Category Archives: Movies Review

Chhichhore Movie Review: Nitesh Tiwari is the real hero of this heart-warming tale of friendship

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Nitesh Tiwari’s Chhichhore is releasing on September 6. The film is a loving tribute to his days as an engineering student in IIT Bombay. Chhichhore has an ensemble cast led by Sushant Singh Rajput and Shraddha Kapoor. It is a story of eternal friendships, failures and how the education system and its flaws affect young people.
What is it about…

Aniruddha Pathak (Sushant Singh Rajput) is a divorcee who has the custody of his teenage son, Raghav. The kid has devoted two years for his life to clear the engineering entrance exams but fails to do so in the first attempt. He attempts suicide but survives with critical brain injuries. His father decides to recount his hostel days to his son and how his bunch of losers (friends) emerged as winners in their own eyes. It also leads to an emotional reunion between Aniruddha and his buddies.

What is hot…

The film beautifully captures the period of the early ’90s. Nitesh Tiwari, Nikhil Mehrotra and Piyush Total deserves full marks for their writing. The one-liners are hilarious and their execution is even better. You will laugh your hearts out in the hostel scenes. Coming to the performances, Varun Sharma steals the show as Sexa. He nails the role of the cute horny collegian to perfection. Sushant Singh Rajput has a ball playing the young Anni and his comic timing is good. Shraddha Kapoor does not have much to do as the young Maya but fares excellently in the emotional scenes. Naveen Polishetty, Tahir Raj Bhasin and Prateik Babbar play their parts well. However, Tushar Pandey as Mummy and Saharsh Shukla as Bevda are fabulous. In short, Nitesh Tiwari has made his cast deliver and how! Khairiyat and Pagle Fikar Not are songs you will enjoy. In a light-hearted manner Chhichhore delivers a message about how our self-esteem is what matters ultimately in life’s journey. It touches upon the flaws of the education system but it is not preachy.

What is not…

If you feel that Chhichhore is like 3 Idiots then you are mistaken. It is not even a middle class version of Student Of The Year. Yes, there are similarities but on a surface level. One of the things that people might argue about is that the tale is told from a male perspective.

Jabariya Jodi movie review: Sidharth Malhotra, Parineeti Chopra’s dialoguebaazi is the only saving grace in this film

Based on Pakadva Vivah that prevails in Bihar and some smaller town in India, Jabariya Jodi starring Sidharth Malhotra and Parineeti Chopra starrer is hitting the theaters tomorrow. The film is directed by Prashant Singh and also stars Aparshakti Khurana and Sanjay Mishra in key roles. Catch our full review here!

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After multiple delays, Sidharth Malhotra and Parineeti Chopra starrer Jabariya Jodi is finally hitting the screens this Friday at the ticket windows. The romantic comedy venture, which was earlier titled Shotgun Shaadi has been in the news since 2018 and was earlier slated to release on May 17, but to avoid clash with other films, the makers finally chose August 9 as the final date and the cherry on top is that it’s a solo release for the film. Even the trailer with its quirk and mass appeal managed to garner the right buzz. But is the Sidharth Malhotra and Parineeti Chopra starrer worth the watch? Check out our review here!

What’s hot:

Sidharth steps into the role of Bihar ka goonda and pulls it off convincingly. Be it his flair in multi-coloured shirts and gamchas or the delivery with which he throws witty on-liners, Sid’s first rustic act deserves a pat. Even Parineeti does justice to her character with pitch-perfect diction and makes it seem effortless. SidNeeti’s chemistry is a treat to watch too. Slow claps are reserved for Aparshakti Khurana and Sanjay Mishra who light up the screen with their comic timing and punches.

What’s not:

The screenplay seems lazy and the editing, shoddy. Directed by Prashant Singh, the film wobbles at points and misses the plot more times than not. Especially the second half which beats around the bush for its entire duration without any plot device. The effort to soften the blow of social evils like dowry and forced marriage with comic intervention is note-worthy but debatable at best. And while Pari has caught hold of the accent, Sid’s is inconsistent. The film is also replete with one too many forgettable songs. Even the climax overstays its welcome with predictable sequences and dialogues.

