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đŸŽŦ Housefull 5 Box Office Success: Sajid Nadiadwala’s Latest Comedy Brings Big Profits to Nadiadwala Grandson Entertainment

Housefull 5 delivers box office success for Sajid Nadiadwala’s Nadiadwala Grandson Entertainment. Explore how the film continues the winning streak of the Housefull franchise.

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Housefull 5 movie poster featuring the ensemble cast

Sajid Nadiadwala’s much-anticipated comedy film, Housefull 5, has proven to be a massive box office hit. Continuing the legacy of the successful Housefull franchise, the fifth installment has not only met but exceeded expectations, delivering a highly profitable run for Nadiadwala Grandson Entertainment (NGE). The film’s widespread appeal, stellar ensemble cast, and signature comedic flair have captivated audiences across India and beyond.


A Franchise That Keeps Delivering Box Office Magic

The Housefull franchise has consistently attracted moviegoers with its blend of slapstick humor, vibrant visuals, and star-studded ensembles. Housefull 5 carries this tradition forward, generating robust ticket sales and positive audience reception.

According to box office reports, the film opened strong, with weekend collections surpassing industry forecasts. Early trade analysis indicates that Housefull 5 is on track to become one of the year’s top-grossing Bollywood comedies. NGE’s investment in high-quality production values, strategic marketing campaigns, and international distribution deals has certainly paid off.

Behind-the-scenes shot of Housefull 5 cast and crew on set
Behind-the-scenes shot of Housefull 5 cast and crew on set

Sajid Nadiadwala’s Production Prowess Shines Again

Under the leadership of Sajid Nadiadwala, NGE has firmly established itself as one of Bollywood’s most successful production houses. With hits like Kick, Judwaa 2, and the Housefull series, the company has built a reputation for delivering mass entertainers that appeal to a broad audience.

Housefull 5 further cements this reputation, benefiting from Nadiadwala’s experience and deep understanding of what Indian audiences crave. From securing top acting talent to orchestrating lavish set designs and shooting in exotic locations, every element of the film reflects Nadiadwala’s commitment to quality.

Moreover, the film’s international release strategy — with screenings in the UK, UAE, USA, and Australia — has contributed significantly to its global earnings. This approach not only expands the audience reach but also strengthens the brand value of both the Housefull series and NGE.

 Sajid Nadiadwala at the Housefull 5 premiere event
Sajid Nadiadwala at the Housefull 5 premiere event


Star-Studded Cast Drives Audience Buzz

A crucial factor in Housefull 5’s box office triumph is its star-studded cast, featuring Bollywood heavyweights who bring both comic timing and audience draw. Returning favorites and new additions to the ensemble have created an on-screen chemistry that resonates with fans.

Positive word-of-mouth and vibrant social media buzz have amplified the film’s visibility, resulting in sold-out shows and repeat viewership. This fan-driven momentum is expected to sustain the film’s profitable run in the coming weeks.


Conclusion

Housefull 5 demonstrates once again why Sajid Nadiadwala and Nadiadwala Grandson Entertainment remain at the forefront of Bollywood’s commercial cinema. The film’s winning combination of humor, visual spectacle, and mass appeal ensures its place as a box office success.

If you enjoyed this update on Bollywood’s latest blockbuster, be sure to explore more entertainment news on The Indian Chronicles. Don’t forget to share your thoughts in the comments and follow us for more movie updates!

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āϏāĻŽā§āĻĒāĻžāĻĻāĻ•ā§€ā§Ÿ
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“āϟāĻžāύāĻž āϰāĻŋāĻ•ā§āϏāĻž āĻāĻ•āϏāĻŽā§Ÿ āĻ›āĻŋāϞ āĻ•āϞāĻ•āĻžāϤāĻžāϰ āύāĻžāĻĄāĻŧāĻŋāϰ āĻ¸ā§āĻĒāĻ¨ā§āĻĻāύāĨ¤ āφāϜ āϤāĻž āĻšāĻžāϰāĻŋā§Ÿā§‡ āϝ⧇āϤ⧇ āĻŦāϏ⧇āϛ⧇āĨ¤ āĻāχ āĻ•āĻžāĻšāĻŋāύāĻŋāϤ⧇ āωāϠ⧇ āĻāϞ āĻāĻ• āĻļāĻšāϰ⧇āϰ āĻŽāĻžāύāĻŦāĻŋāĻ•āϤāĻžāϰ, āϞāĻĄāĻŧāĻžāĻ‡ā§Ÿā§‡āϰ āφāϰ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ⧇āϰ āĻ›āĻžā§ŸāĻžāĻ›āĻŦāĻŋāĨ¤”

