Sree Vishnu's ‘Single' dominates box office nearing Rs. 20 Cr club
Single has struck a chord with both family audiences and the youth, thanks to Sree Vishnu's effortless comic timing and the film's lighthearted, relatable storyline. His performance is earning widespread praise, reinforcing his image as one of the most bankable stars in Telugu cinema today.
Audience enthusiasm continues to skyrocket, with over 66,000 tickets sold on BookMyShow in the last 24 hours alone, pushing total ticket sales past the 2 lakh mark.
The buzz isn't limited to India—Single is also making waves overseas, especially in the US where it has already crossed the $400K mark and is swiftly inching toward half a million dollars.
Directed by Caarthick Raju and presented by Geetha Arts' Allu Aravind, the film entered the profit zone across all territories within just its opening weekend. With momentum still strong, Single is expected to maintain its dominance through the coming week and is well on track to join the ₹20 crore club.
It's clear that Single is not just a box office hit—it's a full-blown crowd-pleaser.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Time of India
22 minutes ago
- Time of India
Saroja Devi, star of 4 languages, passes on
Bengaluru: South Indian actress B Saroja Devi -- known as a doe-eyed beauty with a lasting screen presence in four languages – passed away in Bengaluru Monday. She was 87. Saroja Devi began her acting career at 17 with Kannada film 'Mahakavi Kalidasa' as a co-star of cinema pioneer Honnappa Bhagavathar in 1955. She quickly rose to fame with performances in Kannada, Tamil, Telugu and Hindi films, starring alongside legends Dr Rajkumar, MG Ramachandran, Gemini Ganesan, Sivaji Ganesan, NT Rama Rao, Dilip Kumar, Sunil Dutt and Shammi Kapoor. She earned the epithet, 'Chaturbhasha Taare' (a star of four languages). The third daughter of Bhairappa, a police officer, and Rudramma, the girl from Channapatna (a town 60km from Bengaluru) would carve a larger-than-life image in the film industry for many decades. She would eventually be crowned "the first female superstar of Kannada cinema". You Can Also Check: Bengaluru AQI | Weather in Bengaluru | Bank Holidays in Bengaluru | Public Holidays in Bengaluru In Kannada, her portrayal of 'Kittooru Rani Chennamma' was widely acclaimed. It was a film with MGR -- 'Nadodi Mannan' (1958), the first film for the duo -- that catapulted Saroja Devi to superstardom in Tamil film industry. The actress is survived by son Gautam Ramachandra (named after MGR) and daughter Indira (named after Indira Gandhi).
Time of India
an hour ago
- Time of India
Remembering Saroja Devi: Legendary Actress Who Captivated Indian Cinema
Saroja Devi in the 1965 Tamil film Kalangarai Vilakkam Vamanan Reflecting in later times on his directorial debut 'Kalyana Parisu' (1959), in which Saroja Devi played the younger sister who sacrifices her love for her elder sibling, director Sridhar would remark that one of the greatest challenges in remaking the film was finding a young actress who could match that performance. What a tribute to Saroja Devi — that even in the early years of her long career, she delivered a portrayal so memorable that an auteur such as Sridhar would recall it with such admiration! You Can Also Check: Chennai AQI | Weather in Chennai | Bank Holidays in Chennai | Public Holidays in Chennai This underlines the fact that Saroja Devi had acting talent, which, added to an expressive and photogenic face and good temperament to match, made for an eventful career as a lead actor in Tamil, Telugu, Kannada and Hindi films. No wonder the Kannadigas, of whom she was one, hailed her 'Abhinaya Saraswathi', the goddess of acting. The Tamils, in keeping with their large-hearted appreciation of artistes from other states, called her 'Kannadathu Paingili', the lovely parrot from the Kannada region, perhaps referring to her child-like articulation of Tamil dialogues. Saroja Devi revealed in an interview that Sivaji Ganesan would comment adversely on her Tamil accent, though the duo went on to deliver hits together. Songs such as 'Thangathile Oru Kurai Irunthalum' from 'Bagappirivinai' (1959) and 'Aalayamaniyin osaiyai' from 'Paalum Pazhamum' (1961) , picturised on Saroja Devi and Sivaji to excellent effect, however, represent the pinnacle of the best Tamil diction and the benchmark of the best of Tamil film song. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Little-Known RMD Strategy Approved by the IRS Undo Saroja Devi's Chennai visits unleashed a series of providential incidents which finally found her playing the heroine in MGR's ambitiously mounted make-or-break film 'Nadodi Mannan' (1958). MGR had initially cast Bhanumathi as the heroine, but creative differences led to her walking out mid-shoot. To salvage the film, MGR phased out her character and introduced Saroja Devi in the second half, a spectacular debut for a newcomer. The film became a milestone, establishing MGR as not just a star but also a successful producer-director. While Bhanumathi had questioned his directorial skills, Saroja Devi praised him. In later years, especially after MGR's passing, she would describe him as 'En anbu deivam' (My loving god). The MGR-Saroja Devi pairing seemed to viewers an ideal one, though there was a 20-year age gap between the two. Eastman colour films such as 'Padagotti' (1964), 