singh is known for other disappointments like Thank God, Doctor G, Runway 34, Attack and Marjaawan. With a cast and crew associated with a series of unsuccessful films, the expectations from Mere Husband Ki Biwi were understandably low. Despite attempts to engage audiences with remixed songs, the film has failed to captivate, illustrating that audiences are no longer willing to watch films that lack compelling narratives and star power.

Thirty six year old Vicky Kaushal is rapidly emerging as the new superstar of the Indian film industry, particularly following the phenomenal success of Chhaava directed by Laxman Utekar. The film has made waves at the box office, grossing over Rs 400 crore plus in just 10 days, marking a significant relief for the exhibition industry, which has been in dire need of such a blockbuster. Chhaava’s success reinforces Kaushal’s status as a leading figure in contemporary cinema. Examining his filmography reveals a trajectory of impressive versatility. While his previous film, Bad News was met with average reviews, his performances in Sam Bahadur and Zara HatKe Zara Bachke showcased his ability to connect with audiences. Kaushal’s breakout role in Uri: The Surgical Strike catapulted him to commercial success, and he has since delivered commendable performances in supporting roles in films like Sanju, Dunki and Raman Raghav 2.0. Vicky’s filmography is a testament to his range, encompassing biopics like Sardar Udham Singh anthology films like Lust Stories and commercial ventures such as Govinda Mera Naam. His journey began as an assistant to Anurag Kashyap, and he has since evolved from art-house films to mainstream cinema. As the veteran superstars — Aamir Khan, Shah Rukh Khan and Salman Khan — become increasingly selective with their projects, and with contemporaries like Ranbir Kapoor and Ranveer Singh also taking fewer roles, Vicky Kaushal stands poised to fill that void. His versatility and consistent performances suggest that he is not just a rising star but a potential new pillar of the industry. 

In Bollywood a new trend is emerging. The traditional approach of the big launch of star kids via big screen is history. For instance, Saif Ali Khan’s son Ibrahim Ali Khan’s debut film Nadaaniyan will be released on Netflix with the usual marketing drive. According to film historian Dilip Thakur, “Gone are the days when big launches would happen for newcomers or star kids; the last big launch was that of Hrithik Roshan…that was 25 years ago.” There is not going to be any superstar with the advent of OTT culture and GenNext seems okay with it. Junaid Khan and Khushi Kapoor’s film Loveyapa is their first theatrical release; both have already made their debut on OTT with Maharaj and The Archies. Junaid’s father Aamir Khan is going around promoting them. Unlike Janhvi kapoor, Khushi had a rather quiet launch with The Archies but her acting prowess was noticed. Both are somewhere sure that they have been accepted and therefore fine with it. Thakur says the business of cinema is all about the first weekend and that the game is over unless it is Pushpa or a Pathaan.  Besides the exposure to OTT is more than the cinema and only spectacles are going to work in cinemas and the generation next knows it and is practical about it. Hypothetically, if they don’t make their cut in acting, the paparazzi culture has already made them influencers so they will be around in some form connected with Bollywood.

The re-release of Sanam Teri Kasam, a 2016 romantic drama starring debutants Harshvardhan Rane and Mawra Hocane,has been surrounded by an intriguing wave of drama and fanfare. Recently, a passionate group of fans gathered outside the office of producer Deepak Mukut, accompanied by actor Harshvardhan Rane, fervently urging him to re-release the film. In a surprising turn of events, Mukut not only confirmed the film’s re-release but also announced a sequel, generating significant buzz in the industry. Initially launched to lacklustre box office performance, Sanam Teri Kasam was deemed a disaster upon its first release. However, the film’s soundtrack, featuring hit songs, kept it alive in conversations, gradually transforming it into a cult favorite. Now, with its re-release across 400 to 500 screens, Sanam Teri Kasam finds itself in direct competition with two fresh titles: Loveyappa, starring Junaid Khan and Khushi Kapoor, and Himesh Reshammiya’s Badass Ravi Kumar. Interestingly, while both new films struggled to make a significant impact at the box office, Sanam Teri Kasam has shown promising advance bookings, leading many exhibitors to consider increasing its showtimes over the weekend. This resurgence is particularly noteworthy for a film that was initially dismissed, highlighting a curious trend in the industry where previously overlooked content receives a second chance. Adding to the irony, the film’s popular music was composed by Himesh Reshammiya, who is simultaneously competing with his own project, underscoring the unpredictable nature of audience preferences and the evolving landscape of Bollywood.

