Salman Khan to pay compensation for Tubelight

This year too, Salman Khan arrived with his big Eid release, but breaking the ritual, this release of his was not as huge a success as one would have guessed. The bankable star’s Tubelight could not do well at the box office, due to which the distributors have reportedly suffered huge losses. According to HT, there were reports that many distributors and producers were asking for a monetary refund. Salman Khan has agreed to pay an amount of Rs 55 crores for the same.

Salman’s father Salim Khan confirmed the news and was quoted, “When a distributor suffers a loss, the producer needs to show some responsibility and share the burden”. He added that they have also done the same. They met some of the distributors and are trying to come to a middle ground.

Indian Express reported the movie has already made Rs 114.50 crores at the box office in India till now. However, the box office releases such as Baby Driver, Spider Man: Homecoming and Mom are doing well at the ticket counters, leading to a further downfall for the market of Tubelight.

Trade Analyst Komal Nehta also tweeted to confirm, “SalmanKhan has agreed to refund monies to distributors to make up for losses in Tubelight. A lovely gesture. That’s being human!”

Sources: Hindustan Times, The Indian Express

The political commentary of Salman’s Tubelight

To start with let’s be very very straight about this; Salman Khan’s latest venture ‘Tubelight’, directed by Kabir Khan is bad. And when I say ‘bad’ I mean that it is Prem Ratan Dhan Paayo bad. Then the obvious question comes up that why even bother writing about it? And the answer is simple; Tubelight is a film that has come out at the time of a dire need. Tubelight touches upon extremely sensitive subjects very innocently and the movie makes sure that it doesn’t preach upon it.

As mentioned before that the movie fails miserably considering all the aspects of a feature film, even the cameo of Shahrukh Khan seems extremely fake. But it doesn’t matter; ‘Bhai’ had already said pre-release that it doesn’t matter to him if the critics give his movie a zero star, people will come to watch it anyway and they will have a good time.

For a bad movie as this one, it is very surprising that it has such a sarcastic political undertone to it. Salman Khan’s ‘Tubelight’, which revolves around the Indo-China war in 1962, strikes the chord with it audience in its constant commentary on “Nationalism vs Anti-nationalism”. The scenes are better written that constructed through the camera. Kabir Khan tries to tell his audience time and again in the movie that no one in a country should provide certificates to people that classify them as Indian or an Anti-Indian.

Through this little kid of 5-year-old Kabir portrays the rebellious and the liberal class of the country. The Indian child of Chinese descent refuses to talk in Hindi to an Army Officer despite knowing the tongue for Hindi is not a validation to his Indian identity.

In a mixture of poor music and horrible acting there is this little competition between the specially abled Salman Khan and the child who can scream “Bharat Mata Ki Jai” louder. The innocent kid asks (rather tells) Salman that if he screams louder than him does it make him more Indian?

The stage that Indian politics is in at the moment, a particular political party has found out the most effective tool to propaganda and that is over-simplification and repetition. And they have realised that the public does not want facts. It wants rhetoric, it wants to listen to a story, a common story that one can relate to. And that they want it simplified.

A section of India in the past years was attacked, rebuked and mocked for staying neutral. This section was called with many names, they were given the tag of “Libtards” anyone in the press who would disagree was called a “Prestitute”. They were all put into one common column “ANTI-NATIONAL”. This liberal section found it very hard to simplify a very complex matter which was propaganda. And that is what exactly Kabir Khan has done for them.
The simplicity of the movie is commendable and the movie starts with the note called “This is to all those people who fight their own wars while their loved one is away”.

Late Om Puri who has been casted as a fatherly figure talking about Gandhian non-violence is a message in itself.
The film has given something to hold on to a diminishing sect of Indian society, those who think that it’s fine not being a radical nationalist.

I have never been a Salman Khan fan, not of his movies, never of his acting, but this movie although I went to watch reluctantly, I will never regret.
Nor for its acting, neither for its music and direction; but for it was needed…it was needed in these desperate times.