Akshay Kumar and Vidya Balan deliver great performances in a heartwarming film

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Mission Mangal is coming this Independence Day along with Batla House. The film chronicles the journey of the ISRO scientists who made mission Mangalyaan possible with so many constraints in a fictional way. The film stars Akshay Kumar and Vidya Balan in lead roles. Actresses like Taapsee Pannu, Nithya Menen, Kirti Kulhari and Sonakshi Sinha join the team as the women scientists in the mission.

What is it about
The film is a fictionalised tribute to the team of ISRO that made mission Mangalyaan a success with limited budget and resources. Akshay Kumar plays the mission director Rakesh Dhawan while Vidya Balan is the project director, Tara Shinde. The film gives a glimpse into the lives of the core women team that made use of their common sense to accomplish such a project. Mangalyaan was a huge success for ISRO after the failure of GSLV.

What is hot
Mission Mangal’s prime strength lies in the crisp narrative and superlative performances. Vidya Balan is absolutely brilliant throughout the film whether she is talking of a power beyond science or when she tells her husband that as a mom she is equally clued in as she is as a scientist. Akshay Kumar delivers the good and has the best one-liners. Dalip Tahil as the cynical top boss is terrific. Sonakshi Sinha nails her role as the ambitious Eka Gandhi. She is fab. Kirti Kulhari and Nithya Menen are in top form as well. Chandan Arora has edited the film in a fine manner. Jagan Shakti has made a good solid debut as a director whether it is in extracting the emotions or creating the buildup for the climax. The background score of the film and some whistle worthy dialogues are extra highlights.

What is not
The film comes across as rather simplistic when it comes to the scientific part of space technology. Concepts are explained through home science but surely it could have been done better. The VFX is strictly average. It is evident that the makers stuck to a budget even when they could have splurged more on the technology. The song Dil Main Hai Mars just ruins the narrative of the film.

Verdict
Mission Mangal has a lot going for it especially in terms of narrative, dialogues and performances. It captures the spirit of scientists in a relatable light-hearted manner. Vidya Balan again proves why she is an acting powerhouse. It is a decent watch on Independence Day to celebrate the spirit of India space team and it’s passion.

Diljit Dosanjh: I don’t consider myself a star in the Punjabi film industry

Turbaned characters have often been typecast in Bollywood. But Diljit Dosanjh, a Sikh, who has previously said that he feels honoured to represent his community in mainstream Hindi cinema, stressed that it is not happening anymore.

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He made his Bollywood acting debut in 2016 with “Udta Punjab” and ever since then there was no looking back. Punjabi actor-singer Diljit Dosanjh, who is acclaimed for his versatility, says he does not believe he is a star yet and prefers to be just called an “artiste”. Diljit rose to prominence in Indian showbiz with roles of varying shades in “Udta Punjab”, “Phillauri” and “Soorma”, as well as with his songs. Today, he has a fan following of 3.6 million on Twitter and 7.3 million on Instagram.

With all the crazy fandom, does he feel he has achieved as a star? “I don’t consider myself a star in the Punjabi film industry. I don’t believe in stardom. I am an artist and am working like one,” Diljit told IANS.

He describes his three years in Bollywood as “a good journey”, and is looking forward to what the future holds for him. “It’s been a good journey. I have competed for about three years in the industry. It’s been fun. I am getting good offers. Let us see where I stand five years from now,” he said.

Turbaned characters have often been typecast in Bollywood. But Diljit Dosanjh, a Sikh, who has previously said that he feels honoured to represent his community in mainstream Hindi cinema, stressed that it is not happening anymore.

It must have happened before but I never felt I was being treated differently. Why should there be a mould? I never thought I’d get typecast. I have done all types of films — be it ‘Phillauri’, ‘Udta Punjab’, ‘Soorma’, ‘Arjun Patiala’ or ‘Good News’. I don’t know why there was a mould (but) thank god it’s not there anymore,” he said.

The 35-year-old actor comes from a simple family in the village of Dosanjh Kalan in Phillaur tehsil, Jalandhar district, Punjab. His father, Balbir Singh, is a former employee of Punjab Roadways, and his mother, Sukhwinder Kaur, is a homemaker. Diljit started his acting career in 2011 with “Loins of Punjab”. He was subsequently seen in hits such as “Jatt & Juliet”, “Jatt & Juliet 2″, “Punjab 1984″, “Sardaar Ji”, “Ambarsariya”, “Sardaar Ji 2″, “Super Singh”, “Soorma”, “Sajjan Singh”, “Rangroot” and “Shadaa”.

