ONE 2 KA 4
Glamour Films’ One 2 Ka 4 (UA) is a crime thriller which tries to cater to the family audience too. An unconvincing story and an apology of a screenplay (Manoj Lalwani and Rajkumar Dahima) make the drama so poor that it is difficult to comprehend the director’s reason behind making such a film. Except for some comedy scenes and the dialogues (Sanjay Chhel) in those scenes, there’s precious little in the film to sustain audience interest.
The story revolves around two friends, Javed (Jackie Shroff) and Arun (Shah Rukh Khan), working for a special task force which combats drug trafficking. Javed dotes on four motherless children whom Arun can’t stand. Javed is killed and it falls upon Arun to look after his kids. For this, he takes the help of a rustic girl, Geeta (Juhi Chawla). Geeta falls in love with Arun. But the latter is shocked to see another side of Geeta — a dancer in the club of the drug lord whom he is gunning for. The climax unfolds the true identity of Geeta and the killers of Javed.
As poor as the script — or perhaps, even poorer — is Shashilal Nair’s direction. Shah Rukh Khan’s characterisation does not at all befit a hero. For instance, one kid staying with Jackie constantly kicks Shah Rukh and addresses him very demeaningly. Similarly, Juhi Chawla often slaps Shah Rukh. While all this may appear to pass off as cute comedy, it undermines the hero’s character so badly that the audience can’t take anything the hero does after being slapped and kicked, seriously. There’s no justification for Shah Rukh robbing the drug mafia. He sets out to rob money for meeting the needs of his colleagues (one of whom has committed suicide) but ends up buying a house for himself and the kids with the money. Did the kids threaten to commit suicide, like his colleague?
The comedy is enjoyable but it is of the kind that will appeal to the city audience mainly. The climax is long-drawn and predictable. Romance is missing. Emotions are pathetic and they fall flat.
Shah Rukh Khan acts ably, as always, but the slapstick comedy involving him undermines the importance of his character. Juhi Chawla is the scene-stealer and excels with her Haryanvi dialogues. Her comedy scenes are simply fabulous and her sense of timing, stupendous. Jackie Shroff is good as the doting father. Nirmal Pandey, as the drug lord, irritates endlessly and confuses screaming and grimacing for acting. Dilip Joshi, as Shah Rukh’s friend, is natural to the core. Akash Khurana does a fairly good job. Raj Zutshi leaves a mark. Sahila Chaddha, Bharat Dabholkar and Keith Stevenson lend average support. Baby Gazala is superb. Baby Sana, master Shanoo and master Hunny are cute and capable.
Shashilal Nair fails to convey anything through the film. The emotions are flawed and the drama meanders aimlessly. A.R. Rahman’s music is a mixed bag. ‘Osaka moreiya’, ‘Dil ki baazi lagaa’ and ‘Aale Aale’ are the better songs. A couple of song picturisations are eye-filling. Sets (Nitin Desai) are rich. S. Kumar’s camerawork is of a good standard. Action scenes comprise more gun-shots than fist-fights and that is the drawback because the audience enjoy hand-to-hand fights.
On the whole, One 2 Ka 4 has an ultra-frivolous title, poor story, poorer screenplay, and weak direction. It will entail heavy losses to all concerned.
Released on 30-3-2001 at Novelty, New Empire and 22 other cinemas of Bombay thru Anugraha Entertainment. Publicity: very good. Opening: very ordinary. …….Also released all over. Opening was dull in Gujarat, parts of Delhi, U.P., East Punjab, C.P. Berar and other circuits too.
LATEST POSITION
The dull opening of ONE 2 KA 4 may not have exactly sent shock-waves in the industry but it has, nevertheless, once again made people sit up and ponder — for two days, at least, after which all will be forgotten, once again.
Chhupa Rustam has done extraordinary in Bihar (expected business: at least 1 crore). It is also very good in U.P. and East Punjab (entire MG royalty and print-publicity cost will be recovered in 2 weeks). Shares from centres of Maharashtra are good; is very bad in Gujarat. Not good in Delhi and C.P. Berar. Rajasthan and Nizam: fair. 1st week Bombay 23,42,275 (41.60%) from 10 cinemas (4 on F.H.); Ahmedabad 3,55,970 from 4 cinemas (2 unrecd.), Rajkot 77,820; Solapur (27 shows) 1,26,386; Delhi 14,00,373 (26.97%) from 9 cinemas; Lucknow 2,88,645, Allahabad 1,95,600; Nagpur 1,29,435 from 2 cinemas, Jabalpur (6 days) 44,236, Amravati 1,04,546, Akola 67,218, Raipur (6 days) 43,263, Jalgaon 1,01,294; Jaipur 2,39,968 (26.49%) from 2 cinemas, Ajmer (gross, 29 shows) 1,28,422, Bikaner 80,172; Hyderabad (gross) 12,23,531 from 7 cinemas (1 on F.H.). Total 69,49,154 from 45 cinemas.
