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  • Akshay Kumar’s versatility saves holiday week from dullness

    Akshay Kumar’s versatility saves holiday week from dullness

    The flow of new films seems to have tapered down. In the weeks when new films are not meant to be released like during IPL or exams etc, a bunch of small, inconsequential films swarm the cinemas. Even if one or two of them had a merit, they stood no chance because of high admission rates, odd show timings that they were meted out, and the lack of face value of such films.

    Now, when the playtime is open and available, the exhibitors were able to get one Bareilly Ki Barfi besides the other release, Partition: 1947 (Hindi-Dubbed), which failed to get the footfalls and faced a no audience, no show situation.

    The starving cinema halls had some relief with Akshay Kumar’s Toilet: Ek Prem Katha with an extended Independence Day weekend coinciding. The film raced to the Rs 900 million-figure during these holidays. The film has to meet the target of Rs 1.25 billion and, looking at the weak opposition in the new release, Bareilly Ki Barfi, the Akshay-starrer should sail safe eventually.

    *Bareilly Ki Barfi had some renowned names riding with it. The film boasts of Nitesh Tiwari who wrote and directed the recent blockbuster Dangal, as the writer while Ashwini Iyer Tiwary, who made Nil Battey Sannata, as the director. Both the writer and the director failed to live up to their earlier glory as Bareilly Ki Barfi has none of that spontaneity or laughter expected of their work.

    The film opened with a low Ra 20 million. The Saturday improvement was fair but still on the lower side while Sunday was much better with double the Friday figures. The film ended its opening weekend with a total of Rs 108 million.

    *The other major release, UK-based Gurinder Chadha’s Partition: 1947 (Hindi-Dubbed), an attempt to tell the behind-the-scenes story of the Partition, had little relevance for today’s Indian viewers. A futile attempt, it finds no takers as the film fared poorly at the box office.

    *Toilet Ek Prem Katha thrived on the holiday week. The week had a holiday on Monday in many parts being Janmashtami, a national holiday on Tuesday being the Independence Day and the Parsi New Year holiday on Thursday in Maharashtra and Gujarat.

    The film had opened with fairly decent collections and picked up steam on Saturday and Sunday with the holidays adding handsomely to take the collections on the verge of Rs one billion, the mark it will easily cross during its second weekend. 

    With an opening weekend of Rs 511 million, the film added another Rs 415 million to take its first week tally to Rs 936 crore million.

    *Jab Harry Met Sejal added Rs 41.5 million in its second week to take its two-week total to Rs 616.5 million.

    *Mubarakan is struggling to sustain, despite being a fairly entertaining film, and keeps holding out hope in its subsequent weeks which will help cut down its losses. The film collected a decent Rs 54 million taking its four week total to Rs 553 million.

  • IFFI 2017: Noted filmmakers to head steering & technical panels

    IFFI 2017: Noted filmmakers to head steering & technical panels

    NEW DELHI: Renowned filmmakers Jahnu Barua and Nagesh Kukunoor will head the steering and technical committees respectively for the International Film Festival of India 2017 being held in November this year.

    Meanwhile, the preview committee for shortlisting films for IFFI which had already seen around 150 films has also been dissolved, and a new committee is expected soon. These changes have coincided with Smriti Zubin Irani taking on additional charge of the information and broadcasting ministry after M Venkaiah Naidu resigned following his nomination as the vice-president of India.

    The preview not merely shortlists films from all entries received, but recommends films for competition section which will then be seen by the international jury, and for the “Country Focus.”

    IFFI, which is considered as one of the top 10 film festivals of the world, will be held from 20 to 28 November at Panaji (Goa).

    The festival is organised by the Directorate of Film Festivals of the information and broadcasting ministry in collaboration with the Entertainment Society of Goa (ESG) on behalf of the state government.

    A four-day Film Bazaar will also be organised from 20 November by the National Film Development Corporation (NFDC).

