MAJROOH SULTANPURI –
Ae Dil Mujhe Aisi Jagah Le Chal…..

Jaakar kahin kho jaaoon main
Neend aaye aur so jaaoon main
Duniya mujhe dhoonde magar
Mera nishaan koi na ho.

Nevertheless, the nishaan, the tell-tale signs will not vanish. Instead, his songs will return repeatedly to haunt…. hunt…. for, Majrooh Sultanpuri’s demise marks the end of an era.

The end came, as it usually does, unexpectedly in the early hours of May 25 at Lilavati Hospital, Bombay. The first lyricist to be honoured with the Dadasaheb Phalke award is survived by his wife, daughter and son (Andalib Sultanpuri). He was 78 and succumbed to a lung infection.

Majrooh, the pen-name of Asrar Hasan Khan, was the only lyricist, still in our midst, whose creation — Jab dil hi toot gaya / Hum jee ke kya karenge — had been rendered in the soulful voice of the legend of legends, Kundan Lal Saigal.

It was composed by Naushad for Abdul Rashid Kardar’s Shahjehan. This song had such a mesmerising effect on Saigal himself that he had requested its tune to be played on his last journey — from his death-bed to the pyre.

Strange to ponder that Majrooh had penned his own obituary in a song he wrote for Mamta in the ‘sixties. Mull over this antra of the evergreen hit Rahen na rahen hum: Jab hum na honge, jab hamaari khaaq pe tum rukoge chalte-chalte / Ashqon se bheegi chandni mein ek sadaa si sunoge chalte-chalte / Wahin par kahin hum tum se milenge ban-ke kali, ban-ke sabaa baagh-e-wafaa mein.

All the same, what wrings the heart is that Majrooh was in such fine fettle till the very end. Kya Kehna!, released last week, had lyrics penned by him, as did the film released yesterday — Hum To Mohabbat Karega.

A hallmark is invariably hard to define but Majrooh’s forte was in giving an image to the hero through his songs. In Mehboob Khan’s Andaz, he had the luxury of writing four songs to cast Dilip Kumar in the mould of the unrequited lover, the eternal loser, the tragedian — Hum aaj kahin dil kho baithe, Tu kahe agar jeevan bhar, Toote na dil toote na, and Jhoom jhoom ke naacho aaj — all rendered by Mukesh under Naushad’s baton. Dev Anand’s flippant, lover-boy image was given a fillip by  Maana janaab ne pukaara nahin (Paying Guest) and even more piquantly in Nau Do Gyarah. Hum hain rahi pyar ke, hum se kuchh na boliye / Jo bhi pyaar se mila, hum usi ke ho liye was the mukhda and revel in one antra of this song — Raah mein pade hain hum kabse aap ki kasam / Dekhiye to kam se kam…. boliye na boliye! And when Dev Anand returned over two decades later with a new hair-style in Jewel Thief, Majrooh conjured up a song that sat pat on where the puff used to be:

Yej dil na hota bechaara, kadam na hote awara / Jo khoobsoorat koi apna humsafar hota.

In the interim period, Majrooh also caught the poetic part of Dev’s persona with brief preludes — like this couplet preceding Khwab ho tum ya koyi haqeeqat in Teen Deviyan. The gem was Subah ko jis tarah ho sham ka ho ghuman / Zulfon mein ek chehra, kuchh zaahir, kuchh nihaan.

Shammi Kapoor got his ‘yaahoo’ image, thanks to writer-director Nasir Husain’s imagination and Majrooh’s inspired writing in Tumsa Nahin Dekha. Jawaaniyan yeh mast-mast bin piye; Sar pe topi laal, haath mein resham ka roomal, O! tera kya kehna; Aayen hain door se milne huzoor se; Chhupnewale saamne aa; and Dekho kasam se. This trend carried on and the most recent beneficiary was Tahir Husain’s son, Aamir Khan, in Qayamat Se Gayamat Tak (Papa kehte hain bada naam karega; Ae mere humsafar).

Majrooh was a versatile writer who could pen songs as per the demands of the situation. He was, initially, a bit of a perfectionist, given his literary background as the following incident illustrates. At a song-sitting of Guru Dutt’s Aar Paar, Majrooh was aghast when Guru Dutt made a minor correction in the first line of the mukhda written by him. The song in question was: Sun sun sun sun zaalima, pyaar humko tum se ho gaya / Dil se mila le dil mera, tujhko mere pyar ki kasam. “But this is grammatically incorrect,” protested Majrooh, adding, “If you make it sun, then you cannot use tum, it has to be tujh. It is tu sun and tum suno,” he concluded. Guru Dutt was, however, more keen on the play on ‘m’ than on grammar and he told Majrooh that grammar could be sacrificed for an alluring alliteration — so essential to melody. Majrooh complied.

On reflection, what amazes one about Majrooh’s career-graph was his chequered relations with producers. Except for Nasir Husain, who stood by him through thick and thin for decades — from Tumsa Nahin Dekha to Jo Jeeta Woho Sikandar — other producers and composers utilised his talent as and when it suited them.

And this trend began from Mehboob’s Andaz. While Naushad remained Mehboob’s permanent composer, Shakeel Badayuni replaced Majrooh. Indeed, even Naushad worked with Majrooh almost three decades after Andaz, in Venus Pictures’ Saathi. He was never a regular in any camp and that was no reflection on the quality of his work. When B.R. Chopra launched his banner with Ek Hi Rasta, Majrooh was signed to write the lyrics. That was to be his first and last film with B.R. Chopra. Tarachand Barjatya launched Rajshri on a big scale with Aarti which had music by Roshan and lyrics by Majrooh. Dosti was a personal triumph for Majrooh as he won awards for it, with new music duo Laxmikant-Pyarelal, for Chaahoonga main tujhe saanjh savere, which pipped the songs of Raj Kapoor’s Sangam, composed by the famous Shankar-Jaikishan duo, at the post. Dev Anand, Bimal Roy, S. Mukerji, Raj Khosla, all gave him assignments, but Majrooh was always in the dark about when the axe would fall. He forever had competition in Shailendra, Hasrat Jaipuri, Sahir Ludhianvi, Shakeel Badayuni, Rajinder Krishan, Raja Mehdi Ali Khan, Jan Nisar Akhtar, Asad Bhopali et al. Indeed, Raj Kapoor had no time to look beyond Shailendra-Hasrat till Shailendra was alive. Majrooh entered the R.K. camp, courtesy Randhir Kapoor, and wrote that pithy song, Ek din bik jaayega maati ke mol / Jag mein rah jaayenge pyare tere bol for Dharam Karam, directed by Randhir Kapoor.