In recent times, Bollywood has seen a noticeable shift, with many newcomers struggling to leave a lasting impression on audiences. This decline can be traced back to a variety of factors, including the selection of projects that fail to resonate with viewers. Gone are the days when iconic films like Betaab, which introduced Sunny Deol or Rocky which launched Sanjay Dutt, captivated audiences and launched the careers of these stars. So too Jackie Shroff with Hero. In contrast, today’s newcomers like Suraj Pancholi, Siddhant Kapoor and Sasha Agha find themselves lost in films that do not provide them with the platform to showcase their talents effectively. The recent film Azaad featuring Aaman Devgan and Rasha Thadani serves as a case in point. Aaman Devgn, nephew of Ajay Devgn has struggled to make a significant impact, while Raveena Tandon’s daughter Rasha Thadani managed to capture some attention with her performance. Many of the films do not offer the newcomers a fair opportunity to shine; often focusing more on star power than on storytelling. For instance, in Azaad, the narrative centres around the titular horse rather than the lead pair, which diminishes the impact of the human characters. This misalignment can lead to a lack of engagement from the audience, making it difficult for the actors to connect with viewers. Aaman’s performance, despite being camera-friendly, lacks the emotional depth and histrionics that are often necessary to truly engage the audience. In contrast, Rasha stands out with her strong screen presence and impressive dance moves, showcasing a talent that could potentially elevate her career. Ultimately, even when a film does not resonate with audiences, a standout performance can create opportunities for newcomers to prove themselves.

The perception that January is a challenging month for the film industry is not without merit. Historically, this month has often been viewed as a “jinx” for film releases, primarily due to the post-holiday dynamics that affect audience behaviour and box office performance. As people transition from the festive season to their regular routines, several factors contribute to the underperformance of films released in January. Films released in December often enjoy extended viewership due to the holiday season, leaving little room for new releases.  Several films released in January have struggled to resonate with audiences, reinforcing the notion that this month is not ideal for cinematic success. For instance, Chhapak, which was released in January 2020, faced challenges at the box office despite its critical acclaim and social relevance. Similarly, in January 2023, films like Fighter and Mai Atal Hu failed to garner the expected audience turnout, highlighting a consistent trend of underwhelming performances during this month. The recent January releases, such as Emergency, featuring Kangana Ranaut, and Fateh, starring Sonu Sood, also struggled to find traction despite significant promotional efforts. This pattern suggests that even with star power and marketing campaigns, films released in January may face an uphill battle to attract viewers. Given the historical challenges associated with January releases, filmmakers and studios may need to reconsider their marketing and timing strategies. To mitigate the risks associated with January releases, studios could explore alternative strategies, such as targeting specific demographics or leveraging unique marketing campaigns that resonate with the post-holiday mindset. As the film industry continues to evolve, understanding the dynamics of audience behaviour and timing will be crucial for maximizing box office potential.

Come to think of it, one does not really see yesteryear popular stars like Reena Roy or Jaya Prada getting publicity…save for some guest appearances on reality shows. The same cannot be said of the 70-year old husky sexy popular star Rekha. From time to time she is visible in the social media space and makes dramatic appearances at the big event. The paparazzi loves her because she has struck a good chemistry with them…goes that extra mile to pose for them. But ironically, she is not friendly with any journalists. That’s why you only see her…don’t read her interview. An insider said, “She is a costly affair when she agrees to participate in an event or award function and goes into details like Amitabh Bachchan.”  Rekha who has acted in more than 180 films is nostalgic, mystical and continues to have a big draw wherever she goes. Just recently she was spotted at Raj Kapoor’s 100th birthday celebration. Here too the actress pleased all the paps… even gave a photo of Raj Kapoor sweet kiss. Sources say she is keen to get back to acting. Any Bollywood producers listening?

As Hrithik Roshan completes 25 years in the films, another 8 star kids are set to enter Bollywood. Starting this month are Ajay Devgn’s nephew Aaman Devgn and Raveena Tandon’s daughter Rasha Thadani who is already a social media star even before her launch in Azaad. Saif Ali Khan’s son Ibrahim has been making news for dating Shweta Tiwari’s daughter Palak even before the release of his first film. Ibrahim who has assisted Karan Johar has three films that are under production and will see his debut in this year. One cannot miss Ishq co-stars Aamir Khan and Ajay Devgn at the launch party of director Indra kumar’s son Aman whose  debut film Tera Yaar Hoon Main will be directed by Milap Zaveri. Sanjay Kapoor’s daughter Shanaya Kapoor who was to be launched by Karan Johar will have to wait longer as that movie has been put on hold but she will hit the big screen in Mohanlal starrer Vrushabha. She has been doing studio rounds for the last four years. Ananya Pandey’s cousin Ahan Pandey has been waiting in the wings to be launched by YRF and hopefully it will happen this year. Veer Pahariya, grandson of veteran Congress leader Sushil Kumar Shinde will be seen in Skyforce with Akshay kumar. Last year we saw star kids in Archies which was a disaster but both Khushi Kapoor and Vedang Raina have bagged movies. Khushi will be in Loveyappa with Junaid Khan, Aamir Khan’s son who made his debut in Maharaj. For star kids getting entry into Bollywood is easy. But, how many can make it big like Hrithik, Aamir, Kajol and Ranbir?

