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Category: Hindi

  • Dangal ends 2016’s poor run

    Dangal ends 2016’s poor run

    Year 2016 may have had a poor run in terms of box office, in general, but Aamir Khan-starrer Dangal bucked the trend and managed to spread the Christmas cheer. Dangal set records from show one, day one. Whatever little exposure the multiplexes gave to earlier releases like Befikre, found no footfalls and the screens were later passed on to Dangal.

    Aamir Khan is the pioneer of the Rs. 300 crore Club in Hindi films and the trade expects him to continue the trend with Dangal — his third entry into the Club.

    *Dangal is set to become a winner and a blockbuster that the indiantelevision.compredicted the film to be. It would be a rare product where a film works sans romance and melody, while also connecting with the viewer via a sportsperson’s biopic. Coming as it did after a disastrous lineup of 2016, the film promised little. Salman Khan-starrer Sultan, with a similar theme of wrestling, was released earlier in the year. However, Dangal surprised the trade with an unbelievable advance booking through bookmyshow.com (the site claims record-breaking business) and the film neared the all-time top grossers as it neared Rs. 30 crore for the opening day.

    Surprise was because of the fact that the film had Aamir Khan in an unconventional role with a few newcomers along with a not-yet- established director.

    Dangal opened with a Rs. 29.7 crore Friday; Saturday was expected by the trade at Rs. 32 crore, which the film bettered by a couple of crore of rupees and, finally, grossing over Rs. 10 core more than the opening day on Sunday. Dangal went on to register a record breaking opening weekend of Rs. 106.9 crore.

    With no new releases to challenge the film till 13 January, 2017, it is expected Dangal will put up a sterling show in the holiday season.

    *Wajah Tum Ho’s release was staggered because of demonetization of high currency notes early November, but failed to click at the box office. It barely managed put together Rs. 10.1 crore for its first week. The film has found it tough to find audience since the release of Dangal leading to ‘no audience no show status’.

    *Shor Se Shuruaat, a seven short film omnibus, fairs poorly.

    *Befikre holds well in its second week to collect Rs. 9.75 crore to take its two week total to Rs. 58.5 crore. However, a show or two spared for the film in its third week opposite Dangal has not worked for the film as the audience is missing and the screens finally got diverted to Dangal.

    *Kahaani 2 has collected Rs. 2.1 crore in its third week taking its three week total to Rs. 30.5 crore.

    *Dear Zindagi has added Rs. 1.4 crore in its fourth week taking its four week total to Rs. 63.8 crore.

  • Dangal: This is a winner!

    Dangal: This is a winner!

    Sports-based films had few takers till late, especially the concocted stories kind. However, the biographical sports-oriented films seem to work better, albeit, if they are inspiring enough and based on the lives of self-made successes.

    Bhaag Milkha Bhaag, Paan Singh Tomar, M S Dhoni: The Untold Story, Mary Kom are a few examples. Whose story the film is based on and the faces behind such a film also matters.

    Dangal is a biopic based on one such story that has a lot working for it. The story defies taboos and traditions of the native Haryana where a father pining for boys in the family but siring, instead, four daughters, decides to train his daughters to step into an arena of wrestling, a sport dominated by men, and excel.

    Dangal is based on the life of Mahavir Singh Phogat, a wrestler from Bilali village in Haryana who served as a coach for India’s Olympic wrestlers. Phogat, played by Aamir Khan, always dreamt of making wrestling champions out of his sons and win a Gold Medal for India. However, his dreams are far from being realised when his wife, Daya Shobha Kaur (Sakshi Tanwar) delivers four daughters.

    Phogat is disillusioned when one day while he hears of his two daughters beating up a village bully. Seeing their aggression and fighting spirit, he decides to do something nobody in his state would dream of. Train his daughters into world class wrestlers and bring the country its first gold medal.

    As the training begins, much to the girls’ reluctance and resistance, any and everything that hinders their training and concentration is done away with. The salwar kameez are replaced by shorts and T shirts, their long hair are shorn off and chicken becomes the staple food. A wrestling arena is built in the family farm and the girls’ cousin, Aparshakti Khurrana’s character, is the guinea pig with whom the girls practice their wrestling strategies.

