Trivia Tunes: How Dhurandhar took inspiration from a Pakistani song in a film about Pakistan’s subversive activities

From Bahrain to Bharat

The film Dhurandhar has a contemporary yet scintillating score by Shashwat Sachdev with “imports” from Roshan, R.D. Burman and Bappi Lahiri and a song co-composed with Charanjit Ahuja, the Punjabi composer who turned singer Amar Singh into Amar Singh Chamkila and did a single Hindi film, Kohra, in 1993.

But Sachdev’s greatest triumph perhaps is his consent to have the Bahrain rapper Flipperachi’s track ‘Fa9la’ incorporated in the film while Akshaye Khanna is dancing. The track has now gone viral globally. It is originally a Bahraini Hip-Hop song written and performed by Flipperachi and Daffy.

But what about its odd spelling? As per what Flipperachi told a portal, “The 9 is used when we type Arabic using English letters to replace an Arabic letter that sounds close to S but (is) heavier. The word Fa9la loosely translated, is a vibe or having fun/letting loose. It’s usually used in the context of dancing/partying or just having fun in general.”

When Roshan was inspired!

The late composer Roshan created a 12-minute qawwali ‘Na to karvaan ki talash hai’ for Barsaat Ki Raat, his long-delayed breakthrough in the big league in 1960. Buzz is that the song took over 24 hours to record with five singers (Mohammed Rafi, Manna Dey, Asha Bhosle, Sudha Malhotra and S.D. Batish). In those days of live recordings, it is said that there were incredibly over 70 retakes, all necessitated if there was a single mistake by either singer, chorus or musician! But the song is majorly inspired by the Pakistani number, ‘Jahaan lut gaya hai sukoon-e-dil’ by Ustad Fateh Ali Khan (Nusrat Fateh Ali Khan’s father) and his brother Ustad Mubarak Ali Khan. And what do you know? ‘Na to karvaan ki talash hai’ has been used to great effect in Dhurandhar, a film that looks at Pakistan’s subversive activities!

…And so were Shankar-Jaikishan!

Shankar-Jaikishan’s cult Lata classic, ‘Ajeeb dastaan hai yeh’ from Dil Apna Aur Preet Parai was inspired by Jim Reeve’s ‘My lips are sealed’. But the S-J version in both mukhda and antara is eons superior. In turn, around 2011, the Hindi song was licensed to Australian pop singer Ivy York, who made a lovely version that had a modicum of the haunting quality of the S-J composition. Ivy also designed her album, Call of Spring with two more Hindi film tunes reworked—‘Call of spring’ itself from O.P. Nayyar’s ‘Pukarta chala hoon main’ from Mere Sanam and ‘My happiness’ from ‘Jawaniyan yeh mast mast’ from his Tumsa Nahin Dekha.

Yes Boss! 28 years is a long time

Javed Akhtar penned the hit song, ‘Chand taare tod laaoon / Saari duniya par main chhaoon / Bas itna sa khwab hai’ for Yes Boss way back in 1997. 28 years later, composer-lyricist Mithoon considers that concept very fanciful. In the youth-centric hit, Saiyaara, his song, ‘Dhun’ has the line, ‘Chaand taare le aaoon / Hai yeh to mumkin nahin / Par waada hai yeh kasam se / Tere saath main rahoonga’. Time, clearly, for lyricists and lovebirds both to shift to a real world!

Change the only constant!

That reminds me of Gulzar, who once told me, “Change is axiomatic and nothing can remain the same. For 30 years in cinema, the moon was a symbol of a beloved’s face or something unattainable. But then man reached it, set his foot upon it, and achieved that which was a fantasy for centuries. My songs too have constantly reflected these changes. The moon has been a favourite topic in my songs, like in ‘Roz akeli aaye’ (Mere Apne) and ‘Chand churaakar laaya hoon’ (Devta), but now I have even alluded to the Black Hole in one of my songs with the lines, ‘Chand ke paar jo sadak jaati hai’ in Guru. Today, I cannot use `chand’ in an outdated way in my work.”