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Chori Chori Chupke Chupke 3rd week Bombay 38,21,612 (62.29%) from 13 cinemas (6 on F.H.), total for 3 weeks 1,73,76,178; Ahmedabad 12,95,408 from 5 cinemas, Rajkot 1,76,390 from 2 cinemas (1 in matinee), Jamnagar 67,372; Solapur 1,86,837 from 2 cinemas (1 in matinee), Barsi 60,032, Satara 72,633 from 2 cinemas (1 in matinee); Delhi 28,84,688 from 10 cinemas (2 on F.H.); Kanpur 1,53,860 from 2 cinemas, Lucknow 3,10,733, Allahabad 1,17,000, Bareilly (6 days) 32,062, Jaunpur 15,000; Calcutta 5,62,327 from 3 cinemas; Nagpur 2,60,980 from 2 cinemas, Jabalpur (6 days) 1,17,239, Amravati 1,55,923, Akola 1,31,600, total 6,18,700, Raipur (gross, 6 days) 1,51,523, Durg 40,030, Jalgaon 1,24,974, Chandrapur 78,405, total 4,18,656, Yavatmal 55,872, total 2,91,841; Indore 1,50,000 from 2 cinemas (1 on F.H.); Ajmer 65,736, Bikaner 1,13,074; Hyderabad (gross) 5,58,717 from 2 cinemas (1 unrecd.). Total 1,17,60,027 from 61 cinemas.
SHEMAROO VIDEO: A DREAM POST-PRODUCTION STUDIO
The Shemaroo House at Marol Naka, Andheri (East) in Bombay is grand, to say the least. Built by Raman Maroo, the three-storeyed building houses a complete video post-production studio.
The equipments installed are a 2K Da Vinci multi-format digital, HDTV and SDTV colour enhancement system and a Philips Shadow Telecine. Thanks to the colour corrector and enhancer, a scene in a film can even be re-lit after it has been shot. When used in conjunction with the Philips Telecine machine, it gives unimaginable power to the technician.
Philips Telecine is the first of its kind in India. The Telecine and 2K Da Vinci allow film and serial makers, ad filmmakers, cinematographers and editors a new level of control and quality improvements at the transfer stage. The ‘colour doctor’ can treat and provide old films a new lease of life.
The DVD mastering suite in the studio uses the DVD Fab. The suite offers the complete range of services in DVD creation — from encoding in MPEG2 and authoring to DVD-R or DLT pre-mastering. It also helps make interactive movie titles, music videos etc. The DVNR Image Processing Work-station supports the highest standards in image enhancement, colour correction, compression pre-processing and format conversions — all in real time.
The other facilities the post-production studio offers are: Digi-Beta AB Roll; non-linear editing; format transfers; sound mixes and high-tech conversions from mono 6/8-track surround on a variety of outputs; a software library of Indian movies, film songs and entertainment programmes.
FILM FINANCES INC. ENTERS INDIAN MARKET
Leading global film completion guarantee provider Film Finances Inc. has announced plans of entering the Indian film market. The entry of a completion guarantee provider is a natural corollary to the recent decision made by financial institutions such as IDBI to lend money for film production. Completion bonds will make it easier for the filmmakers to obtain institutionalised finance. The bond assures the financier that the film will be delivered on time and over-budget costs, if any, will not be the financier’s responsibility. Film Finance’s completion bond will also assure the producers that their investments are secured by Lloyds of London and underwriters.
Film Finances Inc. has provided completion guarantees to several leading studios in the UK, US, Australia, Canada, France and other countries. It had also provided completion bonds to three films shot in India — Mira Nair’s Kamasutra – A Tale Of Love, Shekhar Kapur’s Bandit Queen, and Ismail Merchant’s Cotton Mary.
SUNIL DUTT RECUPERATING
Sunil Dutt, who survived an air-crash on the night of 26th March near Nasik, is recovering in the ICU at Breach Candy Hospital in Bombay. His injured foot was operated upon. He is still complaining of pain in the shoulder.
The star-MP was on his way from Shirpur to Nasik in a private aircraft. The aeroplane crash-landed around 11 p.m. and soon caught fire. Fortunately, all the six people inside the aircraft managed to escape from the plane which was engulfed in flames. The pilot was seriously injured and has lost his eyesight.