    As the older of the two daughters, Geeta (Fatima Sana Shaikh) qualifies to train at the National Sports Academy, the grounds rules change, something Fatima is not used to. Life here is easier than the one she lived at home training under her father. Her first lesson from the coach (Girish Kulkarni) is that she unlearns all that her father taught her and begin anew. There is enough indulgence in watching TV, outings in the town and also freedom to eat gol gappas. This only works to corrupt the qualities and expertise that the girl possessed in wrestling.

    The result is, Geeta goes on losing all her international bouts and gets into verbal conflicts with her disappointed father. By now, even the younger Phogat girl, Babita (Sanya Malhotra) has qualified for a place at the Academy. Through her, she sees the value of her father’s coaching. Then starts a dual of coaches unawares of each other as Geeta listens to all that her coach has to say while follows what her father teaches her.

    Aamir Khan has become the master of playing unconventional roles in a totally deglamorised avatar and yet promise a hit! He gets into the skin of the veteran coach, Mahavir Singh Phogat so much that even the later would be proud of.

    The girls, Zaira Wasim and Suhani Bhatnagar as young Geeta and Babita are excellent as most of the earlier and challenging part rests on their shoulders. Fatima Sana Shaikh and Sanya Malhotra, the grown-up Phogat sisters, carry on the solid base created convincingly by the young ones and not letting a continuity jerk show. SakshiTanwar and Aparshakti are natural all the way.

    Dangal wins half its bout at the writing stage itself as the narration is smooth and witty dialogue make the initial training parts enjoyable which, in other such training phases in a film are tougher on viewers than on the aspiring sportsperson! Direction by Nitesh Tiwari is accomplished; he never lets the film sag at any stage despite its genre and length (161 minutes).

    The climax strays for the better and sends a viewer back with a serving of patriotism. Cinematography is very good. The songs have a purely utility value.

    The Haryanvi language used extensively in the film is no deterrent. Dangal is a winner all the way with all the makings of a first blockbuster biopic in Hindi film industry.

    Producers: Aamir Khan, Kiran Rao, Sidharth Roy Kapur.

    Direction: Nitesh Tiwari.

    Cast: Aamir Khan, Fatima Sana Shaikh, Sanya Malhotra, Zaira Washim, Suhani Bhatnagar, Sakshi Tanwar.

  • Dangal: This is a winner!

    Dangal: This is a winner!

    Sports-based films had few takers till late, especially the concocted stories kind. However, the biographical sports-oriented films seem to work better, albeit, if they are inspiring enough and based on the lives of self-made successes.

    Bhaag Milkha Bhaag, Paan Singh Tomar, M S Dhoni: The Untold Story, Mary Kom are a few examples. Whose story the film is based on and the faces behind such a film also matters.

    Dangal is a biopic based on one such story that has a lot working for it. The story defies taboos and traditions of the native Haryana where a father pining for boys in the family but siring, instead, four daughters, decides to train his daughters to step into an arena of wrestling, a sport dominated by men, and excel.

    Dangal is based on the life of Mahavir Singh Phogat, a wrestler from Bilali village in Haryana who served as a coach for India’s Olympic wrestlers. Phogat, played by Aamir Khan, always dreamt of making wrestling champions out of his sons and win a Gold Medal for India. However, his dreams are far from being realised when his wife, Daya Shobha Kaur (Sakshi Tanwar) delivers four daughters.

    Phogat is disillusioned when one day while he hears of his two daughters beating up a village bully. Seeing their aggression and fighting spirit, he decides to do something nobody in his state would dream of. Train his daughters into world class wrestlers and bring the country its first gold medal.

    As the training begins, much to the girls’ reluctance and resistance, any and everything that hinders their training and concentration is done away with. The salwar kameez are replaced by shorts and T shirts, their long hair are shorn off and chicken becomes the staple food. A wrestling arena is built in the family farm and the girls’ cousin, Aparshakti Khurrana’s character, is the guinea pig with whom the girls practice their wrestling strategies.

    As the older of the two daughters, Geeta (Fatima Sana Shaikh) qualifies to train at the National Sports Academy, the grounds rules change, something Fatima is not used to. Life here is easier than the one she lived at home training under her father. Her first lesson from the coach (Girish Kulkarni) is that she unlearns all that her father taught her and begin anew. There is enough indulgence in watching TV, outings in the town and also freedom to eat gol gappas. This only works to corrupt the qualities and expertise that the girl possessed in wrestling.

