A look at the last three months gone by is illustrative of what has worked. According to figures supplied a couple of weeks ago by producers UTV, Ashutosh Gowarikar’s Jodhaa Akbar, at Rs 120 crore, has become one of the top ten grossers worldwide (the list is toplined by last year’s Om Shanti Om at Rs 168.75 crore, bottoming out with Lage Raho Munna Bhai at Rs 119.41 crore).

Given that the film is still running in many centres, it’s bound to climb. But quite apart from cold collection figures, the epic romance between Mughal emperor Akbar and his Rajput wife, Jodhabai, has swept the imagination of the audiences cutting through age and class demographics. The surrounding controversy generated by Mughal historians and self-proclaimed protectors of Rajput pride (Was there a Jodha? Was she Akbar’s wife? Or was she Jehangir’s? ) only helped to keep the film in public eye. And, crucially, in the theatres.

The detractors forgot another crucial fact: that people go to the movies to be entertained, to be swept away by beauty; and that they couldn’t be bothered by all the doubts raised by the naysayers on authenticity and timelines. It helped, of course, that the film is helmed by two of Bollywood’s best-looking stars: Hrithik and Aishwarya. The duo had already proved that they worked well together in their previous pairing in Dhoom 2. In Jodhaa Akbar, they scorched the screen with their passion — she watched him waggle his sword and his delicious bare chest flashing in the sun; he looked at her, entranced. It’s not just them, the audience is in love too; they even overlooked the excessive length of the movie because of its sheer star appeal.

Abbas Mustan’s Race shares its production house with Jodhaa Akbar, but it couldn’t be more different in terms of story and setting. It’s a modern thriller set in Durban, with a very contemporary look, and stars who can carry off designer dark glasses, bespoke suits and bare skin. It’s got Saif Ali Khan and Akshaye Khanna in a deep dark sibling rivalry; Bipasha Basu and Katrina Kaif in short skirts; and Anil Kapoor and Sameera Reddy in a risqué comedy track full of broad jokes (pun totally intended).

The plot is incidental though it has enough twists and turns to make you dizzy. The intention of everyone involved with the making of the movie is clear: dress them hot, make them cool, put in a couple of songs which will rock the dance floors (lyrics like zara zara kiss me kiss me, zara zara touch me touch me fits the bill admirably), and voila, you have a movie. Race released in 1,300 screens across the country (plus 300 overseas) over the Holi weekend and mopped up a massive opening grossing Rs 22 crore India-wide

All the action: Stills from Mithya.

Rajat Kapoor’s gangster movie Mithya, about a struggling actor who replaces a lookalike mafia don in his den, makes up the success troika. The best part of Kapoor’s sharp, smart film is its lead actor Ranvir Shorey, who has become one of the reasons to go watch a film in the last couple of years. Mithya which can be roughly translated as ‘not true’ or ‘makebelieve’ tries to explore the old conundrum: what is real or what is not with some success (in this writer’s opinion, Kapoor didn’t go as far as he could have with his cracker of an idea because he lets his story sag here and there). Despite its problems, it delivered what a section of the audience, growing by leaps and bounds, demands: difference. And a welcome quirky edge which is characteristic of all Kapoor’s movies. It ran 50 weeks in the PVR theatres in New Delhi, a record for a film minus stars; even in multiplexes, the majority veers towards loaded starry vehicles. Says a PVR spokesperson, “We ran Mithya for so long because people wanted to watch it. And we were able to do it because of our small capacities. It didn’t even release in single-screen theatres.”

A cursory glance at what didn’t work is interesting too. Two established filmmakers, trying their hand at direction after a sizeable gap, found themselves out of it. Rajkumar Santoshi’s morality tale Halla Bol, despite Ajay Devgan’s presence, didn’t do too well. Trouble: dated style, excessive melodrama. And despite its tax-free status, Subhash Ghai’s Black & White, about the making of a terrorist, was also a less-than-average performer. Trouble: ditto, ditto.

The only other film which did more than average business was January release Sunday, a comic caper starring Ajay Devgan again and the terrifically talented trio of Irrfan Khan, Arshad Warsi, and Vrajesh Hirjee.

It proved the point that Ajay is now accepted in both intense and light roles, and that comedies, fronted by big names (directors and actors) will always get their money back.

Bollywood is already looking ahead. April looks exciting, with three big-genre movies: Rakesh Roshan’s Krazzy 4 (comedy) , Ajay Devgan’s U Me Aur Hum (romance) and Yashraj’s Tashan (action).

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