Prabhas’s The Raja Saab continues its poor performance at the theaters, and after the six-day run at the box office, the film’s collections are disappointing. It was expected to be a massive hit but , sadly, it did not live up to expectations.
The Raja Saab 6 Days Collections:
Nizam: 27 Cr
Ceded: 9.5 Cr
UA: 9 Cr
East: 7.2 Cr
West: 5 Cr
Guntur: 4.95 Cr
Krishna: 4.65 Cr
Nellore: 2.95 Cr
AP/TG Total: 70.25 Cr
ROI: 7.75 Cr
Overseas: 15 Cr
Worldwide Total: 93 Cr
With a break-even point of 165 crore , “The Raja Saab’s” six-day box office collections stand at 93 crore share (including GST in Telugu States). Currently, the movie is looking at a maximum possible finish of around 110 crore , as it did not see the expected jump even during the festival days.
Other movies received better word of mouth and reviews than ” The Raja Saab,” which impacted this film in a big way. One good decision by the team was releasing the film on the pre-festival weekend, which helped it secure a large number of screens and a solo release. But after the weekend, the film failed to post strong numbers at the box office.
While the fans of Vijay and the producers of Jana Nayagan expected that their issues with the Madras High Court would be resolved in the Supreme Court , but the film continues to be affected by the law.
The update for the day is that the Supreme Court has refused to interfere with the interim stay granted by the Division Bench of the Madras High Court for Jana Nayagan, which means the issues for the film remain unresolved.
Jana Nayagan: Verdict Still Pending from the Courts
Now, the producers will have to return to the High Court and argue the writ appeal before the CJ’s Bench on January 20. This is a significant setback for the team, as they, along with fans, anticipated a positive response from the Supreme Court and thought that the movie would release next weekend.
But now, the producers again have to go to the Madras High Court and fight the case. With this, no one knows when the film will finally hit theatres.
Tamil star hero Vijay has announced his retirement from films, and Jana Nayagan will be his last movie. Superstar Rajinikanth is still acting and chasing box office records, but age is slowly becoming a limiting factor for him. Because of these reasons, many Tamil directors are now shifting their focus toward Tollywood.
At present, handling massive budgets of ₹400–500 crore in Kollywood is possible only with two stars: Rajinikanth and Vijay. In Rajinikanth’s case, age has become a major concern, as not all commercial scripts suit him anymore. Writing mass entertainers that match his age is a challenging task. Vijay, on the other hand, has decided to quit films to focus on his political career, making Jana Nayagan his final project.
With these limitations, Kollywood’s top directors who want to make big-budget commercial films are forced to look at other industries, especially the Telugu film industry. Shankar recently made Game Changer with a Telugu star. Atlee is now working with Allu Arjun, and Lokesh Kanagaraj is also collaborating with Allu Arjun. After Jailer 2, Nelson has committed to a film with NTR. Many directors are already in discussions with Telugu superstars for their upcoming projects.
The Telugu industry has around six Tier-1 stars and several pan-India heroes. This gives directors the freedom to plan bigger budgets and make large-scale films. Because of this advantage, many Tamil directors are now looking toward Tollywood stars for their ambitious projects.
Ravi Teja’s latest film, Bhartha Mahasayulaku Wignyapthi, released in theatres on January 13 and was expected to benefit from the Sankranthi festival season. However, the film failed to meet expectations at the box office.
Five films released during Sankranthi. Considering Ravi Teja’s star status, his film should have ideally ranked as the third biggest release. But the poor performance of his recent films has had a strong negative impact on Bhartha Mahasayulaku Wignyapthi, and it failed to get the required numbers despite the help of Sankranthi festival season.
The movie received average to one-time-watch word of mouth. Normally, this level of response is enough to attract audiences, but theatre footfalls have been lower than expected.
In the first two days, the film collected only around ₹4 crore share worldwide, despite the festival advantage. Meanwhile, Anaganaga Oka Raju and Nari Nari Naduma Murari received much better word of mouth from the second day onward. As a result, Ravi Teja’s film is facing a significant drop at the box office.
The worldwide theatrical rights are valued at ₹20 crore, and the two-day recovery is only about 20%. The film needs strong growth from today onward to achieve at least a decent recovery for buyers.
From the promotions themselves , Naveen Polishetty’s Anaganaga Oka Raju was promoted as a perfect Sankranthi entertainer, and it delivered superb collections at the box office on Day 1, helped by positive word of mouth.
The film had a tremendous first day and surpassed all expectations. Naveen Polishetty gathered his career-best numbers with Anaganaga Oka Raju’s Day 1 collections at the box office.
The film’s theatrical rights are valued at 28 Crores , and it recovers more than 1/ 4 of its opening day itself with an approximate 8 Crore share . Today, the film’s advances are much better than the first day domestically.
It is expected to achieve breakeven by this weekend, and as mentioned above, the movie registers the biggest opening for Naveen Polishetty by miles.
After his comeback, Chiranjeevi released three films during the Sankranthi season and every time he successfully emerged victorious in competition. His comeback began in 2017 with Khaidi No. 150 clashed with Balakrishna’s Gouthami Putra Satakarni and Shatamanam Bhavati.
Despite the competition, Chiranjeevi’s film faced no real challenge at the box office. It crossed the ₹100 crore share mark and created a non-Baahubali record by collecting nearly double compared to Balakrishna’s film.
In 2023, Waltair Veerayya released alongside Veera Simha Reddy and Varasudu. Once again, Chiranjeevi dominated the box office and delivered one of the biggest collections of his career, earning almost double the numbers of Veera Simha Reddy.