    The result is, Geeta goes on losing all her international bouts and gets into verbal conflicts with her disappointed father. By now, even the younger Phogat girl, Babita (Sanya Malhotra) has qualified for a place at the Academy. Through her, she sees the value of her father’s coaching. Then starts a dual of coaches unawares of each other as Geeta listens to all that her coach has to say while follows what her father teaches her.

    Aamir Khan has become the master of playing unconventional roles in a totally deglamorised avatar and yet promise a hit! He gets into the skin of the veteran coach, Mahavir Singh Phogat so much that even the later would be proud of.

    The girls, Zaira Wasim and Suhani Bhatnagar as young Geeta and Babita are excellent as most of the earlier and challenging part rests on their shoulders. Fatima Sana Shaikh and Sanya Malhotra, the grown-up Phogat sisters, carry on the solid base created convincingly by the young ones and not letting a continuity jerk show. SakshiTanwar and Aparshakti are natural all the way.

    Dangal wins half its bout at the writing stage itself as the narration is smooth and witty dialogue make the initial training parts enjoyable which, in other such training phases in a film are tougher on viewers than on the aspiring sportsperson! Direction by Nitesh Tiwari is accomplished; he never lets the film sag at any stage despite its genre and length (161 minutes).

    The climax strays for the better and sends a viewer back with a serving of patriotism. Cinematography is very good. The songs have a purely utility value.

    The Haryanvi language used extensively in the film is no deterrent. Dangal is a winner all the way with all the makings of a first blockbuster biopic in Hindi film industry.

    Producers: Aamir Khan, Kiran Rao, Sidharth Roy Kapur.

    Direction: Nitesh Tiwari.

    Cast: Aamir Khan, Fatima Sana Shaikh, Sanya Malhotra, Zaira Washim, Suhani Bhatnagar, Sakshi Tanwar.

  • Poor content blamed on demonetisation

    Poor content blamed on demonetisation

    MUMBAI: As the poor run of films continues at the box office, often poor content blamed on demonetisation lately, exhibitors look forward to the release of Aamir Khan’s Dangal, due on Friday, 23 December.

    *Postponed from its earlier release date of 2 December owing to the effect of demonetisation on the box office, Wajah Tum Ho, released on 16 December, fails to benefit from the move. A disjointed script as an excuse to show love scenes, the film fails to arouse even the initial curiosity as the it had a poor opening of Rs 2.3 crore and ended its opening weekend with Rs 6.7 crore.

    *Befikre manages to sustain despite mixed reactions as the film enjoyed no opposition while Ranveer Singh’s growing popularity also helped. The film had a decent opening weekend and went on to add another Rs 14.4 crore during rest of the week taking its first week total to Rs 48.75 crore.

    *Kahaani 2 has added Rs 5.6 crore to take its two week total to Rs 29.4 crore. Poor.

    *Dear Zindagi collected Rs 4.25 crore in its third week to take its three week total to Rs 62.4 crore.

  • Poor content blamed on demonetisation

    Poor content blamed on demonetisation

    MUMBAI: As the poor run of films continues at the box office, often poor content blamed on demonetisation lately, exhibitors look forward to the release of Aamir Khan’s Dangal, due on Friday, 23 December.

    *Postponed from its earlier release date of 2 December owing to the effect of demonetisation on the box office, Wajah Tum Ho, released on 16 December, fails to benefit from the move. A disjointed script as an excuse to show love scenes, the film fails to arouse even the initial curiosity as the it had a poor opening of Rs 2.3 crore and ended its opening weekend with Rs 6.7 crore.

    *Befikre manages to sustain despite mixed reactions as the film enjoyed no opposition while Ranveer Singh’s growing popularity also helped. The film had a decent opening weekend and went on to add another Rs 14.4 crore during rest of the week taking its first week total to Rs 48.75 crore.

    *Kahaani 2 has added Rs 5.6 crore to take its two week total to Rs 29.4 crore. Poor.

    *Dear Zindagi collected Rs 4.25 crore in its third week to take its three week total to Rs 62.4 crore.

  • Pak theatres showing Indian films again

    Pak theatres showing Indian films again

    MUMBAI: Pakistani theaters have begun screening of Bollywood films again after a 11-week boycott in response to military and political tensions with India, theater managers said.

    Some theater owners said the restart was owing to easing of tension, but others said it was because audience had dropped drastically since the boycott from 30 September. Atrium Cinema in Karachi started screening Freaky Ali without publicity posters, according to Reuters.