Salman Khan is undeniably one of the most iconic figures in the Indian film industry whose impact transcends mere box office statistics. With a career that spans over three decades, his films–regardless of critical reception — frequently surpass the Rs 100-crore mark signifying his extraordinary appeal and star power. Throughout his illustrious career, Salman Khan has found himself at the centre of numerous controversies and has come unscathed. With a net worth estimated at around Rs 2,900 crore, he is an immensely sought-after star for brand endorsements. However, in recent years, his forays into guest appearances in films such as Baby John, Singham Again, Godfather and Antim have not garnered the kind of response one might expect from the audience. While his cameo in Pathaan was well-received, his lead role in Kisi Ka Bhai Kisi Ki Jaan released on Eid, faced significant criticism and was largely snubbed by both critics and fans alike. Looking ahead, the anticipation surrounding his upcoming film Sikandar is palpable. Directed by AR Murugadoss, this film marks a significant moment in his career, as it will be his first mainstream lead release following Tiger 3. Sikandar represents a pivotal juncture in his career, especially after a series of mixed receptions for his recent projects. Rumours are rife that he is in talks with well-known south director Atlee. Despite his immense charisma and dedicated fan base, a pressing question lingers in the face of ongoing controversies, and the challenges posed by a rapidly evolving industry: whether Sallu bhai at 59 can still captivate the new generation of moviegoers?

This video of Varun Dhawan’s interaction with the Union Home Minister Amit Shah at the Aaj Tak Agenda 2024 event has gone viral wherein he respectfully said people call Amit Shah “Chanakaya in politics but I would like to call Amit Shah, the Hanuman of country as he serves the nation selflessly.” Loud clap and applause followed and this is what the 37-year old actor is hoping that his Christmas release movie Baby John too will get at the theatres. According to Girish Wankhede, Trade Analyst, “For Varun the movie holds immense significance, marking a pivotal moment in his career.” The Christmas season release is a prestigious window for Bollywood which historically has been graced by all Khans — Aamir (Dangal, PK, Dhoom 3), Salman (Dabangg 2, Dabangg 3) and Shah Rukh Khan (Don 2, Dilwale). Varun who entered Bollywood in 2012 with Karan Johar’s Student Of The Year was lucky to have 11 consecutive box-office successes between 2012 and 2018.  Post that he has faced numerous challenges. Despite his commendable cameos in films like Stree 2 and Munjya, his recent projects — such as Bhediya, Bawal and Jugjugg Jeeyo have struggled to make a significant impact at the box office. With a few flops like October and Sui Dhaaga in his filmography, it’s clear that he has not experienced a major hit since the successes of Badrinath Ki Dulhania and Judwaa 2. This makes the Christmas release of Baby John not just another film for Varun, but potentially a game-changing opportunity that could redefine his standing in the industry feels Wankhede.

Making his appearance on a reality show Indian Idol the 50-year old Fardeen Khan, son of successful actor-producer Feroz Khan, looked boyish and subdued. Indeed, he has quietly made a comeback on the big screen and OTT after 14 years of self-imposed exile. Although he was signed by Sanjay Gupta for Visfot which took a really long time to release as there were no takers for Gupta’s films; Covid-19 was the main culprit. But it helped Fardeen who got a chance to work with one of the biggest OTT shows Heeramandi directed by Sanjay Leela Bhansali which signalled his comeback in 2024. This was followed by Khel Khel Mein with Akshay Kumar which didn’t do well. But Fardeen who played the role of gay man certainly impressed the audiences and critics in a big way. Fardeen made his debut in 1998 with Prem Aggan. Post that he signed up for several films. Overall his career graph did not pick up. In 2010 after the release of Dulha Mil Gaya he took a break from acting. During this long hiatus he worked on his craft. Fardeen who was married to yesteryear actor Mumtaz’s daughter Natasha now separated has a daughter and son. He often brings his children to the sets. Currently, he is working with Akshay Kumar in Housefull 6 which is set for 2025 release. He may have missed out on No Entry Mein Entry. Will Feroz Khan’s son make a big impact in his second innings?

