logo
Jaya Bachchan 'hated' Aishwarya Rai-Salman Khan's Hum Dil De Chuke Sanam? Walked out of theatre and said...

Jaya Bachchan 'hated' Aishwarya Rai-Salman Khan's Hum Dil De Chuke Sanam? Walked out of theatre and said...

India.com4 days ago
Jaya Bachchan 'hated' Aishwarya Rai-Salman Khan's Hum Dil De Chuke Sanam? Walked out of theatre and said…
Sanjay Leela Bhansali is one of the expectational filmmakers in Bollywood. The film that gave a push to his career was his magnum opus, Hum Dil De Chuke Sanam. Released in 199, the film starred Salman
Advertisement
Jaya Bachchan 'hated' Aishwarya Rai-Salman Khan's Hum Dil De Chuke Sanam? Walked out of theatre and said...
Sanjay Leela Bhansali is one of the expectational filmmakers in Bollywood. The film that gave a push to his career was his magnum opus, Hum Dil De Chuke Sanam. Released in 199, the film starred Salman Khan, Aishwarya Rai and Ajay Devgn in prominent roles.
Advertisement ===
Advertisement ===
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

India's first Rs 100 crore film, sold 125 million tickets, ran 135 weeks in cinema, not Sholay, Mughal-e-Azam, Disco Dancer, film is…, lead actors are…
India's first Rs 100 crore film, sold 125 million tickets, ran 135 weeks in cinema, not Sholay, Mughal-e-Azam, Disco Dancer, film is…, lead actors are…

India.com

time9 minutes ago

  • India.com

India's first Rs 100 crore film, sold 125 million tickets, ran 135 weeks in cinema, not Sholay, Mughal-e-Azam, Disco Dancer, film is…, lead actors are…

In the 1990s, when Bollywood was busy making romantic dramas, crime thrillers, and comedy entertainers, a family drama came along and wreaked havoc at the box office. The film, with 14 songs and a length of 3 hours 26 minutes, ran for over 135 weeks in various theatres. It sold around 135 million tickets, making it the first Bollywood film to gross Rs 100 crore. Not Ghajini, this is Bollywood's first 100 crore film Aamir Khan's 'Ghajini' was released in 2008, was said to be the first Bollywood film to join the 100 crore club. However, according to a DNA report, 14 years before 'Ghajini', Salman Khan and Madhuri Dixit starrer 'Hum Aapke Hain Kaun' was the first Bollywood film to earn Rs 100 crore. Madhuri Dixit, Salman Khan's chemistry was a hit On 5 August 1994, director Sooraj Barjatya came up with his second directorial venture, 'Hum Aapke Hain Kaun'. This was his second film with Salman Khan after 'Maine Pyar Kiya' (1989). In this film, he repeated most of the cast of 'Hum Aapke Hain Kaun', except the lead actress. After giving Bhagyashree a successful debut, Sooraj paired Madhuri Dixit with Salman. How did Hum Aapke Hain Kaun earn Rs 100 crore? Made on a small budget of Rs 6 crore, the film had a net box office collection of Rs 72.5 crore in India. Its gross box office collection from India was Rs 117 crore, and it also earned Rs 11 crore from overseas, taking its worldwide collection to Rs 128 crore. 'Hum Aapke Hain Kaun' set new benchmarks According to reports, Hum Aapke Hain Kaun sold 75-125 million tickets. It ran in theatres for around 135 weeks and was screened on 4,350 screens worldwide. The film celebrated its Golden Jubilee (50 weeks) across India and ran for 100+ weeks with housefull boards for months. What 'Hum Aapke Hain Kaun' did was nothing short of a box office miracle.

Bigg Boss: Which contestant got the least winning amount? Check Prize Money of BB winners (Season 1-18)
Bigg Boss: Which contestant got the least winning amount? Check Prize Money of BB winners (Season 1-18)

India.com

timean hour ago

  • India.com

Bigg Boss: Which contestant got the least winning amount? Check Prize Money of BB winners (Season 1-18)

Bigg Boss: Which contestant got the least winning amount? Check Prize Money of BB winners (Season 1-18) Bigg Boss, the Salman Khan-hosted controversial reality show, is coming with its 19th season soon, slated to premiere on August 24, 2025. Several reports have been circulating regarding the final contestants list. This season, RJD supremo Lalu Prasad Yadav's elder son Tej Pratap Yadav, Taarak Mehta Ka Ooltah Chashmah's Gurucharan Singh and Shailesh Lodha, Apurva Mukhija, singer and rapper Raftaar, Mr Faisu aka Faisal Shaikh, Meera Deosthale, Dhanashree Verma, singer Amaal Malik, among others, are expected to participate.