    Punjab Super Cinemas general manager Khurram Gultasab said that the absence of Bollywood content was resulting in loss of over 80 per cent customers. Mandviwalla Entertainment’s Nadeem Mandviwalla said the resumption was a step toward warming ties.

    Cinema owners across Pakistan reportedly suffered a loss of about Rs 150 million (Rs 15 crore) and cost around 100 employees their jobs since the non-screening of Indian movies.

  • Pak theatres showing Indian films again

    Pak theatres showing Indian films again

    MUMBAI: Pakistani theaters have begun screening of Bollywood films again after a 11-week boycott in response to military and political tensions with India, theater managers said.

    Some theater owners said the restart was owing to easing of tension, but others said it was because audience had dropped drastically since the boycott from 30 September. Atrium Cinema in Karachi started screening Freaky Ali without publicity posters, according to Reuters.

    Punjab Super Cinemas general manager Khurram Gultasab said that the absence of Bollywood content was resulting in loss of over 80 per cent customers. Mandviwalla Entertainment’s Nadeem Mandviwalla said the resumption was a step toward warming ties.

    Cinema owners across Pakistan reportedly suffered a loss of about Rs 150 million (Rs 15 crore) and cost around 100 employees their jobs since the non-screening of Indian movies.

  • Wajah Tum Ho: No Cause de Celebre, this!

    Wajah Tum Ho: No Cause de Celebre, this!

    MUMBAI: Wajah Tum Ho is a murder mystery just like any other. One may have heard of suicides being committed on live phone video or computer video and one hears a lot about hacking of computers on the highest levels. Wajah Tum Ho combines the ideas for its new approach to dealing with a thriller; here a TV channel is hacked to telecast live murders.

    The TV channel Global Times Network is hacked by a mysterious person to telecast a murder being committed live. The immediate suspect is, of course, the owner of the channel, Rajneish Duggal’s character , because this incident is expected to add to his channel’s TRPs. The case is being investigated by an honest inspector, Sharman Joshi’s character, and a lot rests on his shoulders since the person murdered was another cop.

    Duggal’s case is being handled by Sana Khaan’s character who is in love with another lawyer, i.e. Gurmeet Chaudhary’s character. The lovers have a conflicting interest as Gurmeet is helping Sharman with the investigations.

    After the usual twists and turns and red herrings, when Sharman thinks he has cracked the case, there are a couple of more murders in similar fashion.

    The director, Vishal Pandya, who earlier made thrillers like Hate Story 2 and 3 manages to create interest when one thinks of the theme of live murders but that is about all since that has little to do with what follows. The film changes tracks to resort to some romance, intimate scenes and songs between Sana and Gurmeet. It also takes time off to get in to the cop Sharman’s personal life.

    The script leaves some gaps and complicates things. The direction is average and the music is fair. The dialogue is routine and editing is weak. Sharman Joshi is the star attraction of the film, and justifies his presence. Rajneish Duggal has little to do. Sana Khaan and Gurmeet Chaudhary are okay. Wajah Tum Ho is a routine thriller. The film’s solo release status won’t help much either.

    Producers: Bhushan Kumar, Krishan Kumar.

    Director: Vishal Pandya.

    Cast: Sharman Joshi, Rajneish Duggal, Gurmeet Chowdhary, Sana Khaan.

     

    Shor Se Shuruaat: A collection

    With the emergence of small screen, entertainment was sure to come in small doses. Earlier, short films usually meant documentaries or diploma films for film students. Shor De Dhuruaat is an omnibus of seven short features based on the central theme of Shor- the sound around us.

    Aazaad

    Aazaad has Atul Kulkarni as its protagonist. It is about a father son relationship and is set in the present day India. Mentored by Mira Nair, it is directed by her associate Rahul V Chittella.

    Aamer

    Aamer is a 10 year old deaf boy helping his mother sell flowers. Though he can’t hear, he relishes the life around him till one day his mother has saved enough to buy him a hearing aid. The world around him changes but he is not quite prepared for the din he hears. Luckily for Aamer, he can control the noise by reducing the volume knob on his hearing aid or just turn it off totally. Mentored by Zoya Akhtar, the short is directed by Amira Bhargava.

