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The first test that every film has to undergo is of the first weekend box office collection and it seems Akshay Kumar-Katrina Kaif’s Sooryavanshi has passed it with flying colours. The Rohit Shetty film, which released a day after Diwali on November 5. The film had a bumper weekend and earned Rs 26.94 crore, bringing the total to Rs 77.8 crore.
Trade analyst Taran Adarsh tweeted the figures, “#Sooryavanshi brings joy, hope, confidence, optimism back… Emerges a #Diwali gift for the industry… RUNS RIOT at #BO on Day 3… Proves *yet again*: Well-made entertainers will NEVER go out of fashion… Fri 26.29 cr, Sat 23.85 cr, Sun 26.94 cr. Total: ₹ 77.08 cr. #India biz.”
Earlier, Adarsh had tweeted that the film is continuing its winning run, “Sooryavanshi crosses ₹ 50 cr… SUPER-STRONG HOLD on Day 2… Slight dip in night shows vis-à-vis Day 1… Expect a BIGGG SCORE on Day 3, should comfortably cross ₹ 75 cr, may even touch ₹ 80 cr [+/-], PHENOMENAL… Fri 26.29 cr, Sat 23.85 cr. Total: ₹ 50.14 cr. #India biz.”
He also compared Sooryavanshi with Akshay Kumar’s previous hits to underline that the film is doing much better than the pre-Covid earnings given many states are still functioning at 50 per cent occupancy in theatres. “AkshayKumar opening weekend * biz…2019: #Kesari ₹ 78.07 cr [#Holi; Thu-Sun; 4 days] 2019: #HF4 ₹ 53.22 cr [pre-#Diwali; Fri-Sun; 3 days] 2019: #GoodNewwz ₹ 65.99 cr [Fri-Sun; 3 days] Medium star if #Sooryavanshi nears ₹ 80 cr [+/-] mark in *3 days, it will be MASSIVE,” Taran wrote.
Sooryavanshi is also doing well internationally. Adarsh revealed that the film has earned Rs 16.68 crore in two days. “’SOORYAVANSHI’ OVERSEAS: 2-DAY TOTAL $ 2.23 MILLION… ⭐ Day 1: $ 1.08 million [₹ 8.10 cr] ⭐ Day 2: $ 1.15 million [₹ 8.58 cr]⭐ Total: $ 2.23 million [₹ 16.68 cr].”
Directed by Shetty, Sooryavanshi is the fourth iteration in the cop universe. Other than Akshay playing a police officer, the film also had cameos from Ajay Devgn’s Singham and Ranveer Singh’s Simmba. The film was delayed multiple times due to Covid-19 related lockdowns. The makers steadfastly refused to take the OTT route, insisting that the film was essentially a big screen experience.
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