Majrooh was generous to a fault. He would go out of his way to write songs for producers in distress, disregarding his price. His songs for Rajinder Singh Bedi’s Dastak — an FFC production — became a milestone in Madan Mohan’s life. He used his takhallus to telling effect in the climax song, sung by Rehana Sultana, Hum hain matae-e-koocha baazaar ki tarah — Majrooh likh rahe hain woh ahle wafa ka naam / Hum bhi khade huen hain gunehgaar ki tarah.

In a career spanning well over five decades, Majrooh maintained his personal and professional dignity and was thoroughly down-to-earth. Unlike the image usually associated with poets, he was a disciplined man with his feet planted firmly on terra firma. This accounts for his long innings and large and qualitative output. Among the hundreds of films he penned the lyrics for were Pukar (new), Jaanam Samjha Karo, Dharti Kahe Pukar Ke, Mere Humdum Mere Dost, Aakhri Dao (old), Abhilasha, Bhoot Bungla, Aulad, Chalti Ka Naam Gadi, Anamika, Andaz Apna Apna, Dilli Ka Thug, Kudrat and Arzoo (old). One is grateful that his songs are a source of solace. All the more so when one is faced with such feelings from his quill as: Sulagte seene se dhuaan sa uth-ta hai / Lo ab chale aao ke dum ghut-ta hai / Jala gaye tan ko baharon ke saaye main kya karoon haaye / Ke tum yaad aaye.

The answer, too, is provided by Majrooh himself through Asha Bhosle’s poser in Nasir Husain’s Phir Wohi Dil Laya Hoon — Khud dhoond rahi hai shama jise kya baat hai us parwane ki!”

– Dr. Shivaji Sen-Gupta

LATEST POSITION

The success of KYA KEHNA has spread joy in the industry…. KN…PH has got a further boost due to the additional song which has resulted in collections jumping up in the week that’s gone by….. Asia Cup cricket fever may affect box-office collections adversely from tomorrow.

Kya Kehna! has done splendid and is the best in Gujarat, Delhi, U.P. and C.I. 1st week Bombay 37,80,883 (91.46%) from 8 cinemas (2 on F.H.); Ahmedabad 13,94,583 from 3 cinemas, Jamnagar 1,39,063; Pune 9,67,783 from 3 cinemas (1 in matinee); Delhi 39,45,464 (94.81%) from 6 cinemas; Kanpur 3,70,806, Lucknow 4,47,573, Agra 2,80,000, Varanasi  2,12,108, Allahabad 1,13,172, Bareilly (6 days) 1,30,000; Calcutta 16,71,661 from 9 cinemas; Nagpur 4,72,419 (100%), Amravati (6 days) 1,77,744, Akola 1,61,039, Raipur 1,83,399, Bhilai (6 days) 1,16,666, Chandrapur 2,01,684, Bilaspur 1,35,080; Indore 2,40,000 (1 on F.H.), Bhopal 2,35,500; Jaipur 6,39,067 from 2 cinemas, Ajmer 1,47,793, Bikaner 2,07,959; Hyderabad (gross) 12,47,981 from 4 cinemas (1 in noon).

…………

Jung 2nd week Bombay 19,95,719 (51.89%) from 7 cinemas (10 on F.H.); Ahmedabad 4,82,034 from 6 cinemas, Baroda 89,282 (1st 1,84,609), Jamnagar (matinee) 13,904; Pune 5,33,763 from 6 cinemas; Hubli 65,387 (1st 83,265), Belgaum 67,849 (1st 98,384); Delhi 7,91,725 from 8 cinemas (2 on F.H.); Kanpur 1,44,600 from 2 cinemas, Lucknow 1,52,353 (1st 2,81,804), Agra 80,000; Allahabad 66,000, Bareilly 66,688; Calcutta 1,66,090 (1st 3,21,365); Nagpur 92,358 from 2 cinemas, Jabalpur 59,387, total 2,12,263, Amravati (6 days) 83,008, Raipur 48,244, Bhilai (6 days) 21,750, Jalgaon 1,00,145, Yavatmal (4 days) 10,662; Indore 36,755, Bhopal 60,534; Jaipur 1,24,206, Ajmer (gross) 87,358, Bikaner 73,390; Hyderabad (gross) 2,73,612 from 3 cinemas; Guntur (gross) 80,927, total 1,68,352.

Chal Mere Bhai 3rd week Bombay 30,04,003 (48.83%) from 10 cinemas (8 on F.H.); Ahmedabad 6,82,637 from 6 cinemas (1 unrecd.), Rajkot 75,535 (2nd 1,57,800), Jamnagar 22,622; Pune 4,59,330 from 4 cinemas (1 in matinee); Delhi 9,63,226 from 8 cinemas (3 on F.H.); Kanpur 1,32,253 from 2 cinemas, Lucknow 2,72,450 (2nd 3,78,127), Agra (22 shows) 1,05,000, Allahabad 45,418, Varanasi 81,098, Bareilly 62,897 (2nd 91,181), Hardwar 19,000; Calcutta 2,06,550 (2nd 3,06,742); Nagpur 1,63,367 from 2 cinemas, Amravati (6 days) 87,358, Raipur (gross) 1,61,647 (2nd 2,55,377), Bhilai (gross) 83,706, Jalgaon 97,395, Wardha 27,429, Bilaspur 45,777 (2nd 83,420); Indore 98,000, Bhopal 49,480 (1 unrecd.); Jaipur 94,267.