When Kishore Kumar suggested the ‘ideal’ singer

Kishore Kumar was known to suggest Rafi’s names for a few songs, like ‘Sacchai chhup nahin sakti’ from Dushmun, whereby Laxmikant-Pyarelal had to persuade him that the song would be dropped if he did not sing it! But one song that recently came to mind, as per a reel, was the classic, ‘Apni aankhon mein basaakar’ from a low-budget movie, Thokar, which had a delayed release in 1974. The album was out in 1972 and was composed by Shamji Ghanshamji, a small-time composer. The filmmakers wanted the audience to “Weep with the song” (written by small-timer Sajan Dehlvi) as it was a moving melody. But Kishore, when approached, told the composer that the right voice for it would be Mohammed Rafi. And Rafi’s rendition truly made it achieve the filmmakers’ intentions.

Names that can mislead!

One would naturally think that the name Shamji Ghanshamji was of a duo, but it was one single composer! Similarly, there are other names that are rarities in Hindi cinema. There was actually a composer named B.D. Burman, who did a handful of films between 1955 and 1962, while there was a 1962 film called Baje Ghunghroo, which had a lyricist named Madanmohan (single word)! Then we had a lyricist named Irshad, who wrote lyrics for just three known films, and gave us the timeless classics, ‘Bekaraar dil tu gaaye jaa’ composed by Kishore Kumar and sung by him with Sulakshana Pandit, as also ‘Panthi hoon main’ and four more songs in Kishore’s own 1971 production and directorial, Door Ka Rahi.

Also Read: Will The RajaSaab be able to beat the Dhurandhar wave? Trade experts speak

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Boman Irani joins the shoot of Ram Charan starrer Peddi; makers drop BTS glimpse

The upcoming Pan-India entertainer Peddi starring Ram Charan has been generating consistent buzz ever since its announcement, and the excitement around the film shows no signs of slowing down. From its announcement video and first-look posters to teaser glimpses and the recently released first single ‘Chikiri Chikiri’, every update from the project has sparked conversations across social media. Now, adding further momentum to the film, legendary actor Boman Irani was seen on the sets of the entertainer.

The makers announced Boman Irani’s entry into Peddi by sharing a behind-the-scenes picture on social media. The photograph features the actor alongside director Buchi Babu Sana and ace cinematographer R. Rathnavelu, offering fans their first glimpse of Irani from the sets. Rathnavelu also took to social media to welcome the actor, adding, “An absolute honor working with this legend and true cinema lover, @boman_irani  sir! A perfect choice for Buchi Babu’s script #peddi.”

 

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Boman Irani’s inclusion has further strengthened the film’s already impressive ensemble. Known for his versatility, the actor has delivered memorable performances across genres in films such as Munna Bhai M.B.B.S., Lage Raho Munna Bhai, Don – The Chase Begins Again, 3 Idiots, Jolly LLB and several others. His ability to seamlessly adapt to diverse roles has often made him a valuable addition to large-scale productions, and his presence in Peddi has heightened curiosity around his character.

Peddi features Ram Charan in the lead, with Janhvi Kapoor playing the female lead. The film also stars Jagapathi Babu, Shiva Rajkumar and Divyendu Sharma in pivotal roles, making it one of the most ambitious multi-starrer projects currently in the pipeline. Directed by Buchi Babu Sana, the film is presented by Mythri Movie Makers and Sukumar Writings, and produced under the banner of Vriddhi Cinemas.

With its growing star cast, strong technical team and steady flow of updates, Peddi continues to position itself as one of the biggest theatrical releases slated for 2026, keeping audiences keenly invested in what lies ahead.

Also Read: Ram Charan’s Peddi shoot in Delhi involves a scene of his character meeting the Prime Minister

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Krystle D’Souza praises Aditya Dhar for casting TV actors in Dhurandhar; says, “He chose us simply by seeing how we fit into our respective characters”

With Dhurandhar crossing the Rs. 1000 crores mark globally; the film continues its strong theatrical run even as it sparks debate online. Following its release, sections of social media accused the Aditya Dhar directorial of being misogynistic. Actor Saumya Tandon, who plays Rahman Dakait’s onscreen wife in the film, earlier responded to the criticism by stating that the film treats its women characters with dignity. Now, Krystle D’Souza has also spoken in support of the film, praising both its portrayal of women and its inclusive casting approach.

Speaking to News18 Showsha, Krystle, who features in the popular song ‘Shararat’, lauded Aditya Dhar for creating a space where actors from television and film are not compartmentalised. She also credited Dhar and casting director Mukesh Chhabra for casting television actors in a high-budget film and setting an example for the industry.

