Sunny Deol-starrer Batwara 1947 did not meet box office expectations, but Preity Zinta said she remains proud of the film and believes an actor can only control the effort put into a project. 

Actor Preity Zinta has opened up about the box office performance of Batwara 1947, saying that while an artist can give their best to a film, the final outcome is not always in their control. The film, starring Sunny Deol and directed by Rajkumar Santoshi, received a disappointing response at the box office after release. 

Speaking about the film's journey, Preity said she remains proud of the project and follows the belief of putting maximum effort into her work before accepting whatever result follows. She said she gives her “1000 per cent” to every film and leaves the rest to God. The actress added that an actor can focus on their performance and dedication but cannot completely control audience response, business results or other factors that decide a film's theatrical journey. 

Batwara 1947, which marked Preity Zinta's return to acting after an eight-year gap, brought together Sunny Deol and director Rajkumar Santoshi once again. Despite the reunion of the popular duo and expectations around the period drama, the film struggled to achieve the expected box office numbers. The film opened with a reported collection of around ₹5.75 crore, according to trade reports.  The movie also features actors including Shabana Azmi, Karan Deol, Ali Fazal and others in key roles. 

Preity Zinta is now preparing for her next project Vibe, directed by Kunal Kemmu. She has also spoken about the physical preparation required for the role, including training for action sequences. The actress' comments highlight the unpredictable nature of the film business, where extensive preparation and commitment do not always guarantee commercial success.

Batwara 1947 arrives with an unusually powerful foundation: a story about Partition that places humanity above religion. Directed by Rajkumar Santoshi and backed by Aamir Khan Productions, the film reunites Sunny Deol with the filmmaker behind Ghayal, Damini and Ghatak. However, viewers expecting another loud, constantly accelerating action drama should know that this is designed as a slower, more emotional film.

Set in Lahore after Partition, the story follows Sikander Mirza and his family, who migrate from Lucknow and are allotted a haveli. Their new beginning becomes complicated when they discover that Mai, an elderly Hindu woman, still lives in the house and refuses to leave. What begins as a dispute over ownership gradually becomes a test of courage, compassion and coexistence while communal violence gathers outside.

Sunny Deol’s vulnerability gets the strongest response

First-day viewers have largely praised Sunny Deol for playing Sikander with emotion rather than relying only on physical force. His silences, expressions and protective relationship with Mai have emerged as talking points in early audience reactions. The performance reportedly works because the anger grows out of fear and moral responsibility, rather than existing merely to create heroic moments.

Shabana Azmi appears to be the emotional centre of the film. As Mai, she represents not only a woman refusing to abandon her home but also millions whose identities and memories could not be contained by a newly drawn border. Her confrontations with the family and her gradual place within it give the film its moral force.

Preity Zinta’s return has also generated warmth among viewers. Her presence adds tenderness to the family scenes, although an early critical response argues that the screenplay does not give her enough material to leave a comparable impact. Ali Fazal, Karan Deol and Abhimanyu Singh complete the ensemble.

A strong message, but concerns over pace

The first reactions are not uniformly positive. While social-media viewers are calling the film emotional and worth watching in theatres, one early comparison review criticised its slow pace and said the execution does not consistently match the strength of its theme. That difference is important: the film’s message has been widely appreciated, but its dramatic rhythm may test viewers looking for fast-moving entertainment.

Santoshi appears more interested in conversations, relationships and moral choices than in turning every scene into a confrontation. This can work for audiences drawn to historical and human dramas, but it may feel heavy or prolonged to those entering the theatre expecting the energy of Gadar.

AR Rahman’s music and Javed Akhtar’s lyrics strengthen the period atmosphere without changing the film’s fundamentally serious tone.

Should you watch Batwara 1947?

Choose Batwara 1947 if you want a sincere Partition drama built around displacement, belonging and interfaith humanity. Sunny Deol and Shabana Azmi appear to provide the strongest reasons to watch. If you are expecting a fast patriotic action spectacle, the deliberate pace may disappoint.

Early verdict: The performances and humane message are earning praise, but the pacing has divided viewers. It is best approached as a serious family-and-Partition drama rather than another Gadar-style crowd-pleaser.

Nineteen years after Awarapan turned Shivam Pandit into one of Emraan Hashmi’s most loved characters, the brooding gangster returns with the same pain, guilt and instinct to protect the vulnerable. Awarapan 2 understands the affection surrounding its central character. Its difficulty lies in building a new film strong enough to stand outside that affection.