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āĻ­ā§‹āϟāĻžāϰ āϤāĻžāϞāĻŋāĻ•āĻžāχ āĻāĻŦāĻžāϰ āϝ⧁āĻĻā§āϧāĻ•ā§āώ⧇āĻ¤ā§āϰ! āĻ…āύ⧁āĻĒā§āϰāĻŦ⧇āĻļ āĻŦāĻŋāϤāĻ°ā§āϕ⧇ āĻŽāĻŽāϤāĻžāϰ āĻšā§āĻ™ā§āĻ•āĻžāϰ: “āĻŦāĻžāĻ‚āϞāĻž āĻ­āĻžāώāĻžāϰ āωāĻĒāϰ āϏāĻ¨ā§āĻ¤ā§āϰāĻžāϏ āϚāϞāϛ⧇”

⧍⧧ āϜ⧁āϞāĻžāĻ‡ā§Ÿā§‡āϰ āϏāĻ­āĻž āĻĨ⧇āϕ⧇ āĻŽā§āĻ–ā§āϝāĻŽāĻ¨ā§āĻ¤ā§āϰ⧀ āĻŽāĻŽāϤāĻž āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžā§Ÿ āĻ¸ā§āĻĒāĻˇā§āϟ āĻŦāĻžāĻ°ā§āϤāĻž āĻĻāĻŋāϞ⧇āĻ¨â€”ā§¨ā§Ļ⧍ā§Ŧ āϏāĻžāϞ⧇āϰ āĻŦāĻŋāϧāĻžāύāϏāĻ­āĻž āύāĻŋāĻ°ā§āĻŦāĻžāϚāύ⧇āϰ ‘āφāϏāϞ āϞāĻĄāĻŧāĻžāĻ‡â€™ āĻšāĻŦ⧇ āĻ­ā§‹āϟāĻžāϰ āϤāĻžāϞāĻŋāĻ•āĻž āϘāĻŋāϰ⧇āĨ¤ āĻ…āύ⧁āĻĒā§āϰāĻŦ⧇āĻļ āĻŦāĻŋāϤāĻ°ā§āϕ⧇ āĻŦāĻŋāĻœā§‡āĻĒāĻŋāϰ āĻŦāĻŋāϰ⧁āĻĻā§āϧ⧇ āĻĒāĻžāĻ˛ā§āϟāĻž āφāĻ•ā§āϰāĻŽāϪ⧇ āĻŦāĻžāĻ‚āϞāĻžāĻ­āĻžāώāĻž āĻ“ āĻĒāϰāĻŋāĻšā§Ÿā§‡āϰ āϰāĻžāϜāύ⧀āϤāĻŋ āϏāĻžāĻŽāύ⧇ āφāύāϞ⧇āύ āϤ⧃āĻŖāĻŽā§‚āϞ āύ⧇āĻ¤ā§āϰ⧀āĨ¤

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āϏāĻ‚āĻŦāĻžāĻĻ āĻ“ āϰāĻžāϜāύ⧀āϤāĻŋ
“āϜāϝāĻŧ āĻŦāĻžāĻ‚āϞāĻžâ€™ āĻ•āĻžāρāĻĒāĻžāĻŦ⧇ āĻĻāĻŋāĻ˛ā§āϞāĻŋ, ⧍ā§Ļ⧍ā§Ŧ-āϰ āĻĒāϰ āĻŦāĻŋāĻœā§‡āĻĒāĻŋāϕ⧇ āĻŦāϞāĻžāĻŦ ‘āϜāϝāĻŧ āĻŦāĻžāĻ‚āϞāĻžâ€™: āϧāĻ°ā§āĻŽāϤāϞāĻžāϝāĻŧ āĻšā§āρāĻļāĻŋāϝāĻŧāĻžāϰāĻŋ āĻ…āĻ­āĻŋāώ⧇āϕ⧇āĻ°â€

