Inside Out Movie 2015

Inside Out is a 2015 American 3D computer-animated comedy-drama adventure film produced by Pixar Animation Studios and released by Walt Disney Pictures. Directed and co-written by Pete Docter, the film is set in the mind of a young girl, Riley Andersen (Kaitlyn Dias), where five personified emotions—Joy (Amy Poehler), Sadness (Phyllis Smith), Fear (Bill Hader), Anger (Lewis Black) and Disgust (Mindy Kaling)—try to lead her through life as she moves with her parents (Diane Lane and Kyle MacLachlan) to a new city. The film was co-directed and co-written by Ronnie del Carmen and produced by Jonas Rivera, with music composed by Michael Giacchino.

Docter first began developing Inside Out in 2009 after noticing changes in his daughter's personality as she grew older. The film's producers consulted numerous psychologists, including Dacher Keltner from the University of California, Berkeley, who helped revise the story emphasizing the neuropsychological findings that human emotions are mirrored in interpersonal relationships and can be significantly moderated by them.

After premiering at the 68th Cannes Film Festival in May, Inside Out was released on June 19, 2015, accompanied in theaters by a short film, Lava, directed by James Ford Murphy. Critics praised the vocal performances (particularly for Poehler, Smith, and Richard Kind), its concept, and poignant subject matter. The film grossed $90.4 million in its first weekend—the highest opening for an original title, beating the previous record held by Avatar (2009). It has grossed over $690 million worldwide against a budget of $175 million.

Inside Out is a 2015 American 3D computer-animated comedy-drama adventure film produced by Pixar Animation Studios and released by Walt Disney Pictures. Directed and co-written by Pete Docter, the film is set in the mind of a young girl, Riley Andersen (Kaitlyn Dias), where five personified emotions—Joy (Amy Poehler), Sadness (Phyllis Smith), Fear (Bill Hader), Anger (Lewis Black) and Disgust (Mindy Kaling)—try to lead her through life as she moves with her parents (Diane Lane and Kyle MacLachlan) to a new city. The film was co-directed and co-written by Ronnie del Carmen and produced by Jonas Rivera, with music composed by Michael Giacchino.

Docter first began developing Inside Out in 2009 after noticing changes in his daughter's personality as she grew older. The film's producers consulted numerous psychologists, including Dacher Keltner from the University of California, Berkeley, who helped revise the story emphasizing the neuropsychological findings that human emotions are mirrored in interpersonal relationships and can be significantly moderated by them.

After premiering at the 68th Cannes Film Festival in May, Inside Out was released on June 19, 2015, accompanied in theaters by a short film, Lava, directed by James Ford Murphy. Critics praised the vocal performances (particularly for Poehler, Smith, and Richard Kind), its concept, and poignant subject matter. The film grossed $90.4 million in its first weekend—the highest opening for an original title, beating the previous record held by Avatar (2009). It has grossed over $690 million worldwide against a budget of $175 million.

Plot

A girl named Riley is born in Minnesota, and within her mind, five manifestations of her emotions—Joy, Sadness, Disgust, Fear and Anger—come to life. The emotions live in Headquarters, Riley's conscious mind, where they influence Riley's actions and memories via a control console. Her new memories are housed in colored orbs, which are sent into storage at the end of every waking period. The most important or "core" memories are housed in a hub in Headquarters and power five "islands", each of which reflects a different aspect of Riley's personality. Joy acts as the dominant emotion to keep Riley in a happy state, but she and the others do not understand Sadness's purpose.

When Riley is 11 years old, her family relocates to San Francisco after her father gets a new job. Joy becomes concerned when Sadness begins touching happy memories, causing them to turn sad, so she tries to keep Sadness isolated. However, on Riley's first day at her new school, Sadness accidentally causes Riley to cry in front of her class, creating a sad core memory. Joy attempts to dispose of the new core memory before it reaches the central hub, but she accidentally knocks the other core memories loose in her struggle with Sadness, shutting down the personality islands and making them unstable. Before Joy can put them back, she, Sadness, and the core memories are sucked out of Headquarters through the memory tube leading to the rest of Riley's mind. They end up in the labyrinthine storage area of Riley's long-term memories and set out to return to Headquarters.