The sequel moves the action to Bangkok, where Shivam becomes involved in a mission linked to a human-trafficking network and a young girl in danger. The larger canvas gives director Nitin Kakkar room for gunfights, street chases and rain-soaked confrontations. The opening half moves quickly, and viewers who have waited years to see Shivam again are likely to respond to the familiar silences, wounded expressions and musical callbacks.

Emraan Hashmi remains the film’s strongest reason to watch

Hashmi does not play Shivam as an invincible action hero. There is fatigue in his face and restraint in his performance, making the character look like a man who has survived but never fully recovered. His ability to communicate anger and loss without turning every moment into a speech remains the sequel’s biggest strength.

The action also works best when it is tied to Shivam’s moral conflict. The film is less convincing when it tries to make the crime plot bigger merely by adding more armed men, betrayals and violent confrontations.

Puran Gabbi brings menace to the principal antagonist, while Suvinder Vicky adds weight even though the screenplay does not give him enough room. Shabana Azmi is dependable but underused. Disha Patani’s Zara brings a softer note to Shivam’s brutal world, yet the relationship never acquires the emotional depth needed to equal the tragic romance of the original.

The first half entertains; the second half exposes the gaps

The Bangkok setting, brisk editing and action sequences keep the first half engaging. Flashbacks make the story accessible even to viewers who have not recently watched the 2007 film. The trouble begins after the interval, when the screenplay starts stretching a relatively simple rescue-and-redemption plot.

The final act runs longer than it should, and some confrontations arrive without enough emotional preparation. The film repeatedly reminds viewers of Shivam’s pain, but reminding is not the same as deepening it. This is where nostalgia begins to feel like a substitute for stronger writing.

Music was central to the identity of the original Awarapan. The sequel uses Sufi textures and familiar melodies effectively in a few key moments, particularly for longtime fans. However, the soundtrack functions more as an emotional memory trigger than as an inseparable part of the new narrative.

Should you watch Awarapan 2?

Watch it if you remain invested in Shivam Pandit and want a dark, emotional action film for the long weekend. Emraan Hashmi gives the sequel credibility and several action passages work well on the big screen. Those expecting the raw emotional ache and unforgettable music of the original may find the new film less affecting.

Dainik Jagran MPCG verdict: Awarapan 2 is a watchable crime-action sequel held together by Emraan Hashmi and nostalgia. It entertains in parts, but a tighter second half and deeper relationships could have made Shivam’s return far more memorable.

Awarapan 2 and Batwara 1947 arrive in cinemas on August 14, offering audiences two very
different films—an underworld romance and a hard-hitting Partition drama. Early bookings favour
Emraan Hashmi, but the final contest remains open.

Bollywood is preparing for a major Independence Day weekend
clash as Emraan Hashmi’s Awarapan 2 and Sunny Deol’s Batwara 1947 release in cinemas this
Friday, August 14. One trades on the cult following of a 2007 romantic thriller; the other places a
story of humanity and communal violence against the upheaval of Partition.

Early advance-booking estimates have put Awarapan 2 in front. Bollywood Hungama reported that,
by 9 pm on August 11, the film had sold around 68,000 tickets, worth approximately ₹2.20 crore,
compared with about 37,600 tickets for Batwara 1947. These are changing pre-release
estimates—not opening-day collections—and the gap can narrow as more shows and seats become
available.

There is another twist to the contest. Trade reports suggest Batwara 1947 has secured a strong
share of screens despite trailing in early ticket sales, while Awarapan 2 has greater online
momentum. The winner may therefore depend on spot bookings, reviews and word of mouth across
the long holiday weekend rather than advance sales alone.

Awarapan 2: Shivam returns after 19 years

Emraan Hashmi returns as Shivam, the emotionally wounded gangster who made the original
Awarapan a cult favourite after its initially modest theatrical performance. The sequel draws him
back into the underworld, with his choices again shaped by love, sacrifice and redemption.

Directed by Nitin Kakkar and produced by Mukesh Bhatt and Vishesh Bhatt, the film also stars Disha
Patani and Shabana Azmi. It has received a U/A 16+ certificate and runs for approximately two hours
and 20 minutes. Its advantage is nostalgia: the first film’s music, tragic romance and Hashmi’s
performance developed a loyal following over the years.

However, the sequel must appeal beyond existing fans. Its opening may be powered by franchise
recognition, but sustained business will depend on whether audiences believe it recreates the
emotional intensity of the original without simply repeating it.