Kaho Naa…Pyaar Hai 19th week Bombay 7,00,756 (52.16%) from 3 cinemas (4 on F.H.); Ahmedabad 5,85,862 from 3 cinemas, Baroda 1,85,533; Pune 3,37,977 from 2 cinemas (1 in matinee); 6th week Bijapur 92,410; 19th week Delhi 5,12,889 from 4 cinemas; Kanpur 88,089, Lucknow 1,76,353, Agra 64,000, Varanasi 1,03,381, Allahabad 52,302; Calcutta 2,81,621 from 3 cinemas; Nagpur 3,18,428 from 3 cinemas, Jabalpur 85,540, total 23,22,346, Amravati 93,819 (18th 86,550), Akola 88,330, total 22,79,719, Raipur 78,188 (18th 75,000), total 22,83,103, 4th week Bhilai 34,714, 19th week Jalgaon 85,971 (18th 72,358), 14th week Wardha 43,994 (13th 37,948), 6th week Rajnandgaon 58,359, total 3,77,631, 18th week Chandrapur 81,872, total 23,54,531, 1st week Yavatmal (2nd run) 1,00,214, 19th week Bilaspur 32,322, 6th week Sagar 33,165, Betul 73,302, 1st week Ambikapur 1,60,460, 2nd week Karanja 51,883, total 1,54,159; 19th week Bhopal 1,07,111; Jaipur 61,657; Hyderabad (gross) 4,64,404 from 2 cinemas (2 on F.H.).

AIFPC DONATES 1 CRORE FOR ORISSA CYCLONE RELIEF

The All India Film Producers Council last week donated Rs. 1 crore to the prime minister’s Orissa relief fund. The amount was collected through a star-studded programme, ‘India 2000’, organised by the Hindi film industry in association with Global Online Entertainment at the Indira Gandhi Stadium in New Delhi on 10th December.

The cheque was presented to prime minister Atal Behari Vajpayee by Pahlaj Nihalani, Boney Kapoor, Anil Kapoor, Sridevi and Aishwarya Rai.

BABY GIRL FOR SHAH RUKH KHAN

Shah Rukh Khan and Gauri have been blessed with a baby girl. The baby was delivered by Caesarean section on 22nd May at Breach Candy Hospital, Bombay.

SECOND SUNDAY NOT COMPULSORY HOLIDAY

The Association of Motion Pictures & TV Programme Producers has reverted its decision (of 3rd May) to enforce the second Sunday of every month as a compulsory holiday for artistes, technicians and workers. The new decision was arrived at in a joint meeting of the AMPTPP, AIFPC and FWICE on 22nd May, wherein the AIFPC contended that the provision for a compulsory holiday was no longer relevant as the production of films and TV serials had gone down drastically in the last few years.

Second Sundays will, therefore, not be observed as compulsory holidays now.

NAGPUR EXHIBITORS, CABLE AGENCIES ARRIVE AT LANDMARK DECISION

The joint meeting of the cable operators and cinema owners of Nagpur was held on 19th May at Hotel Tuli International, Nagpur. Dalipsingh Tuli, president, Cine Exhibitors Association, Nagpur, presided. The meeting was attended by almost all cable agency owners, namely Sachin Jain (Cable Network), George (Siti Cable), Nitin Patil (In Cable), Jagdish Palia (UCN), Dhawade (Universal Spectrum), Rajesh Joshi (Sargam), Motghare (Drishti) and Mazhar Sheikh (Bharat).

The CEA, represented by D.S. Tuli, S.B. Patil, Vijay Kher, Prashant Rathi, Sharma, Deewan, S.A. Sorathiya, K.K. Sawhney and Pali Sharma, described the problems faced by cinemas due to cable agencies showing new films on cable TV. This had resulted into decreased audience for the cinemas and also lower entertainment tax revenue to the government, they added.

After long-winding deliberations, the meeting arrived at a fruitful decision. It was unanimously decided that with immediate effect, the telecast of new films on cable TV would stop and no newly-released films would be transmitted by cable operators of the city (Nagpur) and that the decision would be strictly implemented. To co-ordinate the efforts, two representatives each from the two associations were named: Dalipsingh Tuli and K.K. Sawhney from the CEA, and Sachin Jain and Nitin Patil from the cable agencies. S.B. Patil, secretary, CEA, thanked all the cable agencies for their co-operation and for arriving at a good decision and said, the CEA expected their continued co-operation.

It would be pertinent to note here that the government revenue department and the police department had also helped in this effort. The police department had suggested the CEA to take up the issue with cable agencies and operators.

YOU ASKED IT

Producers say that there are no good stories available. But one sometimes sees ads issued by some writers who beg to be heard. Why don’t producers listen to their subjects? Why do the filmmakers go after the regular film writers?

– Do you guarantee that new writers will give good stories?

Do singers still get royalty from music companies?

– Very few singers get royalties from music companies. Nowadays, the music companies usually buy music of films outright.

Do you believe that a film title based on favourable numerological combination helps a film succeed at the box-office?

– I only believe that a good story contributes majorly towards a film’s success.

DO YOU KNOW?

* KYA KEHNA!, which was released with a total of 153 prints, is being screened with 175 prints in the 2nd week. Due to distributors’ demand, 22 prints have been added. The producers, Tips Films, took care to deliver all the prints to the all-India distributors at their offices!

* KN…PH has created a record by collecting 1,03,282/- in 19th week at Saraswati, Varanasi. More than 18th week (91,000/-).

* KN…PH has created a city record by collecting 1,08,072/- in 19th week at Alankar, Nagpur. It has also credited a theatre record at Natraj, Nagpur by collecting 45,374/- in 18th week (17th week was 44,588/-). It has created a theatre record by collecting 1,64,982/- in 1st week (3rd run) at Jaswant, Nagpur.

* KN…PH has created a city record by collecting 93,189/- in 19th week at Panchsheel, Amravati. Better than previous week (86,550/-).

* KN…PH has created a city record by collecting 88,330/- in 19th week at Manek, Akola. Total for 19 weeks: 22,79,719/-.

* KN…PH has created a city record in Raipur by collecting 78,188/- in 19th week at Anand cinema. Better than 18th week (75,000/-). Total: 22,83,103/-. The new song, added in 19th week, is being greeted by the showering of coins on the screen by the public that goes wild.

* KN…PH has created a city and Khandesh record  by collecting 85,971/- in 19th week at Ashok, Jalgaon. Better than 18th week (72,358/-) and 17th week (71,038/-). People went crazy over the new song added in the film, whistling, shouting, singing and dancing when it came on the screen!

