Rajkumar Hirani’s Sanju seems unstoppable at the box office. The film that changed Ranbir Kapoor’s career path has successfully earned Rs. 316.64 on its 18th Day. Sanju is still holding its own position more than two weeks after its release.
In 2018, before Sanju, only two more films were able to hit the record of Rs. 300.Deepika Padukone’s Padmaavat and Salman Khan’s Race 3. The film is based on the controversial life of star Sanjay Dutt in which Ranbir Kapoor is seen in the role of the actor. The role of Sanjay’s mother, Nargis, was played by Manisha Koirala. Dia Mirza played the role of Sanjay’s current wife Maanayata Dutt.
Taran Adarsh took to Instagram shared the collection details: #Sanju crosses ₹ 300 cr mark… Remained ROCK-STEADY in Weekend 3, despite new films eating into the market share… Is now the 6TH HIGHEST GROSSING *Hindi* film… [Week 3] Fri 4.42 cr, Sat 7.75 cr, Sun 9.29 cr. Total: ₹ 316.64 cr. India biz. #Sanju biz at a glance..w eek 1: ₹ 202.51 cr,week 2: ₹ 92.67 cr, Weekend 3: ₹ 21.46 cr: Total: ₹ 316.64 cr. India biz.ALL TIME BLOCKBUSTER.
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#Sanju crosses ₹ 300 cr mark… Remained ROCK-STEADY in Weekend 3, despite new films eating into the market share… Is now the 6TH HIGHEST GROSSING *Hindi* film… [Week 3] Fri 4.42 cr, Sat 7.75 cr, Sun 9.29 cr. Total: ₹ 316.64 cr. India biz. #Sanju biz at a glance… Week 1: ₹ 202.51 cr Week 2: ₹ 92.67 cr Weekend 3: ₹ 21.46 cr Total: ₹ 316.64 cr India biz. ALL TIME BLOCKBUSTER.
The review given by the Shubhra Gupta about the film: “While the degree of Dutt’s culpability remains debatable, choosing a side is fully the film’s and the filmmaker’s prerogative. Through Hirani and Abhijat Joshi’s astute writing, Kapoor builds up the Dutt persona beautifully in the first half, smartly choosing to pick up some of Dutt’s signature moves and mixing it up with his own delivery. The pressure to be good, to be a star, to be in top—is all there up until the interval. But then the film turns far too kind towards its bad boy and starts making excuses for his irresponsible behavior, nudging us to feel sorry for him. That may have been the intention, but Sanju becomes less interesting from that point on. To say in the opening credits that ‘cinematic liberties’ have been taken in the unspooling of a deeply cinematic life takes away something crucial, something electric.”
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