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A commercial success against all odds. The PR campaign was so organic that it erased the memory of the on-set tensions, and the film became a sleeper hit, cementing Sara Ali Khan’s arrival. 3. The Damage Control Operation: Ae Dil Hai Mushkil (2016) This is the ultimate textbook example of crisis PR in Bollywood. Just months before Ae Dil Hai Mushkil ’s release, the Uri attack heightened political tensions, leading to the Indian Motion Picture Producers' Association banning Pakistani artists. The film featured Fawad Khan (Pakistani actor). The film was on the verge of being banned nationwide.

Pathaan broke almost every Hindi film record, grossing over ₹1,000 crore worldwide. The PR team successfully converted hate-watching into box office currency, proving that in Bollywood, negative news is only negative if you don't control the narrative. 2. The Underdog Victory: Kedarnath (2018) Sushant Singh Rajput’s Kedarnath was written off before it released. The problem? The lead actress, Sara Ali Khan, was a newcomer, but the real pressure came from the media circus surrounding the alleged rift between Rajput and producer/director Abhishek Kapoor. The industry expected a disaster. pr movies bollywood top

Dhoom 3 became the first Bollywood film to cross ₹500 crore worldwide. While trade analysts still debate the actual footfall number versus the PR number, the campaign remains a case study in how perception creates reality. 5. The Social Justice Shield: Padmaavat (2018) Sanjay Leela Bhansali’s magnum opus faced the most violent PR crisis in modern history. Physical attacks on sets, bounty threats, and a nationwide riot threat from fringe groups. The film was delayed indefinitely. A commercial success against all odds

This was a geopolitical tightrope walk. The PR team, led by the producers, did not remove Fawad Khan. Instead, they pivoted to nationalism. Director Karan Johar held a press conference where he pledged a donation to the Army Welfare Fund. They successfully framed the argument: "Banning this film harms Indian workers and exhibitors, not Pakistan." The Damage Control Operation: Ae Dil Hai Mushkil

The "Bhansali PR" approach was radical: Victimhood as virtue. They did not fight the aggressors physically; they fought them in the court of public opinion. The hashtag #PadmaavatBan trended, but the PR team countered with #ReleasePadmaavat . They positioned Bhansali as an artist martyred by censorship.* Deepika Padukone’s "I am a proud Indian" press conference became the turning point. They never argued about the historical accuracy of the film; they argued about a woman’s right to exist.

Instead of backing down, the team leaned into the noise. The strategy shifted from selling a "spy thriller" to selling a "comeback." They associated the film with "Anti-Boycott" sentiment. Every news channel debate about the boycott became a free advertisement. YRF’s PR machinery framed watching Pathaan as an act of patriotism and resilience against online bullying.