Are the re-runs slowly becoming a revenue model both for producers and exhibitors who have been grappling to bring back the audiences to cinema halls? Diwali turned out to be decent but then again we are gone back to re-release of films. Shah Rukh Khan’s Veer Zara re-release has been appreciated. Rakesh Roshan plans a re-release of Karan Arjun with a huge number of screens after 30 years of its release. This again has Shah Rukh Khan and Salman Khan coming together for the first time on screen. SRK’s Kal Ho Naa Ho and Pardes too are re-releasing in cinemas. Those in the trade feel that re-release of Tumbbad, Rehna Hai Tere Dil Mein and Laila Majnu have given courage to producers to cash on re-runs. The re-runs have stirred both excitement and curiosity. Traditionally, re-releases were reserved for timeless classics, but now more recent films are being revived, prompting questions: Is this trend purely nostalgic, or is there a deeper strategy at play? According to Trade Analyst Saurabh Varma, the re-release phenomenon is benefiting the cinema industry in multiple ways. For producers, re-releasing films is a cost-effective option. The marketing and distribution expenses are far lower than for new releases. Re-releases tap into the large fan bases of iconic films, giving long-time fans a chance to relive their favourite stories on the big screen. Furthermore, these revivals provide a unique opportunity for younger viewers who may have missed these films during their initial release. The combination of nostalgia and iconic music resonates deeply with audiences.

Vidya Balan struck Bollywood like a tornado in Parineeta having debuted in 2003 with a Bengali film Bhale Thaco …this South Indian star raved by audiences for her acting and beauty struck a chord. Another Hema, Rekha, Padmini, Vyjayantimala? Vidya has her unique magnetism and left behind her signature in every role. Then it happened …actually it had been building up kilo by kilo …her weight gain overshadowed all else. Though she faced body shaming with determination, even as she claimed that she had overwhelming hormonal issues. But in a super charged fashion and style world where the Manish Malhotras and Tarun Tahilianis who designed for super trim beauties, Vidya had to regain her trim figure. And you know how she lost weight, leading to OMG gasps and wonderment? As stylishly as she handled an on stage fall, oops moment while performing a dance number with Madhuri Dixit for the promo of Bhool Bhulaiya 3. Even as Vidya performed intricate Bharata Natyam steps, she just fell…and raised herself stylishly and carried on, almost as if it was a dance move. Vidya now basks in admiration for her weight loss which was through the diet change that she credits — Anura, a health center that helped her to identify her particular “inflammation” prone body response to sluggish metabolism. The born again Vidya is chirpy and cheerful and fans are going to see a lot more of the new Vidya.

Thirty-eight year old actor-director-politician Kangana Ranaut has been courting controversy on both political and professional front ever since she was elected BJP MP from Mandi in Himachal Pradesh. Her directorial venture Emergency where she plays the role of Indira Gandhi faces flak from both the Sikh community over depiction of Operation Blue Star and the Congress party over her portrayal of Indira Gandhi. The film, where she has a producer sunk a lot of money, is yet to get clearance from the Central Board of Film Certification as CBFC has received too many legal notices over the movie’s release. This delay is taking a toll on her finances. Apparently, she had mortgaged her properties to produce this film, and release delay has resulted in her selling one of her bungalows in the upscale Bandra suburb. The actress who does not have support from the fraternity needs a hit which has been eluding her for some time. Her last nine films have done well at the box office. People who have seen rushes of Emergency say the movie will do well. Meanwhile, politician Kangana seems to have irked her party leaders by speaking against the farmers twice in the last four months. So much so, BJP spokesperson Gaurav Bhatia commented, “Kangana Ranaut is not authorised to make such a statement on behalf of BJP and it doesn’t depict BJP’s view on the farm bills. We disapprove of this statement.” And falling in line, she too tweeted, “My views on farmer’s laws are personal and they don’t represent the party’s stand on those Bills.”

Controversy seems to be the middle name of this 38-year old Queen of Bollywood. Once again actor-director-politician Kangana Ranaut is making headlines over soon-to-be released movie, Emergency where she plays the role of Indira Gandhi. Even as she hops from news channel to news channel promoting her movie and giving her version of the story, the political parties like Congress, Shiromani Akali Dal (SAD) have sought a ban on the movie. Looks like she is a proxy for hitting the BJP.  SAD, which has sent her a legal notice wants Kangana to delete a scene which shows Indira Gandhi being assassinated by Sikh security guard.. Surprisingly, even though her party BJP is backing her, the movie is yet to receive the go ahead from the Central Board of Film Certification. Most of her movies in the last few years have not done well. Nearly six of her movies like Katti Batti, Simran Panga and Tejas have not got big numbers at the box office. According to Trade Analyst, Girish Wankhede Emergency does not look strong enough to resurrect her career. Reportedly, she has decided to quit films after being elected from the Mandi Lok Sabha constituency. It is learnt that more than Rs 80-90 crore is riding on Emergency. A hardcore nationalist, Kangana who speaks her mind and not bothered of consequences has been told by her party to not to give comments on any issues.  