Batwara 1947: Sunny Deol enters Partition-era Lahore

Directed by Rajkumar Santoshi and produced by Aamir Khan Productions, Batwara 1947 stars Sunny
Deol alongside Preity Zinta, Shabana Azmi, Ali Fazal, Karan Deol and Abhimanyu Singh. A.R. Rahman
has composed the music, while Javed Akhtar has written the lyrics.

Set amid the violence and displacement of 1947, the film follows a refugee family that reaches
Lahore and finds an elderly Hindu woman still living in the haveli allotted to them. The conflict
gradually becomes a test of courage and humanity as communal hostility closes in.

The film has an Adults Only certificate and a runtime of about two hours and 25 minutes. Its ‘A’
rating may restrict family attendance, but its Independence Day timing, historical setting and the
reunion of Sunny Deol with Rajkumar Santoshi could attract audiences looking for a large-scale,
serious drama.

Shabana Azmi’s presence in both competing films makes this an unusual double-release Friday for
the veteran actor.

Which film should you watch?

Choose Awarapan 2 if you want a dark romantic crime story, Emraan Hashmi’s return as Shivam and
a nostalgia-driven musical experience. Choose Batwara 1947 if you prefer a Partition drama with an
ensemble cast, historical themes and more intense adult material.

No credible verdict on quality is possible before the films are screened and reviewed. Advance
bookings measure anticipation, not audience satisfaction. The real picture will emerge from Friday
evening occupancy and Saturday’s word of mouth.

What is new on OTT this Friday?

For viewers staying home, Kangana Ranaut’s Bharat Bhhagya Viddhaata begins streaming on ZEE5
on August 14. The Hindi survival thriller is inspired by the courage of medical workers at Mumbai’s
Cama Hospital during the 26/11 attacks. Sanjay Dutt’s political and academic drama Aakhri Sawaal is
also scheduled to premiere on Lionsgate Play the same day.

Reports also list Shahid Kapoor, Kriti Sanon and Rashmika Mandanna’s Cocktail 2 for an August 14
Netflix debut, but viewers should confirm its availability on the Netflix app because the platform’s
official India schedule had not listed it at the time of filing.

Among the first celebrities to react was Alia Bhatt, who shared a brief message on Instagram, writing, “Gen Z showed up. The rest is history.” Her post quickly gained traction online and echoed the broader sentiment that young people had played a decisive role in the movement.

Actor Priyanka Chopra also acknowledged the development through a series of Instagram Stories. She shared posts highlighting the month-long student protests and activist Sonam Wangchuk’s hunger strike, adding applause, heart and emotional emojis. In another story, she reposted a message describing the outcome as “a victory for the new generation” before sharing a photograph of Wangchuk without any caption.

Veteran actor Shabana Azmi congratulated the students but stressed that the resignation should not be viewed as the end of the campaign. Speaking to PTI, she said the development was only the first step and argued that the movement should continue until broader reforms are introduced in the education system and students' demands are addressed.

Actor Prakash Raj, who has frequently commented on public issues, praised the protesters and those who supported the movement. In a social media post, he congratulated the students and activist Sonam Wangchuk, writing that they had demonstrated how determined public action could compel governments to respond.

Comedian Vir Das described the outcome as a victory for students, encouraging them to celebrate what they had achieved. Fellow comedian Samay Raina also extended his support with a short message wishing the student community more strength.

Actor Abhishek Banerjee updated his profile picture and congratulated the younger generation, urging people to remain united. His post emphasised that solidarity makes communities stronger, while division weakens collective efforts.

Filmmakers Reema Kagti and Zoya Akhtar also reacted online. Kagti described Generation Z as a source of hope, while Zoya Akhtar highlighted democracy by stating that political power ultimately belongs to the people.

Actors Bhumi Pednekar, Huma Qureshi and Ishaan Khatter echoed similar sentiments. Bhumi said the movement had inspired people across the country and expressed hope that it would lead to meaningful reforms in educational institutions. Huma saluted the country's youth, while Ishaan called the development a victory for both India and democracy, saying the collective voice of millions had overcome years of indifference.

Support also came from actors Swara Bhasker and Tillotama Shome. Swara, who had publicly backed the protests from the beginning, shared videos of students celebrating at Jantar Mantar and described the resignation as a major victory for the movement. Tillotama thanked India's youth for their determination and perseverance.