⧍⧧ āϜ⧁āϞāĻžāχ āĻļāĻšāĻŋāĻĻ āĻĻāĻŋāĻŦāϏ⧇āϰ āĻŽāĻžā§āϚ āĻĨ⧇āϕ⧇ āĻŦāĻŋāĻ¸ā§āĻĢā§‹āϰāĻ• āĻ­āĻžāώāϪ⧇ āĻŦāĻŋāĻœā§‡āĻĒāĻŋāϕ⧇ āφāĻ•ā§āϰāĻŽāĻŖ āĻ•āϰāϞ⧇āύ āĻ…āĻ­āĻŋāώ⧇āĻ• āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžā§ŸāĨ¤ āĻŦāϞāϞ⧇āύ, āĻŦāĻžāĻ‚āϞāĻžāϰ āϏāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāϕ⧇ āϝāĻžāϰāĻž āϤāĻžāĻšā§āĻ›āĻŋāĻ˛ā§āϝ āĻ•āϰ⧇, āϤāĻžāĻĻ⧇āϰ āϜāĻŦāĻžāĻŦ ⧍ā§Ļ⧍ā§Ŧ-āĻāϰ āύāĻŋāĻ°ā§āĻŦāĻžāϚāύ⧇ āĻŽāĻŋāϞāĻŦ⧇āĨ¤ āĻĻāĻŋāĻ˛ā§āϞāĻŋ āĻ•āĻžāρāĻĒāĻžāϤ⧇ ‘āϜ⧟ āĻŦāĻžāĻ‚āϞāĻžâ€™āϰ āĻĄāĻžāĻ•, āĻšā§āρāĻļāĻŋ⧟āĻžāϰāĻŋ āĻĒāĻĻā§āĻŽāĻĢ⧁āϞ āωāĻĒā§œā§‡ āĻĢ⧇āϞāĻžāϰāĻ“āĨ¤

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āϏāĻ‚āĻŦāĻžāĻĻ āĻ“ āϰāĻžāϜāύ⧀āϤāĻŋ
“āĻŦāĻžāĻ‚āϞāĻžāϰ āĻ­āĻžāώāĻžāϝāĻŧ āĻ•āĻĨāĻž āĻŦāϞāϞ⧇ āĻ—ā§āϰ⧇āĻĢāϤāĻžāϰ? āĻāĻŦāĻžāϰ āĻĻāĻŋāĻ˛ā§āϞāĻŋāϤ⧇āχ āĻšāĻŦ⧇ āϞāĻĄāĻŧāĻžāĻ‡â€: āĻļāĻšāĻŋāĻĻ āĻŽāĻžā§āϚ āĻĨ⧇āϕ⧇ āĻšā§āρāĻļāĻŋāϝāĻŧāĻžāϰāĻŋ āĻŽāĻŽāϤāĻžāϰ

⧍⧧ āϜ⧁āϞāĻžāχ āĻļāĻšāĻŋāĻĻ āĻĻāĻŋāĻŦāϏ⧇āϰ āĻŽāĻžā§āϚ āĻĨ⧇āϕ⧇ āĻŽā§āĻ–ā§āϝāĻŽāĻ¨ā§āĻ¤ā§āϰ⧀ āĻŽāĻŽāϤāĻž āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžā§Ÿā§‡āϰ āĻ­āĻžāώāĻŖ āĻ›āĻŋāϞ āĻ¸ā§āĻĒāĻˇā§āϟ āĻāĻŦāĻ‚ āφāϗ⧁āύāĻāϰāĻžāĨ¤ ‘āĻŦāĻžāĻ‚āϞāĻž āĻ­āĻžāώāĻžāϰ āωāĻĒāϰ āφāĻ•ā§āϰāĻŽāĻŖ āϚāϞāϞ⧇ āĻ›āĻžā§œāĻŦ⧇ āύāĻžâ€™, āϜāĻžāύāĻŋā§Ÿā§‡ āϤāĻŋāύāĻŋ āĻ˜ā§‹āώāĻŖāĻž āĻ•āϰāϞ⧇āύ ⧍⧭ āϜ⧁āϞāĻžāχ āĻĨ⧇āϕ⧇ āϰāĻžāĻœā§āϝāĻœā§ā§œā§‡ āĻļ⧁āϰ⧁ āĻšāĻŦ⧇ āύāϤ⧁āύ āĻ­āĻžāώāĻž āφāĻ¨ā§āĻĻā§‹āϞāύāĨ¤ āϕ⧇āĻ¨ā§āĻĻā§āĻ°ā§€ā§Ÿ āϏāϰāĻ•āĻžāϰ⧇āϰ āĻŦāĻŋāϰ⧁āĻĻā§āϧ⧇ āĻŦāĻžā§āϚāύāĻžāϰ āĻ…āĻ­āĻŋāϝ⧋āĻ— āϤ⧋āϞāĻžāϰ āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ āĻŦāĻŋāĻœā§‡āĻĒāĻŋāϰ ‘āĻŦāĻžāĻ‚āϞāĻžāĻŦāĻŋāĻĻā§āĻŦ⧇āώ⧀ āϰāĻžāϜāύ⧀āϤāĻŋ’ āĻ“ ‘āĻ—ā§āϰ⧇āĻĒā§āϤāĻžāϰ āφāϤāĻ™ā§āĻ•â€™ āύāĻŋā§Ÿā§‡āĻ“ āĻŦāĻŋāĻ¸ā§āĻĢā§‹āϰāĻ• āĻŽāĻ¨ā§āϤāĻŦā§āϝ āĻ•āϰ⧇āύ āϤāĻŋāύāĻŋāĨ¤