“All the women are beautiful in the film, especially Saumya. I’ve seen her on television. Seeing television people do so well makes me really happy. It makes me go, ‘Yes!’ There are people who don’t give a damn about where you come from and what you’ve done,” Krystle said. She added that some filmmakers value a television background as a meaningful addition rather than a limitation. “In fact, they value your television background as a substantial addition to their films. Coming back to Saumya, I met her on set. She’s stunning in person as well. She’s a great performer,” she added.

Krystle also appreciated the casting of Sara Arjun and praised her performance alongside seasoned actors. “For Sara, we’ve seen her from the time that she was a baby. She grew up in front of us. We grew up watching her grow up,” she remarks.

One performance, however, truly stands out for Krystle. Speaking about Gaurav Gera, she said, “And oh my god! I couldn’t recognise Gaurav Gera for the first few seconds. I was like, ‘I feel like I know this face.’ I just couldn’t place him. After sometime, I recognised him. Watching him sell juices in a singsong tone made me remember the Dubsmashes that he used to make (laughs).”

For Krystle, who began her career in television, Dhurandhar stands out for not drawing distinctions between actors based on background or medium. “When I think of Dhurandhar and Aditya Dhar sir, I thank god that actors aren’t compartmentalised anymore. But it’s not there on every set. A visionary director like him can envision all of us in one film. He chose us simply by seeing how we fit into our respective characters. It didn’t matter to him where we came from, what kind of work we’ve done in the past and what kind of work we’re going to do in the future. He took actors in the film without their external baggage,” she stated.

Reflecting on the trust Aditya Dhar places in television actors, Krystle said, “That’s what somebody who knows and has faith in their own craft can do for someone else. And that’s something I really admired about him. A lot of people still harbour misconceptions about us. Sometimes, we’re rejected for being an over-exposed face. Sometimes, we’re rejected because we make too many reels. But Aditya Dhar sir knew what he wanted and he achieved it, and look where that has got us! Hats off to him!”

Through her comments, Krystle highlighted the evolving dynamics of casting in mainstream cinema and underlined the importance of inclusive storytelling that prioritises performance over background.

Also Read: What went wrong with Tu Meri Main Tera Main Tera Tu Meri? Trade experts blame the ‘Dhurandhar wave’: “When a film unleashes a tsunami, its best to shift to another date. There should be no ego”

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Sanya Malhotra steals the spotlight with surprise ‘Ankh’ performance at Sunidhi Chauhan’s concert; ends 2025 on a high note

As 2025 draws to a close, some moments arrive without warning yet leave a lasting impact. One such standout moment unfolded in Delhi when actor and performer Sanya Malhotra made a surprise appearance at Sunidhi Chauhan’s live concert, elevating an already high-energy evening into a truly memorable spectacle.

The audience had gathered to witness Sunidhi Chauhan’s powerful live set, known for its pitch-perfect vocals and infectious stage presence. However, the atmosphere shifted dramatically when Sanya Malhotra walked onto the stage unannounced. What followed was an instant eruption of cheers, applause, and visible excitement from the crowd. The actor seamlessly transitioned into a live performance of ‘Ankh’, showcasing the same precision, confidence, and expressive energy that made the song a phenomenon earlier this year.

The performance blurred the line between a live concert and a cinematic experience. Sanya’s commanding presence complemented Sunidhi’s vocals, creating a synergy that felt organic rather than rehearsed. The moment stood out not merely as a celebrity appearance, but as a carefully balanced live collaboration that amplified the mood of the evening.

The popularity of ‘Ankh’ has already been firmly established. The song’s music video has crossed an impressive 145 million views, cementing its position as one of the most celebrated performance-driven tracks of the year. Seeing it come alive on stage, however, added a fresh dimension to its appeal and reinforced its cultural impact.

Beyond the concert, the moment also served as a fitting reflection of Sanya Malhotra’s trajectory in 2025. The actor earned widespread acclaim and multiple awards for her performance in Mrs, further solidifying her reputation as a versatile and dependable performer. She is now set to explore a new space with an upcoming action-comedy film, signalling another shift in genre and scale.

As the year winds down, this surprise stage appearance felt less like a one-off moment and more like a statement. With each project and performance, Sanya Malhotra continues to expand her range—and if this electrifying concert moment is any indication, her momentum is only building going into the year ahead.