'Enga Veettu Pillai' (1965) and 'Anbe Vaa' (1966), despite all their formula frills, clicked in many ways. In the first half of the 1960s, when MGR and Saroja Devi were gallivanting to scores of hit songs, the latter was as busy with MGR's film world rival, Sivaji Ganesan, with whom she paired in 15 films up to the early 1970s. Saroja Devi revealed that it was possible only because MGR adjusted his dates to enable her to make the most of all the other opportunities she got. With Sivaji, Saroja Devi matched the great thespian's acting skills with her own. Films such as 'Aalayamani', which presents a love triangle darkly told, and 'Pudhiya Paravai', in which Saroja Devi is a detective who feigns love only to expose the hero's murderous past, are memorable. When the hero Gopal asks her finally whether all the love she showed him was only playacting, she says 'Aamaam Gopal'; but goes on to add that while her intention at first was to deceive him, she had fallen in love with him. This climactic dialogue was spoofed by comedians Vivek and Baskar in 'Guru En Aalu' in 2009. But their spoofing only adds to the original's appeal! Saroja Devi's life and career had been guided by her astute mother Rudramma, with friendly patrons such as MGR also steering her course. She married Sri Harsha in 1967, and he encouraged her to continue acting. Around this time, directors such as K Balachander ('Thaamarai Nenjam', 1968) and K S Gopalakrishnan ('Panama Pasama', 1968) cast her opposite Gemini Ganesan , with whom she had first worked in 1959. She shared an easy rapport with Gemini, both on and off screen, and he stood by her in moments of grief, rushing to console her when her husband died in 1986. As one of the few stars who played a major part in the MGR era and was still alive, she was invited to events that gave fans the opportunity to revisit the past. She was also part of the circuit of the actresses of yesteryear who met up to share memories. With her passing at the age of 87, many of those who hearken to the remembrances of things past are bound to think that another glowing star of a glamorous past has disappeared from ever. Life and times The 1950s marked a shift in Indian cinema, with industries moving beyond theatre to discover fresh faces. Among them was 17-year-old B Saroja Devi (born Jan 7, 1938, the third daughter of Bhairappa, a police officer, and Rudramma) Her first release was 'Mahakavi Kalidasa' (1955) opposite Kannada-Tamil star Honnappa Bhagavatar Within a few years of her debut, Saroja Devi starred opposite MGR and Sivaji Ganesan in Tamil; Dilip Kumar, Sunil Dutt and Shammi Kapoor in Hindi; and N T Rama Rao in Telugu, in addition to her Kannada films Between 1957 and 1967, she starred in 26 films with MGR, 22 with Sivaji Ganesan and 17 with Gemini Ganesan By the late 1970s, she acted as the female lead in more than 150 films across four languages After the passing of her husband in 1986, Saroja Devi reduced her film appearances. The death of her adopted daughter, Bhuvaneshwari, was another personal blow. Her cameo in Puneeth Rajkumar's 2019 film 'Natasaarvabhowma' was her last screen appearance Her awards: Padma Shri (1969), Padma Bhushan (1992) (The writer is a journalist and author)
India.com
3 hours ago
- India.com
Ram Gopal Varma breaks his silence on Deepika Padukone and Sandeep Reddy Vanga's controversy - 'There are many factors...'
Deepika Padukone and Sandeep Reddy Vanga had a falling out over the latter's demand for an 8-hour shift in the film 'Spirit'. The spat between the two stars sparked a heated debate on work-life balance in the film industry. Now, filmmaker Ram Gopal Varma has given his opinion on the debate and said that the issue has been blown out of proportion. What Is The Spirit Controversy? Earlier, it was said that Deepika Padukone might be seen opposite Prabhas in Sandeep Reddy Vanga's action film 'Spirit'. However, at the beginning of the year, news came that she had left the project. Many people claimed that she had put conditions of 8-hour shifts, a share in the film's profits and not speaking dialogues in Telugu, which the filmmaker did not agree to. However, the entire controversy was limited to the demand for an 8-hour shift. What Did Ram Gopal Varma Say On The Matter? In a conversation with Hindustan Times, Ram Gopal Varma gave his opinion on the controversy and the demand for an 8-hour shift. Ram Gopal Varma said, 'When it comes to the shift timings of the actors, it is an agreement between two people. Everyone has the right to say their point and the other has the right to reject it.' He further continued, 'In my opinion, the whole thing between Deepika and Sandeep was blown out of proportion, because I can say I want to work for 23 hours and the actor can say I want to work only for one hour. It is their choice. But how can one person force another person to do something? They can agree to work with each other or not, but this thing was just blown out of proportion in the media.' It Is Not Practical Speaking further, RGV mentioned that the demand for limited shifts is not practical. He said, 'It is not practical to have limited shifts for actors, because filmmaking depends on many external factors. It depends on many factors. The director may need a specific lighting. He may need to coordinate with another actor or change the location. There can be many factors.'
