Rajkumar Santoshi Congratulates Awarapan 2 Amid Batwara 1947 Clash Says No One Can Stop Anyone

Rajkumar Santoshi has chosen sportsmanship over rivalry while speaking about the box office clash between his film Batwara 1947 and Emraan Hashmi starrer Awarapan 2. Both films arrived in cinemas at the same time, putting two very different movies in direct competition for audiences. However, rather than treating the clash as a battle, Santoshi offered a gracious perspective and congratulated the team of Awarapan 2 for the response their film has received.

Speaking to the media on the sidelines of the launch of the Bhojpuri film Saiyan Arab Gaile Na 2, Santoshi was asked whether the two films could have benefited more had they released separately. The filmmaker firmly rejected the idea that one film should hold back because another movie is arriving at the same time. “No one can stop anyone. I would like to congratulate the producer of Awarapan 2. Just as we consider it our right, it is their right too,” Santoshi said.

The veteran director also acknowledged the audience response to Awarapan 2, despite revealing that he has not personally watched the film yet. “People have liked their film very much. It has been praised a lot. I have not seen the film. There must be something that people are liking it so much. Something is going on,” he said. Santoshi then extended a heartfelt congratulatory message to the team, adding, “From the bottom of my heart, I congratulate Mukesh Bhatt sahab and his son Emraan Hashmi for this success.”

His comments offer a refreshing perspective on the increasingly competitive Hindi film industry, where theatrical clashes are often discussed in terms of winners and losers. For Santoshi, the success of another film does not necessarily have to come at the expense of his own. His willingness to acknowledge the audience’s love for Awarapan 2 also reflects a belief that filmmakers should focus on making strong cinema rather than worrying about who gets the bigger opening.

At the same time, Santoshi remains hopeful about the journey of Batwara 1947. The film has received appreciation from audiences who have watched it, and the filmmaker believes that positive word of mouth can eventually translate into stronger box office numbers. “It's a great pleasure that the people who are watching the film are liking it and loving it,” he said. “I've made a film for them and I've made a clean film, so I'm happy that this love and appreciation from the people will gradually translate into box office success.”

For Santoshi, the stakes go beyond the commercial performance of one film. He believes that the success of Batwara 1947 could encourage other filmmakers to take risks and invest in stories that prioritise quality and substance. “If the film is successful, it will encourage other filmmakers. They too will stand up to make good films,” he added. His statement underlines the larger hope that a positive theatrical response can create confidence for filmmakers looking to tell meaningful stories.

The film also marks a significant collaboration between Santoshi and Karan Deol. While the director has previously worked with Sunny Deol on several memorable films, including Ghayal, Ghatak and Damini, Batwara 1947 marks his first association with Karan. Santoshi was clearly impressed by the young actor’s work and spoke warmly about his potential.

“He's a very promising actor, hardworking, sincere, and I think he's the next star in the future. I'll have to work with him. I'm very happy. Karan Deol has done a great job,” Santoshi said. The filmmaker’s words suggest that he sees considerable potential in Karan and would be open to collaborating with him again in the future.

With Batwara 1947 and Awarapan 2 sharing the same theatrical window, the box office conversation may naturally continue to revolve around the clash. But Santoshi’s response shifts the focus towards something more positive — audiences deciding what they want to watch and good films finding their own space. His congratulatory words for Mukesh Bhatt and Emraan Hashmi, combined with his optimism about Batwara 1947, show a filmmaker more interested in celebrating cinema than fuelling a box office rivalry.

And perhaps that is the most poignant takeaway from the clash. In a business where release dates can turn films into competitors overnight, Santoshi’s message is that every filmmaker has the right to bring their work before audiences. If audiences respond to both films, the industry ultimately benefits. For Santoshi, Batwara 1947 has its own journey to make, and he appears content to let the audience decide its fate while applauding another film that has managed to strike a chord.