Also Read: From Sanya Malhotra in Mrs. to Akansha Ranjan Kapoor in Gram Chikitsalay: Actresses who stole the limelight in 2025 on OTT

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Did you know Salman Khan owns a watch collection worth Rs. 113 crores? From Patek Philippe to Bugatti-Inspired Jacob & Co. to Rolex, here’s a glimpse of it

Salman Khan’s larger-than-life persona is not limited to the silver screen. Off camera, the superstar’s taste for ultra-luxury watches places him among the most serious celebrity collectors in the world. With a watch collection valued at an eye-watering Rs. 113 crore approximately based on a social media post by the actor’s fanclub in association with a page called ‘wristwatchers’, Salman’s wrist game reflects power, rarity and a deep appreciation for high horology.

At the pinnacle of his collection sits the Patek Philippe Aquanaut Luce Rainbow in rose gold, a watch that alone is worth over Rs. 54 crore. Lit with invisibly set multicoloured sapphires and diamonds, this timepiece is less a watch and more a piece of wearable art. Its presence underlines Salman’s fondness for rare, jewelled complications that very few collectors globally can access.

Equally striking is the Jacob & Co. Caviar Tourbillon in white gold, valued at over Rs. 12 crore. With its flying tourbillon and pavé-set diamonds on both sides, the watch exemplifies Jacob & Co.’s flair for extravagant engineering. Salman’s love for the brand continues with standout pieces like the Bugatti Chiron Tourbillon, featuring a miniature functional W16 engine, and multiple editions from the Epic X and World Is Yours collections.

His preference for iconic Swiss maisons is evident through several Patek Philippe Nautilus references, including diamond-paved white gold models and a platinum Nautilus accented with baguette rubies. These watches seamlessly balance sport-luxury aesthetics with jewellery-level detailing, reinforcing Salman’s taste for statement-making classics.

The collection also features heavy-hitters from Audemars Piguet, including diamond-set Royal Oak Offshore models and a pink gold flying tourbillon, as well as rare Rolex Cosmograph Daytonas, notably the Everose Gold Rainbow edition and a platinum variant with baguette diamonds. Complementing these are distinctive pieces like the Rolex Day-Date with a turquoise dial, GMT-Master II SARU, and custom Sky-Dwellers featuring meteorite dials.

What sets Salman Khan apart as a collector is not just the cumulative value, but the diversity of his choices—ranging from hyper-complicated tourbillons to iconic sports watches elevated through gemstones and bespoke detailing. Each timepiece reflects a facet of his personality: bold, confident, and unapologetically grand.

In an industry where luxury often follows trends, Salman Khan’s watch collection stands as a testament to timeless indulgence—one that is as formidable and legendary as the superstar himself.

Also Read: Ek Tha Tiger: How the creative tussle between Kabir Khan and Salman Khan gave Bollywood its most iconic spy drama

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Athiya Shetty and Suniel Shetty pen special birthday notes for Ahan Shetty

The birthday of Border 2 actor Ahan Shetty turned into an emotional family moment as heartfelt wishes poured in from his sister Athiya Shetty and father Suniel Shetty, giving fans a rare glimpse into the close bond the Shetty family shares. The young actor, who is steadily carving his own space in the industry, received warm messages that reflected both nostalgia and pride.

Athiya Shetty took to Instagram to celebrate her younger brother with a touching post that featured a series of photographs spanning different phases of their lives. The carousel included childhood memories, candid family moments, and glimpses from Athiya’s wedding to Indian cricketer KL Rahul, making the post a visual journey of their shared experiences. Alongside the pictures, Athiya penned a simple yet affectionate note that read, “Happy birthday to the best boy in the world, love you. May the sun shine brightest on you this year.”

 

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Suniel Shetty’s birthday message for Ahan struck a deeper emotional chord. The actor shared a photograph of himself with his son from the stands of a stadium, capturing a quiet yet powerful moment between father and son. In his caption, Suniel expressed pride in Ahan’s growth and journey, writing, “Nothing fills my heart more than watching you step into your own with grace and grit. So proud of the man you have become and all that awaits you. And let me tell you one thing. The clock has quietly changed hands…and it’s your time now. Happy Birthday my son.” The note resonated strongly with fans, many of whom praised the actor’s words for their sincerity and encouragement.