What Ekta Kapoor could learn from the longest running soap opera: It has more stars than Hum Saath Saath Hai, a bigger budget than Dharma
What Ekta Kapoor could learn from the longest running soap opera: It has more stars than Hum Saath Saath Hai, a bigger budget than Dharma

Indian Express

time2 hours ago

  • Indian Express

What Ekta Kapoor could learn from the longest running soap opera: It has more stars than Hum Saath Saath Hai, a bigger budget than Dharma

I mean, you could call it a marketing ploy, an injustice to the idea of 'sports entertainment', and something completely against the very grain of what the company stands for. But WWE Unreal is a product of a company realising it's not 1975 anymore. People aren't just interested in Sholay, but in how it was made, and they don't just want a peek; they want the whole nine yards, and for all its 'faults', WWE's new documentary series Unreal gives the people exactly what they want. For almost 75 years, WWE has been at the peak of the sports entertainment world. Born as Capitol Wrestling Corporation, the company changed its name to WWF (World Wrestling Federation) in the early 1960s. The idea was simple: think of any soap opera on television; it has a protagonist, maybe 2, and a wide and varied supporting cast that get their time under the spotlight one by one. You have episodes coming out weekly, twice a month or monthly, and you have several different seasons. Now scale that same idea to 110%, with around 30-50 characters going through 10-15 storylines twice a week. Just like TV shows have Christmas specials, or Diwali specials for that matter, WWE has big pay-per-view events such as Summerslam, TLC, Royal Rumble, and their Super Bowl season finale, Wrestlemania. The season goes on the entire year (imagine Salman Khan taking his jacket off in Big Boss for 365 days), and the gruelling part of the business comes to light when you realise that the new season begins the very next day of the season finale. No breaks, no time-outs. It doesn't matter if you got thrown out of the ring by a 7-foot-tall man last night, or the script required you to get hit by a steel chair right on your head. When Monday Night Raw starts right after Wrestlemania, you show up. This ever-evolving process of travelling the entire country (sometimes the world for foreign events), putting your body through enormous amounts of pain and suffering, while showing your face during every press tour, merch signing, and interview, is one of the most difficult jobs in the world, and it proves that wrestling isn't fake; it's rehearsed beauty. ALSO READ: 'Well done': Indian father-son duo recreates The Undertaker's iconic entrance at home, WWE star reacts From the get-go, you notice that the documentary isn't trying to give a history lesson (like Mr McMahon); they throw you right into the mix of things, and the biggest employees, like John Cena, CM Punk and Rhea Ripley, give the fans insight into what their position is in the company right now. The off-camera persona of these stars isn't exactly the polar opposite of their actual personalities. The in-ring characters they are playing are products of a hidden and trodden part of themselves, something Rhea talks about and says, 'I like to say that it is the side of me that would get arrested in everyday life. It's all the sides that I don't like to show in my actual life.' For the longest time, WWE superstars were supposed to carry their characters with them everywhere they went, whether it was random guest spots at SNL, fan interactions, or talk shows. I mean, Ted DiBiase (Million Dollar Man), who was a heel, once offered a kid from the audience $500 if he managed to dribble a basketball 10 times. Just as the 6-year-old kid got to dribble number 9, he kicked the ball. He would have loved actors like Irrfan Khan, because that is true dedication to your role. This loyalty to one's in-ring persona slowly changed, and wrestlers started to act like normal human beings during interviews. Now Unreal has completely broken 'kayfabe' (the story that is being portrayed on the screen); you see superstars hugging and congratulating each other minutes after beating each other to an inch from death. You see the spots (positions or moves you are supposed to carry out in the ring) being planned, stories being meticulously broken down before being green-lit, and you see how all segments, matches, and camera angles are part of an orchestra, and the CCO, Triple H, is the conductor. Sure, the German Philharmonic doesn't necessarily break tables and chairs (even though a true classical music fan might be moved to), but watching Hunter (Triple-H) dictate every move, every shot, and every decision tells you exactly the amount of skill it requires to perform live in front of a