Actor Vijay Varma posted two cryptic Instagram Stories that were widely interpreted as criticism of the government. One referred to the resignation in a satirical tone, while another quoted a popular Bollywood song lyric, prompting widespread discussion on social media.

Actors Sanya Malhotra, Riddhi Dogra, Ayesha Khan and several digital creators also expressed solidarity with students, calling for greater transparency, accountability and reforms in the education sector. Riddhi Dogra shared a detailed note on democracy, saying it had been built over time by people who continued to care and participate, and urged young citizens to use their voices with empathy and responsibility.

Dharmendra Pradhan resigned after weeks of nationwide protests over alleged examination paper leaks and education-related issues. The government subsequently accepted his resignation, while protest organisers announced the suspension of demonstrations after key demands, including leadership changes and reform commitments, were accepted.

The widespread response from the entertainment industry reflected how the student movement resonated beyond politics, with several public figures describing it as an example of youth participation and democratic engagement.

The protests, centred around education-related demands and the alleged NEET examination controversy, have drawn widespread public attention over the past week. As thousands of students gathered for the proposed "Sansad Chalo" march, reports of police action, including tear gas and lathi charge, sparked strong reactions from activists, opposition leaders and several members of the entertainment industry.

In a video shared on social media, Naseeruddin Shah became visibly emotional while speaking about the reported treatment of protesting students. The veteran actor described the alleged use of force as "zulm" (oppression) and questioned why peaceful demonstrators were being subjected to such action. His remarks quickly went viral, with supporters praising him for speaking out while discussions over the protests intensified online.

However, a separate viral video falsely claimed that Shah had personally joined the protest at Jantar Mantar with his sons. Multiple fact-checks later confirmed that the footage was actually recorded outside a theatre event in Mumbai and had no connection with the Delhi demonstration. While Shah publicly expressed concern over the reported violence, there is no verified evidence that he physically attended the protest site.

Shabana Azmi, meanwhile, has remained actively involved in the demonstrations. After spending time with students at Jantar Mantar, she also joined the march towards Parliament and shared videos from the protest site on social media. Calling the gathering peaceful, Azmi said the demonstrators were exercising their constitutional right to protest and deserved to be heard rather than confronted with force.

Speaking to television channels after the protest, Azmi said she personally witnessed tear gas shells being fired and students, including young women, being lathi-charged. She described the protesters as disciplined and non-violent, adding that she had "never seen such controlled children" despite the tense situation.

The actor also rejected suggestions that her participation was politically motivated. Azmi said she has never been associated with any political party and revealed that she and lyricist Javed Akhtar had written to Prime Minister Narendra Modi seeking dialogue before she decided to publicly support the movement. According to her, the decision to join the protest came only after waiting several days for a response.

Over the past several days, a number of well-known personalities have expressed solidarity with the student movement. Actors including Prakash Raj, Swara Bhasker and Soni Razdan have also extended support, while several filmmakers and writers have called for constructive dialogue between authorities and the protesters.

The demonstrations continue to attract national attention as protesters demand action on education-related issues and greater accountability from the authorities. With public debate growing sharper, the interventions by Shah and Azmi have added a significant cultural dimension to the ongoing movement, reflecting how voices from the film industry are increasingly participating in conversations around public policy and civil rights.

India's Most Decorated Actress Has Something to Say — and the Industry Needs to Listen

Shabana Azmi has won five National Film Awards for Best Actress — a record no other performer in Indian cinema history has matched. She has spent five decades navigating Bollywood's contradictions: participating in mainstream commercial cinema while simultaneously championing the parallel cinema movement that gave Indian women their most complex, human, and powerful screen portrayals. When she speaks about how the industry treats women, she does so with the authority of someone who has seen everything from the inside.

At the recently held We The Women event in Mumbai, Azmi turned her attention to one of Bollywood's most persistent and commercially profitable habits — the item number. What she said was not new. But the precision with which she said it, and the context she brought to it in 2026, makes it one of the most important conversations in Indian entertainment right now.

"Cinema Is Defined by the Image" — and the Director Controls the Image

Azmi's central argument is not about skin, music or dance. It is about intention — and how the camera reveals it.

Speaking at the event, she said: "Cinema is defined by the image. So when you have disconnected images" — shots of a "heaving bosom, or shaking navel" — they reveal "the intention of the director."