The actor is fondly called the king of Punjabi films, but Diljit likes to refer to himself as a singer. “I am a singer. It (the tag of ‘king of Punjabi films’) has happened because of the love of people. I consider myself a singer and a small artiste,” said Diljit, who has sung several chartbusters such as “Laembadgini”, “5 taara”, “Kylie+Kareena”, “Patiala Peg”, “This Singh Is So Stylish” and “Do You Know”.

Hrithik Roshan’s Super 30 beats Manikarnika to be the seventh highest opening weekend grosser of 2019

With total earning of Rs 50.76 in it’s first three days, Hrithik Roshan’s Super 30 has bagged the seventh spot on the top opening weekend grossers of the year 2019. The film is directed by Vikas Bahl and also features Mrunal Thakur, Pankaj Tripathi, Amit Sadh and Nandish Singh Sandhu in pivotal roles

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Hrithik Roshan has made his comeback to films after about 1 and a half year and that too with a bang. Hrithik, who was last seen in Kaabil with Yami Gautam, now portrays the real-life character of Anand Kumar who is a mathematician from Bihar in his latest movie Super 30. And as soon as the actor started promoting his film, loyal fans came all out to support their superstar in every way possible. Last week, we told you that we were expecting the film to earn around Rs 12 to Rs 14 crore on its first day and that it may cross the Rs 15 crore mark if the film shows growth in the evening and night shows. We also said that it had all the chances to earn over Rs 50 crore during its opening weekend. Since there is no competition for the film, we are expecting Super 30 to collect over Rs 80 crore in its first week.

And we were right! While on its first day, Super 30 earned Rs 11.83 crore, the second and third days showed remarkable growth in the earnings clocking in Rs 18.19 crore and Rs 20.74 crore respectively, making the total earnings to Rs 50.76 crore in India. And with these numbers, the Hrithik Roshan-starrer has landed on the seventh spot on the list of the top opening weekend grossers of the year.

Here are the top opening weekend grossersof 2019

Bharat – Rs 150.10 crore (5 Day Weekend)
Kesari – Rs 77.56 crore (4 Day Weekend)
Gully Boy – Rs 72.45 crore (4 Day Weekend)
Kabir Singh – Rs 70.83 crore
Kalank – Rs 66.03 crore (5 Day Weekend)
Total Dhamaal – Rs 62.40 crore
Super 30 – Rs 50.76 crore
Manikarnika: The Queen Of Jhansi – Rs 42.55 Cr
Student Of The Year 2 – Rs 38.83 crore
De De Pyaar De – Rs 38.54 crore
Uri – The Surgical Strike – Rs 35.73 crore

Talking about Super 30, the film is based on the life of mathematician Anand Kumar who forms a batch of 30 underprivileged students in Patna, Bihar every year and trains them to crack the IIT JEE exams. The film which is headlined by Hrithik Roshan, also stars Mrunal Thakur, Pankaj Tripathi, Amit Sadh and Nandish Singh Sandhu in key roles. Reliance Entertainment in association with HRX Films presents this Sajid Nadiadwala film which is a Phantom production. It is produced by Nadiadwala Grandson Entertainment, Phantom Films and Reliance Entertainment, and is directed by Vikas Bahl. Super 30 hit the theatres on July 12.

Kabir Singh box office collections day 4 early estimates: Shahid Kapoor’s film turns out to be a BLOCKBUSTER

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After enjoying a humongous opening weekend, Shahid Kapoor and Kiara Advani’s Kabir Singh has shown an excellent hold on Monday at the box office. As per the early estimates, the intense love story has raked in Rs 17 crore yesterday and now stands with the grand total of Rs 87.83 crore. So, by looking at the current scenario, we are expecting the film to enter the Rs 100 crore club today at the ticket windows.

As per Shahid Kapoor, the film has a unique approach, which attracted him towards it. “It’s what attracted me to the film in the first place. I believe there is a Kabir Singh inside everyone. That’s why people can relate to him so easily.”

The film has received rave reviews from all around the corners. Our editor-in-chief Tushar Joshi gave the film 4 stars and wrote, “Kabir Singh is an ace up Shahid Kapoor’s sleeve and a treat for his fans. Watch it if you want some intense romance laced up with knock-out performances.” He also praised Shahid’s performance and said, “Shahid delivers one of his careers finest performances. His rage and anger isn’t just on the surface but it’s visceral and a part of the air he breathes. To show that complexity isn’t easy, so Shahid digs deep and becomes the madness that is Kabir. He is deep and intense yet light and breezy when needed. There is a natural flair and charm that he puts to use full throttle. Kiara’s last scene with him is a revelation.”