Anger, Disgust and Fear attempt to maintain Riley's emotional state in Joy's absence, but inadvertently distance Riley from her parents, friends and hobbies, resulting in her personality islands slowly crumbling and falling into the Memory Dump, an abyss where faded memories are disposed and forgotten. Anger inserts an idea to run away to Minnesota into the control console, believing they can produce new happy core memories there. Meanwhile, Joy and Sadness find Bing Bong, Riley's childhood imaginary friend, who is desperate to reconnect with her. He tells them they can get to Headquarters by riding the Train of thought. After exploring different areas of Riley's mind, the three eventually catch the train, but it derails when another personality island falls.

As Riley prepares to board a bus bound for Minnesota, Joy attempts to use a "recall tube" to return to Headquarters, but the last personality island falls and breaks the tube, sending Joy into the Memory Dump along with Bing Bong. While despairingly looking through old memories, Joy discovers a sad memory in Riley's life that becomes happy when her parents and friends come to comfort her over losing a hockey game, causing her to realize Sadness's true importance: alerting others when Riley needs help.

Joy and Bing Bong try to use Bing Bong's discarded wagon rocket to get out of the Memory Dump, but after several failed attempts, Bing Bong realizes their combined weight is too much and jumps out and fades away, allowing Joy to escape. Joy uses various tools from Imagination Land to propel herself and Sadness to Headquarters, where they find that Anger's idea has disabled the control console, rendering Riley depressed and apathetic. At Joy's urging, Sadness takes control and successfully removes the idea, reactivating the console and prompting Riley to return home.

As Sadness reinstalls the core memories, Riley arrives home and breaks down in tears, confessing to her parents that she misses her old life. As her parents comfort and reassure her, Joy and Sadness work together to create a new, amalgamated core memory that creates a new personality island. A year later, Riley has adapted to her new home, and all her emotions now work together to help her lead a content, more emotionally complex life as she ages, with an expanded control console and additional personality islands produced by new core memories comprising multiple emotions.

Drishyam Movie 2015

CAST: Ajay Devgn, Tabu, Rajat Kapoor, Shriya Saran, Ishita Dutta

DIRECTION: Nishikant Kamat

GENRE: Thriller

DURATION: 2 hours 43 minutes

DRISHYAM HAS WHAT IT TAKES TO `HOOK' THE AUDIENCE 

STORY: Inspired by Japanese crime-writer, Keigo Higashino's novel The Devotion of Suspect X, Drishyam(translates as illusion) was originally adapted in Malayalam. That version went on to become a blockbuster, paving the way for copies. The latest is, Nishikant Kamat's Bollywood adaptation that has adequate promise.

REVIEW: The story revolves around the fourth-standard school drop-out Vijay Salgaonkar (Ajay) who lives in Goa with his wife Nandini(Shriya) and their two daughters. He is a movie buff who runs a cable-video business. Crazy about cinema; he laughs, cries, plots and plans or for that matter even allows films to dictate his sexual desire. All in all, Vijay has a blissed-out existence. Till his teenage daughter Anju(Ishita) goes for a inter-school nature camp. There she encounters Sameer Deshmukh (Risabh Chaddha)the son of IG, Meera Deshmukh(Tabu). The brat shoots a video-clip of the naive girl in the shower. On their return home, crafty Sam seeks to trade `favours' from Anju. The teenagers are negotiating when an untoward incident occurs, leaving Anju stumped and her family in a fix.

Ajay Devgn), a cable operator, is a film buff (goes teary-eyed watching sappy dramas and does a shot break-down of action scenes starring Tom Cruise). His family comprises his wife Nandini (Shriya Saran) and daughters, Anju (Ishita Dutta) and Anu (Mrinal Jadhav). The Salgaonkars, as shown in trailers, are accused of being responsible for the disappearance of a certain teenager, who happens to be the son of Goa IG Meera Deshmukh (Tabu). Now, you'd expect the police to torture the Salgaonkars till they break down. But very little screen time is expended on this. In fact, more scenes are dedicated to Vijay training his family to brave the possible torment and interrogation, with obvious dialogues like, "woh hume todne ki koshish karenge" and "ab yeh ek khel ban gaya hai". 

A distraction in the film is that it spells out situations and character traits. Meera's opening shot shows her ordering a set of witnesses to be battered. But that's not enough, she quickly adds, "Inhe maarte raho. I don't care." She then turns around and walks away in slow motion with a steely expression. Tough cop in the house! 

