Aamir Khan's small-screen debut in Satyamev Jayate a smashing hit; ad rates higher than KBC's

MUMBAI: The response to Aamir Khan’s small-screen debut has been the subject of breathless speculation, sometimes appearing to exceed the hype around his films.

The verdict is now in, with numbers from TAM Media Research, which were released on Wednesday, seeming to indicate that Khan’s debut as a commenter on public affairs has been well received, with the absolute number of viewers exceeding those of the first episode of Kaun Banega Crorepati (KBC), a popular quiz show, in 2011.

The first episode of Khan’s show, Satyamev Jayate, which was telecast on May 6, received a Television Viewership Rating (TVR) of 4.09 and was watched by 9 crore people.

The 13-episode programme is being shown across eight channels of Star India, owned by Rupert Murdoch’s News Corp, as well as on DD National, the flagship channel of state-owned broadcaster Doordarshan, at 11 am on Sunday. The talk show hosted by Khan, one of the big beasts of Hindi movies, highlights social issues such as female foeticide (the subject of the first show) with the intention of prompting the authorities to act.

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The verdict is out. Aamir Khan’s much-talked about show Satyamev Jayate has clocked an opening TVR (Television Rating) of 3 on Star Plus, which is fair, but certainly not overwhelming.
So, it’s time again to review who is the superstar of the small screen, now that most biggies ofBollywood have made their foray in tellyland as hosts.

Let’s start with the baap of them all. Amitabh Bachchan indeed changed the face of television with Kaun Banega Crorepati in 2000 and also changed the fortunes of Star Plus. When Shah Rukh Khan took over from Bachchan in the third season of the channel’s flagship show he too managed to generate good ratings. But he failed to recreate that magic in his third innings as the host of Zor Ka Jhatka Total Wipe Out on Imagine TV. His frenemy, Salman Khan with his TV debut with Dus Ka Dum had viewers glued to the idiot box. But Big B’s return to KBC in the fourth season on Sony Entertainment Television, proved beyond doubt that he was the badshaah of the small screen.
Aamir’s debut TV show – which was awaited with bated breath – clocked an opening TVR of 3, which lags behind the many debut TVRs of shows hosted by his Bollywood counterparts. The expectations from SJ were huge because of the secrecy surrounding it. No one knew what his show was about till the first episode aired. The immense curiosity coupled with catchy promos and a month-long publicity blitz had created a lot of hype. Khan’s fans and critics alike switched on their TV sets at 11 am on May 6 but the TVR was not record-breaking. Perhaps because the subject is serious, or it’s the weekend morning slot that is to blame? One can analyse and debate that but for now it is the numbers that everyone is focusing on. Here’s a quick look at other actors’ report cards on TV.

http://timesofindia.indiatimes.com/entertainment/tv/Aamir-Khan-fails-to-beat-Amitabh-Bachchan/articleshow/13165620.cms

‘Drunk’ SRK abuses, attacks MCA officials at Wankhede

Bollywood superstar Shah Rukh Khan [ Images ] got into an ugly spat with the Mumbai Cricket Association officials at the end of the IPL match between Mumbai Indians [ Images ] and Kolkata Knight Riders [ Images ] in Mumbai, on Wednesday.

According to MCA officials, Shahrukh [ Images ] who came into the Wankhede stadium, at end of the match first got into a fight with the security and when the MCA officials intervened he threatened them as well.

“He brought a few people into the field of play and when the security guard tried to stop him, they all around 20-25 abused him and attacked him. They also hit our security guard,” MCA treasurer Ravi Savant told Rediff.com.

“Shah Rukh came totally drunk and he misbehaved with the officials,” Sawant added.

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Mumbai: Bollywood actor and Indian Premier League franchise Kolkata Knight Riders co-owner Shahrukh Khan is to be banned by Mumbai Cricket Association from entering the Wankhede Stadium for life following an altercation he had last night with security and officials of the association.