 

releases this week: Sindhubaad, Kalki and Brochevarevaru Ra

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As we reach the penultimate week of the summer season, quite a few films line up for release this week and it would be interesting to see how they would fare. In Tamil, the much-delayed Sindhubaad is said to be releasing on June 28 after it couldn’t be released last week due to a legal issue. In Telugu, Rajashekhar-starrer Kalki is gearing up for a release and movie buffs are eager to see what AWE director Prashanth Varma has in store for them. In Malayalam, filmmakers are yet to lock the theaters for the release and hence, there is no update on that. Kannada cine goers will gear up to watch the superstar Shiva Rajkumar as a cop in Rustum which is lined up for release this week. From Kalki to Rustum, here are the films releasing this week in South cinema:

Rustum:

Director: K Ravi Varma

Star Cast: Shiva Rajkumar, Shraddha Srinath, J Mahendran

Synopsis: Shiva Rajkumar is back again at playing a cop in Rustum and his look in the film has left his fans stunned. Directed by Ravi Varma K, Rustum is said to be a commercial entertainer and fans expect it to be another blockbuster.

Director: Prashanth Varma

Star Cast: Rajashekhar, Adaah Sharma, Nandita Swetha

Synopsis: Touted to be an investigative thriller, this Telugu film stars Rajashekhar in lead role. Kalki is directed by Prashanth Varma who made a stunning debut with AWE. Expectations on this thriller are quite high and fans expect it to be entertaining. Watch the teaser here if you haven’t already:

Kesari movie review: Akshay Kumar does a Sunny Deol in this Gadar-style drama with gusto and zero nuance

WARNING FOR PARENTS: This is an extremely violent film filled with Game of Thrones-grade bloodshed, beheadings and impalements. It is curious that the Central Board of Film Certification, which has issued A (Adults-only) ratings for far less gore and the use of swear words in recent years, found Kesari fit for a relatively mild UA. In the Indian system, UA stands for “unrestricted public exhibition subject to parental guidance for children below the age of 12″. For some perspective, please note that Udta Punjab was rated A for its abundance of expletives, the Rani Mukerji-starrer Mardaani was rated A for colourful language and violence that is tame compared to what we see in Kesari which has got a UA despite heads being chopped off, an eye being mutilated in close up and, among a zillion instances of bloodletting, a clear, lingering shot of a dead Sikh soldier’s body pierced by multiple swords that have been driven into the ground to hold him up almost horizontally. (Warning ends)

 

Kesari movie review: Akshay Kumar does a Sunny Deol in this Gadar-style drama with gusto and zero nuance

Imagine a real-life battle in which a band of 21 soldiers defended a fort against about 10,000 opponents and managed to inflict heavy casualties on the enemy. This, according to records, is what happened at the Battle of Saragarhi in 1897 in which men of the British Indian Army’s 36th Sikh Regiment warded off Pathan troops for several hours till their last breath at a small British outpost that falls in modern-day Pakistan.

There is enough drama in the truth to merit a nail-biting, breath-stopping film. The truth is not enough for too many filmmakers though.

So, in the hands of writer-director Anurag Singh — creator of Punjabi blockbusters making his Bollywood debut here — Saragarhi gets embellished and twisted to please the communities it means to pander to and play along with the current dominant national discourse.

There can be no doubt about the bravery and skills of the 36th Sikh Regiment, but co-writers Girish Kohli and Singh seem to consider it an inconvenience that these men were, after all, fighting for the British Empire. In their bid to turn the 36th Sikhs into a cause that viewers of Independent India could root for, Kohli and Singh divert attention from Her Majesty and write conversations into the screenplay that position Saragarhi as a campaign by brave Sikhs for their qaum and for India’s azaadi.

Then, to cash in on the prevailing nationalist frenzy steeped in Islamophobia, they present the Pathans with an absolute lack of nuance as hordes of bloodthirsty, regressive, cowardly, unethical barbarians fighting a jihad in Allah’s name against a civilised, liberal, gutsy, noble force.