Also, that Vijay is a 'chauthi fail' is only mentioned about 20 times (or more). Is it because it'd make his supposedly impossible plan seem even less possible? This continuous narration allows your brain to sink into a recliner as you know every twist will be explained, dumbed-down and underlined. The film's promotions have also taken the fizz out of the proceedings: they reveal the prime witness, the prime accused, the missing person and the cop for whom this case is more personal than professional. When you enter the screen, you can't wait for the storm to gush in. Instead, the calm drags on for too long (the happy family build-up is cringeworthy). 

Ajay single-handedly carries this film. His affinity for playing an everyman who does the right thing even if the way is wrong, continues in this film. Shriya's and Ishita's eyes well up in every alternate scene and their presence is unobjectionable. Tabu's performance is tight, perhaps even tighter than her body-hugging police uniform. But delivering lazily-written lines like, "Par main ek maa bhi hoon," takes away from her strong screen presence. 

The songs in the film don't establish a mood or complement a situation; they only convey passage of time. The locations portrayed as rural Goa are picturesque and cinematographer Avinash Arun deserves credit for making them seem cinematically surreal. Straight out of directing Lai Bhaari, last year's record-breaking Marathi blockbuster, director Nishikant Kamat seems too obsessed with formula and doesn't manage to retell this story with the passion and subtlety that it deserves. 

Drishyam could've been crisper (runtime: 163:33 minutes) and woven in a few more tricks and surprises. But it is only a lazy remake and a lot is lost in translation.

Guide 1965 Romantic Drama Movie

Guide is a 1965 Romantic Drama film starring Dev Anand and Waheeda Rehman. It was directed by Vijay Anand, who contributed to the screenplay. The film is based on the novel, The Guide, by R. K. Narayan.The film was a box office hit upon release. The movie proved memorable for its award-winning performances by the lead actors and memorable music by S. D. Burman. Time Magazine listed it at Number Four on its list of Best Bollywood Classics.A 120-minute U.S. version was written by Pearl S. Buck, and directed and produced by Tad Danielewski, The film was screened at the 2007 Cannes Film Festival, 42 years after its release.

STORY

The movie starts with Raju (Dev Anand) being released from jail. Raju was a freelance guide, who earned his living by taking tourists to historic sites. One day, a wealthy and aging archaeologist, Marco (Kishore Sahu) comes to the city with his young wife Rosie (Waheeda Rehman), the daughter of a courtesan. Marco wants to do some research on the caves outside the city and hires Raju as his guide.

While Marco devotes himself to the discovery of the cave, Raju takes Rosie on a tour and appreciates her dancing ability and innocence. He learns about Rosie's background as a daughter of a prostitute and how Rosie has achieved respectability as the wife of Marco but at a terrible cost. She had to give up her passion of dancing since it was unacceptable to Marco. Meanwhile, Rosie tries to commit suicide by consuming poison. Marco, upon learning of the incident, returns from the caves to see Rosie and is furious with Rosie after seeing her alive. He tells her that her act of committing suicide was a drama, otherwise she would have consumed more sleeping pills so that she could really have died. Upon returning to the caves which were discovered, Rosie learns that Marco is spending time and enjoying the company of a native tribal girl. She is enraged at Marco and both indulge in a serious heated discussion, which concludes with Rosie leaving the caves, and she once again wants to end her life.

Raju calms her down by saying that committing suicide is a sin, and that she should live to pursue her dream. She finally says good-bye to the relation of being the wife of Marco. Now she needs support and a home. Raju gives her shelter. Rosie is considered a prostitute by Raju's community (as classical dancing traditionally was prostitutes' work at royal courts), which leads to many problems, including his mother and her brother insisting that Rosie be kicked out. Raju refuses and his mother leaves him. His friend and driver also falls out with him over Rosie. Raju loses his business and the entire town turns against him. Undeterred by these setbacks, Raju helps Rosie embark on a singing and dancing career and Rosie becomes a star. As she rises as a star, Raju becomes dissolute — gambling and drinking. Marco comes back on the scene. Trying to win Rosie back, he brings flowers and has his agent ask Rosie to release some jewelry which is in a safe deposit box. Raju, a bit jealous, does not want Marco to have any contact with Rosie and forges Rosie's name on the release of the jewels. Meanwhile, Rosie and Raju drift apart due to Rosie's incomprehensible behaviour when she tortures Raju by not obliging him a caring hug even and asks him to leave her room else she says she will have to go out. Before this, they also had a discussion about how a man should live when Rosie remembers Marco and tells Raju that Marco was probably correct when he used to say that a man should not live on a woman's earnings.