Sunil Dutt and the other four passengers were flown to Bombay and admitted to hospital on 27th morning. Dutt is likely to be discharged from hospital after a few more days. He was returning from Shirpur where he had gone to attend the inauguration of an enterprise of industrialist Mukesh Patel. Travelling with him were Mukesh Patel’s daughter, two nieces and another lady-relative of Patel.
On hearing the news, Sanjay Dutt rushed from Mahabaleshwar where he was shooting for Mahesh Manjrekar’s Pitaah. “Dad’s fine and out of danger,” informed a relieved Sanjay on 27th. The actor left for Mahabaleshwar again on 27th night. “I have two days’ work remaining, so I’m leaving for Mahabaleshwar again,” he explained.
SANGEET NATAK ACADEMY AWARD FOR GURDAS MAAN
The Punjabi Sangeet Natak Academy recently presented an award to pop icon Gurdas Maan for his eminent contribution to the world of performing arts. Maan was honoured for putting Punjabi music on the national and international maps. Punjab chief minister Parkash Singh Badal, presented the award.
As Owners, Employees Remain Adamant
WEST BENGAL CINEMA STRIKE ENTERS 9TH DAY
The cinema employees’ strike in West Bengal entered its ninth day today (31st March) with no settlement in sight. A meeting was held between the cinema owners, the striking employees’ Union and the government earlier this week. The government’s anti-owner stance was all too obvious at the meet.
In the meantime, cinema employees visited offices of various distributors in Calcutta, like Musical, Rajshri and Damani to prevail upon them to not supply prints to cinemas which are not closed due to the fact that their employees do not owe allegiance to the Bengal Motion Pictures Employees Union (BMPEU). There are about 70 cinemas across the state, including about 25 in the capital city, which are running. This week’s One 2 Ka 4 had a limited release at the cinemas which are functioning. The striking employees tried to scuttle the release of One 2 Ka 4 by not permitting the prints to leave the office of its distributor, Venkatesh 2000. But the distributor, anticipating some problem, had arranged for the prints to be delivered to the cinemas directly from the airport. Metro is the only main cinema of Calcutta, which is running.
The BMPEU is contemplating asking employees of the running cinemas to also go on strike in a show of solidarity.
IMAX: Beyond The Thunderdome
The first IMAX screen of India was inaugurated on 25th March at Wadala in Bombay. Built at a cost of Rs. 40 crore, the IMAX cinema is the baby of Manmohan Shetty’s Adlabs which had gone in for a public issue a few months back. Adlabs started out with a film processing laboratory and is the premiere lab in Bombay today. The IMAX concept, as is common knowledge, is imported from Hollywood.
Besides the IMAX cinema, the complex will have four normal screens too. However, while the IMAX screen is to be thrown open to the public from today (31st March), the other cinemas will take a few months to open. Manmohan Shetty informed, “The other screens are ready, only the interior is being done up now.”
The IMAX Adlabs Theatre was inaugurated at the hands of Maharashtra chief minister Vilasrao Deshmukh and deputy chief minister Chhagan Bhujbal. There are three shows of one hour each for invitees on the day of the launch. A 10-minute film, Maa Tujhe Salaam, produced by BharatBala Productions, was screened. It was followed by Mysteries Of Egypt from the IMAX library. A host of top names from the industry attended the screenings. The inauguration function was preceded by a dance performance. It was followed by dinner.
The cinema has a seating capacity of 518. For the uninitiated, the IMAX screen is round, like a dome — from left to right and covers the ceiling of the auditorium too. The viewer gets the feeling of being right where the action is while watching the film. Especially fascinating or frightening — depending on how strong- or weak-hearted you are — are the sequences when the camera moves at great speed and the viewer gets the feeling of moving along with it. Imagine then, if the camera is moving at a height atop a mountain range and suddenly, there’s a deep valley that it covers. You almost feel as though you are dropping down, deep into the valley. The feeling may be akin to the one you are likely to experience if you are piloting an aeroplane for the first time and have lost control of it. To add to your ‘woes’, it is moving at great speed. Or picturise a scene showing waves of the sea in full fury, splashing all across the screen, and you seated right in the middle of it all!
The IMAX dome in Bombay is the largest in the world. Manmohan Shetty revealed that the admission rates would be Rs. 150 for an adult, and Rs. 100 for a child. After the formal launch, Shetty smiled, “The IMAX people did not believe me when I told them, I was ready to launch the cinema on March 25. They warned me, it was too hurried a start and asked me to reschedule the inauguration. But I stuck to my guns as I was confident, nothing would go wrong. They are surprised, I could do it.”