Strong Script saves Salman’s Tubelight from going off

Cast: Salman Khan, Sohail Khan, Zhu Zhu, Matin Rey Tangu, Om Puri, Mohammed   Zeeshan Ayyub.
Director: Kabir Khan
Rating: 2.5 stars (out of 5)

As the Bollywood tradition goes, 2017 also witnessed actor Salman Khan celebrating Eid with his fans with his latest venture ‘Tubelight’. The Salman-Kabir Khan actor-director duo famous for Ek Tha Tiger and Bajrangi Bhaijaan, delivered another film for ‘Bhai’ fans to enjoy during the festival.

The movie claimed to be an emotional and family watch by the star is set in the backdrop of the 1962 Indo-China war and tries to portray the consequences of war on not only the soldiers’ lives but also the lives of their loved ones who are left behind waiting for their return.

Salman Khan has been trying to reinvent his image with projects like Bajrangi Bhaijaan and now Tubelight. The 51-year-old actor has attempted to venture far from his hero image to the vulnerable character of a man with the innocence and understanding of a child. The film, an official adaptation of the 2015 Hollywood film ‘Little Boy’ puts Salman in the role of a brother Lakshman, determined to bring back his younger brother Bharat, portrayed by Sohail Khan, who has gone to fight the 1962 war.

The chemistry between the Khan brothers manages to come out beautifully in some moments, but also becomes a drag many times. The awkward stance of Sohail Khan is clearly visible in the film, who doesn’t look at ease with his character. Playing a mentally-disabled character, called Tubelight by everyone around him, Salman is somewhere able to make up for his otherwise expression less face.

The makers of the film possibly tried to use the adorable child actor formula to add to the charm of the film again;eight-year-old Matin Rey Tangu failed to capture everyone’s audience unlike Harshaali who had managed to outshine even Salman in Bajrangi Bhaijaan.

The scripting and camera of the film manage to win hearts to quite an extent. Scriptwriters Kabir Khan, Parveez Sheikh and Sandeep Srivastava deserve all the appreciation for the political commentary included in the film. Statements like “I don’t need a certificate to prove that I am an Indian” by Chinese actress Zhu Zhu who plays Matin’s mother clearly takes a dig at the constant certification of patriotism being awarded in our country recently. Mocking the concept of the person shouting ‘Bharat Mata ki Jai’ the loudest to be the real Indian, again proves to a very smart and much needed take on the pitiable definition of nationalism gaining popularity in our nation. Lens work done by Aseem Mishra beautifully captures places like Ladakh and Manali, at the same time managing to recreate the 1960s aura.

The message of inclusiveness and Gandhian ideals and making friends with the enemy, although sounds cliché but comes out very innocently and beautifully on the screen. The acting definitely disappoints, but the script manages to save the film to some extent. The first half is far more engaging as the second becomes a bit of a drag. The female actors in the film aren’t able to leave their impact, while the supporting cast including Mohammed Zeeshan Ayyub as Narayan and Yashpal Sharma as Major Tokas manage to do justice to their parts.

The cameo of Shah Rukh Khan comes out as a surprise but doesn’t really impress. The music of the film is way too loud, the songs are shot very well and manage to convey the emotions of the moments, but the makers could have possibly toned the sound a bit down as it unnecessarily overshadows the film.

The film being the late veteran Om Puri’s last, stars him in a fatherly role and plays out as a poetic eulogy to the legend.

*Spoiler Alert*

The symbolism in some of the scenes such as the one where Lakshman spreads Bharat’s ashes in the river with the latter’s soul running forward and mixing with the ashes comes out very strongly and conveys the emotions spot on. Although the scene is a copied one, it still plays out strikingly and creates a mark on the audience’s minds and hearts.


Overall, the simplicity in the approach and the attempt by Salman Khan to depict the naivety works out to some extent, although the scope of improvement is very much there. It might have been interesting if more emphasis could have been on child actor, still the film passes on as a one-time watch