Raju retorts by saying that she is under a misunderstanding that she has become a star on her own and it was only because of Raju's efforts that she became famous. Later, Rosie learns of the forgery release. Raju is convicted of forgery, resulting in a two-year sentence. Rosie does not understand why Raju indulged in forgery, when he could have easily asked her for money. It was not money, it was the loving fascination for Rosie which urged Raju not to reveal Marco's visit to Rosie so that she doesn't remember him again and to eliminate the probability of Rosie and Marco's togetherness, if at all, there was any little chance. On the day of his release, his mother and Rosie come to pick him up but they are told that he was released six months ago because of his good behaviour.

Meanwhile, upon his release Raju wanders alone. Despair, poverty, rags, hunger, loneliness engulf him until he finds a wandering group of sadhus (holy men) with whom he spends a night at a derelict temple in a small town.Raju impresses the woman with the logic in taking a husband and she submits, which convinces Bhola that Raju is a swami (holy man). Impressed by this, Bhola spreads the news through the village. Raju is taken as a holy man by the village. Raju assumes the role of village holy man (Swami Ji) and engages in skirmishes with the local pandits.And drama started here. Due to drought Raju was forced to fast for 12 days so that it rains. Meanwhile, his mother, friend and Rosie unite with him and patch things up. In the end it rains but Raju dies.

Directed by 

Vijay Anand Writing Credits (in alphabetical order)

Vijay Anand ... (dialogue)

Pearl S. Buck ... (US version) (US version)

R.K. Narayan ... (novel)

Cast

Dev Anand as Raju

Waheeda Rehman as Rosie Marco/Miss Nalini

Leela Chitnis as Raju's Mother

Kishore Sahu as Marco

Gajanan Jagirdar as Bhola

Anwar Hussain as Gaffoor

Rashid Khan as Joseph

Ram Avtar as Pandit

Nazir Kashmiri as villager

Produced by Dev Anand

 Music by Sachin Dev Burman ... (as S.D. Burman) 

Duniya Bananewale Kya Tere Mann Me Samayi

Following is the lyrics of 'Duniya Bananewale Kya Tere Mann Me Samayi' song from hindi movie 'Teesri Kasam'.

Song: Duniya Bananewale Kya Tere Mann Me Samayi

Movie: Teesri Kasam

Singer(s): Mukesh

Music By: Shankar-Jaikishan

Lyricist(s): Shailendra

Duniya Bananewale Kya Tere Mann Me Samayi Lyrics from Teesri Kasam

 Duneeya banaanewaale kya tere mann me samaayee

 Kaahe ko duneeya banaayee, tune kaahe ko duneeya banaayee

 Kaahe banaaye tune maatee ke putle

 Dharti yeh pyaaree pyaaree, mukhde yeh ujale

 Kaahe banaaya tune duneeya kaa khela

 Usame lagaaya javaanee kaa mela

 Gup chup tamaasha dekhe, wah re teree khudaayee

 Kaahe ko duneeya........

 Prit banaake tune jina sikhaaya, hansna sikhaaya rona sikhaaya

 Jivan ke path par mit milaaye, mit milaake tune saapne sajaaye

 Sapane sajaake tune kaahe ko de dee judaayee

 Kaahe ko duneeya.......

