Sankranti 2023 has unfolded as an unexpected turn of events for Telugu cinema enthusiasts. Anticipation initially surrounded Mahesh Babu’s Guntur Kaaram, the third collaboration between the Telugu star and director Trivikram Srinivas, known for the success of their previous film, Ala Vaikunthapurramuloo, which achieved pan-Indian acclaim. However, as Sankranti releases hit the screens, attention swiftly shifted towards Teja Sajja’s HanuMan, emerging as the predominant box office victor.
Despite a weekend surge in Guntur Kaaram’s box office collection, it couldn’t match HanuMan’s success. On Day 9 (Saturday), Mahesh Babu’s film garnered Rs 3.25 crore domestically. While footfalls increased on Day 10, resulting in a significant uptick in collections, Guntur Kaaram continued to trail behind HanuMan. On the 10th day, Guntur Kaaram amassed Rs 3.50 crore, bringing the film’s total box office collection to Rs 118 crore. In contrast, HanuMan, with a robust Day 9 collection of Rs 14.6 crore, achieved a staggering Rs 16.50 crore on Day 10. Consequently, HanuMan’s cumulative box office collection now surpasses Rs 130 crore domestically, marking a substantial lead over Mahesh Babu’s film.
Among the other Sankranti releases, Nagarjuna’s Naa Saami Ranga and Venkatesh’s Sanidhav have garnered Rs 26 crore and Rs 14 crore, respectively. Evidently, HanuMan has emerged as the preferred choice for the audience.
This turn of events has surprised trade analysts and Telugu cinema fans alike, considering Mahesh Babu’s stature and substantial market presence in the industry. During a recent press meet, the film’s producer, Naga Vamsi, attributed the initial setback in Guntur Kaaram’s performance to the film’s promotional strategy. He emphasized that scheduling 1 am shows for Guntur Kaaram was counterproductive, as it created expectations akin to action-oriented films like KGF and Salaar. Vamsi clarified that Guntur Kaaram is a family-oriented film, showcasing a mother-son bond, and releasing it at 1 am was a regrettable choice, acknowledging the distinct nature of Trivikram’s directorial style.
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