BY CHRISTA LINCY
Dhamaal 4 arrives as the latest installment in a comedy franchise that has historically relied on loud, slapstick humor to draw crowds. The film reunites the familiar ensemble of Ajay Devgn, Riteish Deshmukh, Arshad Warsi, and Javed Jaffrey, aiming to capitalize on the nostalgia of the earlier hits. However, the pre-release momentum was notably lukewarm; when the trailer first dropped, it failed to ignite the kind of massive social media conversation or high-octane buzz usually expected from a big-budget sequel. Instead of a wave of excitement, the initial reaction was quite measured, leaving the film to rely heavily on its theatrical performance to prove its worth. Now, six days into its run, the film is performing well at the box office, managing to find its footing and draw in consistent numbers.
By the end of its sixth day, Dhamaal 4 has reached a worldwide gross of ₹124.66 Cr, a figure that highlights its steady performance across markets. This total is built on a solid domestic foundation, with India gross collections standing at ₹107.41 Cr. In the international circuit, the film has brought in a total gross of ₹17.25 Cr. When focusing on the core domestic earnings, the movie has officially secured a net collection of ₹90 Cr in India so far.
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Looking specifically at the Day 6 performance, which fell on a Wednesday, the film collected a net of ₹6.75 Cr. When we compare this to Tuesday's net collection of ₹9.50 Cr, we see a drop of 28.9 percent. This decline is quite standard for a comedy film during the middle of its first week, as the initial weekend rush settles into a steady weekday pace. To achieve this Day 6 figure, the movie played across 11,137 shows, contributing to a massive cumulative total of 65,916 shows since its release.
On the international front, early estimates suggest the film added another ₹1.25 Cr (approximately 149 thousand dollars) on its sixth day. According to Venky Box Office, the film earned 139 thousand dollars (roughly ₹1.16 Cr) on Tuesday alone. This brings its total North American gross to 714 thousand dollars (approximately ₹5.98 Cr). These numbers indicate a decent pull among the diaspora, even on working days.
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Ticketing trends on BookMyShow further highlight the film's reach. On Tuesday, the platform recorded 133.65K tickets booked, while Wednesday saw 100.96K bookings. In total, the film has seen over 16,12,090 tickets sold through this platform alone. These figures reflect a healthy interest, though there is a visible downward trend as the week progresses.
Looking at the performance across major national chains—PVR, INOX, and Cinepolis—we get a clearer picture of how the movie is trending through advance bookings. For its sixth day, these chains collectively sold around 5,300 tickets, resulting in a total gross of approximately ₹14.3 Lakhs. This was achieved across nearly 3,490 shows, reflecting a modest advance occupancy of about 0.9 percent. When we break these numbers down, INOX led the way with roughly 2,900 tickets sold, bringing in nearly ₹7.2 Lakhs from about 1,280 shows, which translates to a 1.0 percent occupancy rate. PVR followed with roughly 2,400 tickets, generating about ₹7.1 Lakhs from a slightly higher show count of around 1,540, resulting in an occupancy of approximately 0.8 percent. Interestingly, Cinepolis, which scheduled around 670 shows across nearly 80 venues, saw no activity in advance ticket sales for this period. These figures highlight that the film is currently relying more on spontaneous spot bookings and walk-in audiences rather than pre-planned ticket purchases, which is quite common for comedy sequels during the work week as they aim to maintain their screen count heading into the second weekend.
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When we break down the occupancy for Day 6, the overall average across India stood at 14.12 percent. The interest level grew steadily throughout the day, starting with a 6.92 percent occupancy in the morning shows. This jumped to 13.62 percent in the afternoon and 15.31 percent in the evening with the night shows peaking at 19.00 percent occupancy.
Regional performance also tells an interesting story. The National Capital Region (NCR) led with 1,025 shows and an overall occupancy of 14.5 percent. Mumbai followed closely with 856 shows and 14.0 percent occupancy. Ahmedabad showed a strong preference for the film with 623 shows and a 15.5 percent occupancy rate, while Pune and Bengaluru saw 12.3 percent and 13.3 percent occupancy respectively. Surat recorded a lower engagement at 7.3 percent across its 381 shows.
Bollywood