packed-out stadium. Mind you, WWE fans are some of the most cynical people on the planet, so if a punch doesn't connect properly, or a signature move gets botched, they will notice it, and they will create a Reddit thread about it. ALSO READ: Hulk Hogan secretly battled blood cancer before his death; official cause of death confirmed as acute myocardial infarction: Report The documentary then explains one of the most important aspects of WWE as a company, the Gorilla Position, named after a very famous wrestler from the yesteryears, Gorilla Monsoon. This is the room which serves as the backstage and kind of a PCR throughout the show. The explanation given in the documentary is less technical and more philosophical, as it gives the fans an insight into the room that controls the fate of the show and all the superstars in it. Netflix bends the 'drive to survive' format just the right amount while focusing on the psyche of everyone involved with the production of the show. You see a massive team of employees create this huge spectacle, only to tear it down at the end of the show. It works like the modern-day circus, and instead of animals being tortured, you see grown-ups jump through literal fire, metal and concrete, which justifies the exorbitant amount of money they make (it really does), and the huge pay cheque is just one of the similarities between Bollywood and WWE. Tell me if any of this seems similar: the current champion (top guy) is the son of one of the legends of the game, one of the greatest female talents of this generation is the daughter of another veteran, and the greatest wrestler of this generation is a complete outsider. I get that this could be anyone else, but Ranbir Kapoor, Alia Bhatt and Shah Rukh Khan having similar career stories as Cody Rhodes, Charlotte Flair and John Cena is just something too fun to not mention. As Unreal tells the story of some other outsiders trying to make a name for themselves and nepo-kids trying to find relevance, they move on to breaking down the most important story that came from WWE this year. Cena announced last year that 2025 was going to be his final year with the company, a decision that sank hearts across the world. The company and Cena both agreed on a farewell tour, during which Cena would face some marquee superstars with whom he has feuded during his illustrious career. This was a great plan, but everyone wondered whether, during the tour, Cena was going to become the 'never seen 17' time world champion or not. They had to make sure Cena wins the championship without making his run to the title too predictable. Here is where Unreal shines the most; in the hands of arguably WWE's greatest star, the documentary suddenly shifts into a new gear and tells the story of one of the greatest heel turns of all time. Whoever edited the Royal Rumble footage for this documentary deserves a raise, and a very big one. The camera focuses on key eliminations throughout the match, but the footage cuts in such a way that you feel like it was all happening at once. In one frame Cena could be eliminating someone in the left corner, while in the next frame he could be fighting for his survival near the top-right turnbuckle. It was cohesive, it was quick and it was the most efficient way of portraying WWE's most chaotic event. The heel turn of John Cena seems so much more impressive when you realise that Hunter and The Rock decided to keep the news from everyone, including the ring announcers and commentators. You can't let information like Darth Vader being Luke Skywalker's father out or leak the fact that Nandini's son, who was kidnapped in Kyunki Saas Bhi Kabhi Bahu Thi, was actually being raised by Parvati from Kahaani Ghar Ghar Ki (Ekta Kapoor had a multiverse before the MCU). The shock on every kid's face was genuine, and the commentator Michael Cole truly felt helpless for a few moments, as he saw the kid who grew into a superstar right in front of his eyes go against everything he stood for. While Unreal doesn't get all of it right, it makes a valid attempt at being honest with the audience. The superstars are stripped of their characters, entrance music and costumes; it's just them, laying it bare for the world to judge the legitimacy of this job. As you get to the last episode, you can't help but feel a bit tired. You are hit with so much information that you just want to take a break. At that point you truly realise the relentless nature of this business, as the director shows Hunter with the script of Monday Night Raw just as Wrestlemania 41 ends. It's an orchestra, it's a circus, it's a performance, it's a spectacle, and Unreal does its best to show what all goes on behind the curtain and why the show must go on.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store