Three lesser-hyped films released on Friday; Pink still doing well

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Reiteish in Banjo…Uniformly terrible acting and clichéd situations, says a reviewer. 

Three films were released this Friday, Banjo, Days of Tafree and Parched, without much hype  like the other recent releases.

Parched managed to stay in the news due its content-driven nature and partly due to the infamous leak of nude scenes of Radhika Apte.

Banjo starring Riteish Deshmukh and Nargis Fakhri saw an estimated occupancy of 15% in the morning shows. It is doing better in Maharashtra,  Deshmukh home territory.

Pink is picking up its box office share. “#Pink enjoys TREMENDOUS word of mouth and is expected to dominate at plexes in Week 2 as well, despite a plethora of new releases,” according to a trade analyst.

He also tweeted Pink’s box office numbers. “#Pink Fri 4.32 cr, Sat 7.65 cr, Sun 9.54 cr, Mon 3.78 cr, Tue 3.51 cr, Wed 3.87 cr, Thu 3.24 cr. Total: ₹ 35.91 cr. India biz.”

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Banjo is the Hindi directorial debut of Marathi filmmaker Ravi Jadhav. At the box-office, the movie has managed to grab an average of five screenings per multiplex, which should give it a great head start. Finally, it will depend on the content and word of mouth publicity if Banjo has to take off well.

A film critic   wrote, “Banjo has practically no redeeming features. It is about an NRI musician’s (Nargis Fakhri) search for an original sound which leads her to the banjo artist Tarraat (Riteish Deshmukh) and his ragtag band. Because underdogs have to win, we know how things will pan out. But the painful progression to that climactic point is filled with uniformly terrible acting, clichéd situations and shouty, obvious dialogue.”

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Parched, on the other hand, has got rave reviews from critics. It has reportedly got fewer screens compared to Banjo. It has only managed to get an average one screen per theatre,

“Despite Parched’s obvious worthy intentions, its execution left me discomfited. The violence unleashed on the women, including the clearly underage bride who is ravished by her entitled ‘husband’, the drunken beatings which leave Lajjo routinely broken and bruised, the horrific assaults on Bijli’s supine body, are relentless. The film shows all its punches landing where they hurt most, and after a while, it all becomes too much, almost gratuitous,” wrote a reviewer. – CINEWS

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