“He (Khan) misbehaved and abused the MCA security personnel as well as MCA officials, including our president Vilasrao Deshmukh, after the IPL match (between KKR and Mumbai Indians). We have decided to ban him for life from entering the stadium in future,” MCA treasurer Ravi Savant said.

Giving the background to what happened after the KKR’s 32-run rout in the hands of MI at the Wankhede, Savant said Shahrukh and his posse of bodyguards had gone up to the teams’ dressing room and then came down and started to go on to the ground.

“The MCA security personnel told them they cannot do so as the match was over which led to Shahrukh abusing them as well as the MCA officials. There was manhandling too by his people. We have decided to ban him from all future matches at the stadium. We are also going to lodge a police complaint against him,” Savant said.

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Since the turn of 90s, the heroes have started to do villanious roles and that was started by Sharukh Khan and Sanjay Dutt. Since then, heroes have been attempting to play negative roles and some have achieved and some haven’t achieved, from the list my most favourite Villanious act from the top 6 current stars who have been in the industry for the last 20 to 12 years in order.

1. Darr – This has to be the most scariest act by a lead hero and this act once made sharukh my 2nd favourite actor in the early 90s Period. Srk was dam good, and scary, he was every bit of a psycho and this has to be one the most iconic roles done by one biggest ever superstar actor.

2.Anjaam – This was similar to Darr but still a bit different, this time there wasn’t any other hero to beat srk up, but again I used to love watching this film repeatedly in 90s, another one of srk’s best villainious act as the obsessive lover, he was the only reason why this movie was so good.

3.Company – This was another mind blowing movie by RGV, it is perhaps the best gangster movie released last decade, Ajay Devgan was brilliant and ruthless as the mafia Don. One of the best negative acts again.

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That’s my prediction. Because the film has that something which touches you, moves you and gets talked about. THe music is great. The lead pairs are new ( and hence fresh) and do a commendable job. Parineeti is great but Arjun is nice too. ( I have maintained no love story can connect with an audience unless both the guy and the girl have some charisma and some connect with the audience. Case in point Imran and Genelia in JTYJN). It’s very well-written and well filmed with a touch of individual director’s signature. And it talks today’s language- in filmmaking, in its writing , in its stars , in its music. It’s bound to grow from strength to strength and cross 45 cr, Raoedy Rathore or no Raowdy Rathore.

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Aaj kal her aira ghaira “analysis” kerra hai toh chalo mein bi try kerta hoon

1. Three Idiots (2009) - 385 crore
2. Bodyguard (2011) - 230 crore
3. Dabangg (2010) - 215 crore
4. Don 2* (2011) - 206 crore
5. Ra.One* (2011) - 202 crore
6. My Name Is Khan (2010) - 200 crore
7. Agneepath (2012) – 193 crore
8. Ghajini (2008) -  190 crore
9. Ready (2011) - 184 crore
10. Housefull 2 (2012) – 180 crore (4 Weeks)
11. Golmaal 3 (2010) – 167 crore
12. Rab Ne Bana Di Jodi (2008) – 158 crore
13. Zindagi Na Milegi Dobara – 153 crore
14. Dhoom 2 (2006) – 150 crore
15. Om Shanti Om (2007) – 149 crore
16. Raajneeti (2010) – 143 crore
17. Singham (2011) – 140 crore
18. Hum Aapke Hain Kaun (1994) – 135 crore
19. Gadar Ek Prem Katha (2001) – 135 crore
20. Singh Is Kinng (2008) – 125 crore
21. Dilwale Dulhania Le Jayenge (1995) – 122 crore
22. Love Aaj Kal (2009) – 120  crore
23. Lage Raho Munnabhai (2006) – 119 crore
24. Kabhi Khushi Kabhie Gham (2001) – 117 crore
25. Krissh (2006) – 117 crore
26. Welcome (2007) – 116 crore
27. Housefull (2010) – 115 crore
28. The Dirty Picture* (2011) – 114 crore
29. Kabhi Alvida Na Kehna (2006) – 113 crore
30. Jodhaa Akbar (2008) – 112 crore
31. Rockstar (2011) – 108 crore
32. Race (2008) – 106 crore
33. Don (2006) – 105 crore
34. Fanaa (2006) – 104 crore
35. Chak De India (2007) – 103 crore
36. Kuch Kuch Hota Hai (2998) – 103 crore
37. Partner (2007) – 103 crore
38. Tees Maar Khan – 100 crore