This year, the Sankranthi season saw heavy competition with multiple releases, including Chiranjeevi’s Mana Shankara Vara Prasad Garu, Prabhas’ The Raja Saab, Sharwanand’s Nari Nari Naduma Murari, Naveen Polishetty’s Anaganaga Oka Raju, and Ravi Teja’s Bhartha Mahasayulaku Wignyapthi. Even with so many films in the race, Megastar once again faced no real competition and emerged as the clear No.1 choice by a wide margin.
The film is once again expected to collect nearly double compared to its competitors and is heading towards becoming Chiranjeevi’s biggest grosser to date.
Mana Shankara Vara Prasad Garu has had an impressive three-day run at the box office, collecting a worldwide share of 73 Cr, including GST from the Andhra and Nizam regions. The festival days are expected to give more boost to the film.
With theatrical rights valued at 125 Cr, the film has already achieved a solid 58% recovery, which is truly commendable.
Day 3 turned out to be extraordinary, showing strong momentum at the ticket counters. After a fantastic three-day run at the box office, Mana Shankara Vara Prasad Garu’s gross is above 120 Cr for the film.
The film is expected to exceed 300 Cr gross and achieve even bigger numbers in its full run. It could have been even bigger, but the film is currently facing screen count issues.
MSG is all set to cross the 100 Cr share club on the 5th day at the box office, and by Sunday, the film will reach the breakeven mark worldwide.
Despite multiple film releases during the Sankranthi season, Naveen Polishetty’s strong brand value has brought a large number of audiences to theatres, and he scores record opening with Anaganaga Oka Raju, his latest film.
With unanimously positive word of mouth, the film’s collections are increasing show by show. Overall, Anaganaga Oka Raju has recorded the biggest opening of Naveen Polishetty’s career and his first double-digit opening gross as a star entertainer. It is a terrific start.
The film needs to collect around ₹50 crore gross to reach the breakeven point, and there is a high chance that this target will be achieved within the first weekend itself.
Day 2 advance bookings are much stronger than Day 1 in the domestic market, which is a very positive sign for the film’s box office performance.
Movie Name:Nari Nari Naduma Murari Rating: 3/5 Cast: Sharwanand, Sakshi Vaidya, Samyukta, Naresh, Sampath Raj, Satya, Sunil, Vennela Kishore and Others Director: Ram Abbaraju Produced By: Anil Sunkara Release Date: 14th January 2026
Nari Nari Naduma Murari is the last Telugu movie to be released this Sankranthi. Sharwanand stars in the film, alongside Samyuktha and Sakshi Vaidya as the leading ladies. Directed by Ram Abbaraju, the film premiered on January 14, 2026, with a full release scheduled for January 15th.
Story:
Gautham (Sharwanand) is an architect who falls in love with Nithya (Sakshi Vaidya). They also receive approval from Nithya’s father, though he is unsure about how serious their relationship is.
Just when everything seems to be going well, it is revealed that Gautham was in love with Dia (Samyukta Menon) during his college days and even married her. However, they later got divorced. Why did Gautham move away from Dia? What happens when she re-enters his life? The rest of the film answers these questions.
Performances:
Sharwanand perfectly suits the role and delivers the comedy very well. He also brings the required emotional depth towards the climax. Sakshi Vaidya and Samyukta perform well as the female leads and give decent performances.
Naresh provides plenty of laughs in the role of the hero’s father. Sampath Raj is well cast as the heroine’s father. Vennela Kishore, Sunil, Satya, and Sudarshan also deliver convincing performances.
Analysis:
Director Ram Abbaraju, who impressed with his debut Samajavaragamana, takes a familiar storyline in Nari Nari Naduma Murari. But he ensures that the characters and narrative remain engaging for most of the film. Each character has a clear identity and contributes to the nonstop entertainment.
The first half begins on a simple note but becomes more engaging as it progresses. The flashback portion and the episodes leading to the interval are handled well. Several scenes involving Naresh’s second marriage are hilarious, especially the one where he humorously explains why “pelli” is called “marriage” in English, joking that it can happen at any age or stage of life.
The second half focuses on the main conflict, where the hero hides a major truth from his fiancée. The resulting chaos and comedy are enjoyable. While some scenes feel repetitive and an unnecessary song before the pre-climax slows the pace, the director makes up for it with a proper justification for the backstory and an entertaining tail-end to an emotional climax.
Positives:
Casting/Performances
30 Minutes Before the Interval
Hilarious Scenes in the Second Half
Negatives:
Ordinary Feel during the starting scenes
Repetitive/Stretched Moments at a few places
Nari Nari Naduma Murari Review and Verdict:
Ram Abbaraju’s Nari Nari Naduma Murari remains entertaining throughout. Despite a few stretched moments, the film succeeds with its balanced mix of humor and emotion, supported by convincing performances.
Normally, films starring Tier-1 actors create the biggest buzz. When these films are made as pan-Indian films, the hype becomes even bigger, and most films avoid releasing alongside them, but the Sankranthi season is different.
During Sankranthi, the mood of the audience changes. People prefer family entertainers, devotional films, or light commercial movies. When big stars make pan-Indian films, they usually focus on high-voltage mass content or grand visuals to appeal to audiences across India. These films often lack the simple family entertainment elements that viewers expect during the festive season.
Another important factor is that pan-Indian films usually require a solo release across all languages to maximize collections. If such films release during Sankranthi, especially in Telugu, they face tough competition from multiple regional releases. Many local films aim for Sankranthi releases, which reduces the space and screens available.
Similarly, in Tamil cinema, several films will be released during this period. In Hindi cinema, Sankranthi is not considered a major release window.
Considering all these points, Sankranthi may not be the ideal season for big-budget pan-Indian films from Tollywood.