 This 37–year old Bollywood actress quietly made a big splash. Shraddha Kapoor’s latest film Stree 2 has drowned both John Abraham’s Vedaa (Rs 10.5 crore) and Akshay Kumar’s Khel Khel Mein (Rs 9.95 crore) in the box office. In three days Stree 2’s collection was Rs 100 crore… Rs 150 crore on the fourth day. Movie critic and trade analyst Taran Adarsh tweets “Indeed, #Stree2 is rewriting the rules of the game”.  Bollywood watchers say she can well be called the franchise queen. Shraddha, daughter of Shakti Kapoor, who has acted in over 38 films entered Bollywood in 2010 with Teen Patti followed it with her first leading role in the teen drama Luv Ka The End (2011). She is considered Alia Bhatt’s rival in a way. She has acted with all the big heroes. She was in Aashiqui 2 produced by Mahesh Bhatt, Street Dancer with her childhood crush Varun Dhawan and Baaghi with Tiger Shroff. In the last three–four years Shradda –– the second most–followed Indian actor on Instagram –– has made a big impression with her fans. It started with Stree (2018), Chhichhore (2019) and Tu Jhoothi Main Makkaar (2023) and the action thriller Saaho (2019). Besides acting, she, like Alia Bhatt has hummed quite a few numbers. One of India’s highest–paid actresses, she has been featured in Forbes India’s Celebrity 100 list since 2014. She endorses several brands and has her own line of clothing. Trade Analyst Girish Wankhede says Shraddha is at the top of the game with the stupendous success of Stree2. The franchise has rejuvenated her stardom after series of average hit films.

There has always been a love-hate relationship between the Bollywood stars and scribes. Not to forget the paparazzi. A seasoned journalist covering the industry for over three decades was shocked and surprised to see the way stars are snapping at journos and their menacing tone these days. This seems more pronounced in the past few months. At the press conference of John Abraham-Sharvari starrer Vedaa, John was visibly annoyed when a reporter asked him whether he was playing safe by doing the same kind of roles. In the case of Akshay Kumar, he is avoiding giving interviews …and he is very selective to which journalist he will speak to. Before journos ask for consecutive failure of his films, Akshay preempts them and says “only five films” have flopped. But, he forgets the crores of rupees producers have lost. One producer had to put his office on the block to pay his entire crew. And the new trend is all stars are asking reporters to give questions in advance. Inspite of that Sanjay Dutt at a press conference over UK denying him visa made a boo-boo in one of the answers to a question, why he was signing for villain’s role these days? And it seems Ajay Devgn avoids promoting films and his latest movie with Tabu Auron Mein Kahan Dum saw a meagre collection of Rs 10 crore in the first eight days. Most of the Bollywood stars need to understand that they need to connect with the media to connect with their ‘audiences’. It is clear banning or shunning the media does not work for stars or scribes. In the eighties Big B had banned media for nearly a decade but finally smoked a peace pipe.

They are no longer behind the scene players. The spotlight is on them too.  A case in point is Shah Rukh Khan’s manager Pooja Dadlani, besides film dos she was seen with SRK in most IPL matches. In Bollywood, the role of secretary has metamorphosed into manager. The whole dynamics has changed with manager/professional agency handling stars. Film historian Dilip Thakur says, “Back then, the secretaries knew how the film industry functioned and worked in such a way that the entire industry benefited.” Today it seems a mercenary approach, the agencies are interested in seeing that stars fees are 40% of the budget of a film. This is one of the reasons many films are bombing. A few decades back, the star’s secretary played a different role. They ensured that their star bosses are projected well. They did not think of money. When Big B returned after quitting politics, his secretary Sheetal Jain managed to organise three muhurats in a day at Mehboob Studios. And the films were Hum, Agnipath and Luv Kush. For creating buzz around Amitabh all the credit goes to Sheetal. Rajesh Khanna’s secretary Gurnaam made sure he picked the right script; she had a role to play in his super stardom. After her death, Kaka’s career plunged. Rikku Rakesh Nath who made careers of Madhuri Dixit, Shilpa Shirodkar and Anil Kapoor also ensured that some of his star clients who had no films (read jobless) got one or two films. That speaks of his clout, commitment and dedication. Sridevi’s secretary Hari Singh went that extra mile to ensure she was presented well, bagged meaty roles, and managed to get her to the No 1 position at a time when Madhuri Dixit was ruling the roost. Today, many secretaries/managers have evolved further –turned producers albeit with the backing of the stars.