* KN…PH has created a city record in Chandrapur by collecting 81,873/- in 18th week at Jayant Talkies. Total for 18 weeks: 23,54,531/-.

3-E
Education-Entertainment-Enlightenment

An Idea Whose Time Has Come

If you can’t afford to lose them, try to win them. With this perception in view, the controller of Palace Cinema, Delhi, has slashed admission rates at his cinema by up to 50 per cent! And this has been done because the cinema found the attendance of patrons dwindling week after week, thanks to cable television operators freely showing new films. Joginder Mahajan, the cinema’s controller, has slashed the admission rates from Rs. 50/- and Rs. 45/- to Rs. 25/- and Rs. 20/-. Almost like, ‘buy one, take one free’! The seat occupany of the cinemas is likely to double up because of this. Seems, this is the only way out if cinemas have to survive.

KYA KEHNA!

Tips Films’ Kya Kehna! is an unusual and bold story of an unwed mother. A young happy-go-lucky girl from a decent family is fooled by a college boy into believing that he is very straightforward when actually he is a flirt and a womaniser. She falls in love with him and he seizes the opportunity to impregnate her but once that is done, he refuses to get tied down to her by marriage. He agrees that the child in her womb is his, but simply turns down her family’s proposal for marriage. Rather than abort the child, the girl decides to give birth to it, and for this, she first fights with her family and then, once the family sees reason in her argument, she stoically faces the world which pokes fun at her. Ultimately, she manages to emotionally move the boy responsible for her miseries. He even asks for her hand in marriage but by then, a childhood friend has also stepped in and is ready to give his name to the child who is about to be born. How the bold mother-to-be chooses between the two boys forms the climax.

For its very content (writer: Honey Irani), the film has immense appeal for ladies. Although the conviction in the story is not strong enough to create a long-lasting impact, the novelty, nevertheless, appeals to the audience. The portion in which the girl’s family members miss her, after she is thrown out by her father, is heart-rending. The scene in which she is actually thrown out may look unrealistic to the big-city audience but will evoke sympathy of the cinegoers in non-metropolitan cities. The girl’s speech on her college annual day should have been more forceful; it is, however, emotional enough to get the audience on her side. The flirtatious boy is shown as a grey character when a black character was the demand. Again, the climax is a bit tame. A bold story like this particular one required a climax full of drama and histrionics. Dialogues are fairly good.

Preity Zinta acts quite well and is greatly aided by an author-backed and meaty role. She manages to evoke sympathy for her character, at times. She, however, leaves something to be desired in the pre-climax and climax scenes. Saif Ali Khan acts well but does not consistently look good. Chandrachur Singh gets less scope and is just about average. Anupam Kher puts in a sincere performance and shines as Preity’s father. Farida Jalal is very good, as usual. Mamik does an able job. Navneet Nishan could have done much better. Puneet (as Preity’s second brother) is effective. Amit (as the youngest brother) is wonderful. Nivedita, as Mamik’s wife, is alright. Reeta Bhaduri, Rajiv Verma and Vikas Anand lend average support. Deven Varma and Daisy Irani are hardly funny!

Director Kundan Shah’s handling of the bold subject is quite good. He manages to keep the drama interesting all through. Music (Rajesh Roshan) is extremely good. The title song is a hit number and it has been used in happy and sad versions very appropriately. ‘Jaaneman jaane jaan’, ‘O Soniye’, ‘Pyara bhaiya’ and ‘Dekhiye aji jaaneman’ are also appealing songs. Camerawork (Rajesh Joshi) is of a good standard. Background score is effective.

On the whole, Kya Kehna!, an emotional fare for women, will click for its novel and bold theme. Should prove class A in some circuits.

Released on 19-5-2000 at Liberty and 9 other cinemas of Bombay by Tips Films Pvt. Ltd. thru R.G. International. Publicity: extraordinary. Opening: excellent. …….Also released all over. Opening was superb almost everywhere.

LATEST POSITION

Heavy rains in Bombay on Thursday adversely affected box-office collections. …The excellent opening response to KYA KEHNA! has emphasised the fact that appropriate and enthusiastic promotion helps and how!

Jung has not found appreciation. Is a plus fare in East Punjab because of the excellent opening last week. It, however, dropped midweek even in Punjab. 1st week Bombay 56,27,531 (80%) from 13 cinemas (8 on F.H.); Ahmedabad 11,73,875 from 5 cinemas (1 in daily 2 shows), Baroda (28 shows) 1,84,609, Vapi 4,89,350 from 2 cinemas; Pune 12,49,029 from 7 cinemas (1 in matinee), Solapur 2,82,337 from 3 cinemas (1 in matinee), Sangli 1,69,464 from 2 cinemas (1 in matinee); Hubli 83,265, Belgaum 98,384, Dharwad 57,628; Delhi 26,67,307 (41.65%) from 13 cinemas (1 on F.H.); Kanpur 3,46,481 from 2 cinemas, Lucknow 2,81,804, Agra 2,25,000, Varanasi 3,15,885 from 2 cinemas, Allahabad 1,85,000, Bareilly (6 days) 1,30,488; Calcutta 20,63,010 from 21 cinemas; Jabalpur 1,52,786, Amravati (6 days) 2,01,692, Raipur 1,11,839, Bhilai (6 days) 81,2444, Jalgaon 2,09,541, Yavatmal 51,168; Indore 2,13,769 from 2 cinemas (3 on F.H.), Bhopal 1,26,859 from 2 cinemas (1 unrecd.); Jaipur (29 shows) 5,57,781 from 4 cinemas; Hyderabad (gross) 25,13,085 from 10 cinemas; Bangalore (nett) 2,79,282; Guntur (gross) 87,532.

……….