    The members of the Steering Committee are:

    1.      Jahnu Barua (Convener)
    2.      Siddharth Roy Kapur
    3.      Shoojit Sarcar
    4.      Bharat Bala
    5.      Anand Gandhi
    6.      Prasoon Joshi
    7.      Vani Tripathi
    8.   Piyush Pandey
    9.      Shaji N. Karun
    10.  Meren Imchen
    11.  Ashwini Iyer Tiwari
    12.  Director NFDC
    13.  Nagesh Kukunoor – Chairman of Technical Committee

    The Technical Committee comprises:

    1.     Nagesh Kukunoor – Chairman
    2.     NFDC representative
    3.     Sameer Arya
    4.     Director DFF
     5.    Commissioner, Panaji Municipality, Govt of Goa
    6.     Chief Engineer (Elect.), Govt of Goa
     7.    Health Officer, Panaji
     8.   Chief Fire Officer, Goa
     9.   Traffic Commissioner, Panjim, Goa
    10.  Incharge, INOX Theatre, Goa
    11.  Chairman, Kala Academy, Goa
    12.  CEO, ESG, Goa.

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  • Partition: 1947 — Attempt to create nostalgia

    Partition: 1947 — Attempt to create nostalgia

    Suddenly, the flavour of the season as far as filmmaking goes, seems to be India and its history, distant as well as recent. Some films, like Indu Sarkar (the recent film about the emergency era), are made to please the people in high places instead of the moviegoer while the latest one, Partition: 1947, according to its maker Gurinder Chadha is the result of her own family’s ordeal during the partition of the sucontinent.

    Sadly, filmmakers seem to find little in India’s history. Even Hollywood stopped making films on World War II in 1960s save for an odd Dunkirk, released recently. And then, America was the victor in the war and a reason to celebrate it through its films. The partition of India into two countries has nothing that the survivors would like to remember or something that would inspire people. Also, it was done at the whim of the British rulers of India.

    Lord Mountbatten (Huge Bonneville), the last Viceroy is despatched to India to oversee handing over the reign of India to its own people, freeing it after the British entered India almost 200 years ago and actually ruled it for over a century. As one knows, handing over freedom was not a simple process as there was also the problem of two religious groups at loggerheads and the Muslims wanting their own country carved out of India. Also, Mountbatten was not the final authority as the shots were called from his masters in London.

    The partition plans were already put in place by then PM Winston Churchill in 1945 and there was little left for Mountbatten to do.

    Though there is a symbolic romance between a Muslim girl played by Huma Qureshi and the Hindu boy, Manish Dayal who become the victims of partition, the film is more about the happenings in Delhi. For the migration of people due to partition, the film uses mostly archival footage.

    This may be Gurinder Chadha’s most ambitious film yet, but it does not quite grip the viewer. If the partition was planned in the high offices of London, the Indian leaders, squabbling among themselves, had little say or showed any inclination. And, if the highlight of the film is that Mountbatten was manipulated, it is hardly an attraction anymore to watch the film.

    Producers: Paul Mayeda Berges, Gurinder Chadha, Deepak Nayar.

    Director: Gurinder Chadha.

    Cast: Hugh Bonneville, Gillian Anderson, Manish Dayal, Huma Qureshi, Michael Gambon, Simon Callow, Om Puri, Roberta Taylor as Miss Reading, Tanveer Ghani, Simon Williams as Archibald Wavell

  • Bareilly Ki Barfi — Insipid

    Bareilly Ki Barfi — Insipid

    Small town Uttar Pradesh love stories are the in thing, quite a few having worked at the box office to varied degrees of success. Last week’s release Toilet- Ek Prem Katha, was one such film. The advantage with basing a film in this region is that the subject can take all the liberties it wants, the making is economical and, the major attraction is the subsidy doled out to films shot in the state of UP.

    Bareilly Ki Barfi is inspired from a French movie, translated in English as The Ingredients Of Love. It raises some expectations as it comes from the pen of Nitesh Tiwary, who wrote and directed the much acclaimed film Chillar Party; and the blockbuster, Dangal. The director Ashwiny Iyer Tiwary, herself has the film, Nil Battey Sannata to her credit.

    Despite these names on the roster, Bareilly Ki Barfi is a typical love story, rather a love triangle, created by the protagonist Ayushmann Khurrana, with evil designs to win the love of a girl, Kriti Sanon, whom he could have won over easily anyway.

    Kriti is a tomboy kind of girl in the laidback town of Bareilly, the only daughter of Pankaj Tripathi and Seema Pahwa. Pankaj, a sweet shop owner, has always treated her as the son he wished for. He borrows a cigarette from her when he needs one, lets her be on her own, and has full faith in her decisions.