http://boxofficeindia.com/arounddetail.php?page=shownews&articleid=4409&nCat=

So what I did next is I took films from 2006 and above that are in the Top 38 All Time WW Grossers and calculated the star ratio:

Aamir Khan – 3 out of 5 films – 60%
Salman Khan – 4 out of 14 films- 29%
SRK – 8 out of 10 films – 80%
HR – 5 out of 8 films – 63%
Akshay Kumar – 5 out of 24 films – 21%
Ajay Devgan – 3 out of 22 films – 14%

I removed all films that were prior to 2006 that are listed above in the Top 33 All Time WW Grossers by BOI.

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Action — Khiladi Series
Comedy — Hera Pheri
Emotions — Waqt
Drama — Dhadkan

A SELF MADE SUPERSTAR WHO IS ALSO A COMPLETE ACTOR.

My favorite films of his — Namaste London and Hera Pheri. Both classics.
Share ur favorite films of Akki.

ENJOY THE SONG NOW.

90 million people watched episode one of Aamir Khan’s Satyamev Jayate making it the highest rated show with a 4.1 television rating (TVR), according to Television Audience Measurement (TAM) data.

The first episode, which talked about female foeticide, reached out to 2.67 crore viewers, reported TAM. This, extrapolated to an all India (including urban and rural viewers) reach with Indian Readership Survey (IRS), means that over 90 million viewers tuned in to watch the episode.

Satyamev Jayate recorded a 4.1 TVR (TAM, All India that includes viewers over four years old) debuting ahead of Kaun Banega Crorepati 5, which registered a 3.5 TVR in 2011. The data covered the entire Indian market, including cable and terrestrial homes, where only DD is beamed.

The first episode of Satyamev Jayate was broadcast on May 6 in eight languages on nine channels, including seven STAR TV network channels, ETV Telugu and national broadcaster DD1.

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somehow ‘godaan’ (1963) starring raajkumaar and based upon arguably the greatest book of the century (at least in hindi) by premchand is not considered a classic at all of bollywood today, nor was it a thumping success at the box office. which clearly shows that there is many a slip between the text and the screen. in fact a ‘do bigha zameen’, written for screen,  on a similar theme is considered a much bigger classic than ‘godaan’. and this is not an aberration. in hindi cinema most of the films based on great literary work have met cold reaction from the audiences.

devdas is one book that many may consider most suitable for adaptation to the screen but are you guys aware that as much as dilip kumar;s devdas is consideerd the ultimate word in cinema and acting today, when the film released it just met average succes at the box office. so did sharukh khan’s devdas despite the huge 50 cr spectacle it created. only k l sehgal’s devdas was a big hit, but many say because of music, not text.

still sharad chandra cahtterjee remains the most ‘adapted’ literary writer with films like biraaj bahu, majhli didi, swami, anokha bandhan and parinneeta being based on his novels of which only one version of parinneeta (meena kumari) was a clean hit. apart from godaan, munshi premchand’s shatranj ke khiladi was made into a film by no less than satyajeet ray but still did not create any waves.