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"āĻŸā§āϰāĻžāĻŽā§‡āϰ āϘāĻŖā§āϟāĻŋāϤ⧇ āϘ⧁āĻŽ āĻ­āĻžāĻ™āϤ⧋ āĻ•āϞāĻ•āĻžāϤāĻž – āĻšāĻžāϰāĻŋā§Ÿā§‡ āϝāĻžāĻ“ā§ŸāĻž āĻāĻ• āĻļāĻšāϰ⧇āϰ āϏ⧁āϰ"
āϏāĻŽā§āĻĒāĻžāĻĻāĻ•ā§€ā§Ÿ
“āĻŸā§āϰāĻžāĻŽā§‡āϰ āϘāĻŖā§āϟāĻŋāϤ⧇ āϘ⧁āĻŽ āĻ­āĻžāĻ™āϤ⧋ āĻ•āϞāĻ•āĻžāϤāĻž – āĻšāĻžāϰāĻŋā§Ÿā§‡ āϝāĻžāĻ“ā§ŸāĻž āĻāĻ• āĻļāĻšāϰ⧇āϰ āϏ⧁āϰ”

“āĻŸā§āϰāĻžāĻŽā§‡āϰ āϘāĻŖā§āϟāĻŋāϤ⧇ āϘ⧁āĻŽ āĻ­āĻžāĻ™āϤ⧋ āĻ•āϞāĻ•āĻžāϤāĻž – āĻšāĻžāϰāĻŋā§Ÿā§‡ āϝāĻžāĻ“ā§ŸāĻž āĻāĻ• āĻļāĻšāϰ⧇āϰ āϏ⧁āϰ”
āĻāĻ•āϟāĻž āϏāĻŽā§Ÿ āĻ•āϞāĻ•āĻžāϤāĻžāϰ āϏāĻ•āĻžāϞ āĻŽāĻžāύ⧇āχ āĻ›āĻŋāϞ āĻŸā§āϰāĻžāĻŽā§‡āϰ āϟ⧁āĻ‚āϟāĻžāĻ‚ āφāĻ“ā§ŸāĻžāϜāĨ¤ āϏ⧇āχ āϧ⧀āϰ āĻ—āϤāĻŋ, āĻ•āĻžāϠ⧇āϰ āϏāĻŋāϟ, āφāϰ āĻ•āύāĻĄāĻžāĻ•ā§āϟāϰ⧇āϰ āĻāύāĻāύ⧇ āϟāĻŋāĻ•āĻŋāϟ āĻŦā§āϝāĻžāĻ—â€”āĻ āϏāĻŦāχ āĻ›āĻŋāϞ āĻļāĻšāϰ⧇āϰ āĻ›āĻ¨ā§āĻĻ⧇āϰ āĻ…āĻ‚āĻļāĨ¤ āϏāĻŽā§Ÿā§‡āϰ āϏāĻžāĻĨ⧇ āϏāĻŦ āĻŦāĻĻāϞ⧇ āϗ⧇āϞ⧇āĻ“ āĻšāĻžāϰāĻŋā§Ÿā§‡ āϝāĻžāĻ“ā§ŸāĻž āĻāχ āĻŸā§āϰāĻžāĻŽ āφāϜāĻ“ āĻŦ⧇āρāĻšā§‡ āφāϛ⧇ āĻ¸ā§āĻŽā§ƒāϤāĻŋāϰ āĻļāĻšāϰ⧇āĨ¤