One remembers Rishabh Shetty reacting to a question, if Kantara should be remade in Hindi. “Why should it be made in Hindi when I have already made it,” came the pat reply.  Today, the success record of remakes in Hindi is only going down. Sarfira, Selfiee and Shehzada have flopped miserably. Why does Bollywood opt for remakes when there is so much original content waiting to be made? Once upon a time dubbing was not entertained with the theatre flocking audiences. Then, audiences accepted remakes and it became a hit. For example, Vinod Khanna-Shatrughan Sinha starrer Mera Apne was a remake of Bengali hit Apanjan. Rajesh Khanna-Hema Malini starrer Prem Nagar was a remake of Telugu movie Prema Nagar. Cut to the digital era, all movies are dubbed globally…and audiences have no reservations watching Bhojpuri or Telugu or Korean movies. According to Trade Analyst Girish Wankhede, there are four reasons why remakes of regional films do not work today. First, the OTT platform comprises the original content which is pushed on in all languages and its reach is mind-boggling. There is no novelty left when remakes are made. Tamil film Soorarai Pottru starring Suriya was a big hit and popular on OTT platforms too. When Bollywood made Sarfira’ majority of people had already watched it on OTT. Second, dubbed versions of South Indian blockbusters are shown on TV whose reach is astronomical. Audiences in the North are aware of the popularity of Jr NTR, Suriya, Prithviraj, Vikram and others. Third, no marketing of remakes. Fourth, sometimes the essence is lost in remakes. Marathi hit Sairat was remade in Hindi but the Hindi movie Dhadak dropped certain crucial parts as a result it flopped.

Looks like the 56-year old Bollywood superstar Akshay Kumar is losing his Midas touch going by total collections of Rs 17 crore for his latest movie Sarfira. The film, a remake of Tamil movie Soraru Puttru, was based on the life of Captain Gopinath of Air Deccan fame. In fact, its budget was much less than Akshay Kumar’s film. Post Covid-19 pandemic the first Hindi film to be released was Akshay Kumar’s Sooryavanshi directed by Rohit Shetty with Ranveer Singh, Ajay Devgn in the star cast. It did well at the box office opening with Rs 25 crore. But after that Bachchan Pandey spelt disaster at the box office and opened with just Rs 13crore. From then on films like Samrat Prithviraj, Raksha Bandhan failed miserably. He bounced back with Ram Setu and OMG 2 which did decent business at the box office. OMG 2 which was a hit had Pankaj Tripathi in the main lead but the actor was appreciated for his role as Shiva. As a producer he had to battle with CBFC for release of the film as it had given it A certification.There were Selfie, Mission Raniganj which opened at Rs 2.80cr which was better than Sarfira. Mission Raniganj earned Rs 33 crore while Bade Miyan Chote Miyan’s failure almost shut Vashu Bhagnani’s office. Sources say Akshay has not signed any new films and has reduced his price by 50%. But, the actor has quite a few films in production. Khel Khel Mein is with Taapsee Pannu and Vani Kapoor and directed by Mudassar Aziz who does not have a great track record. The only hope for Akshay is Housefull 5. Maybe his South sojourn could salvage his career. 

  It was the wedding of the century. And as usual the entire Bollywood made sure they marked their attendance at the Ambani wedding. All were there with their families and they really let their hair down. There are a few observations that one saw at the wedding. For starters, the paparazzi, who are often not treated well by the top stars, were pleasantly surprised by the respect accorded to them by Bollywood folks. It looked as though the Ambanis had told them to cooperate with the paparazzi. Shah Rukh Khan who was again seen with his green umbrella covering his face to avoid being papped the next day after the wedding had posed not once but twice at the wedding with the proper salaam to the members of the media. Amitabh Bachchan was spotted waiting for his turn to pose in front of the media while cricketer MS Dhoni posed. Someone like Madhuri Dixit danced to Choli Ke Peeche Kya Hai number. In fact, Salman who is very fond of Anant Ambani made sure even Shah Rukh Khan danced instead of standing and watching others dance. A photograph of Salman Khan and Arjun Kapoor together has gone viral as generally Sallu bhai prefers to stay away from Arjun. All said and done, almost all the top actors and actresses from the film industry participated in Ambani’s wedding whole-heartedly. In fact, all of them had blocked dates for the three Ambani events that took place in the last few months.

