When a film nets Rs. 894.96 crore in India, the obvious question is: where exactly did the audience show up in the biggest numbers? In the case of Dhurandhar, the answer is emphatic. Mumbai led from the front, Delhi-U.P followed with force, and East Punjab sealed the film’s blockbuster credentials.
What stands out instantly is the dominance of the top three territories - Mumbai, Delhi-U.P and East Punjab. These three circuits alone contributed a massive Rs. 538.42 crore, which amounts to 60.77% of the total India nett. In simple terms, more than three-fifths of Dhurandhar’s domestic business came from just these three territories.
The biggest contributor was, unsurprisingly, Mumbai, which generated a huge Rs. 260.02 crore nett. That means Mumbai alone accounted for 29.35% of the film’s total India business. This is a phenomenal share and underlines the film’s tremendous pull in one of the country’s most important circuits. Whether it was the urban centres, mass pockets or the repeat-value factor, Dhurandhar found extraordinary acceptance in Mumbai.
Next came Delhi-U.P, which contributed Rs. 182.90 crore nett, making up 20.64% of the overall India collections. If one combines the contributions of Mumbai and Delhi-U.P, the figure comes to Rs. 442.92 crore, which is almost 49.99% of the total India nett. In other words, nearly every second rupee earned by Dhurandhar in India came from just these two territories. That’s an extraordinary concentration of business and clearly shows where the film’s theatrical muscle was the strongest.
The third biggest contributor was East Punjab, which added Rs. 95.50 crore nett. With a share of 10.78%, East Punjab further reinforced the point that Dhurandhar was hugely embraced by the North belt. The contribution from East Punjab is especially significant because it shows that the film’s success wasn’t restricted to just Mumbai and Delhi-U.P; it had equally strong resonance in another major circuit known for turning event films into big grossers.
Beyond the top three, the film also posted strong numbers in other key territories. Nizam-AP contributed Rs. 54.98 crore, while Mysore chipped in with Rs. 52.99 crore. Rajasthan added Rs. 50.20 crore, followed by CP at Rs. 44.89 crore, West Bengal at Rs. 40.62 crore, and CI at Rs. 37.65 crore. These are very healthy numbers and show that Dhurandhar was not dependent only on a few centres but enjoyed broad-based theatrical support across several major markets.
If one combines Mumbai, Delhi-U.P, East Punjab, Rajasthan, CP, CI and Bihar & Jharkhand, the total contribution comes to Rs. 701.72 crore nett. This means that around 79.20% of the film’s India collections came from these Hindi belt-driven territories. That is perhaps the most important takeaway from the territory split. The mass appeal, the scale, the theatricality and the larger-than-life packaging seem to have landed strongest in territories where event cinema traditionally thrives the most.
Meanwhile, Bihar & Jharkhand contributed Rs. 30.56 crore, while Assam and Orissa added Rs. 12.21 crore and Rs. 13.25 crore respectively. Tamil Nadu & Kerala stood at Rs. 10.28 crore. Though these markets contributed a relatively smaller share of the total, they still added depth to the all-India performance of the film.
If one were to answer the question, “Where did India watch Dhurandhar?”, the numbers make the answer loud and clear: India watched it most passionately in the core Hindi circuits, with Mumbai leading the charge, Delhi-U.P providing massive reinforcement, and East Punjab turning in blockbuster-level support. That is where the film’s real box office heartbeat lay.