    Kriti is romantic, loves break dance and English movies. She just seems to have been born in a wrong place. However, that does not deter her from living life by her own rules. But her lifestyle carries a price tag. She is rejected by all suitors when it comes to marriage proposals.

    Fed up of rejections by her suitors and taunts of her mother, Kriti decides to run away from home when, at the railway station, looking for a cheap read, she picks up a book titled Bareilly Ki Barfi. To her surprise, the girl described as barfi is her alter ego, with the same traits and characteristics. Thinking that the girl in the book is her, Kriti gives up eloping and returns home to look for the book’s author.

    The book, as it turns out, is the offshoot of Ayushmann’s failed love. He loved a girl who had all the fun with him but when it came marrying, she went along with her parents’ choice. Devastated, he writes the book but, fearing the backlash of his family, picks on a weakling, Rajkumar Rao, to credit as the author.

    Kriti wants to now meet Rajkumar who has so aptly scripted her life in a book. Ayushmann, who has fallen for Kriti but cannot confess to being the author of the book, agrees to be her conduit delivering Kriti’s letters to Rajkumar and his replies to her.

    Ultimately, Ayushmann decides to call Rajkumar back, plans to discredit him in the eyes of Kriti so that she is out of his spell.

    Whatever interest the film generates is in the second half after the entry of Rajkumar on the scene. The love triangle so developed turns into a battle of wits between Ayushmann and Rajkumar. But, Kriti is the one who rolls the dice.

    Looking at the film, save for the background of Bareilly, it has nothing small town about it. All the characters are well versed with the life as it is lived in metros. They dress, think and act like any other city dweller. The screenplay is okay. The direction remains in the parameters set by the writing. Production values are average while technically, the film is just about passable. Musically, the film has one popular number in Sweety tera drama….. The film has no high moments as it maintains its set mediocre narration throughout.

    The film scores on casting; Pankaj Tripathi, Rajkumar Rao excel while Seema Pahwa makes her presence felt. Ayushmann Khurrana is good.

    Bareilly Ki Barfi is a contrived romcom that fails to tickle.

    Producers: Vineet Jain, Renu Ravi Chopra.

    Director: Ashwiny Iyer Tiwari.

    Cast: Rajkumar Rao, Ayushmann Khurrana, Kriti Sanon, Pankaj Tripathi, Seema Pahwa

  • Toilet — Ek Prem Katha may spring a surprise

    MUMBAI: Unlikely as it may seem, Akshay Kumar’s Toilet Ek Prem Katha may be on its way to spring a surprise at the box office. In fact, the process started from day two after its release as the film’s collections took huge jump on Saturday followed by another leap on Sunday.

    The film, which is meant to be a love story about an overage small town UP native, Akshay Kumar, mildly uncouth but street smart, and, Bhumi Pednekar, an educated younger girl up to date with the trends, takes a turn to propagate the need for personal toilets for every home.

    The film promotes the prime minister Narendra Modi’s campaign against open defecating. The last 50 minutes of the film are meant to educate and inform the people, mainly of the hinterland, about privacy for women when it comes to call of nature.

    That the film has gradually found favour with the multiplex audience can be attributed to the popularity of Akshay Kumar. He has been sincere and worked hard to promote the purpose of the film.

    *Most recent films, including big star films like Tubelight and Jab Harry Met Sejal, have met with poor response with below par opening day collection. Toilet Ek Prem Katha did quite well on that count collecting over almost Rs 120 million on day one despite its theme.

    The film enjoyed the advantage of a longer weekend but, while most films fail to rise on the Saturday following its opening day, Toilet Ek Prem Katha, took a massive leap with the collection jumping to Rs 170 million. The figures on Sunday were even better as the film collected over Rs 210 million to end its opening weekend with an impressive Rs 511 million. Things can get only better with a couple of more public holidays to follow during the week.

    The film needs to reach its target of approx Rs 1.25 billion.

    *Jab Harry Met Sejal faces rejection from day one. Having collected 53.7 crore in its first week, it slides badly as its week two takes off. The film’s shows had to be cancelled for lack of audience at many screens. The film manages to add Rs 38 million in its second week to take its two week total to Rs 575 million.

    *Mubarakan collected Rs 464 million over its first two weeks has collected about Rs 35 million in its third week to take its three week tally to Rs 499 million.