Chal Mere Bhai nosedives (drops by 50% in most of the cinemas) and falls flat. 2nd week Bombay 39,94,447 (65%) from 11 cinemas (9 on F.H.); Ahmedabad 10,79,997 from 6 cinemas (1 unrecd.), Vapi 1,61,145, Rajkot 1,57,800 (1 in matinee unrecd.), Jamnagar 50,300 (1 in matinee unrecd.); Pune 9,20,759 from 5 cinemas (1 in matinee), Solapur 1,83,446; Delhi 17,31,583 from 9 cinemas (2 on F.H.); Kanpur 2,18,401 from 2 cinemas, Lucknow 3,78,127, Agra 2,60,000 Varanasi 1,25,628, Allahabad 70,651, Bareilly 91,181 (1st 1,72,937), Hardwar 30,000; Calcutta 5,12,083 from 2 cinemas; Amravati (6 days) 1,39,045, Akola 1,56,590, total 3,62,197, Raipur (gross) 2,55,377 (1st 3,93,475), Durg 58,141 (1st 1,21,727), Jalgaon 1,14,478 (1st 2,18,786), Wardha 37,845, Yavatmal (last) 58,183 (1st 1,57,114), Bilaspur 83,240 (1st 1,74,202); Jaipur 1,68,926.

Kaho Naa…Pyaar Hai 18th week Bombay 6,92,011 (51.51%) from 3 cinemas (4 on F.H.); Ahmedabad 5,40,186 from 3 cinemas, Baroda (28 shows) 1,75,246; Pune 3,47,061 from 2 cinemas (1 in matinee), Solapur 1,13,496; Delhi 4,73,582 from 4 cinemas; Lucknow 1,75,173, Agra 62,000, Varanasi 91,139, Allahabad 53,918; Calcutta 2,87,679 from  3 cinemas; Jabalpur 92,746 (17th 92,394), total 22,36,806, Amravati 86,550, Akola 94,982, total 21,91,388, Raipur 75,000, total 22,04,915, 3rd week Bhilai (6 days) 32,290, 1st week Karanja 1,02,276, 18th Jalgaon 72,358 (17th 71,038), 13th week Wardha 37,948, 17th week Chandrapur 85,493, total 22,72,659; 18th week Bhopal 1,09,816; 18th combined week Jaipur 60,123; Hyderabad (gross) 4,46,477 from 2 cinemas.

PADMALAYA TO GO INTO ACTION IN HOLLYWOOD

Hyderabad-based Padmalaya Telefilms Ltd., a division of Padmalaya Films, has plans to enter the US film industry to produce action movies on the lines of Broken Arrow and Speed.

The entry of Jackie Chan into the US movie market has prompted Padmalaya to venture into Hollywood. Padmalaya is deciding whether to have co-production tie-ups with US production houses or enter the market directly.

Padmalaya will not utilise services of Indian actors but will recruit stars like Arnold Sachwarzenegger and Sharon Stone.

G.V. Narasimha Rao, Padmalaya’s company director and operations in-charge, said that it will leverage its strength from its experience of producing over 60 films in India under the Padmalaya banner.

The company will tap the market with an equity issue which is scheduled to open on May 31. In recent times, German film production houses also have stormed Hollywood. In addition to producing action movies for the global audience, Padmalaya will produce a mega film for a global production house, using its animation and design shop base.

The company, founded by Telugu film superstar Krishna, is entering the capital market with an issue of 25 lakh equity shares of Rs. 10 each at a cash premium of Rs. 90, aggregating Rs. 25 crore. The shares are proposed to be listed on the Bombay and Hyderabad stock exchanges.

The proceeds will be used to set up joint ventures and studios, expand the company’s marketing networks and procure films for its library.

Padmalaya has tied up with indiainfo.com for creation of web ads for its portals, and with In-House Productions Ltd. for marketing television software.

GRAND OPENING FOR RAJHANS CINEMA IN SURAT

Rajhans Cinema in Surat was inaugurated on the auspicious Buddha Poornima day (18th May). The opening was very largely attended and was a grand affair. From Bombay, those who attended the cinema inauguration were U.A. Thadani, N.N. Sippy, Shyam Shroff, Balkrishna Shroff, Devendra Shah, Inder Raj Kapoor, Kantibhai (Rajshri), Pinky Badlani and Sanjay Chaturvedi. Ramesh Sippy, Rakesh Sippy, Haresh Bhatia and Raj Lalchandani were also scheduled to attend, but they could not reach in time to board the train to Surat, owing to a torrential downpour on 18th in Bombay. Haresh Lakhani and Ramesh Lakhani of Sagar Talkies, Baroda, and Mahendrabhai of Gopi Cinema, Anand also attended.

Jayesh Desai and Sanjay, the two owners of the new cinema, played perfect hosts. The cinema was thrown open to the public from 19th. Kya Kehna! is the opening attraction.

SAJJAN PASSES AWAY

Veteran actor Sajjan passed away in Bombay on 15th May following cardiac arrest. He was 80 and is survived by his wife, three sons and two daughters.

Sajjan came to films via theatre as he was a dramatist. He joined Prithvi Theatres and shot into prominence after playing the role of Mohammed Ali Jinnah in the stage play ‘Deewar’. He played the hero’s role in a number of films including Saiyan (opposite Madhubala) and Sheesha (opposite Nargis). Notable among the 200 films he acted in are Hum Log, Muqaddar, Najaria, Neelampari, Poonam, Nirmohi, Toofan, Bandish, Parichay, Johny Mera Naam, Dil Diya Dard Liya, Amir Garib and Chalti Ka Naam Gaadi. He had also acted in some teleserials like Vikram Vetal.

Former FWICE president Chandrashekhar described Sajjan as the main pillar of the Cine Aritstes’ Association. Sajjan was also a poet and he wrote the popular non-film song of yesteryears, Mera pyar mujhe lauta do. He was very fond of appearing in different get-ups and he once played eight roles in a single drama.

DO YOU KNOW?

* Calcutta has shifted to Bombay! Not metaphorically, but cinematically. Producer Salim’s bilingual — MITTI (Hindi) and OH CALCUTTA (English) — is being shot in a Calcutta basti set put up at Chandivali Studios. The authentic set has been created by art director R. Varman.

* SHABDAVEDI (Kannada) is celebrating 100 days in 18 cinemas in Karnataka. From Bombay-Karnataka alone, it has yielded a share of 34.17 lakh!

FIRST TIME EVER

* KAHO NAA…PYAAR HAI is poised to write history in Wardha at Durga Talkies. It is the first ever film which will celebrate 100 days at Wardha! The film, running in its 14th week now, has consistently been creating record week after week. It will complete 100 days next week. The cinema was started in 1947.

YOU ASKED IT

Why is it that only Gujarat has multiplexes coming up in the state?

