(From our issue dated 16th July, 1994)
1942 A LOVE STORY
Vinod Chopra Productions’ 1942 A Love Story, as the title suggests, is a love story of 1942 when India was under the British rule, and the Quit India movement had gained momentum. The son of a rich Indian falls in love with the daughter of a revolutionary, but the rich Indian’s pro-British stand comes in the way of their love. The guy, hitherto least concerned about the freedom struggle, gradually finds himself in the forefront of the struggle as he tries to win back the confidence of his beloved who has become a target of misunderstanding.
The film, a historical saga, is a blend of nationalism and romance. It recounts history as it narrates the romantic tale of the two lovebirds. While the scenes of nationalism and patriotism have an arousing impact, the romantic side looks superficial at several places. The audience’s heart doesn’t cry for the separated lovers. This, mainly because there isn’t much drama.
As the film progresses, the script gets relegated to a secondary position, and form takes precedence. Everything is presented beautifully but the beauty looks hollow because the soul is missing. Content loses to form. And that is the film’s undoing. Consequently, emotions don’t touch the heart at several places.
What is more, it lacks relief. There is hardly a light moment, especially in the second half. The first half has five songs coming in quick succession and although two or three of them are excellently tuned, they lose their impact to some extent because of the frequency with which they appear. The pace is extremely slow, which makes the film boring at places.
Although performances of all the artistes are very good, nobody gets scope for histrionics which one expects in a film of this kind. Anil Kapoor does a fine job as the romanticist and the revolutionary. He looks young and very fresh. Manisha Koirala looks extremely beautiful and acts well. Jackie Shroff’s entry is lovely. He has done a perfect job but he has hardly any dialogue or role other than to kill the British general. Anupam Kher is good. Danny, Pran and Manohar Singh are competent. Raghubir Yadav leaves a mark but his dialogues at a couple of places are not fully comprehensible. The scene in which he spits on the general’s face is clapworthy. Brian Glover is adequate. Chandni (she looks good) and Sushma Seth are okay. Pramod Moutho, Shiv Subrahmanyam, Gopi Desai and the rest lend the required support.
Writer-director Vinod Chopra has concentrated a great deal on making the film a veritable visual treat but has faltered in the scripting. He needs to understand that no amount of technique can make up for lack of interesting and appealing content. His treatment is of the ‘art’ kind. R.D. Burman’s music is excellent and so are Javed Akhtar’s simple lyrics. ‘Ek ladki ko dekha’ is already a super-hit number. Its picturisation is good. ‘Kuch na kaho’ and ‘Rimjhim rimjhim’ are also very good and the picturisation of the former is sensuous. ‘Dil ne kaha chupke se’ has been picturised on beautiful locales. Background score is very appropriate, the impact heightened by Dolby stereophonic sound. However, Dolby mixing leaves a lot to be desired when the background score and sound effects dilute the sound of the dialogues, making them inaudible at several places.
Dialogues are ordinary. Binod Pradhan’s camerawork is of international standard, making the film a painting on celluloid. Dalhousie locations are breathtaking. Editing is sharp. Art director Nitin Desai deserves full marks for his set.
On the whole, 1942 A Love Story is a film for the class audience. Lack of mass appeal, limited entertainment value and its phenomenal price will see the distributors in the red. Tax exemption can salvage the film to some extent.
Released on 14-7-’94 at Metro and 6 other cinemas and on 15-7-’94 at 22 other cinemas of Bombay thru Shringar Films. Publicity: extraordinary. Opening: outstanding. …….Also released all over. While opening was phenomenal in Delhi, it was below expectations in C.P. Berar and Rajasthan. 1st day Jaipur about 1,15,000/- from 4 cinemas. There was a noticeable drop in collections in C.I. on the second day.
MIX MASALA
OUTRIGHT BABU
Producer Nandu Tolani is in the process of converting his MG agreements of Raja Babu for Bengal (Lala Damani) and Bombay (Bobby Anand) into outright sale agreements. He had earlier converted the Rajasthan agreement, too.