Whoever watched Kalki 2898AD is all praise for Amitabh Bachchan …for his role as Ashwathama. And interestingly, the box office numbers prove that Big B is a big draw. Trade analyst Taran Adarsh tweeted that Kalki2898AD is the third Telugu film, dubbed in Hindi, after Baahubali2 and RRR to cross the Rs 200-crore mark in 10 days. Big B who has worked in over 248 films — 12 waiting to be released – hasn’t really got this kind of response to his films in recent times. In the last few years he acted in a number of multi-starrers like Unnchai, Goodbye, Runway 24 and Jhund but none of them impressed the audience save for Brahmastra. Bachchan, at 81, seems to be a big draw as he is constantly reinventing himself. At the peak of his career in the 70s, 80s, he with his angry young man image was a phenomenon; a one-man industry whose name drew the audience to theatres. Then on the advice of an investment banker he set up ABCL which drove him to bankruptcy. He got a lifeline from the late Subrata Roy of Sahara Group and a break in small screen to host Kaun Banega Crorepati?  On TV Salman Khan may be getting bigger money than Bachchan but the kind of respect Big B commands after hosting KBC is unbelievable and it continues for two decades now. According to an election affidavit, he and his wife Jaya Bachchan’s combined net worth is Rs 1,578 crore. Industry observer Girish Wankhede says, “Mr Bachchan rewrote the history with his performance and the enormous box office numbers consolidate his eternal domination. He has been the king of box office in the past and with Kalki 2898AD, he is again back with the bang.”  Big B has proved that age is just a number.

Bollywood’s successful producer Vashu Bhagnani is cash-strapped and has put one of his properties on the block. Reportedly, he has not paid Rs 65 lakhs to his crew who worked in three of his films. Besides has also not paid the stars like Akshay Kumar who has agreed to wait. Incidentally, most of his films in recent times starring Akshay Kumar and Tiger Shroff have bombed at the box office. In the case of Akshay, all his four films with Vashu have done badly. Industry insiders say a film bombs because of poor script or high cost of stars or lavish production cost. It is an open secret that some of the popular stars take about 40% of the cost of production of the film.  Vashu Bhagnani who entered Bollywood in 1995 has given a series of superhits, so it’s surprising he landed in a financial mess. He invested about Rs 1,000 crore in Bade Miyan Chhote Miyan Mission Raniganj, Ganpath and Cutputli. But earnings have been very poor. Also, signing big stars does not guarantee box office success. In the past Raj Kapoor landed in financial trouble after Mera Naam Joker flopped; Prakash Mehra after Bal Brahmachari and Zindagi Ek Jua and Manmohan Desai after Anmol and Toofan. But, these producers failed not because of the high cost of stars but because the audience did not like their stories. In the case of Bhagnani’s high cost of stars is also one of the reasons. There is surround sound that actors should cut their price. Will they?

  In his career spanning over 40 years, the 67-year old Anil ‘Jhakas’ Kapoor has smartly kept out of controversy. But, in recent times found himself dragged into two controversies. He is being trolled for agreeing to host Bigg Boss OTT, a reality show which has become synonymous with Salman Khan. Bhai’s fans are mightily upset that Anil has replaced Sallu Bhai in one of the most controversial reality shows. Anil is not perturbed by criticisms and trolls.  Meanwhile, he seems to be in the news for other reasons — fallout with his elder brother Boney Kapoor. Sources say that producer Boney has decided to cast his son Arjun Kapoor in the sequel No Entry Mein Entry without informing Anil and this has upset him. But when some reporters quizzed Anil, he quickly responded “Ghar Ki Baat Ghar mein hi rehne do”. Anil, one of the non-controversial actors in Bollywood, has acted in over 100 films and his career graph, like Dharmendra, Jeetendra, has been steady. The actor is constantly reinventing himself to keep in sync with changing times. He is identified for some of the interesting roles he essayed in Hindi films like Mr India, Mashaal, Tezaab, Ram Lakhan, Nayak, Welcome, English movie Slumdog Millionaire and English TV serial 24. As regards to his producer brother, he has worked with him in over nine films and has acted opposite Sridevi, his sister in law in eight films.

Thirty-seven year old popular Bollywood star Sonakshi Sinha is being trolled for getting married to her Muslim boyfriend.  Reportedly, her family also does not seem very happy about her marriage to Zaheer Iqbal, an actor who was launched by Salman Khan but did not make it big in the tinsel world. Incidentally, Sonakshi was also launched by Salman Khan in Dabangg. Actually, her family’s reaction is surprising because the news she was dating Iqbal has been mentioned in the media off and on.. Be that as it may. But nothing will stop Sonakshi from marrying the man who she has been dating for seven years now. Media reports claim that her father Shatrughan Sinha and brothers were taken by surprise about the wedding date and they have blessed her through the media. But Sonakshi is not the first or the last actress to rebel against their parents.  In the past too stars have rebelled or eloped and got married. The Maine Pyaar Kiya girl Bhagyashree married Himalaya Dasani as her parents did not approve of him. Bhagyashree comes from a royal family and the family felt the status did not match. Aamir Khan and Reena Dutta had a quiet marriage as their families did not approve of the relationship. Gurmeet Chaudhary and Debina only had friends who attended their wedding and kept it under wraps for many years.  And not many know that Jennifer Kendall left her family to be with Shashi Kapoor and later had a traditional Hindu wedding.