  • CBFC reconstituted, majority from film & theatre fraternity

    NEW DELHI: After bringing in the adman and lyricist Prasoon Joshi and showing filmmaker Pahlaj Nihalani the door, the Central Board of Film Certification has been reconstituted — with the entry of the actress Vidya Balan and the renowned filmmaker T S Nagabharana, among other.

    The 12 members brought in include — the filmmaker and Padma Shri recipient Naresh Chandra Lal from Andaman and Nicobar Islands, known for his film ‘Gandhi – the Mahatma’ — which spread the message of clean environment and cleanliness, and the renowned director Vivek Agnihotri.

    An official announcement said the Board was being reconstituted under section 3(1) of the Cinematograph Act 1952 read with rule 3 of the Cinematograph (Certification) Rules 1983.
    The new members join with immediate effect for a period of three years or until further orders, whichever is earlier.

    Other members include the Tamil and Telugu actresses Gautami Tadimalla and Jeevitha Rajasekhar, the Bharatya Janata Party activist and actress Vani Tripati Tikoo, the theatre director Waman Kendre who headed the National School of Drama in Delhi, and the film and television dialogue writer Mihir Bhuta.

    The renowned Shillong-based author and concert pianist Neil Herbert Nongkynrih, Padma Shri awardee and Hindi author Narendra Kohli, and the ideologue of Rashtriya Swayamsevak Sangh Ramesh Patange who edits the Marathi weekly ‘Vivek’ have also been appointed to the Board.

  • Toilet: Ek Prem Katha … Part fun, part sermon

    With little choice of genres left for films after themes like family social, horror and mythology were taken away by TV channels, filmmakers have to find variations in what they are left with: romance, action and comedy.

    Toilet Ek Prem Katha is a small town love story, and a love story needs a villain in some form. Unless the coming together of two lovers is met with some hindrances causing anxiety among the viewers, it remains incomplete. In this film, the villain that becomes the cause of separation between two lovers is a tradition that stops the villagers from creating the facility of toilets within the house.

    The character of Akshay Kumar is a small town lad who is well past his marriageable age due to the superstitions of his father played by Sudhir Pandey, a pandit, who is convinced that the character of Akshay’s marriage will fail since he has a negative influence of planet Mars on his horoscope and that his wife will have to have two thumbs in her palm if the marriage has to work. Pandey gets rid of half the ill effects of horoscope by getting Akshay married to a buffalo cow. Now all that remains to be made sure for Akshay to enjoy a blissful married life is to find a girl with two thumbs!

    But, fate ordains otherwise. While travelling on a railway shuttle, Akshay comes across Bhumi Pedenkar and both get into an argument over toilet manners. There is little in common between the two as Akshay’s character is a 12th-standard pass while Bhumi is a university topper. Her small family of four keeps pace with times while Akshay’s father, who dominates his life, lives in past. Akshay is 37 while Bhumi is a student.

    However, all these do not deter Akshay from falling in love with Bhumi. He starts chasing her till, like it happens in such love stories; Bhumi too is attracted to Akshay. The families agree to the match. While Bhumi’s family has no reservations, to deceive Pandey, Akshay gets an artificial extra thumb fitted on Bhumi’s hand.

    It is all lovey dovey for Akshay and Bhumi. But at the first dawn post-marriage a bunch of women come to call Bhumi to join them. Called Lota Gang, the women are on their way to far off fields for their daily ablutions.Having been brought up in a house with all the comforts, Bhumi cannot cope with this situation. She demands that a toilet be built within the house.

    While Akshay is trying to convince Pandey, he and Bhumi find ways to make things comfortable for her. Akshay comes up with what is called Jugaad, an ad hoc arrangement, each day so Bhumi need not go to fields. One of them is to take her to the local railway station where a particular train stops for seven minutes during which she is supposed to finish her business. Once, Akshay even steals a portable toilet. And, finally he builds one in his house only for it to be broken down by Pandey and other village folk.

    The film now shifts to the campaign run by the present government which aims to build toilet facility for every individual or community. However, the climax is the same as many such films about crusades the corruption in government departments, the involvement of the media and so on. What is different but inspired from real life incidents is the married woman leaving her husband and home because it does it not have a toilet.

    Having taken up the issue of toilets and the lack of it, the film takes too long to touch the crusade against a certain class’s mindset that prevent them from installing this basic facility in the house. Towards the end, especially in the last 50 minutes or so, it becomes preachy. The proceedings should have been crisper.