IN FLESH & BLOOD
Sunil Shetty who used to idolise Rajesh Khanna, when he was a child, saw the ex-superstar in person for the first time at the marriage of Ajay Devgan’s sister two weeks back.
‘BORDER’ NOW
Years back, J.P. Dutta was to direct a film called Sarhad. It never got made. J.P. is now turning a producer with a film titled Border (meaning ‘Sarhad’).
YOU ASKED IT
Which films is Vivek Mushran acting in?
– He is currently working in JAAN and ANJAANE. Venus will also soon be starting a film with Vivek, one more hero (new) and a new heroine.
What kind of film is Vinod Khanna producing to launch his son, Akshaye?
– It is a love story with action. Vinod Khanna is presently abroad to sign stunt co-ordinators for the film.
What if the new censor guidelines come into effect and the CBFC becomes stricter?
– The Film Certification Appellate Tribunal will become busy.
WHAT A CAPACITY!
With the hike in admission rates at Metro, Bombay for 1942 A Love Story, the house-full capacity of the cinema is a whopping Rs. 5,77,000 (approximately). The house-full share would be about Rs. 2,75,000.
VETERAN JOURNALIST V.P. SATHE DEAD
Veteran journalist Vasant Prabhakar Sathe (V.P. Sathe) breathed his last on 12th July in Bombay. He died due to cardio-respiratory failure. He was suffering from diabetes and had been unwell for the last several years. He was 78 and is survived by his wife and son.
V.P. Sathe was a regular columnist of Film Information for a number of years.
Sathe was also a story-writer and producer. His association with K.A. Abbas and Raj Kapoor was life-long. He was the executive producer of K.A. Abbas’ Dharti Ke Lal, which was a pioneering effort towards establishing realistic cinema. He wrote the scripts of Raj Kapoor’s Awara, Shri 420 and Bobby in association with Abbas. Sathe produced Madhuchandra (Marathi) in association with P.B. Samant and scripted the Marathi films, Thartharat and Jeevlaga, with Mahesh Kothare.
WARRANTS AGAINST HEROINES
The judicial magistrate court, 1st court, Baroda on 12th July issued non-bailable warrants in the names of Madhuri Dixit, Juhi Chawla, Pooja Bhatt, Karisma Kapoor, Mamta Kulkarni and Tabu in a case for alleged obscenity filed by one A. Chauhan on behalf of a social organisation. Raveena Tandon, against whom also the allegation was made, was exempted from the warrant as her advocate, Vivek R. Midha, appeared on her behalf.
INDUSTRY APPEALS FOR LENIENCY
Various film bodies, including the Cine Artistes’ Association, Film Directors’ Forum, Film Producers Guild of India and South Indian Film Chamber of Commerce have appealed to the President of India and the Prime Minister of India for sympathy and a lenient view to the bail application of Sanjay Dutt.
SUSHAMA SHIROMANEE WRITES TO PM
Producer-director Sushama Shiromanee has taken exception to certain remarks made by the minister of state for finance, Ramrao Adik, who has alleged that the film industry thrived on underworld patronage. She has written to Prime Minister Narasimha Rao, questioning Adik’s own credentials.
LUCKY FOR YASH’S STUDENTS
1994 is proving to be lucky for erstwhile assistants of Yash Chopra. Rajiv Rai has made a super-mark with Mohra. Naresh Malhotra scored with his maiden directorial venture, Yeh Dillagi. And Ramesh Talwar is extremely busy with Aarzoo, the TV serial he is directing for Jaya Bachchan.
DO YOU KNOW?
‘MOHRA’ MAGIC IN 2ND WEEK TOO
* Created a city record by collecting 1,29,746/- in 2nd week at Vasant, Ghaziabad.
* Created a city record by collecting 1,15,436/- in 2nd week at Imperial, Bareilly.
* Created a city record by collecting 1,25,968/- in 2nd week at Seema, Aligarh. Two weeks’ total: 2,62,745/-, record.
* Created a theatre record at Leela, Lucknow in 2nd week too by collecting 1,99,573/- (all full).