Did you know that Aishwarya Rai Bachchan was supposed to play Mastani in Sanjay Leela Bhansali’s Bajirao Mastani but turned down the offer when she realised Salman Khan would play Bajirao. The reason she had turned the offer –the movie was a box office hit – was her real life romance had turned sour.  Salman Khan and Aishwarya who had fallen in love on the sets of Hum Dil De Chuke Sanam split and the actress didn’t want to work with him anymore.  Bhansali’s next choice was Kareen Kapoor instead he approached Ranveer Singh and Deepika Padukone. The rest is history. The duo who fell in love and got married became Bhansali’s favourite; they worked in three super hit films Ram Leela, Bajirao Mastani and Padmavat. Somebody’s loss is somebody’s gain. Likewise Shahid Kapoor and Kareena Kapoor started dating while working on Jab We Met and they broke up by the time the film was completed. Reason: Kareena fell in love with Saif Ali Khan while shooting with him for Tashan. The two did not work until Udta Punjab in which they were cast opposite different actors, not each other. Ranbir Kapoor who was dating Deepika Padukone, Katrina Kaif finally married Alia Bhatt. Both he and Deepika conducted themselves in a very dignified and professional manner and did not let their personal relationship come in the way of promotion of Tamasha.  In the past Raveena Tandon and Shilpa Shetty were dating Akshay Kumar but post their split, they never worked in each other’s films.  Likewise Sanjay Dutt and Madhuri Dixit never worked with each other after Dutt went to jail.

  Aamir Khan’s son Junaid Khan makes his debut with Maharaja that will be released on OTT. Guess what, Junaid already has completed shooting for his second film even before his debut film releases. Clearly, those are the perks of being a star kid. Both the films that Junaid has worked in have been produced by outside banners — Yash Raj Films and Phantom Studio have a good equation with Aamir Khan. Junaid hasn’t really been trolled for being Aamir Khan’s son. Probably because he is well behaved on the sets and with Paps. Reportedly, Sanjay Leela Bhansali’s niece Sharmin Segal got trolled for bagging the central part in Heeramandi series. Tongues were wagging that she landed the role because of being Bhansali’s niece. But, the truth is she did go for an audition and screen test. In politics, business or films nepotism is the uncomfortable truth — it happens openly or subtly. Yes, it makes easy entry possible but post that he/she has to prove their mettle. Suhana Khan is all set to make her debut with her father Shah Rukh Khan to be directed by Sujoy Ghosh. Sanjay Kapoor’s daughter, Shanaya Kapoor is a big social media influencer even though she signed her first film. Saif Ali Khan’s son Ibrahim Khan who has two films seems to be throwing his weight if one goes by what Paps have to say. In the case of Rajesh Roshan, niece Pashmina Roshan, a good dancer, makes her debut in Ishk Vishk Rebound. Producer Ramesh Taurani has clarified that he chose Pashmina purely on merit with three other fresh faces. He says Rajesh Roshan, the music composer with whom his relationship goes back in time, did not call to push his niece’s case. Sounds good.

Salman Khan has got Ranbir Kapoor’s Animal heroine for his next film Sikandar. Yes, Rashmika Mandanna is going to play his love interest in the film that goes on the floor next month. It came as a surprise for a lot of people in the trade as the names of other heroines were floating around before Animal heroine was signed for the role. Historically, Salman Khan has been choosy of signing up a heroine unless he is in a comfort zone with them. Katrina Kaif holds the record having worked with Salman in eight films. Well, earlier he and Madhuri Dixit worked in six films; it was because they were contemporaries…that’s all. But, stars like Jacqueline Fernandez got on like a house on fire. She has worked with Salman in about three films and reportedly during lockdown spent a long time at his farmhouse. Waluscha De Sousa who was also a kind of favourite of the actor; she worked in two films — Time to Dance and Antim: The Truth. With Sonakshi Sinha also twice. Interestingly, Salman Khan and Aishwarya Rai whose romance is well known worked with each other only in one film Hum Dil De Chuke Sanam. Likewise Twinkle Khanna, Urmila Matondkar and Sonali Bendre. Salman Khan has worked with Katrina Kaif even if he didn’t like her brief involvement with Ranbir Kapoor. There has been a chemistry issue between him and Ranbir since then. But, looks like Alia Bhatt may just play a role to bring Kapoor and Khan together. If one recalls, Ranbir Kapoor had mentioned in the Kapil Sharma show that Salman Khan had chipped in during his sister Riddhima Kapoor’s wedding by taking care of the bar.