 

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On the professional front, Ahan Shetty is gearing up for one of the most significant projects of his career. He will next be seen in Border 2, the much-anticipated war drama inspired by the 1971 Indo-Pak conflict. Ahan essays the role of a Navy officer inspired by the life of Lt Cdr Joseph Pius Alfred Noronha, marking a transformative phase in his acting journey. The film also stars Sunny Deol, Varun Dhawan, Diljit Dosanjh and others in key roles, with Anya Singh playing Ahan’s on-screen wife.

Slated to release on January 23, ahead of India’s Republic Day celebrations, Border 2 is expected to be a defining milestone for Ahan Shetty—making this birthday all the more special as he steps into a promising new chapter both personally and professionally.

Also Read: Ahan Shetty says, “Border 2 is forged with military precision” as he also talks about working with director Anurag Singh

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Battle Of Galwan Teaser: Salman Khan unveils the gritty war drama on his birthday

Salman Khan marked his birthday with a powerful cinematic reveal as the teaser of his much-anticipated film Battle Of Galwan was officially unveiled. More than just a celebratory launch, the teaser serves as a solemn tribute to the courage and resilience of India’s frontline soldiers, instantly setting a serious and intense tone for the war drama.

In the teaser, Salman Khan is seen in one of his most commanding avatars to date, portraying an Indian Army officer with quiet authority and controlled aggression. His rugged, weathered appearance reflects the physical and emotional toll of life on the frontlines. The actor’s restrained performance relies heavily on silence, expressions, and body language, culminating in a striking final moment where his unflinching gaze meets the viewer, leaving a strong and lingering impression.

Visually, the teaser leans into a raw and gritty aesthetic, capturing the harsh realities of high-altitude warfare. Snow-covered landscapes, unforgiving terrain, and moments of tense confrontation underline the brutality of combat in extreme conditions. Rather than relying on spectacle alone, the teaser focuses on realism, offering glimpses of the physical endurance and mental resolve required to survive such environments.

Adding emotional depth to the teaser are the vocals of Stebin Ben, which bring a sense of urgency and poignancy to the visuals. The background score, composed by Himesh Reshammiya, further elevates the impact with its intense and pulsating rhythms. Together, the music and vocals heighten the emotional stakes, reinforcing the gravity of the subject matter.

Battle Of Galwan positions itself as more than a conventional war film. The teaser suggests a narrative that reflects on the cost of conflict, the sacrifices made by soldiers, and the unyielding spirit that drives them to protect the nation. It also subtly underscores the idea that while bravery and valour are timeless, peace remains the ultimate aspiration.

 

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Directed by Apoorva Lakhia, the film promises an unflinching portrayal of bravery, sacrifice, and resilience. Chitrangada Singh plays a key role alongside Salman Khan, adding emotional weight to the story. The project is produced by Salma Khan under the banner of Salman Khan Films.

With the teaser receiving immediate attention online, Battle Of Galwan has firmly placed itself among the most awaited dramas on the horizon, raising expectations for a film that aims to balance realism, emotion, and patriotism as it gears up to release in the first half of 2026.

Also Read: Aditya Chopra makes way for Salman Khan, moves Alpha from April 17th for Battle of Galwan!

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No star heroine, 3.5 hours, ‘Adults-only’ certificate, and Gore. Still a BLOCKBUSTER: Dhurandhar broke every Bollywood rule India couldn’t ignore

Bollywood loves certainty. Not because certainty makes better films, but because certainty makes outcomes easier to predict. A familiar heroine, a clean certificate, a tidy runtime, a theme that doesn’t invite fatigue, a supporting cast that looks current on a trade slide — the industry’s comfort blanket is stitched out of these checkboxes. That’s precisely why Dhurandhar doesn’t feel like just another hit. It feels like a slap to the rulebook.

Because on paper, it had too many reasons to fail or at least to be capped.

Start with Ranveer Singh. Not Ranveer at peak invincibility, but Ranveer in a moment when the ecosystem had begun to over-audit him. In Bollywood, the moment the conversation shifts from star to track record, the narrative becomes louder than the work. Dhurandhar walked into that climate and still placed him at the centre, not as a decorative presence, but as the engine. That casting wasn’t a safety move; it was a challenge. The film invited the audience to watch a performer reclaim his event status in real time. And audiences don’t necessarily reject stars who have hit a rough patch; they reject stars who look like they’re coasting. Here, the energy was the opposite: hungry, aggressive, all-in. The down-but-not-out tag, instead of becoming a weakness, became the emotional voltage behind the film’s swagger.

