An 11th-week box office number is usually a formality. For Hanuman Ansh, day 75 still produced a real move: Rs 0.62 crore across languages on Tuesday, October 20, according to Sacnilk data cited by The Times of India. That is a 121.4% jump over Monday’s Rs 28 lakh.
Hindi did almost all of the heavy lifting, bringing Rs 0.61 crore from 483 shows. The Telugu version, released on October 9, added Rs 1 lakh from seven shows. The film logged 28,430 footfalls on the day. Hindi occupancy was 33% and Telugu occupancy was 34%.
Day 75 against the rest of week 11
- Friday, October 16: Rs 15 lakh
- Saturday, October 17: Rs 26 lakh
- Sunday, October 18: Rs 46 lakh
- Monday, October 19: Rs 28 lakh
- Tuesday, October 20: Rs 62 lakh
The cumulative India net is Rs 340.75 crore. India gross stands at Rs 402.08 crore, overseas gross at Rs 48.60 crore, and worldwide gross at Rs 450.68 crore.
A backloaded run, not a frontloaded one
The weekly curve explains the surprise. Hanuman Ansh opened with Rs 1.08 crore in week one and just Rs 40 lakh in week two. Week three rose to Rs 10.40 crore, week four to Rs 61 crore, and week five peaked at Rs 90.25 crore. Week six followed with Rs 80.25 crore.
That is the reverse of a normal release, which is strongest in its first or second week. This film peaked nearly a month after release and then held at Rs 44.80 crore in week seven, Rs 29.20 crore in week eight, Rs 10.60 crore in week nine, and Rs 11 crore in week ten. The shape is word of mouth, not opening-day marketing.
What it tells the trade
For media planners, the lesson is about audience durability. A devotional drama about Lakshmi Narayan’s path toward Neem Karoli Baba is pulling repeat and family viewers deep into its run. Early tracking understated the total addressable audience here, and any sequel or spinoff should not be sized on the first week alone.
The linguistic split also matters. Hindi is the engine; the Telugu release is still small and needs to be tracked separately rather than treated as a second-language success. The 75-day mark is also a reminder that box office reporting can understate a film’s long-tail value: a title still moving on a Tuesday can influence how exhibitors hold screens, how rights are priced, and how the next part of a planned trilogy is marketed.
Source: The Times of India