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The source, as always is single – boxofficeindia.com. the methodology as usual is simple and straightforward. i have taken all the all time blockbusters across all decades (40s thru 2010) and taken top 10 hits on each decade’s page. since boi doesnt have films like acchut kanta, devdas (k l sehgal) and aalam aara i am leaving them out despite the fact that they were the biggest hits ever of the 30s. if a decade had 1 atbb (like 50s) total films from that decade taken will be 11, if a decade had 6 atbbs, total films taken wud be 16. snagam, ganga jamuna, amar akbar anthony and muqaddar ka sikandar have been taken as atbb as boi has erronously not counted them. since films from all decades are competing with each other (films from the same dacade)  to get into the list, the changes in business dynamics getting ‘liberal’ verdicts ( a usual rant of yakuza and others) for post 90s films gets taken care off.

and guess wat! akshay kumar actually has one film in the top 100 list. with sunil shetty in title role (he was naseer’s mohra not akshay) mohra actually manages to make it to no 76.

aise hote hain kya superstars?????/

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After Katrina Kaif, Sonakshi is up with Chikni Kamar

Published by: Pratima Singh
Published on: Wed, 16 May 2012 at 12:59 IST

Mumbai: Actress Sonakshi Sinha is all set to show some desi moves with an item number “Dhadang Dhang Dhang Chikni Kamar” in her upcoming flick Rowdy Rathore.

Buzz is that with this item song Sonakshi will give a tough competition to actress Katrina Kaif’s Chikni Chameli.

However Sonakshi rubbished all the claims and said, “Any talk about competition and comparisons with Katrina would be stupid. But if the topic does crop up, I’m prepared for it. It’ll go through one ear and out of the other.”
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Salman Khan – a name that Bollywood will remember forever. You may love him or hate him, but you can’t ignore him. He is a superstar on all fronts, and his fans adore him. Despite all the flops he had, all the controversies he went through, he is still amongst the top actors in Bollywood. I can honestly say that HE is definitely India’s Most Powerful Star.

1) Launching the careers of many stars

He has helped many stars to achieve what they are today. Himesh Reshammiya, Sanjay Leela Bhansali and Sajid-Wajid were brought into the industry thanks to Salman Khan’s help. Even Hrithik Roshan went through training through our Sallu.

2) Helped Govinda at the time of crisis

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No love story, in recent times, has been as attuned to its heroine as Ishaqzaade – though when we first meet Zoya Qureishi (Parineeti Chopra), she seems to want to be this film’s hero. She trades in a pretty pair of jhumkas for a gun, as if surrendering her membership in the “girls” club to become one of the boys. She worships her father, an MLA in a dusty-brown tract of Hindi heartland named Almore, and she’s constantly seen in his waistcoat, which she has had altered to fit her far-tinier frame. (If not my father’s shoes, she seems to say, I’ll step into his clothes.) She campaigns for his election to local office, and she dismisses her mother, who simply does not seem to get politics. We laugh when her father brings home a prospective groom and her brothers issue threats about what will happen if he doesn’t take proper care of her, because Zoya doesn’t seem to need the protection of these burly male members of her family. At least she thinks she doesn’t.

And then she runs into Parma (Arjun Kapoor), a lout from the Chauhan clan, which is to the Qureishis what the Montagues were to the Capulets. He points a gun at her forehead and she stares back unflinchingly, but when he follows her to the bathroom at her college and locks the door behind him, he makes her feel – possibly for the first time – like a girl. At first they bicker like equals, which they are in a way, as both are children of political families, but when a teacher begins to rap at the door, wanting to get in, Parma warns Zoya not to scream – if she’s discovered with a man, her family will be dishonoured. (This scene finds an echo in the second half.) The director Habib Faisal shows us, in no uncertain terms, what it’s like to be a woman in this part of the country, which bears little resemblance to posh multiplex movies like Ek Main Aur Ekk Tu, where Kareena Kapoor’s character coolly advertised the loss of her virginity. In Zoya’s India, honour is everything.