* Created a city record by collecting 1,20,542/- in 2nd week at Prabhat, Raipur.
* Created a theatre record by collecting 84,830/- in 2nd week at Gangashree, Bilaspur. Two weeks’ total: 2,07,000/-, record. 3rd week first day: 9,630/-, theatre record.
* Created a theatre record by collecting a total of 2,56,603/- in 2 weeks at Jyoti, Jabalpur. 2nd week: 1,21,244/-.
* Created a theatre record by collecting a total of 1,84,756/- in 2 weeks at Uday, Akola. Distributor’s share: 1,31,000/-. 2nd week collection: 87,601/- (99.81%). 3rd week first day: 11,481/-.
* Created a theatre record by collecting 70,105/- in 2nd week at Uttam, Bhilai, despite heavy rains. Total for 2 weeks (1st week 2 cinemas): 3,22,895/-.
* Created a theatre record by collecting 68,922/- in 2nd week at Natwar, Jalgaon.
* Created a record by collecting 1,35,307/- in 2nd week at Bharat, Bhopal, and 1,01,045/- at Jyoti, Bhopal.
* Created a city record by collecting 1,67,321/- in 1st week (against a capacity of 1,87,362/-) at Suraj, Bikaner.
* MOHRA is the first film after BETA to have entered 3rd week in two cinemas of Aurangabad, viz. Apsara and Anupama.
3-E
Education-Entertainment-Enlightenment
‘Mohra’: The New Tonic
The super-success of Mohra has infused a new life in the trade. In filmi parlance, it has brought back garmi in the business. Distributors are concluding deals briskly. Producers are quoting unheard of prices and, in several cases, getting them too. The initial business of Mohra has made people wake up to the fact that the audience is there and it is hungry for good entertainment, that it wants to come to cinemas provided the fare is good. Several distributors of East Punjab are camped in Bombay in search of action films but have not been lucky enough to get any despite the money! And to think of it, some years ago, Punjab was the coldest territory.
No Trials Please
That Vinod Chopra held no trials of 1942 A Love Story for the trade or the press is too well-known. But a little known fact is that he had taken a written undertaking from his all-India distributors that they would hold no trial shows of the film. That is not all, Vinod Chopra also saw to it that every distributor, after delivery was effected, was escorted (by Chopra’s own man) to the airport/railway station to ensure that the prints were loaded for the destination concerned only and not ‘smuggled’(?) into a preview theatre. As an alternative, distributors were given R/Rs or consignment notes of the prints despatched, instead of the prints themselves. Vinod Chopra did not want the Bombay trade or press to see the film in any theatre except Metro where the Dolby Stereo sound system has been installed. And he did not want them to see it before the eleventh hour. Hence, the undertaking and the escorts!
No Pregnant Pause!
For writer K.K. Singh, Mehul Kumar’s Krantiveer was literally his baby as he ‘carried’ it for 9 months in his mind without a pause. From inception to delivering it in the form of a hard-bound script, K.K. Singh worked incessantly on it without wavering from the track or working on any other subject. The film, due to release next week, incidentally, dwells on communal differences (Hindu-Muslim), and K.K. Singh had started working on it soon after the March ’93 bomb blasts which rocked the city of Bombay. Shooting was completed in just seven months. For K.K. Singh, therefore, Krantiveer is truly his labour of love.
Jalgaon Sex Scandal And Films
Criticising the film industry for any untoward happening has almost become a habit with politicians and activists. Recently, it was Maharashtra chief minister Sharad Pawar’s chance to blame the industry. The matter for discussion was the Jalgaon sex scandal, in the state assembly on 12th July! Pawar was critical of the current trend of sex and violence in Hindi cinema. He warned that the state government would take steps to curb the trend. He also expressed concern over its influence on youngsters and said he disapproved of the ‘money making’ attitude of film producers.