– Because it is the Gujarat government which has formulated a policy for new multiplexes. The Maharashtra government’s policy is still to be gazetted though more than a year has elapsed since it was formulated. But Rajasthan is another state which has a policy for multiplexes and, therefore, some cineplexes are coming up in that state too.

Most of the big, star-cast films get huge monies for Overseas, satellite and music rights. When their recoveries from the above three are big, why can’t producers of such films sell the territorial rights of India at more reasonable prices?

– Wish, all producers thought like you. But the fact is that everybody wants to become cash-rich/cash-richer/cash-richest.

Is it true that Sunny Deol is not acting in Rajkumar Santoshi’s Lajja?

– Yes, Sunny is not acting in LAJJA… Kareena Kapoor, too, is not in Sanjay Tolani and Rajiv Tolani’s untitled film, being directed by Raj Kanwar. A new heroine is being finalised.

3-E
Education-Entertainment-Enlightenment

Shah Rukh Versus Hrithik: The Diwali Dhamakas

If the release schedules are anything to go by, there’ll be fireworks of a different kind this Diwali. Yash Chopra’s Mohabbatein, starring Shah Rukh Khan, and Vinod Chopra’s Mission Kashmir, starring Hrithik Roshan, are both scheduled for release on Diwali. There are clearly two camps in the industry — one which swears, Shah Rukh is still no. 1, and the other which feels Hrithik is the new numero uno. Both these camps will keenly watch the opening response to the two films and then, the debate about who is no. 1 will gather more ground. As in the trade, there’s divided opinion among the public too. Nobody is prepared to believe — and sadly so — that both, Shah Rukh and Hrithik, can and actually will co-exist. And like this Diwali, there’ll be fireworks on the Diwali of 2001 too. But next year, there won’t be two releases of the two stars. They will be seen together in the same film. Yes, Karan Johar’s Kabhi Khushi Kabhi Gham, starring Shah Rukh and Hrithik (besides, Amitabh, Jaya Bachchan, Kajol and Kareena Kapoor) will be released on Diwali 2001.

Cover Boy Hrithik!

Stars making it to covers of glossies is old hat. But what is new — and news — is that Hrithik Roshan has been featured on the covers of notebooks of students! Subhash Sharma, who was at one time a film producer (he had co-produced Suhaag, directed by Manmohan Desai), has, along with Amrut Shah of Sundaram Multi Pap. Ltd., has introduced long notebooks with an autographed Hrithik photograph on the cover. The 192-page notebooks, priced at Rs. 19, have a brochure and a fan club card. The back cover of the notebook has photographs of Hrithik in different poses and a ‘good thought’ signed by the star. There’s also information about Hrithik’s birth date (January 10), his height (6 feet), age (25), the name of his school and college, where he can be contacted on the website, and his fanmail address. The book printers should have been thoughtful enough to add a line or two from Hrithik on the notebook, exhorting the students to study hard. That actually should have been Hrithik’s ‘good thought’.

Lakhani’s Confidence: Wah! Kya Kehna!!

Haresh Lakhani of Sagar Cinema, Baroda, was, perhaps, the only person in the trade who was supremely confident that Kya Kehna! would take a bumper start. Despite two weak heroes in the film, his confidence was born out of the audience response to the film’s theatrical trailer and also out of the brilliant publicity done by Tips, on satellite channels. Not just that, Lakhani was also ready to put his money where his mouth was as he even offered to buy its sub-distribution rights for Gujarat from Bombay distributor U.A. Thadani; but the latter refused to sell the rights. Anyway, Lakhani booked the film as the opening attraction at the new Rajhans cinema in Surat. Says Lakhani, “People laughed at me when I booked Kya Kehna! at Rajhans, but today, with my stand vindicated, I am having the last laugh.” And rightly so.

Who Is The Hero?

There is an unwritten law in the industry that it is the heroes who command an initial for the film; however popular a heroine, she cannot attract the audience to the cinemas on day one. But this week’s release, Kya Kehna!, has opened to excellent houses despite the presence of two heroes (Saif Ali Khan and Chandrachur Singh) who are far from ‘hot’ among the audience. So, is Preity Zinta the real hero of the film? While Kya Kehna! has definitely broken the myth that only heroes can command a good opening, it would be wrong to give the entire credit to heroine Preity Zinta for the stupendous start to Kya Kehna!. Actually, the major credit should go to producers Ramesh and Kumar Taurani for their brilliant publicity, trailers and promotion of the film. Rajesh Roshan’s music, especially the title song, also helped. It would not be out of place to mention here that even after the super-success of Nagina, Sridevi’s Sherni had opened to poor houses.

Downpour Not A Dampener

Bombay distributors and exhibitors will not forget the inauguration of Rajhans cinema in Surat for a long time to come. Those who attended its opening will not forget it for the manner in which they made it to the railway station in Bombay to take the train to Surat on the afternoon of 18th May. And those who could not attend its opening will remember it for the efforts they made to board the train but couldn’t. Life in Bombay was thrown completely out of gear on 18th due to heavy rains, flooding and water clogging. Train services were disrupted and road traffic moved at a snail’s pace in many parts of the city. To make matters worse, the Karnavati Express train, on which the invitees from Bombay were booked, left from Borivli station instead of Bombay central station as usual. Most of those who had to travel, had almost reached Bombay Central when they learnt of the rescheduling of the train. With local train services discontinued around that time, the only alternative was to reach Borivli, about 40 kilometres away, by road. While Pinky Badlani and Sanjay Chaturvedi managed to reach Borivli in time for the Karnavati Express, Ramesh Lakhani (of Baroda), who had all the tickets with him, could not reach in time. As a result, Badlani and Chaturvedi had to buy fresh tickets. As for Ramesh Lakhani, none of the 21 tickets he had for Karnavati could be used! He along with U.A. Thadani, N.N. Sippy, Inder Raj Kapoor and Kantibhai travelled to Surat in another train. Shyam Shroff, Balkrishna Shroff and Devendra Shah had fortunately gone to Surat earlier that day and, therefore, did not have to face nature’s fury in Bombay. Ramesh Sippy and his son, Rakesh Sippy, as also Komal Nahta reached Bombay Central with great efforts, but could not make it to Borivli station. Haresh Bhatia and Raj Lalchandani also missed the train — and, therefore, the grand opening.

