From Doctor to Box-Office Disruptor

Vishal Chaturvedi has turned a deeply personal spiritual story into one of 2026’s biggest box-office surprises. In an industry where films routinely arrive with star salaries running into crores, lavish sets and multi-crore marketing campaigns, Hanuman Ansh is a striking anomaly. Made on a shoestring budget reportedly in the region of Rs. 2 crore, the ‘spiritual’ film opened last month to a modest box-office collection. Within weeks, however, audiences began taking a shine to the film with...

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Vishal Chaturvedi has turned a deeply personal spiritual story into one of 2026’s biggest box-office surprises. In an industry where films routinely arrive with star salaries running into crores, lavish sets and multi-crore marketing campaigns, Hanuman Ansh is a striking anomaly. Made on a shoestring budget reportedly in the region of Rs. 2 crore, the ‘spiritual’ film opened last month to a modest box-office collection. Within weeks, however, audiences began taking a shine to the film with the phenomenal result that its domestic collections had surged past the Rs. 150 crore mark. Whatever the final tally, the fact that a film made for a fraction of the budgets of mainstream Bollywood productions has emerged as a major commercial success has raised eyebrows. The man responsible for this is Vishal Chaturvedi, a doctor-turned-filmmaker, writer and producer whose route to cinema has been anything but conventional. Chaturvedi was born and brought up in Lucknow and completed his MBBS from Gorakhpur in 2006. While posted in Haldwani that year, he visited Kainchi Dham. It was there that he encountered the teachings of Neem Karoli Baba, the spiritual figure whose life and philosophy would eventually become the foundation of his first feature film. For almost two decades, the thought of making a film around Neem Karoli Baba remained with Chaturvedi. His journey towards Hanuman Ansh itself reportedly took nearly 14 years. Along the way, he left medicine and even gave up music before committing himself fully to filmmaking. What might appear in retrospect as an overnight success was therefore anything but overnight. Hanuman Ansh tells the story of Lakshminarayan, who would later become Neem Karoli Baba. Following his mother’s death, the young Lakshman leaves home in search of God. His journey through forests, temples and villages becomes a gradual renunciation of worldly life and a movement towards spirituality. The film also incorporates episodes associated with Neem Karoli Baba, including the famous account of a British train being stopped after he was forced off it. But perhaps the most revealing part of Chaturvedi’s story is not what he put into the film, but what he deliberately kept out while writing it. He removed digital devices from his room and wrote the story entirely by hand. His assistants subsequently photographed the handwritten pages and converted them into digital form. He spent nearly 45 days writing the first scene alone. For Chaturvedi, however, the first scene was the foundation of the entire film. Once he had found it, the rest of the screenplay came together rapidly, taking another 15 to 20 days. Hanuman Ansh was the culmination of a personal conviction that had survived for nearly 20 years. Its success also raises a larger question about the changing economics of Indian cinema. The film is unlikely to signal the death of stars, spectacle or big budgets. Nor does every low-budget film with a strong idea automatically become a blockbuster. But Hanuman Ansh, alongside other recent successes such as Dhurandhar, points towards something increasingly important: content can create its own market when audiences feel they have discovered something worth talking about. The old model depended heavily on pre-release visibility. The new one increasingly depends on post-release conversation. A film need not necessarily dominate advertising if audiences themselves become its marketing department. That is particularly significant for films operating outside the traditional Bollywood template. Hanuman Ansh does not have the conventional ingredients of a commercial blockbuster. Its subject is spiritual, its central character is not a contemporary superstar and its budget was tiny by industry standards. Yet its audience appears to have expanded precisely because it offered something different. Today, audiences are becoming less willing to accept that the size of a film’s budget determines its value. They can reject an expensive production and embrace a modest one if the latter connects emotionally, culturally or spiritually. For Chaturvedi, the irony is striking. A man who walked away from medicine to pursue filmmaking spent years chasing a story that the mainstream industry apparently did not rush to embrace. That makes Hanuman Ansh’s success more than a box-office curiosity. It is a reminder that while budgets and big-name stars may buy scale and draw attention, the belief among audiences that a particular film is telling a solid story and hence must be seen is priceless. Chaturvedi appears to have spent years building his belief around one story. Judging by the box office receipts, the audience, too, seems to have bought into it.

Dangerous Departures

Correspondent

Oct 29, 2024

2 min read

Updated: Oct 30, 2024

In yet another shocking incident adding to Mumbai’s infamous tryst with stampedes, chaos erupted at Mumbai’s Bandra Terminus following a weekend stampede that left at least ten persons injured, two critically so. A crowd surged toward the Gorakhpur-bound train with nearly 1,500 people vying for seats in 22 unreserved compartments, leading to the stampede. Several others narrowly avoided tragedy, with some even pushed onto the tracks. This is not a unique episode but rather a recurring theme in Mumbai’s bedevilled crowd management, one that has haunted the city’s public spaces, particularly as festive seasons magnify the crowds.

Mumbai is no stranger to stampedes. A horrifying incident in 2017 at Elphinstone Road Station left 23 people dead and nearly 50 injured. The cause was a familiar one: an overwhelming crowd confined to a narrow footbridge during peak rush hour. The tragedy sparked an outcry, with promises from authorities to upgrade infrastructure and enhance safety protocols. Yet seven years on, crowd-related incidents continue to be a constant danger. Today’s incident reveals a similar lapse—a lack of foresight in managing the thousands who gather on platforms ahead of Diwali, eager to return to family. That the Gorakhpur Express was unreserved and heavily crowded was predictable.

The issue lies beyond simply crowd density; it is emblematic of deeper systemic negligence. The Brihanmumbai Municipal Corporation (BMC), responsible for local public safety, along with the Railways Ministry, bear responsibility for ensuring order at such high-risk hubs. Although the BMC acknowledged the “festive rush,” it appears little was done to pre-empt it. Swift action could have been taken to either disperse the crowd or reroute passengers. Instead, chaos prevailed.

Political reaction has been swift but uninspiring. Aaditya Thackeray, son of Uddhav Thackeray, launched a scathing attack on the Union Railways Minister, Ashwini Vaishnaw, branding the incident a result of the minister’s “incapable” leadership. This hardly addresses the immediate need: a substantive plan to manage crowds and prevent similar incidents.

Mumbai’s transport infrastructure remains sorely outdated. Platforms are undersized, signalling systems frequently falter, and crowd control mechanisms are grossly inadequate. Despite repeated accidents, there has been little investment in comprehensive crowd management systems or the deployment of personnel trained in emergency response. While railway footbridges were widened after the Elphinstone tragedy, Bandra’s incident demonstrates that such incremental changes are insufficient. Mumbai, which sees a swelling populace during festivals, demands a robust strategy to address its vulnerabilities. This should include technology-driven crowd monitoring, clear communication channels to inform passengers of platform conditions, and additional security and medical staff on high-demand days. It is essential that crowd management training for personnel becomes a priority rather than a reaction to tragedies.

From Doctor to Box-Office Disruptor

Dangerous Departures

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