    Decibel

    Decibel is ironic as well futuristic in that  the protagonist is in an age when the sound is totally banned beyond a certain decibel level and the one breaking the law faces severe consequences. Having moved to the city, this girl can’t sleep without sound. She checks into a remedial facility where one is treated for a soundless sleep. However, she ends up breaking the rules each time. Mentored by SriramRaghvan, the feature is directed by Annie Zaidi.

    Yellow Tin Can Telephone

    Yellow Tin Can Telephone is about a girl with overdeveloped sense of hearing and a boy who has the similar sense of colour. While she finds the world around her too noisy and wants to live in a soundless world, for the boy things are too colourful and he prefers to live in a black and white world. Mentored by Homi Adajania, it is directed by Arunima Sharma.

    Hell O Hello

    Hell O Hello deals with the world of consumerism and takes a comic approach. Here, two competing mobile phone salesmen try to convince a seemingly vulnerable buyer with the sales peach, he subjected to all sorts of lies and the noise created around him. And, while all this is going on, the consumer has no voice at all! Mentored by Shyam Benegal, the film is directed by Pratik Rajen Kothari.

    Mia I’m

    Mia I’m is about a girl from North East who becomes the victim of an MMS after falling in love with a boy. Her exploitive MMS follows wherever she goes. She gets rid of what her so called lover loved the most about her, her splendid mop of hair. She than vents her anger through music and works on altering her life. Mentored by Imtiaz Ali, it is directed by Satish Raj Kasireddi.

    Dhvani

    Dhvani is about a man confined to a solitary prison and awaiting his turn to gallows. His only companion here is total silence and before he is hung, he has just one wish. He wants to feel the world away from this silence around him. The film has Sanjay Mishra as its protagonist.

    Mentored by Nagesh Kukunoor, it is directed by Supriya Sharma. The films here have quite a bit of relevance in modern life and identification for the viewer. While they may not hold sway at the box office, they are a must watch for talent scouts.

    Producers: Humara Movie in association with Amazon Prime.

  • Wajah Tum Ho: No Cause de Celebre, this!

    Wajah Tum Ho: No Cause de Celebre, this!

    MUMBAI: Wajah Tum Ho is a murder mystery just like any other. One may have heard of suicides being committed on live phone video or computer video and one hears a lot about hacking of computers on the highest levels. Wajah Tum Ho combines the ideas for its new approach to dealing with a thriller; here a TV channel is hacked to telecast live murders.

    The TV channel Global Times Network is hacked by a mysterious person to telecast a murder being committed live. The immediate suspect is, of course, the owner of the channel, Rajneish Duggal’s character , because this incident is expected to add to his channel’s TRPs. The case is being investigated by an honest inspector, Sharman Joshi’s character, and a lot rests on his shoulders since the person murdered was another cop.

    Duggal’s case is being handled by Sana Khaan’s character who is in love with another lawyer, i.e. Gurmeet Chaudhary’s character. The lovers have a conflicting interest as Gurmeet is helping Sharman with the investigations.

    After the usual twists and turns and red herrings, when Sharman thinks he has cracked the case, there are a couple of more murders in similar fashion.

    The director, Vishal Pandya, who earlier made thrillers like Hate Story 2 and 3 manages to create interest when one thinks of the theme of live murders but that is about all since that has little to do with what follows. The film changes tracks to resort to some romance, intimate scenes and songs between Sana and Gurmeet. It also takes time off to get in to the cop Sharman’s personal life.

    The script leaves some gaps and complicates things. The direction is average and the music is fair. The dialogue is routine and editing is weak. Sharman Joshi is the star attraction of the film, and justifies his presence. Rajneish Duggal has little to do. Sana Khaan and Gurmeet Chaudhary are okay. Wajah Tum Ho is a routine thriller. The film’s solo release status won’t help much either.

    Producers: Bhushan Kumar, Krishan Kumar.

    Director: Vishal Pandya.

    Cast: Sharman Joshi, Rajneish Duggal, Gurmeet Chowdhary, Sana Khaan.

     

    Shor Se Shuruaat: A collection

    With the emergence of small screen, entertainment was sure to come in small doses. Earlier, short films usually meant documentaries or diploma films for film students. Shor De Dhuruaat is an omnibus of seven short features based on the central theme of Shor- the sound around us.

    Aazaad

    Aazaad has Atul Kulkarni as its protagonist. It is about a father son relationship and is set in the present day India. Mentored by Mira Nair, it is directed by her associate Rahul V Chittella.

