Raja Shivaji sells 40,000 tickets in advance booking; Pune goes on overdrive as 7:00 am shows open due to huge demand

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Two days ago, Bollywood Hungama reported that the ticket sales of The Devil Wears Prada 2 were very encouraging. Raja Shivaji releases on the same day as the Hollywood comedy drama and this film, too, seems all set for a flying start, especially in its Marathi version. According to data accessed by Bollywood Hungama, Raja Shivaji had sold more than 40,000 tickets as of 8:00 am on April 29. By 4:30 pm on April 28, PVR Inox sold 9,800 tickets for the historical entertainer’s Marathi version. Cinepolis sold 3,000 tickets, MovieMax saw sales of 2,400, while Miraj Cinemas sold more than 4,100 tickets. The Marathi version has far more appeal due to its local flavour, ensemble cast, and the correct release period. Raja Shivaji releases on May 1, which is Maharashtra Day. Hence, the film will enjoy a three-day weekend in the state. Several films have been made on Chhatrapati Shivaji Maharaj in Marathi, but Raja Shivaji seems like the grandest of them all. This has further encouraged audience...
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The Virgin Suicides review – Sofia Coppola’s debut rereleased with solemn trigger-warning

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Sunlit suburban calm masks the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie

Nearly a quarter of a century ago, Sofia Coppola made her feature directing debut with this adaptation of the literary sensation of its day: Jeffrey Eugenides’s novel about five teen sisters in 70s suburban Michigan who take their own lives. Now it is rereleased with a solemn trigger-warning disclaimer at the beginning about certain historic attitudes which might now cause offence; these are unspecified, but appears to mean the entire premise of the film, up there in the title, but which is treated more circumspectly nowadays in the context of new ideas around self-harm and “suicidal ideation”.

This was a movie which mystified as many as it entranced, and it would be honest of me to admit that I didn’t quite understand it back in 2000, and maybe don’t quite now. But I can perhaps appreciate with more clarity its artistry and poise and the confident way Coppola allows her film to be serenely mysterious and almost affectless in its sunlit suburban calm, a reticence which appears to mask the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie.

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