Another first with the cinema is that the projection room would be in full view of the public. Located on the first floor, it has glass walls all around so that the public outside can see how the projector beams the IMAX film on the huge screen. The projector is computer-operated. The theatre has a huge foyer, a beautiful fountain, a spacious cafetaria and an escalator.
It would not be out of place to mention here that normal films cannot be screened in an IMAX theatre. Only films specially made for the giant screen can be shown in it. The IMAX library has about 150 films, a mix of entertaining and educational fare.
The theatre is located at Bhakti Park, Anik-Wadala Link Road. Five shows will be held on Saturdays, and 8 shows on Sundays. The telephone numbers of the cinema are 403-6463 and 403-6474.
Anil Kapoor, Raveena Bag National Awards
Three Jury Members Resign
Anil Kapoor was declared winner of the National Award for the best actor for year 2000, on 27th March in New Delhi. He bagged the award for his outstanding performance in brother Boney Kapoor’s Pukar, directed by Rajkumar Santoshi. Raveena Tandon won the best actress award for her sterling performance in Kalpana Lajmi’s yet unreleased Daman. Jayaraj’s Malayalam film, Shantham, picked up the award for the best film.
The 48th National Film Awards were announced by chairperson of the National Film Awards 2000 jury, Vyjayanthimala Bali, even as three members of the jury resigned and said that the awards were rigged. The three resigning members — filmmaker Pradeep Krishen, Shashi Anand and Madhumita Raut — were particularly critical of the awards presented to Anil Kapoor, Raveena Tandon and Pukar. Boney’s film bagged the Nargis Dutt award for the best film on national integration.
The three who resigned said that even as they landed in Delhi to decide on the winners, Raveena Tandon’s name was being circulated among a majority of the jury as if she had been prejudged the winner. Pukar, they said, had been rejected for viewing but was recalled. Vyjayanthimala clarified that there was no question of rigging. She added that like Pukar, there were several other films which had been rejected by one panel but recalled by another. This, she added, was perfectly in order. A fourth jury member, Dhritiman Chatterjee, sent a dissent note to the President of India, protesting against the selection procedure. He, however, did not resign.
The Tamil film, Vanathaippola, was adjudged the best film providing wholesome entertainment. Rituparno Ghosh got the award for the best director for Utsab (Bengali). This is the celebrated director’s third Swarna Kamal. H.G. Dattatreya and K.P.A.C. Lalitha were declared the best supporting actor and supporting actress for their performances in Munadi (Kannada) and Shantham (Malayalam) respectively.
Anu Malik’s music in Refugee won him his first National Award. The film also fetched an award for Javed Akhtar’s lyrics for the song Panchhi nadiya. The lyricist shared the award with Yusafali Kechery for a Krishna bhajan written by him for the Malayalam film Mazha. This year’s award of Javed Akhtar was the fourth in the last five years. Shankar Mahadevan picked up the award for the best male playback singer for Illai Illai in the Tamil film, Kandukondain Kandukondain. The best female singer’s award was bagged by R. Bhavatharini for another Tamil film, Bharathi. This film also got two awards for P. Krishnamoorthy, one for the best art director and the other, for the best costume designer. It was also declared the best Tamil language film. Bharathiraja bagged the best screenplay award for Kaadhal Pookkal (Tamil). Ashok Mehta’s Moksha brought two awards — one, for the best cinematography (Ashok Mehta), and the other, for the best audiography (Anup Dev). Suresh Pai and Apurva Asrani were adjudged the best editors (English Snip!). The best choreography award was picked up by G. Kala for the Malayalam film Kochu Kochu Santhoshangal.
The Indira Gandhi award for the best first film of a director was won by R. Saratha’s Sayahnam (Malayalam). This and Kochu Kochu Santhoshangal also shared the award for the best Malayalam language film.
The other language films which bagged the regional language film awards are: Shyam Benegal’s Zubeidaa (Hindi), Goutam Ghose’s Dekha (Bengali), Mahesh Manjrekar’s Astitva (Marathi), Mathadana (Kannada), Chatledo Eidee (Manipuri), Nuvve Kaavaali (Telugu) and Pandavas (English).
Master Udayaraj was declared the best child actor for Nilaa Kalam (Tamil). Malayalam Graharaksharangal was adjudged the best children’s film.