    Aamer

    Aamer is a 10 year old deaf boy helping his mother sell flowers. Though he can’t hear, he relishes the life around him till one day his mother has saved enough to buy him a hearing aid. The world around him changes but he is not quite prepared for the din he hears. Luckily for Aamer, he can control the noise by reducing the volume knob on his hearing aid or just turn it off totally. Mentored by Zoya Akhtar, the short is directed by Amira Bhargava.

    Decibel

    Decibel is ironic as well futuristic in that  the protagonist is in an age when the sound is totally banned beyond a certain decibel level and the one breaking the law faces severe consequences. Having moved to the city, this girl can’t sleep without sound. She checks into a remedial facility where one is treated for a soundless sleep. However, she ends up breaking the rules each time. Mentored by SriramRaghvan, the feature is directed by Annie Zaidi.

    Yellow Tin Can Telephone

    Yellow Tin Can Telephone is about a girl with overdeveloped sense of hearing and a boy who has the similar sense of colour. While she finds the world around her too noisy and wants to live in a soundless world, for the boy things are too colourful and he prefers to live in a black and white world. Mentored by Homi Adajania, it is directed by Arunima Sharma.

    Hell O Hello

    Hell O Hello deals with the world of consumerism and takes a comic approach. Here, two competing mobile phone salesmen try to convince a seemingly vulnerable buyer with the sales peach, he subjected to all sorts of lies and the noise created around him. And, while all this is going on, the consumer has no voice at all! Mentored by Shyam Benegal, the film is directed by Pratik Rajen Kothari.

    Mia I’m

    Mia I’m is about a girl from North East who becomes the victim of an MMS after falling in love with a boy. Her exploitive MMS follows wherever she goes. She gets rid of what her so called lover loved the most about her, her splendid mop of hair. She than vents her anger through music and works on altering her life. Mentored by Imtiaz Ali, it is directed by Satish Raj Kasireddi.

    Dhvani

    Dhvani is about a man confined to a solitary prison and awaiting his turn to gallows. His only companion here is total silence and before he is hung, he has just one wish. He wants to feel the world away from this silence around him. The film has Sanjay Mishra as its protagonist.

    Mentored by Nagesh Kukunoor, it is directed by Supriya Sharma. The films here have quite a bit of relevance in modern life and identification for the viewer. While they may not hold sway at the box office, they are a must watch for talent scouts.

    Producers: Humara Movie in association with Amazon Prime.

  • No value for money

    No value for money

    While the demonetisation affected film collections to an extent, the dropping temperatures are also affecting box office, especially in the North India, not to speak of poor quality of films made with no concern for content.

    *Befikre did raise some expectations within the exhibitor community as well as the audience. Coming as it does after a prolonged dull period and a lineup of poor films, the combination of Yash Raj Films, Aditya Chopra’s direction after eight year gap and Ranveer Singh’s growing popularity meant value for money, scarce as it may be nowadays.

    The film did not quite meet up with the expectations as it met with mixed reactions the first Friday first show onwards. The film lacked a clear concept as the whole length of the titles were attributed to couples kissing, not sparing even the toddlers from the act. The rest turned out to be a misplaced idea of the life of today’s youth; being in Paris can’t be an excuse for going berserk with youth in a relationship.

    However, what helps the film is its controlled budget and the release period enjoying both, a solo release status as well as an additional holiday today (Eid E Milad). The film had fair number of footfalls on Friday early shows but showed a declining trend thereafter as the first day figure barley managed to cross double figure of Rs 10 crore. Saturday added over a crore compared to Friday figures while the Sunday sustained well as the film closed its opening weekend with Rs 34.35 crore..

    *Kahaani 2, a poor attempt to use the title and the face of Vidya Balan from the successful franchise, Kahaani, backfires as the sequel turns the very character of Vidya topsy-turvy. The rest of the content also lacks coherence.

    With an opening weekend of Rs 15.8 crore, the film adds only a little more in the remaining four days to end its first week with a total of Rs 23.8 crore. The film stands to lose at the box office.

    *Dear Zindagi will be a losing proposal for its India theatrical distributor. The combined following of the rising star Alia Bhatt and the veteran star Shah Rukh Khan fails to work as the theme of the film as well as the pretentious approach don’t go down well with the audience.

    The film adds Rs 14.1 crore in its second week to take its two week total to about Rs 58.3 crore.