Box office numbers always draw attention. In the first quarter of the year 2025, some big-budget Bollywood films failed to make noise at the box office. However, April has turned out to be a good month. Sunny Deol‘s movie Jaat and Akshay Kumar‘s movie Kesari Chapter 2: The Untold Story of Jallianwala Bagh managed to perform decently well at the box office. It has been 12 days since Jaat hit theatres and is still drawing audiences’ attention. Akshay Kumar’s movie released on April 18 and positive word of mouth helped the movie to gain momentum. Well, it is expected that the movies will witness a major boost in numbers on Tuesday, April 22. Here’s why. Also Read – Bollywood News Wrap: Esha Deol cheers for Sunny Deol’s Jaat, Kesari box office report day 4

Akshay Kumar‘s movie Kesari Chapter 2 and Sunny Deol‘s movie Jaat will enjoy the benefits of ‘Blockbuster Tuesday’ as the ticket prices have been slashed down to Rs 99 for a limited period. Dharma Movies shared the news via social media. The caption read, “A forgotten hero. A powerful story. ₹99 is all it takes to witness this journey.” As per a report in entertainment news portal Pinkvilla, the ticket prices were capped to Rs 99 for morning shows and Rs 149 for evening shows in PVRInox properties. It remains to be seen whether this move really helps the films to gain a jump in numbers. Also Read – Kesari 2 vs Jaat vs Sikandar box office collection: Akshay Kumar’s film collects…, Sunny Deol’s starrer passes…, Salman Khan film beats Chhaava

Talking about the box office numbers, Kesari 2 has crossed the mark of Rs 30 crore in four days. As per a report in Sacnilk.com, the movie made around Rs 4.5 crore on day 14. The total collection of the historical drama now stands at Rs 34 crore. Directed by Karan Singh Tyagi, the movie also stars R Madhavan and Ananya Panday in keys roles. Also Read – Kesari 2 vs Jaat box office collection day 1: Akshay Kumar’s film fails to beat…, Sunny Deol’s film crossed Rs…

On the other hand, Jaat starring Sunny Deol, Randeep Hooda and others has crossed the mark of Rs 70 crore with its 12 days business. The movie made around Rs 1.85 crore on second Monday taking the total collection to Rs 76 crore approximately.

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Priya Dutt, daughter of the legendary Sunil Dutt and Nargis, opened up about the deeply emotional and harrowing days following her mother’s death. Nargis, who passed away after a prolonged battle with cancer, left behind a family shaken to its core. Priya, who was just 14 at the time, remembers how the trauma not only devastated her father but also reshaped the lives of her siblings, including actor Sanjay Dutt.

“My mom wanted to be buried in her family kabristan”
Speaking about the immediate aftermath to Vickey Lalwani, Priya recalled, “My mom wanted to be buried in her family kabristan. We took her to Haridwar too, mitti leke, with dad. When we brought her body home, there was all this press around, and someone asked me how I was feeling. I must have said something, because Papa took us to a room and told us that if we want to cry and scream, we should do it with him, but outside, we must maintain our composure.”

“My father was a broken man. He couldn’t do basic things.”
She described how her father, once a pillar of strength, became emotionally hollow. “My father was a broken man. He couldn’t do basic things. He would wake up at night and go to the kabristan alone. He would sit there next to her grave… sometimes even at 3 in the morning. That’s how much he loved her,” Priya said, her voice filled with emotion.

But grief didn’t just weigh down Sunil Dutt—it also pushed Sanjay Dutt into deeper despair, as Priya explained while talking about his time in rehab. “It was a grim situation. Mom’s passing had taken a toll on him. She always told him, ‘The movie has to release no matter what, I’ll come even on a stretcher.’ But she passed away just three days before Rocky released.”
Voice note that cracked Sanjay’s numbness
What truly cracked Sanjay Dutt’s shell of numbness was a voice from the past—literally. Priya revealed, “My father had recorded mom’s conversations in the hospital. He gave one of those tapes to the counsellor. One day in a meeting, they played the recording. It was mom speaking to him. That was the moment of catharsis. Sanjay broke down completely… and everything changed after that.”