‘Khud Butter Chicken Khayega Aur…”

An exhibitor of Moradabad and Bareilly (U.P.) had booked a recently-released film at his two cinemas by paying handsome MGs to the film’s Delhi-U.P. distributor. The exhibitor had reposed complete faith on the film’s director. So, when the film fared dismally, much to his shock, the exhibitor reacted by saying, “I never curse anybody, but I am making an exception now. I curse this director with all my heart. He has not only made an inferior film but he has also made an incomplete film (‘incomplete’, meaning without a proper climax). Yeh khud toh butter chicken khayega aur hamaari dal-roti chheen-ne chala hai.” The outburst was an expression of the exhibitor’s heartburn and revealed the extent to which he had burnt his fingers!

The Hrithik Quake!

TREMORS IN CITY PULSE

KOMAL NAHTA

What happens at Bombay’s Santacruz airport is just a curtain-raiser to what is to happen at Ahmedabad’s Vallabhbhai Patel airport an hour later. The ground hostesses of Jet Airways are fighting over who would escort Hrithik Roshan to the security check. The security guys pretend to be more restrained than their excitement can permit them — they are, perhaps, thinking of the stories they would narrate to their kids at home, of Hrithik, the heartthrob of generation today. The co-passengers can’t believe their eyes and luck. Is it Hrithk they are seeing in their midst? Is it the Hrithik? Autograph seekers rush to the new icon with whatever pieces of paper they can lay their hands on, for the signature that could be worth more than Rs. 2 crore in the film industry. After all, Hrithik Roshan’s debut film, Kaho Naa…Pyaar Hai, has hit pay dirt. In fact, it is for the 100 days’ celebration of the film that Hrithik and dad Rakesh Roshan, the producer and director of the biggest hit of the year so far, are flying to Ahmedabad on 14th May. The celebrations are scheduled for the evening at one of India’s best cinemas — the City Pulse multiplex in Gandhinagar, the capital of Gujarat.

On the flight, star-struck stewards and high-on-Hrithik hostesses go through the routine of serving refreshments to the passengers with alarming speed. For, they have a more important job on hand — to take Hrithik’s autograph for themselves, family members, friends, distant relatives, may be, even foes! To the air staff’s good fortune, physique-conscious Hrithik chooses not to eat or drink anything on flight and utilises all of the 50 minutes to sign autographs and chat with them.

Thousands of eager spectators have dotted the airport boundary to have a look at the hero long before the flight touches base. Sensing the mob excitement, Ashok Purohit, the owner of City Pulse, and his family have very thoughtfully arranged for a car to pick up the Roshans from the tarmac itself. The cool drive to the hotel, close to the airport, is a welcome change after the initial 15 minutes of the flight when the cooling system had failed. Hrithik had used the menu card to fan himself even as fans of all age groups in the aeroplane fanned his ego.

The scene in the hotel lobby is equally crazy. Young girls and boys, with their mothers and fathers in tow, let out shrieks of joy as Hrithik descends from the car. One little boy is heard chanting, “Hrithik….. O mummy….. O mummy…..,” clutching his sister’s hand tight lest he faint. The one-film hero waves out to the crowds, shakes hands with some of them and takes the elevator to his spacious suite on the second floor of the hotel. Papa Roshan complains playfully, “Previously, at least some people used to ask me for my autograph. Now, once they get Hrithik’s autograph, they don’t even bother about mine.” Of course, the well-meaning pride in papa’s voice is there for all to see. Then Roshan Sr. goes on to relate an incident that had taken place at the friendly cricket match between Sachin Tendulkar XI and Hrithik XI the previous day in Bombay. A little boy, barely four years old, unable to reach Hrithik Roshan for an autograph, had pushed his autograph book into Rakesh Roshan’s hand and pleaded, “Uncle, please sign Hrithik Roshan!”

Before the star and star-maker zip off to City Pulse to make an appearance in all the three cinemas in the multiplex, Ashok Purohit and his wife feed them with figures over tea and biscuits. Hrithik orders for sandwiches as Purohit announces that KN…PH has already grossed Rs. 65 lakh in 17 weeks at City Pulse alone. “My desire is to touch Rs. 1 crore mark on the silver jubilee of the film,” says Purohit to the beaming Roshans. Incidentally, this is the highest collection a single film has grossed in the year-long history of City Pulse which opened in May ’99. It may not be possible to add another Rs. 35 lakh in 8 weeks to reach the target set by Purohit, but it would still remain the highest grossing film so far at the multiplex.

Hrithik informs about his portal which father-in-law-to-be, Sanjay Khan, plans to launch. “It will take some time to be launched, may be four or five months because I’ve got to sit and understand the whole thing,” he explains. But will the busier-than-the-proverbial-bee actor find time for all this even as every producer and director worth his name in the industry approaches the Roshans with a script that’s “written only for Hrithik”? The teenage sensation answers that indirectly when he reveals later, in reply to a question whether girlfriend Suzanne gets disturbed by the unprecedented female adulation that’s come his way. “She is not disturbed by the female fan-following but she definitely gets disturbed because I don’t get any time for her,” he reveals. “She comes to meet me at the gym at night when I am working out. That’s the only time we get to see each other.” He pauses for a while and then rues, “What a place to meet, no, the gym?” When will the wedding bells chime to the breaking of millions of hearts? Hrithik is more honest when confronted with this question on a one-to-one basis than when the same question is thrown at him at a press meet in Ahmedabad, with dad seated next to him. Perhaps, his embarrassment because of his father’s presence by his side makes him mumble at the press conference, “Married, I will definitely get, but not now.” The same question gets a more specific reply when dad is not within hearing distance. “Marriage will be some time next year,” blushes the very-much-in-love Hrithik.

Back to Kaho Naa…Pyaar Hai and the crowds of the capital city of Gujarat. There’s heavy security at City Pulse pulsating to the beat of Hrithik mania. It’s 9.30 p.m. but the crowds, mostly comprising youngsters, refuse to take their seats in the three halls, all screening KN…PH. Today, they’ve come to see Hrithik, not the film. They want to see him in flesh and blood, they want to touch him, they want to see how much like them he is, they want to see how he walks and talks in real life. They want to get a darshan of their new God! The City Pulse management, in a bid to bring about a semblance of discipline, announces that Hrithik will not make an appearance unless the audience take their seats. Shouts of “Oh no!” rent the air but the well-behaved crowds take the hint — and their seats too. The film show begins. There’s an excited and palpable restlessness in all the three halls. Outside, in the foyer and the huge compound leading to it, there’s an air of festivity. Even the live band that plays in the compound every weekend evening is more charged this particular evening.