Reflection Of Dedication
One can trust director Jyotin Goel to think of something unusual and exciting. For his Sanjay Dutt, Juhi Chawla starrer, Safari, a set was put up recently at Natraj Studios to shoot an action sequence. The set consisted almost entirely of mirrors. There were over a thousand mirrors on the set. As the shooting of this action sequence was intricate, requiring precision, Jyotin picturised the entire sequence on video with duplicates, prior to its actual filming, to check out the results for himself. That’s dedication!
Betting On Sanjay Dutt
Gamblers are gamblers, and they can bet on anything under the sun. There is heavy betting these days on Sanjay Dutt – whether or not he will be granted bail by the Supreme Court. Punters in various clubs of Bombay are having a field day. The odds in the betting games appear to be in favour of Dutt.
Roles Of Substance Now
The super-success of Mohra has not gone to Sunil Shetty’s head. The guy is as modest as he was earlier, only a bit wiser, now that producers who had sneered at him are making a beeline to sign him. Aware of his ordinary looks, he doesn’t hesitate in admitting it also. Having concentrated on action and stunts so far, he says, he will now lay emphasis on performance-oriented roles also. Sunil is particularly excited about Time’s new film (to be started shortly), a remake of the Tamil hit, Anna. The original had starred Vijaykant (of Captain Prabhakar).
An Eye For Talent
From Mithun to Salman to Sunil Shetty, director Deepak Bahry has proved to be a master in recognising talent. In the case of Sunil Shetty, Bahry happened to see Sunil’s photographs at J.P. Singhal’s studio, and he immediately summoned Sunil from his boutique, ‘Mischief’, and signed him for Dilruba after doing a photo-session at Madh Island. People sniggered at his choice but Bahry was adamant that Sunil was the right choice for the role of a stable-hand which he plays in the film. And it was after this film, for which Sunil faced the camera for the first time, that the success saga began. Bahry’s confidence and fondness for Sunil is evident as Sunil has four films (one complete and three under-production) with Deepak Bahry. Two more would soon be launched with the backing of a London party.
A Story Of Too Much Love?
One understands a director’s feelings for his film but Vinod Chopra seems to have gone overboard. For the premiere of his 1942 A Love Story at Metro, Bombay on 13th July, he got into an argument with a couple who reached late for the show. How could they reach late when the invitation card asked them to take their seats at “8 p.m. sharp”, he demanded to know. Not convinced with the couple’s reason for their late-coming, he asked them to return home. Some important questions that arise: (1) Since the premiere show was an invitees’ show, was it right on Vinod Chopra’s part to refuse entry to somebody who got delayed for whatever reason?; (2) how does Vinod Chopra propose to check the free movement of audience in the hundreds of cinemas screening the film, during songs/scenes?; (3) when the invitation card mentioned “sharp 8 p.m.”, how justified was Vinod Chopra in starting the show at 9 p.m. and, thereafter, refusing a couple entry for late arrival? That was not all. When the film’s screening resumed after interval, Vinod Chopra, in all his enthusiasm, informed the audience that the screening had started and asked them to take their seats. Fine! But, in his over-enthusiasm, he continued, “Those who are not interested may leave the hall!”
Interesting Titles
On to some title talk now. Following are among the titles registered by the title registration committee last month: Aadam Ki Bahu, Hello Mr. India, Jiyaa Bekaraar Hai, Aalam Aara, Doctor India, Madras Express, Bewdebaaz, Bewdabaaz, Jhumo Naacho Gaao, Aaj Ka Indian, Ganga Tera Pani Lal, Fire Brigade, Mr. Son Of India, Dial ‘M’ For Music, Aadam Ki Aulad, Ghunghat Ki Aad Se, Mr. Hindustanee, Mr. Bharat, 90 Crore Baarati, Terror, Bapuji Ke Bachche, Kali Kholi Wale, Mister Kanjoos, Top Hero, Law & Order, Dhoondte Reh Jaoge, Tu Hai Meri Kiran, Drugs & Aids, Baap Se Bada Rupaiya, Paap Ka Baap, Saali Hai Dilwali, Pagal Hai Kya, Ek Tuhi Mere Dil Mein, Hakka-Bakka.