Kishori Amonkar
| Photo Credit: The Hindu Archives

Her music “…for me, is a painting that embodies every detail of someone’s life. And in that there is great happiness, great sadness, great anger, great frustration, desperation — everything in one concentrated little piece”. This is how Ustad Zakir Hussain described stalwart musician Kishori Amonkar in Bhinna Shadaj (Note Extraordinaire), a documentary by Sandhya Gokhale and Amol Palekar.

Hindustani vocalist Radhika Joshi created ‘Mai ri’, a special tribute to this musician, whose story is entwined with that of her mother and guru — the doyenne Mogubai Kurdikar. Radhika’s ‘Mai ri’, rooted in the music and life stories of Kishori Amonkar and Mogubai Kurdikar, was part of Bangalore International Centre’s special programming for Women’s Day.  

The story of this mother-daughter duo who irreversibly transformed how raags would be sung and heard  begins in a small village in Goa. Born in Kurdi in 1904, Mogubai was orphaned early. Even as a child who had to find her path in the world, she knew that her mother had wished for her to not just sing but to also make a life of it. Having worked as an actor in more than one theatre company, Mogubai was no stranger to the stage. She had also trained in Kathak and ghazal singing. When work in the theatre stopped, she fell ill and travelled with a relative to Sangli for treatment. There, her daily music riyaaz drew the founder of the Jaipur-Atrauli gharana Ustad Alladiyan Khan Saheb to her doorstep, and he offered to teach her.

Mogubai Kurdikar
| Photo Credit:
Special Arrangement

When Ustad Alladiyan Khan  moved to Mumbai shortly after, Mogubai followed him. Radhika describes in ‘Mai ri’ that this was radical in those times, also because of differences in religious backgrounds. It was not a rosy path for Mogubai in Mumbai. She had to contend with prejudice against women from “respectable backgrounds for choosing to sing on stage”. Widowed young, Mogubai raised three daughters on her own, while working as a professional musician and teacher. She chose to pass on her musical teachings to her eldest daughter Kishori tai (as she’s known).  

Juxtaposed with Radhika’s renditions of Mogubai and Kishori tai’s compositions, spanning an array of raags and musical formats, were narrations about the duo that conjured up images of two strong-willed women, passionate about music, not always in agreement with each other, but determined to sing and grow their chosen musical form. Radhika sourced information for ‘Mai ri’ from biographies on Mogubai and Kishori Amonkar besides having detailed discussions with her guru Pt. Raghunandan Panshikar, who studied music directly from both.

Radhika Joshi presenting ‘Mai Re’, a tribute to Kishori tai, in Bengaluru
| Photo Credit:
Sandhya Kannan

“Finding information about Mogubai’s music was challenging, because there are fewer resources available on her. With Kishori tai it was the opposite problem — there are many newspaper articles and interviews, but since she evolved musically over the decades, some of her thoughts may seem contradictory to what she said earlier,” Radhika points out. Though Mogubai was “a firm believer of maintaining the purity of the tradition and wasn’t one to experiment too much, she composed drut bandishes as at that time there weren’t fast paced compositions in many ragas characteristic to the Jaipur-Atrauli gharana such as Shuddha Nat, Sampurna Malkauns or Gauri”. 

“Kishori tai was more open to experimentation. She would spend hours trying different combinations of raags. Some jod raags created by tai are Anand Malhar and Lalat Vibhas,” shares Radhika. Kishori tai’s love for light music and ghazals was rooted in the fact that her mother sent her to train in other forms and in other gharanas. When Kishori tai sang a film song, however, Mogubai warned her that she might never touch her tanpura again, if she didn’t remain faithful to classical music.

Radhika says that Mogubai has taught her the power of dedication. “In most traditional Indian art forms, students are taught to simply accept what the guru says. By challenging norms and if required later, even admitting mistakes, Kishori tai made space to question texts and what earlier masters had to say,” she says.