Regardless of hardened competition from Salman’s Bajrangi Bhaijaan, and Ajay Devgn’s film Drishyam has dealt with a decent box office accumulation.
Ajay Devgn’s most recent film Drishyam, which hit the theaters on July 31, has been faring really well at the box office regardless of Salman Khan’s Bajrangi Bhaijaan movie. While Bajrangi Bhaijaan movie is at the doorstep of Rs 300 crore club, movie Drishyam has netted Rs 38 crore in 4 days. Coordinated by Nishikant and featuring Ajay Devgn and Tabu in significant parts, this Drishyam is the Hindi change of the 2013 Malayalam film by the same name.
Drishyam opened to blended to-positive surveys and Rs 8.05 crore on Friday (in addition to the Thursday sneak peaks). On August 1, the film earned Rs 9.4 crore, trailed by Rs 12.13 crore on Sunday (August 3) and Rs 4.05 on Monday. On Tuesday, Drishyam packed away Rs 4.5 crore at the Indian box office, a sum that is great considering the financial backing and screen number of Drishyam. The film developed at the box office amid the weekend, inferable from informal reputation.
In the Nishikant directorial, actor Ajay Devgn plays a straightforward white collar class family man Vijay Salgaonkar. Set in an uneven town in Goa, movie Drishyam sees the character of Vijay battle the organization and existing force when IG (Tabu) child turns up gone. Shriya Saran plays Ajay’s wife in Drishyam.
At the point when Drishyam hit the screens, it needed to manage solid rivalry from Salman Khan’s Bajrangi Bhaijaan from one perspective, and SS Rajamouli’s Baahubali on the other. While Bajrangi Bhaijaan discharged on July 17, Baahubali had been administering the box office since July 10.
The film takes a considerable measure of time to build up the story. Toward the end of the first half hour, you’re left wavering on the edge of your understanding. What’s more, exactly when you speak the truth to snap, wham! The unforeseen development attracts you into the story. The delight, be that as it may, is fleeting, as long-attracted groupings are utilized to depict the least complex of happenings. Simply putting over the Salgaonkars’ feeling of trepidation needs numerous minutes, an undertaking which could have been refined in one-fourth that time. The weariness forces one to nitpick: A space in the middle of “head” and “quarters” on the Police Headquarters’ signboard, for instance, can’t be un-taken note.
At a certain point in Drishyam, Vijay sermonizes that he ‘can do anything to spare his crew’. Makes one grunt in dismay. Yes, this is the same man who, to watch films continuous, abstains from accepting calls from his family throughout the night, despite even the most circumstances.