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"āϏāĻŋāĻ™āĻžāϰāĻž-āϏ⧀āϤāĻžāĻ­ā§‹āϗ⧇āϰ āϏ⧁āĻ—āĻ¨ā§āϧ⧇ āĻŽā§‹ā§œāĻž āĻāĻ• āĻļāϤāĻžāĻŦā§āĻĻā§€āϰ āĻ—āĻ˛ā§āĻĒ—āϚāĻŋāϰāϤāϰ⧇ āĻĨ⧇āĻŽā§‡ āϗ⧇āϞ ‘āĻĻ⧇āĻļāĻŦāĻ¨ā§āϧ⧁ āĻŽāĻŋāĻˇā§āϟāĻžāĻ¨ā§āύ āĻ­āĻžāĻŖā§āĻĄāĻžāĻ°â€™-āĻāϰ āĻĒāĻĻāϚāĻžāϰāĻŖāĻž!"
āϏāĻŽā§āĻĒāĻžāĻĻāĻ•ā§€ā§Ÿ
“āϏāĻŋāĻ™āĻžāϰāĻž-āϏ⧀āϤāĻžāĻ­ā§‹āϗ⧇āϰ āϏ⧁āĻ—āĻ¨ā§āϧ⧇ āĻŽā§‹ā§œāĻž āĻāĻ• āĻļāϤāĻžāĻŦā§āĻĻā§€āϰ āĻ—āĻ˛ā§āĻĒ—āϚāĻŋāϰāϤāϰ⧇ āĻĨ⧇āĻŽā§‡ āϗ⧇āϞ ‘āĻĻ⧇āĻļāĻŦāĻ¨ā§āϧ⧁ āĻŽāĻŋāĻˇā§āϟāĻžāĻ¨ā§āύ āĻ­āĻžāĻŖā§āĻĄāĻžāĻ°â€™-āĻāϰ āĻĒāĻĻāϚāĻžāϰāĻŖāĻž!”

āĻāĻ•āϟāĻž āϏāĻŽā§Ÿ āĻ›āĻŋāϞ, āϝāĻ–āύ āĻšāĻžāĻ“ā§œāĻž āĻŦā§āϰāĻŋāϜ āĻĨ⧇āϕ⧇ āύāĻžāĻŽāϞ⧇āχ āϘāĻŋā§Ÿā§‡āϰ āĻ—āĻ¨ā§āϧ⧇ āĻŽāύ āĻ­āϰ⧇ āϝ⧇āϤāĨ¤ āφāϜ āϏ⧇āχ ‘āĻĻ⧇āĻļāĻŦāĻ¨ā§āϧ⧁ āĻŽāĻŋāĻˇā§āϟāĻžāĻ¨ā§āύ āĻ­āĻžāĻŖā§āĻĄāĻžāĻ°â€™ āĻļ⧁āϧ⧁āχ āĻ¸ā§āĻŽā§ƒāϤāĻŋāĨ¤ āĻāĻ• āĻļāϤāĻžāĻŦā§āĻĻā§€āϰ āχāϤāĻŋāĻšāĻžāϏ⧇āϰ āχāϤāĻŋ āĻŸā§‡āύ⧇ āϚ⧁āĻĒāĻŋāϚ⧁āĻĒāĻŋ āĻšāĻžāϰāĻŋā§Ÿā§‡ āϗ⧇āϞ āĻ•āϞāĻ•āĻžāϤāĻžāϰ āĻŽāĻŋāĻˇā§āϟāĻŋāϰ āĻ•āĻŋāĻ‚āĻŦāĻĻāĻ¨ā§āϤāĻŋ āĻ āĻŋāĻ•āĻžāύāĻžāĨ¤

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