Then came another anti-formula choice: no established heroine to serve as a marketing cushion. In a star-driven system, the female lead is too often treated as either an amplifier or a familiarity anchor. A new face is framed as a gamble because the industry assumes familiarity sells tickets. But Dhurandhar quietly proved the opposite: when a film is positioned as adult, scale-driven event cinema, audiences aren’t buying a pair, they’re buying a world. In that context, freshness can be an asset. It removes the baggage of overexposure and pre-set expectations. The film didn’t need a known heroine to feel big; it needed a credible world to feel unmissable.

The supporting cast became another pre-release talking point. Sanjay Dutt, Akshaye Khanna, Arjun Rampal; strong names, yes, but not the kind trade chatter routinely labels as recent box office insurance. Bollywood has a habit of treating actors like quarterly results: what’s the latest return? Dhurandhar exposed how shallow that logic is. Sanjay Dutt brings mythic weight, the kind that thickens the air the moment he enters. Rampal has that cold, controlled intensity modern action dramas can weaponise. Akshaye, riding momentum after Chhaava, arrived with something invaluable: audience curiosity. The point wasn’t whether each actor had delivered a mega-hit recently; it was whether they made the film feel dangerous, populated, and cinematic. Dhurandhar used them like instruments, not box office units, and the texture paid off.

Now to the biggest commercial red flag: the runtime. Three-and-a-half hours plus is a logistical provocation. It reduces show counts, makes exhibitors nervous, and hands critics an easy stick even before the first show ends. The standard argument is, audiences don’t have patience anymore. The truth is simpler: audiences don’t lack patience; they lack incentive. They will sit through length if the film keeps paying them back — with escalation, payoffs, and the feeling of a full-blown theatrical experience. Here, the length didn’t read as indulgence to its core audience; it read as value. In a market trained on speed, Dhurandhar made a counter-offer: give me your time, and I’ll give you scale.

Then there was the oft-repeated India–Pakistan theme; a phrase tossed around like repetition automatically equals irrelevance. Yes, the theme has been mined heavily. But fatigue hits when geopolitics is treated like wallpaper. Dhurandhar sold it as a pressure cooker. The hook wasn’t a novelty of subject; it was the urgency of execution. Familiarity became a runway: the audience already knows the landscape, so the film can go harder on stakes and tension.

Finally, the two things Bollywood traditionally panics about: violence and the ‘A’ certificate. The industry reads ‘A’ as limited market, and gore as alienating. Dhurandhar flipped that fear into positioning. The certification didn’t shrink the film, it clarified it. It told the audience: this won’t be sanitised action, this won’t be compromised spectacle. That clarity can be magnetic. People don’t always chase safe; they chase different, especially when different is mounted like an event.

Put it together, and the lesson becomes obvious: Dhurandhar didn’t win despite breaking norms – it won because it broke them with conviction. Bollywood’s so-called norms aren’t laws of audience behaviour; they’re reflections of industry anxiety. And Dhurandhar just proved that anxiety isn’t a business model.

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Dhurandhar Box Office: Rs. 189.30 cr in Week 3; Film obliterates every box office benchmark ever set, emerges as highest third-week grosser of all time

By the time a film reaches its third week in cinemas, the expectations are usually modest. Screen counts shrink, weekday footfalls thin out, and the box office conversation shifts from explosive growth to steady consolidation. Dhurandhar, however, has dismantled that entire framework with a third-week performance that now stands as the biggest in Hindi cinema history.

With a staggering Rs. 189.30 crore collected in its third week, Dhurandhar has emerged as the highest third-week grosser of all time, creating a gap so wide that comparisons feel almost academic. Until now, Pushpa 2: The Rule held the benchmark with Rs. 107.75 crore. Dhurandhar hasn’t just edged past that figure it has surged nearly Rs. 82 crore ahead, underlining the scale of its dominance.

The contrast becomes even sharper when placed alongside other landmark releases. Films that were celebrated for their staying power now trail far behind: Chhaava closed its third week at Rs. 84.94 crore, Stree 2 at Rs. 72.83 crore, and Baahubali 2: The Conclusion (Hindi) at Rs. 69.75 crore. Even mass juggernauts such as Gadar 2 (Rs. 63.35 crore), Jawan (Rs. 55.93 crore) and Animal (Rs. 53.63 crore) delivered their Week 3 business at levels that now appear conservative in comparison.