    The direction is fair. While the first half offers some entertainment, the later part has only little of it. The film has one song that works for it in Gori tu latth maar…. as it has visual appeal. Production values are average.

    The film scores on casting. Akshay Kumar is good as a confident small town lad. Bhumi Pednekar is convincing. Divyendu Sharma, Anupam Kher, Sudhir Pandey and Rajesh Sharma support well.

    Toilet Ek Prem Katha has average merit but is expected to enjoy a huge weekend from Saturday till Tuesday, and again a restricted holiday to follow for the Parsi New Year on 17th. This should help the film reach its target.

    Producers: Aruna Bhatia, Shital Bhatia, Prernaa Arora, Arjun N. Kapoor, Hitesh Thakkar.

    Director: Shree Narayan Singh.

    Cast: Akshay Kumar, Bhumi Pednekar, . Divyendu Sharma, Anupam  Kher, Sudhir Pandey and Rajesh Sharma.

  • Film audience rues being taken for granted: stars & others’ poor show this week

    *What Shah Rukh Khan and director Imtiaz Ali have done with Jab Harry Met Sejal can be called a patch-up job. The distributors may lose money but what Shah Rukh Khan has lost in this one weekend is his 25 years of stardom and goodwill.

    The Pandora’s Box opened with a poor response. The film turned out to be the most negatively rated film ever; the audience anger was palpable — for being taken for granted. To add to their fury were the escalated admission rates at the cinema halls, especially at the multiplexes.

    The film collected approximately Rs 145 million on day one, dropped a little on Saturday followed by and managed similar collections even on Sunday to end its first week. The film was expected to get some sustenance on Raksha Bandhan holiday in many parts of India.

    *Gurgaon, a film about a local land-grabbing mafia of Gurgaon city, found no takers. Local issues don’t draw viewers.

    *Mubarakan failed to encash on its potential. Despite being a family entertainer, it suffered due to poor opening and, then, also failed to pick during its first week. However, due to negative reports of Jab Harry Met Sejal, the film got a better second weekend. It collected Rs 349 million for its opening week and added Rs 60 million in the second weekend.

    *Indu Sarkar, the film on the Emergency, collected Rs 45 million in its first week. Very poor.

    *Raag Desh, the film about three INA soldiers facing the wrath of the British army, remained very poor. It collected about Rs 7.5 million in its first week.

    *Munna Michael added Rs 11.5 million in its second week taking its two-week tally to Rs 319.5 million.

    *Lipstick Under My Burkha collected Rs 64 million in week two to take its two-week total to Rs 169 million.

    *Jagga Jasoos collected about Rs 8 million in its third week to take its three week tally to Rs 512 million.

    *Mom collected Rs 7.5 million, taking its three-week total to Rs 326 million.

  • Jab Harry Met Sejal……they go bankrupt — creatively

    Jab Harry Met Sejal is a road movie where romance happens on the way. There have been some films on this theme like Dilwale Dulhania Le Jayenge, Zindagi Na Milegi Dobara, and Jab We Met in the romantic- fun category while Dhanak was a beautiful film about two kids.

    On the heavier side were Highway and NH 10. All were very different from each other. But, how different can they be every time and look plausible at the same time?

    A road movie attempting to be a romantic film counting on just two stars for all of its length of 144 minutes can get tedious. Especially when the reason for taking to roads crisscrossing across Europe is feeble.

    Shah Rukh Khan, playing a Sikh farmer from mofussil Punjab, comes to England after a failed romance. He is now a Euro Tour Guide which means he is familiar with the entire European continent. He is seeing off a group of Gujarati family who are returning to Mumbai after a tour of Europe. Their tour also included an impromptu engagement ceremony of the character of Anushka Sharma.

    But, no sooner is Shah Rukh ready to depart from the airport after waving them adieu, Anushka is back and catches up with him. As it happens, she has lost her engagement ring making her fiancé unhappy. He was angry because the ring was a family inheritance.
    Anushka wants Shah Rukh to continue to be her guide for one more day till she finds her ring. She thinks she knows where she dropped the ring.

    As her memory keeps ‘remembering’ the next place when the ring is not found where she though she had lost it, the search for the engagement ring takes the duo to six countries across Europe.