Amol Palekar’s Kal Kaa Aadmi picked up the award for the best film on family welfare. Last year too, Amol Palekar had bagged this award. Vetrikkodi Kattu (Tamil) and Munadi (Kannada) were adjudged the best films on other social issues. Malayalam Oru Cheru Punchiri was declared the best film on environment conservation/presentation.
Soumitra Chatterjee, who was a strong contender for the best actor award, won the special jury award for his role in the Bengali hit Dekha.
Sholay, written by Anupama Chopra, wife of filmmaker Vidhu Vinod Chopra and daughter of writer Kamna Chandra, won the award for the best book on cinema. Suresh Sharma was adjudged the best film critic. Bharathi S. Pradhan was the chairperson of the jury for best writing on cinema.
Among the members of the film jury were Pawan Kumar, Mac Mohan and Shashi Ranjan.
3-E
Education-Entertainment-Enlightenment
Unprofessional!
Corporatisation of the film industry is all very fine but what about the unprofessional attitude of stars and technicians? Even as producer Vashu Bhagnani is planning to go public, Tabu has walked out of his Om Jai Jagdish. Tabu was one of the three leading ladies in the story of three brothers being played by Anil Kapoor, Fardeen Khan and Abhishek Bachchan. The other two heroines are Urmila Matondkar and Diya Mirza. According to writer Rahul Nanda, “She walked out of the project without any tangible reason.” Vashu can’t believe that any heroine could be as callous as Tabu has been. “She refuses to answer my telephone calls, and the same holds true for her secretary,” lamented Vashu. “And this, after committing me the dates. I agree that it is my mistake that I didn’t take anything in writing, but does a heroine’s word have no value?” Tabu’s secretary, Punkej Kharabanda, made a casual defence, saying, “They never informed us the dates they wanted and now, it is difficult to accommodate them.” Whatever the reason, the last-minute walk-out is definitely not a very professional step by Tabu. A huge set of the film has been erected, and shooting on it has commenced. Tabu was also to participate in the schedule. If Tabu continues with such moody walkouts, her name may soon be spelt ‘Taboo’ by producers!
Excellent Song, Exquisite Picturisation
The craze for Venus’ Pyaar Tune Kya Kiya… is building up, slowly but surely. The audience in the cities is liking the promotional trailers on satellite channels. Even more exciting is the theatrical trailer of the film, which one had an opportunity to see this week. One also saw two songs of Pyaar Tune Kya Kiya… and must say the Ishq number is extraordinary. Choreographer Ganesh Hegde, debut-making director Rajat Mukherjee, cameraman Sanjay F. Gupta (who shoots a lot of music videos) and editor Chandan have done a marvellous job of the excellently tuned (Sandeep Chowta) song (picturised on Urmila Mantondkar and Fardeen Khan) and have made it a veritable visual treat. And this, even though Fardeen is not a great dancer! Ram Gopal Varma, whose production the film is, is honest enough to admit that his contribution to the song picturisation is nil. The title track is also beautifully shot. Going by the songs, it wouldn’t be an exaggeration to say that the audience would be reminded of Urmila Matondkar of the Rangeela days. It does seem, this Venus presentation will take an exciting start in ‘A’ class centres. Incidentally, the film has a running time of a little over 2 hours.
Discovery Channel!
Even as Ram Gopal Varma readies himself for Company, starring Ajay Devgan and South’s Mohanlal, he is in conversation with cameraman Sanjay F. Gupta whom he is likely to give a directorial break to. “While my Company will start in April,” informs Ramu, “Sanjay F. Gupta’s film will take a few months to roll.” It must be said, Ramu is, perhaps, the only producer-director toady who has the guts to introduce new talent one after the other. The number of people he has discovered is not small. His assistant, E. Niwas, made his directorial debut in Ramu and Nitin Manmohan’s Shool. Rajat Mukherjee, with no formal training in direction and without having assisted any director, got a break to direct Ramu’s Pyaar Tune Kya Kiya…. Writer Anurag Kahyap is also Ramu’s discovery and so is music director Sandeep Chowta (in Hindi films). Taufeeq Baraskar, another assistant of Ramu, has turned a director with Aankh Micholi, starring Nana Patekar. Aftab Shivdasani and Sushant owe their status in the film industry to Ramu. Actually, Urmila Matondkar and Fardeen Khan also owe their rebirth to Ram Gopal Varma. Manoj Bajpayee shot to prominence only after the prominent role he played in Ramu’s Satya. There are several other technicians whom Ramu has introduced in the industry. Time, the IMPPA honoured this 30-plus director for having given the industry so much. Or are IMPPA honours meant only for 60-plus achievers?