Ishaqzaade, at times, feels less a love story than some sort of social screed – so single-mindedly does it cleave to its heroine’s character arc. Her rebelliousness, her subsequent subjugation, her anger at being put in her place (as only a woman can be, in these parts), her falling in love, her learning to forgive, her overestimation of her family’s love for their sole girl-child – these colours of Zoya stain the other women too. When Zoya’s father threatens her with a gun, Parma pulls out his gun and holds it to Zoya’s mother, both men hilariously oblivious to how cheaply they regard the opposite sex. No one seems to care if these women live or die (and after they die, no tears are shed) – they are just pawns in macho games of honour, ready to be sacrificed in the next move. And we see why Zoya, in that earlier scene, bought herself a gun. In a Freudian sense, she’s practically buying herself a penis to go with her father’s waistcoat. After a particularly vile turn of events, Parma’s mother heaps blows on him and screams, “Tu kaisa jaanwar ban gaya hai,” that he’s become such an animal. But a little later, she cannot believe that Zoya wields a gun – the women have become animals too. Only Chand Bibi (the sturdy prostitute with the heart of gold, played beautifully by Gauhar Khan) possesses any semblance of female power, and she doesn’t need a gun –she’s the only woman in these parts with something that the men value and, more importantly, need.

Faisal paints the love story in a few deft and vivid strokes. Zoya begins to fall for Parma when he barges into her home, braying for forgiveness – this appears to be this film’s equivalent of Romeo and Juliet’s balcony scene. Much later, in a lovely stretch after she’s snuck out to meet him, she returns home. She walks past her brothers playing cricket outside, past a brother biting into mangoes at the dinner table, past her mother who asks her to is-smile (she advises her mother that it’s “smile”), past a grandmother who plants on her cheek a kiss, and when she enters her room, finally, you think that this cavalcade of reminders of who she is, where she’s from, is going to make her reassess, if only for that instant, the wisdom of her falling for a kaafir from an enemy clan – but Zoya bursts into an is-smile. She’s moony, addicted – her transformation to “girl” is complete. She even slaps on a sticker bindi, which is as close to a “sindoor moment” a modern-day movie can get.

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Mumbai: Actor-director Satish Kaushik has bought the rights of Tamil film ‘Pithamagan’ and plans to rope in Salman Khan, who worked in his 2003 hit movie ‘Tere Naam’, for the project.

“Sometimes destiny has its own way. I have a nice script for Salman Khan which is much bigger than ‘Tere Naam’. I have bought the rights of Tamil film ‘Pithamagan’, which featured national award winning actor Vikram who had also done Tamil version of ‘Tere Naam’,” Kaushik told IANS.

‘Tere Naam’ was the Hindi version of director Bala’s hit Tamil film ‘Sethu’, a tragic romantic tale that came in 1999. Released in 2003, ‘Pithamagan’ was also directed by Bala and the cast also included Surya.

Rest

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Rowdy rathore to have tough competion in south india in the form of eega which is considered as bigger threat than racha which had given tough competion to housefull 2 in Nizam circuit but now Eega wil eat business of RR in all south indian circuit since its is a billinguil movie which is going to release in tamil/telugu simulteneously on may 30.Also eega wil be huge in karnataka(mysore circuit) because of presence of kannada superstar sudeep & also telugu biggies are always hot in karnataka because of similar language.

Eega doesnt have any big superstar but the director ss rajamouli is considered as bigger than superstar. Eega is going to release in record 300 theatre in tamil nadu, while andhras release wil be much much bigger.

RR biz wil be hit south india, how much? time wil tell.

######################ARTICLE CONTAIN SPOILERS############

1>The Others(2001):Superb Thriller with unpredictable climax which almost shock everyone .

2>Kahani(2012):One of the best thrilling movie from bollywood of recent time.Climax was somewhat unpredictable.

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Profit & Loss!

By Taran Adarsh, May 16, 2012 – 07:47 IST

From the business point of view, Yash Raj had already recovered a major chunk of its investment by selling the Satellite Rights of this film, prior to its release. The theatrical business will not only help recoup the balance investment, but also yield good profits for Yash Raj. The film is expected to perform well in Weekend 2 as well, since the youth is patronizing the film.

(Exactly what I had said yesterday night)

FULL