When Havildar Ishar Singh (Akshay Kumar), head of the 36th Sikh Regiment at Saragarhi, opens his mouth and roars, the Pathans, though armed to the teeth, cower before him as the Pakistan Army did nearly two decades back when Sunny Deol hollered at them and threatened them with a handpump he had uprooted with his bare hands. Like old-style Hindi film villains, the Pathans are often stupid to boot and in at least one scene are shown assaulting a solitary Sikh one by one instead of in unison. If this film’s version of events is to be believed, the Pathans’ only strength lay in their numbers and their utter amorality.

Kesari takes its time to get to the battle, spending its somewhat slow-paced first half establishing Ishar’s unwillingness to accept orders from British seniors that go against his principles, acquainting us with his wife (Parineeti Chopra) through a long flashback and fantasy sequences in which he holds imaginary conversations with her, and building up the bond between him and the men newly under his command at Saragarhi. This segment is equal parts funny, mushy to cringe-worthy levels and trite.

Still from Kesari trailer. YouTube screengrab

The momentum picks up post-interval as does the tension, despite a Sikh soldier breaking into song at a crucial moment in the battle. But as much as the combat is executed skilfully and is designed to set pulses racing, the clichéd, populist portrayal of the Pathans, the Sikhs and vintage Bollywood heroism robs Kesari of all finesse and intelligence.

Far from being a war drama based on actual events, it then becomes just another Die Hard in which the ever-invincible Bruce Willis is replaced by the ever-invincible Akshay Kumar. When an explosion occurs in the midst of tents, sending them up in flames and consuming everyone within touching distance, only Akshay a.k.a. Ishar emerges unscathed. The Pathans are so intimidated by him that even when he is completely surrounded, it takes them time to attack him all at one go. As it happens, Ishar is also a saint.

The manner in which Kesari stereotypes the Muslim Pathans — the marauding mob, the evil mullah, the wily and campish sniper — fits the narrative being pushed by the present Indian establishment. (And for the benefit of discerning viewers who might object, two ‘good’ Muslims are thrown into the mix for good measure.) While this aspect of the film merits a discussion considering the wave of Islamophobia sweeping across today’s world, it is equally important to focus on  the positive othering of Sikhs.

Bollywood categorises Sikhs into two clear-cut groups: the undiluted boisterous buffoon and the undiluted braveheart. Kesari deals in the latter. The positive  stereotyping of marginalised and minority communities tends to lull liberals and members of those communities into complacence, but needs to be viewed with concern for what it is: a sugar-coated form of othering, a manifestation of the filmmaker’s inability to see that community as “one of us” or, at worst, a mask for prejudice. If you find your heart warming up to the routine pedestalising of Sikhs in Hindi films, remember that pre-2000 Hindi cinema was marked by a positive stereotyping of Muslims, with the golden-hearted, all-sacrificing Muslim being a regular in stories back then. What did that trope seek to hide?

Blanket statements and blanket characterisations of communities in films should always give us pause.

To say none of this matters if a film is entertaining amounts to denying the power of cinema. Yes, Akshay’s natural charisma does come through in Kesari when he is not over-acting. Yes, the men under his command are well cast, with Suvinder Vicky and Vansh Bharadwaj particularly making a mark as the supportive Lal Singh and the rebellious Chanda Singh respectively. Yes, the cinematography by Anshul Chobey is impressive and the battle scenes are more technically polished than the recent Manikarnika. And yes, the passing reference to caste discrimination among Sikhs is a greater acknowledgement of caste than we are used to from Bollywood. But none of this should distract us from the sad reality that Kesari’s makers do not have faith in the very story they claim to tell.

Early in Kesari, a British officer taunts Ishar Singh — the soil of Hindustan births only cowards, he says. His contempt sparks off a rage in Ishar and a desire to demonstrate that Indians are valiant. He spouts a line around this time about how he is tired of the enslavement of his people, first by Mughals and now by the British. This entire portion is written to indicate that the 36th Sikh Regiment fought at Saragarhi for their own self-respect and, in the long run, India’s freedom, not because they were paid to do so nor out of loyalty to Her Majesty the Queen of England. What a perfect example of mindless cinematic patriotism — it seems not to have occurred to the writers, that at the end of the day, what their film is saying is that Ishar’s goal was to prove himself to his white master.

