I know, I skipped last week, but there wasn’t much to talk about. This week, three things to talk about! (as always, figures from renttrack by way of bollywoodhungama)
In America, Fanney Khan released on 69 screens and made $1,615 per screen. Karwaan released on 58 screens and made $1,242 per screen. Mulk released on 25 screens and made $1,716 per screen. So, per screen, Mulk was actually best. But the screen count is so low, and $1,716 is still really bad, so yeah, Mulk is the biggest flop of the three.
The American box office was still hoping though, thanks to the non-Hindi films. Goodacheri released on 115 screens and made $3,000 per screen. Which is actually pretty sad for a Telugu film, but at least it means a modest profit for the theaters, and it was something to fill all those screens that the other movies didn’t take (adding all 3 Hindi releases together, that’s still only 154 screens, half of what Sanju alone took).
And then there’s Koode. 25 screens, a shockingly high number for a Malayalam film, showing what faith the distributors had in it. Faith which was rewarded, $1,769 per screen, shockingly high for a Malayalam film as well. For comparison, Aadhi only made $1,000 per screen. But then, it was on 38 screens, so Mohanlal Jr. got his nice big box office handed to him.
So, what does this mean? Well, it means the audience would rather see Anil Kapoor and bright colors and happy songs than Dulquer and Irrfan making wry remarks and Rishi Kapoor giving speeches about prejudice. I think we could all kind of guess that. And it means that the director-lead Malayalam film can still triumph, Parvathy and Prithviraj JUST had a release, and it flopped, so it’s clearly not the stars of Koode that are making the difference (yes Nazriya is there too, but that’s still not enough). Oh, and it also proves that My Story flopped not because of Parvathy boycotts or anything stupid like that, but just because it was a bad movie.
And it means this was just a bad weekend. And everyone knew it would be. Those screen counts are telling me the distributors didn’t have much faith in these particular films either. And I already kind of got that from the promotion campaigns, which were lackluster to say the least. There’s two big movies coming out for Independence Day, no one wants to get caught up in competition with them, so this is a good weekend to dump out your so-so movies and let them run as long as they can without competing because you know they can’t stand up to competition.
(I think this is the most interesting song from Fanney Khan, and they didn’t even release it until the film was already in theaters. Terrible promotion team.)
As for the rest of the world, it’s basically business as usual. These 3 Hindi films all did the same everywhere, really weak box office all around with Fanney Khan slightly better and on slightly more screens than the other two. The two southern films didn’t even come out anywhere else, per usual. Punjabi is screaming high in Canada and Australia.
Oh right, the one interesting thing! That I would have talked about last week if I’d had time. Teefa in Trouble is doing well in Canada and the UK. Which I find fascinating. Because in the UK, it is (presumably) picking up on the Pakistani diaspora audience. But in Canada, I think it is picking up on the Punjabi audience! Because, it is Punjabi. The language, the humor, the sound of the songs, it all feels Punjabi to me. I think there’s even a few jokes about how Punjabi the characters are thrown in there.
So, that’s a fascinating thing to think about with the Pakistani market! If they keep making big fun films like this, they could pick up an odd combined market of Punjabi ethnicity and Pakistani nationality.