Hindi Version

दुनियाँ बनाने वाले, क्या तेरे मन में समायी

काहे को दुनियाँ बनायी, तूने काहे को दुनियाँ बनायी

काहे बनाये तू ने माटी के पुतले

धरती ये प्यारी प्यारी, मुखड़े ये उजले

काहे बनाया तू ने दुनियाँ का खेला

जिस में लगाया जवानी का मेला

गुपचुप तमाशा देखे, वाह रे तेरी खुदाई

तू भी तो तड़पा होगा मन को बनाकर

तूफां ये प्यार का मन में छुपाकर

कोई छबी तो होगी आँखों में तेरी

आँसू भी छलके होंगे पलकों से तेरी

बोल क्या सूझी तुझ को, काहे को प्रीत जगाई

प्रीत बना के तू ने जीना सिखाया

हसना सिखाया, रोना सिखाया

जीवन के पथ पर मीत मिलाये

मीत मिला के तू ने सपने जगाये

सपने जगा के तू ने, काहे को दे दी जुदाई

Bahubali is Mega Hit

The film received generally positive reviews from critics. Lisa Tsering based on The Hollywood Reporter wrote, "The story has been told many times before — a child is born destined for greatness and as a man vanquishes the forces of evil — but in the confident hands of accomplished South Indian director S.S. Rajamouli the tale gets potent new life in Bahubali: The Beginning." Allan Hunter, writing for Screen Daily noted that "The broad brushstrokes storytelling and the director's over-fondness for slow-motion sequences are among the film's failings but this is still a rousing film, easily accessible epic. There's rarely a dull moment in Baahubali: The Beginning, part one of a gung-ho, crowd-pleasing Telugu-language epic that has been shattering box-office records throughout India." Mike McCahill of The Guardian rated the film four stars out of five, praising the film, "Rajamouli defers on the latter for now, but his skilful choreography of these elements shucks off any cynicism one might carry into Screen 1: wide-eyed and wondrous, his film could be a blockbuster reboot, or the first blockbuster ever made, a reinvigoration of archetypes that is always entertaining, and often thrilling, to behold." Suprateek Chatterjee of The Huffington Post wrote, "However, all said and done, Baahubali: The Beginning is a remarkable achievement. What Rajamouli has pulled off here, despite its flaws, is nothing short of a miracle, especially when you take into account India's notoriously risk-averse filmmaking environment and when the film ends on a tantalising cliffhanger (paving the way forBaahubali: The Conclusion, due to release next year), one can't help but applaud his singularly brave vision. As the cliché goes, a journey of a thousand miles must begin with a single step, but it doesn't really matter if that first step is shaky as long as it lands firmly and confidently."

Deepanjana Pal of Firstpost wrote, "This battle is Rajamouli's tour de force. It's elaborate, well-choreographed and has some breathtaking moments. Prabhas and Dagubatti are both in their elements as the warriors who approach warfare in two distinctive styles. The outcome of the battle is no surprise, but there are enough clever tactics and twists to keep the audience hooked. The biggest surprise, however, lies in the film's final shot, which gives you a glimpse into the sequel that will come out next year. And it's good enough to make you wish 2016 was here already." Saibal Chatterjee of NDTV India rated the film with three stars out of five and stated, "The spectacular universe that the film conjures up is filled with magic, but the larger-than-life characters that populate its extraordinary expanse do not belong to any known mythic landscape. To that extent, Baahubali, driven by the titular superhero who pulls off mind-boggling feats both in love and in war, throws up many a surprise that isn't altogether meaningless." Shubhra Gupta of The Indian Express praised the film: "Right from its opening frames, 'Baahubali' holds out many promises: of adventure and romance, love and betrayal, valour and weakness. And it delivers magnificently on each of them. This is full-tilt ,fully-assured filmmaking of a very high order. 'Baahubali' is simply spectacular." IN her review for The Hindu, Sangeetha Devi Dundoo wrote, "The war formations that form a chunk of the latter portions of the film are the best we've seen in Indian cinema so far. These portions are spectacular and show the technical finesse of the cinematographer (K.K. Senthil Kumar) and the visual effects teams. The waterfall, the mystical forests and water bodies above the cliffs and the lead pair escaping an avalanche all add to the spectacle. Give into its magic, without drawing comparisons to Hollywood flicks."