Irrespective of what the 36th Sikhs’ actual motivations were, obviously theirs was a historic last stand worthy of a film. When an honest army procedural could have had an impact, the team of Kesari chose instead to be a barely disguised propaganda vehicle and to chronicle this remarkable episode with self-defeating twists. A spot of exaggeration here and there could of course be explained away as cinematic licence, even the loudness and initial tempo could have been excused, but this goes way beyond that. It is as if Team Kesari were dissatisfied with the truth about the 36th Sikh Regiment who, ironically, they seek here to lionise.

Total Dhamaal movie review: This asinine comedy proves Ajay Devgn should stick to action

They say the journey is more important than the destination. But director Indra Kumar’s adventure comedy (a very, very loose definition) is all about the journey, which is troublesome, even frightening, and all together tedious. So much so that by the time a motley crew of opportunists find their way to a buried treasure, the adventure comedy has begun to feel like a disaster film.

A still from Total Dhamaal trailer. Source: YouTube

Arshad Warsi, Javed Jaffrey and Ritesh Deshmukh return to the third part of the Dhamaal franchise as no-hopers looking for a get-rich-quick scheme. Ajay Devgn, Sanjay Mishra, Madhuri Dixit and Anil Kapoor inflate the cast. Just to keep reminding of the motivation of the characters, the word ‘paisa’ echoes in the background, sounding more menacing than enticing.

It took three writers — Ved Prakash, Paritosh Painter and Bunty Rathore — to ensure that the screenplay is stretched beyond its elasticity and is packed with misadventures than adventures. It took a headlining cast of eight to make the posters look good but even they could not make this asinine comedy, with the occasional laugh, tolerable.

Though Kapoor and Dixit, who play a bickering couple caught in their own war of the roses, and Warsi and Jaffrey, as polar opposite brothers, bring their comic A-game, Deshmukh and Pitobash Tripathy can do little to elevate their pedestrian material. Devgn should set comedy aside and stick to the action genre. As for Mishra, his brief seems to have been to add the word ‘bro’ twice in every line of dialogue.

Devgn and Mishra play thieves who clumsily pull off a big heist, but they are double-crossed. When they do track down the robber, they have to contend with six other greedy souls interested in a share of the spoils. Thus begins a race to the finishing line to a zoo, where the bounty is buried. Also on their tail is the police commissioner (Boman Irani).

For the next hour, we witness planes, trains and automobiles being used to get this gang to their destination. This is when the script gets really exasperating and also a bit scary with plane crashes, cars being submerged in raging waters, girders dangerous dangling off construction sites, speeding trains hurtling towards vehicles blocking the tracks, untrained skydiving and a rickety wooden bridge. Random cameos by Manoj Pahwa, Johnny Lever, Esha Gupta and Jackie Shroff, among others, punctuate these shenanigans.

After all of this, the film attempts to deliver a mixed message about how animals living in captivity need to be saved from avaricious developers. In the process, as they set aside their selfishness, this collective of crazies finds their conscience and we find a quick exit from the cinema.

Manikarnika: The Queen of Jhansi box office collection — Kangana Ranaut’s period drama earns Rs 85.80 cr

Kangana Ranaut’s period-drama Manikarnika: The Queen of Jhansi is steadily inching towards the Rs 100 crore mark. The film, which released on 25 January, has raked in Rs 85.80 crore so far. According to trade analysts, it should witness an upward trend on the third weekend of its release.

Still from Manikarnika: The Queen of Jhansi trailer. YouTube screengrab

Manikarnika earned Rs 1.25 crore on Friday. The film was reported to be Ranaut’s biggest opener by trade analysts.

Manikarnika: The Queen of Jhansi focuses on Rani Laxmibai’s fight against British colonisers for the rightful independence of her country and land. The film also stars Atul Kulkarni, Jisshu Sengupta, Suresh Oberoi, Ankita Lokhande, Danny Denzongpa among others. KV Vijayendra Prasad, screenwriter of blockbusters like Baahubali franchise has penned the script of Manikarnika.

The film had also faced its share of controversies with Sonu Sood’s exit and Kangana sharing the directorial duties with Krish. Manikarnika had also invited severe protests from political outfits who had claimed to be part of Karni Sena for allegedly distorting history and alluding to a relationship between a British officer and Rani Laxmibai.

Recently Ranaut spoke out for the lack of support she received during the promotions of the film. She said that people from the Hindi film industry have ganged up against her for speaking out against ‘nepotism’