    In the process, they sing, dance and get into tight situations while also falling in love—just the way it has happened in earlier such films. While the two stars do their bit, there are no distractions, no other actors to either relieve the two, Shah Rukh and Anushka, nor the viewer! Yes, there are European landmarks in the background, but they look lifeless in absence of a cogent content on the screen. And, then, this is a road romance, not a tourism film.

    The script is weak in all departments. Be it characters, drama, romance or emotions. There is no chemistry between Shah Rukh and Anushka, considering they take a couple of hours discovering they are in love. Just to make Anushka sound like a Gujarati, her character has been turned into a caricature; she is from a filthy rich Mumbai family and a law graduate but she speaks Gujarati like a native missing H in all her pronunciations.

    Like Asok for Ashok, for example. Greeting with JSK (Whatsapp language) instead of Jai Shri Krishna like Gujarati from Vaishnav sect do. Which audience will identify with this among Hindi moviegoers? To cap it all, the climax is stretched and lacking in imagination.

    The direction is lacklustre. The film has some good songs but they fail to impact the proceedings. Visually good, but the film’s editing leaves much to be desired.

    Anushka Sharma tries to save the film to some extent with a lively performance. Shah Rukh Khan looks past his prime and his face looks tired, not something that would gel with a romantic film.

    On the whole, Jab Harry Met Sejal lacks in imagination. It’s a poor film with opening response to match.

    Producer: Gauri Khan.

    Director: Imtiaz Ali.

    Cast: Shah Rukh Khan, Anushka Sharma, Chandan Roy Sharma,

  • Word of mouth may help family entertainer

    Mubarakan came as a full family entertainer after a long gap, a gap when fillers and mediocre films reigned. However, the film’s opening day collections were poor to put it plainly. To a certain extent, the promotion and the presentation of the film were not quite attractive.

    The promos on theatrical as well as electronic media were really dull telling little about the film except that it was about Arjun Kapoor playing double roles with Anil Kapoor playing the uncle. Little was visible or came through about the other aspects, the talented other artistes or, mainly, the music of the film which is its asset.

    The film’s projection proceeded more like a family enterprise of Kapoors which is not an added attraction. Father sons, uncle nephews coming together is neither novelty nor assures a draw.

    The result was that, the film opened to 15 per cent footfalls on Friday, failed to pick up and ended its opening day with just a little over `50 million. However, the word of mouth was generally positive and the film was expected to gain some momentum over Saturday and Sunday. The Saturday improvement looked good in percentage as it was over 40 per cent but not really since the opening Friday was poor. The collections took a leap on Sunday with double the opening day figures to end its opening weekend with `226 million.

    If the film fails to cash in on the positive word of mouth that it enjoys through rest of the week, it is headed to be a loser. Also, because, this is the only week it gets to establish itself as come next Friday, there is a new, bigger release in Shah Rukh Khan- Anushka Sharma starring, Jab Harry Met Sejal.

    *RaagDesh is a film about a British era court martial of three Royal Army Indian soldiers who were captured by the Japanese, let off to join Subhash Chandra Bose’ Indian National Army and, later charged for the killing of some soldiers. This film is beyond comprehension.

    Which moviegoer would want to pay anything between `100 to 2000 to watch this film when they did not care to watch films on Sardar Patel, B R Ambedkar, Veer Savarkar, Nehru made over the years when even the ticket prices were not so high! The only film on a political leader of whatever we call history which got some attention was Gandhi and that too its English version; the Hindi version simply failed.

    The purpose of making this film about ‘unknown heroes’ of IAN defies logic and, why the RajyaSabha TV involved in this project is a question!

    As for box office, the film had no commercial prospects to explore to collect a mere `5.5 million for its opening weekend.

    *Indu Sarkar is another example of a film which should never have been made. The trade describes this as an enterprise of personal political aspirations. The film on the 1975 emergency bore no relevance a few months after it was over as films made on the subject like KissaaKurseeKa and Nasbandi proved to be capital loss.

    This shows on the box office. The film has been rejected. The film collected `26 million for opening three days.

    *Munna Michael fails. After a mediocre opening, the only day it picked up a little was on Sunday only going downhill thereafter to end its first week with a total of `308 million.

    *Lipstick Under My Burkha managed `105 million in its first week maintaining low but steady collection through the week. The film is holding steady in its second week.

    *JaggaJasoos added `73 million in its second week to take its two week tally to `504 million.

    *Mom has collected `22 million in its third week taking its three week tally to `318 million.