What makes Dhurandhar’s Week 3 haul especially remarkable is the manner in which it has been achieved. Rather than showing signs of fatigue, the film has maintained near-peak momentum deep into its run, driven by sustained word-of-mouth, repeat viewership and an unmistakable perception of the film as a must-watch theatrical event. This is not the typical trajectory of a blockbuster cooling off it is the behaviour of a film expanding its footprint long after its opening phase.

From a trade perspective, third-week collections are often viewed as the truest test of a film’s legs. They reflect genuine audience acceptance rather than opening-week hype. In smashing that benchmark by such a decisive margin, Dhurandhar has effectively reset industry expectations of what long-haul performance looks like in today’s market.

At Rs. 189.30 crore, Dhurandhar’s third-week total doesn’t just top an all-time list it redraws the ceiling altogether. The film has transformed Week 3 from a period of survival into a phase of supremacy, leaving the industry with a new reference point for endurance, scale and sustained box office power.

Top 10 All-Time Highest Third Week Grossers
Dhurandhar – Rs. 189.30 cr
Pushpa 2 – The Rule – Rs. 107.75 cr
Chhaava – Rs. 84.94 cr
Stree 2 – Rs. 72.83 cr
Baahubali 2 – The Conclusion – Rs. 69.75 cr
Gadar 2 – Rs. 63.35 cr
Jawan – Rs. 55.93 cr
Animal – Rs. 53.63 cr
Mahavatar Narsimha – Rs. 53.56 cr
KGF – Chapter 2 – Rs. 49.14 cr

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Dharmendra’s last interview on Ikkis few months before his demise, “To do this film is my way of paying tribute to India’s armed forces”

Months before his demise, the much missed Dharmendra spoke to this writer about his performance in Ikkis.

Said Dharam ji, “It is a very emotional experience for me. To do Ikkis is my way of paying a tribute to India’s armed forces. I had played a soldier in Ramanand Sagar’s Lalkar many years ago. I felt so proud to be in the uniform.”

Dharamji singled out young Agastya Nanda for praise. “He is a lovely child. And so talented. Quite a chip off the old block. I felt he was my own grandson. My relations with the Bachchans go back a long way. I have worked with both of Agastya’s grandparents Amitabh (Bachchan) and Jaya (Bachchan). They both love me. In fact, Jaya says she is a fan of mine. Jaya is very fond of (Dharam ji’s daughter) Esha (Deol). I never got a chance to work with Abhishek. But he is a very well brought up boy. Now, I am working with Agastya in his first film.”

I gently pointed out that Agastya had done a film earlier.

Dharam ji was surprised. “Has he? I didn’t know.”

Dharam ji had also singled out his director Sriram Raghavan for praise. “I worked with Sriram in Johnny Gaddar and now Ikkis. He is a very gifted director. He knows what he is doing.”

Also Read: Agastya Nanda on Ikkis, “I don’t want to hold any expectations, we tried to make the best film we could”

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Dhurandhar Box Office: Continues its Rs. 20 crores streak, WILL ENTER 700 CRORE CLUB this Saturday

20 days in theatres – each of the days bringing in Rs. 20 crores+ (barring one day). It has been a dreamworld journey for Dhurandhar so far, which is JUST NOT SLOWING DOWN at all. There is no stopping the film as after bringing in Rs. 28.70 crores on its first day, the film has now collected Rs. 20.90 crores on its 20th day. This has never ever happened before and this won’t happen in future either since Dhurandhar 2 will open at least twice as big.

What makes it all the more special is that there is only one day (Monday, it’s 18th day), when the collections went marginally below the Rs. 20 crores mark with the score reading Rs. 19.70 crores. Otherwise it has been one blockbuster streak right through. As a matter of fact, the collections are set to hit Rs. 30 crores today due to Christmas holiday and while it would be back in the 20s tomorrow, Saturday could well get back to the 30s and Sunday will definitely be right up there.

All of this means that the Aditya Dhar film will enter the Rs. 700 Crore Club by this Saturday itself and then close at much higher by the time the weekend is through. Currently, it stands at Rs. 640.20 crores and the grand total would be in Rs. 730-740 crores range before it steps into the weekdays. Since the holiday season is already on, there would be continued huge collections in weeks to come as well.

All Time Mega Blockbuster.

Note: All collections as per various box office sources

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Photos: Ahan Shetty snapped in Juhu

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