Sukanya Varma of Rediff gave the film four out of five stars, calling it 'mega, ingenious and envelope pushing!'. Critic Archita Kashyap based at Koimoi also gave the same ratings, "Be it the war sequences, or sword fighting; or a visual spectacle, or pure entertainment it is worth a watch. Kudos to the dedication of S S Rajamouli and his leading men, Prabhas & Rana, for spending years putting this film together. Actually, in its imagination & Indianness, Baahubali might just be a whole new start." Rachit Gupta of Filmfare gave the film four stars (out of 5) and summarized, "Baahubali is truly an epic experience. Had the story not been so jaded, this would've gone into the history books as an all-time classic. But that's not the case. It has its set of storytelling flaws, but even those are overshadowed by Rajamouli's ideas and execution. This is definitely worthy of being India's most expensive film. It's a definite movie watching experience." Suparna Sharma of Deccan Chronicle praised the second half of the film, writing, "Rajamouli has reserved all the grander and grandstanding for later, after interval. That's when the film stands up and begins to strut like an epic." Suhani Singh of India Today pointed out that the film is best enjoyed keeping logic at bay. She added, "SS Rajamouli and his team put up a fascinating wild, wild east adventure. It takes pluck to conceive a world like the one seen in Baahubali and to pull it off on a level which is on par with the international standards. The almost 45-minute long battle sequence at the end is not just one of the biggest climaxes, but also the action spectacle rarely seen in Indian cinema. And if Rajamouli can present another one like that in part 2, then he is on course to register his name in cinema's history books. We can't wait to revisit Mahishmati kingdom." Critical reception penned by Shubha Shetty Saha for Mid Day rates the film with four stars out of film, exclaiming, "While watching 'Baahubali', you might have to periodically pick up your jaw off the floor. Because this is not merely a movie, it is an unbelievably thrilling fantasy ride." The review extends praising the aspects, "It is to the director's credit that every aspect of the film -- action, mind-boggling set design and choreography -- lives up to this epic film of gigantic scale. The choreography in the song that has Shiva disrobing Avantika to get her in touch with her feminine side, is an absolute gem."

Box office

Baahubali: The Beginning collected around ₹162 crore (US$24 million) worldwide on its first weekend from all its versions, the third biggest ever for an Indian film. The film grossed around 255 crore (US$38 million) worldwide in the first week of its release.[84] It became the first South Indian film to gross 300 crore (US$45 million) worldwide, reaching there in 9 days, and  subsequently grossed 401 crore (US$61 million) worldwide in 15 days.And has successfully crossed 500 crore (US$75 million) mark in 24 days. At the end of 30 days, it earned 540 crore (US$82 million) worldwide from all its versions. It has created many Box office Records.Highest grossing South Indian film in history,highest worldwide opening day gross with 75 crore (US$11 million),highest worldwide opening weekend gross with 169 crore (US$26 million),highest first week gross with 265 crore (US$40 million),fastest Indian film to reach 100 crore (US$15 million) mark in just 2 days,200 crore (US$30 million) mark in just 5 days,300 crore (US$45 million) mark in just 8 days and highest gross ₹113 crore (US$17 million) for a film dubbed into Hindi.

India

Baahubali: The Beginning opened to 100 percent occupancy in Andhra Pradesh and Telangana and close to 70 percent occupancy in Tamil Nadu, Kerala and Karnataka.It grossed around ₹50 crore (US$7.5 million) on its first day of release in India from all four versions (Telugu, Tamil, Malayalam and Hindi). The Hindi version earned around ₹4.25 crore (US$640,000) nett which was the second highest opening for any film dubbed into Hindi.The Hindi version grossed around ₹19.50 crore (US$2.9 million) nett in the first weekend.

The Telugu version alone earned around ₹65 crore (US$9.8 million) nett in first weekend in India. The film, from all its versions, earned almost ₹100 crore (US$15 million) nett in its first weekend. It had the fourth biggest opening weekend ever in India. The Hindi version collected around ₹40 crore (US$6.0 million) nett in its first week.

Baahubali: The Beginning grossed more than ₹178 crore (US$27 million) nett from all its versions in India in the first week. It added a further ₹45 crore (US$6.8 million) nett in its second weekend to take its total to around ₹224 crore (US$34 million) nett in ten days. The Hindi version grossed over 40 crore (US$6.0 million) nett in the Mumbai circuit.[100] Baahubali grossed over ₹100 crore (US$15 million) nett in 24 days from the Hindi version.

Overseas

The film collected around ₹20 crore (US$3.0 million) in its first day from the international markets.[90] In the United States and Canada, it earned US$1.2 million in its opening day from 236 theaters (170 of which were shown in Telugu).[103] Baahubali: The Beginning grossed around US$6.4 million (₹41 crore) at the North American box-office towards its second weekend.

The film opened on the ninth spot for its weekend, collecting around US$3.5 million with a per-screen average of $15,148.[106] The film debuted in the ninth position for the US and Canadian box office collecting $4,630,000 for three days and $3,250,000 for the weekend of 10–12 July 2015 [107] Baahubali: The Beginning grossed £66,659 from its Telugu version in United Kingdom and Ireland and A$194,405 from its Tamil version in Australia in till its second weekend (17 – 19 July 2015). The film also grossed MYR 663,869 in Malaysia from its Tamil version.