This is a more sophisticated critique than the usual binary of "item songs are bad vs item songs are empowerment." Azmi is pointing at the mechanism behind the image — the decision made in a director's chair about where the camera goes, how long it lingers, and what it chooses to see. That decision, she argues, is where objectification either happens or does not.

She illustrated this point with a precise example: in Zoya Akhtar's Zindagi Na Milegi Dobara, when Katrina Kaif emerges from water in a bikini, the camera does not linger — it stays at mid-frame, follows her as she picks up her bathrobe, and moves on. "You immediately accept that she is an instructor who is coming and doing her job," Azmi said. "The very same shot, if the director had decided to go over, it would be objectification. So it's the intention. There's a difference between sensuality and objectification."

"A Woman Loses All Control and Surrenders to the Male Gaze"

On item numbers specifically, Azmi was unambiguous.

"I feel in an item number, a woman loses all control and surrenders to the male gaze," she said.

She has previously expanded on this in considerable depth: "Vulgar lyrics and suggestive, voyeuristic camera angles do not celebrate a woman's sexuality — they actually objectify her. So under the guise of saying that you're celebrating women's sexuality, you are actually objectifying her in item numbers."

Her position is carefully calibrated. She is not arguing that women cannot be sensual on screen, or that female sexuality has no place in cinema. "When a girl or a leading lady says 'it's alright, I want to celebrate my sensuality,' I have no problem with that. I think that's wonderful. But under the pretense of 'celebrating your sensuality' what you are actually doing is surrendering to the male gaze and objectifying yourselves because the business of cinema is of images."

The distinction she is drawing — between a woman choosing to express herself and a camera reducing her to body parts for an audience's titillation — is one that Bollywood has largely refused to have an honest conversation about.

The Children Question: What Worries Her Most

Perhaps the most pointed element of Azmi's argument at We The Women was not about actresses at all. It was about children.

"What worries me is the society's reaction to it, because then you go to these functions and there are little children singing 'Choli ke Peeche kya hain,' and everyone is laughing at them. Nobody is paying attention to the words and are just going with it," she said.

She has previously been even more direct on this point: "When you say 'main tandoori murgi hu, gatka lo mujhe alcohol ke saath' and a four-year-old girl is dancing to it, you are leading to the sexualisation of children — and the parents who are enjoying it, people who are encouraging her, are just as responsible."

This is where Azmi's argument moves from film theory into social urgency. The normalisation of objectifying language through entertainment — when children absorb it as something celebratory before they are old enough to understand what it means — creates the cultural backdrop against which attitudes towards women are formed. That, she argues, is not a film industry problem. It is a society problem that the film industry is actively creating.

Why This Matters in 2026

Azmi has been consistent on these issues across decades — at FICCI Frames, at the Mathrubhumi Festival of Letters, at countless panels and events. She was the actress who got on stage at the International Film Festival of India in 1989 and read out a protest leaflet condemning the murder of theatre artist Safdar Hashmi. The words she said then — "Artists have a voice. If they don't use that for the betterment of society, then they are losing an important access that they have" — have defined her public life ever since.

The context of 2026 gives her arguments renewed urgency. Bollywood's most recent commercially successful item numbers have not become less explicit — they have become more so. The gap between what Azmi is describing as the ideal — a cinema that sees women whole — and what actually appears on multiplex screens has, if anything, widened.

Azmi also made clear she is not singling out women. "If the males are willing to get objectified, why should you agree to get objectified?" she questioned — pointing to the double standard in which male actors are rarely subjected to the same fragmenting camera work as their female counterparts.

Who Is Shabana Azmi? The Context Behind the Critique

Shabana Azmi is the only performer in Indian cinema history to win the National Film Award for Best Actress five times — for Ankur, Arth, Khandhar, Paar, and Godmother. She pioneered parallel cinema and most recently appeared in Netflix's Dabba Cartel.

She is not speaking from the margins. She is speaking from the very centre of the industry she is critiquing — which is precisely what makes her voice so difficult to dismiss, and so important to hear.

Bottom Line

Shabana Azmi's argument is not about prudishness, censorship, or telling women what they can or cannot do with their bodies. It is about who is truly in control when a woman appears in an item number — and whether the answer is ever actually her. The director's gaze, the camera's choices, the industry's commercial calculations — these are the forces that decide how women appear on screen. And until those forces change, she argues, the language of "celebrating sensuality" will remain a fig leaf for something considerably less celebratory.

Five National Awards. Fifty years of navigating this industry. When Shabana Azmi speaks, Bollywood should listen.