And then… and then… the unbelievable happens. Hrithik and Rakesh Roshan arrive at City Pulse. Coming out of the car, they make their way into the first cinema amidst tight security. Young girls and boys can’t believe their eyes when they see their idol! Mothers rush out to reach Hrithik in the auditorium, not bothered about where their children are. Fathers know, their children don’t have the time to wait, they’ve reached ahead of them, maybe, they’ve been lucky enough to even touch Hrithik! Heavy security and police bandobast notwithstanding, it is well nigh impossible to control the crowd that’s surging ahead, shrieking, yelling, shouting, waving, smiling, screaming, pulling, pushing, jostling, falling on the ground, tugging. Some enthusiastic girls even venture out to shout, “Hrithik, we love you.” Hrithik, wearing a body-hugging white T-shirt, brown jeans and a 1000-watt smile, blushes a deep red. He waves out to the crazy crowds and tries hard to reach the dais. Once on the dais, Rakesh Roshan makes a small but effective speech, lauding City Pulse and owner Ashok Purohit for building such a magnificent show-place. He thanks the audience and the public for making KN…PH a super-hit. He adds, “Anything done honestly cannot go wrong. We have made Kaho Naa…Pyaar Hai with the utmost honesty, and the results are for all to see.” Hrithik takes the microphone and even before he can begin to talk, the crowd goes into a frenzy. He smiles, then laughs, blushing all the time. As he had remarked on the flight a little while earlier, “I can never get used to this mass adulation. I can’t handle five people at a time, five thousand are too many.” Papa Roshan had added, “Yes, Hrithik continues to be shy. Even after this success, he finds it difficult to open up before people.”

“Hrithik, dance, Hrithik, dance,” the crowds sing in unison. The dancing sensation looks questioningly at them but the projectionist has already started playing the super-hit Ek pal ka jeena song on the loud-speaker. The crowds have taken to their feet and are already swinging while shouting. Hrithik, hesitant at first, gets into the mood to oblige — and also to dance — and does the by-now famous dancing step with one palm pointing upwards and the other downwards, his knees bent and grace oozing out of his elastic body. Deafening screams, thunderous applause and before the crowds can rush to the dais, Hrithik is whisked out of the auditorium amidst tight security, and taken to the second cinema. The scene is no different there. The same shrieks, the same public demand, the same dance and the same blush. Ditto in the third cinema. All of this takes a cool 30 minutes. Thirty minutes of sheer magic for the people of Gandhinagar who would have loved even three more hours of it! The Purohit family, on tenterhooks till now, fearing for Hrithik’s safety, heaves sighs of relief. Rakesh Roshan and Hrithik are impressed with the security arrangements as also with the well-behaved crowds of Gandhinagar. In fact, Rakesh Roshan is also enamoured of the multiplex and tells Purohit, “Whatever I can do for your multiplex, I’ll be most glad to do. Such cinemas need all the encouragement.”

Back in the hotel, it’s dinner time. But the strict disciplinarian that Hrithik is, he will not have dinner before he has worked out. His secretary whispers into Rakesh Roshan’s ears, “He will join us later. He is presently working out in his hotel room.” Only thing, Hrithik’s Suzanne is not there to chat with him in the hotel suite-turned-gymnasium. Cellphone, anyone?!?

An Exclusive Encounter With Rakesh Roshan, Hrithik Together

Hrithik Roshan is still as shy as he used to be before he became a star. Says papa Roshan, “He’s not changed a bit.” Rakesh Roshan’s words ring true when Hrithik almost feels embarrassed to obige his fans for autographs, whether at Santacruz airport in Bombay or Hotel Taj in Ahmedabad or City Pulse in Gandhinagar.

Has the equation between father and son changed after Kaho Naa…Pyaar Hai? “Not at all,” smiles Hrithik. “The equation was established even while I used to assist dad in production, direction and editing before he launched me in Kaho Naa…Pyaar Hai.”

How did assisting dad before he became an actor help Hrithik in his performance? Did it help at all? “Of course, the training period under my dad has been of immense help. You can know what is right, only when you know what’s wrong,” replies Hrithik. He elabrotes, “When dad used to correct Salman or Shah Rukh on the sets during Karan Arjun, I used to ask him why he had said what he had said. Likewise, dad and I used to discuss a great deal in the editing room and that’s how I learnt what’s wrong and what’s right. And the wrong and right are quite different before the camera from what they may be in real life. For instance, if, in a scene, an actor is talking to someone and another person, who is not in the frame, passes by, the natural reaction would be for the actor to look at the person passing by. But dad once explained to me that if the camera caught the actor’s eyes moving somewhere else, the director would also have to show to the audience that other person who is passing by. I have been really very lucky to have undergone training in direction before becoming an actor because I find it easier to visualise what exactly a director wants of me.

How much did Hrithik contribute in the making of Kaho Naa…Pyaar Hai? Admits Rakesh Roshan, “I would say, at least 50% of the credit for the success goes to Hrithik. We used to constantly discuss on the sets and in the editing room. Because he belongs to today’s generation, he knew what the look of the film had to be. I used to really accept his suggestions relating to the look of the film. His other suggestions were also good. But he did get a little worried when I did not keep a single over-dramatic scene for him in the film. He used to tell his mother, ‘Mama, please tell papa to include at least one dramatic scene for me.’ But I never heeded this suggestion of his.”

What, according to dad, is son Hrithik’s forte — dance, action, emotions or comedy? “We need to see him in a couple of more films to really gauge his forte,” explains Rakesh Roshan. “An actor opens up with every film, and I am confident that Hrithik will be able to handle all of them with elan.”

Does Hrithik miss dad on the sets of other directors? “I understand, no other director can give me the space which dad gave me in my first film,” admits Hrithik. “But I am unhappy about how the industry functions. We all work like machines, we don’t have the time to rehearse, to perfect our work. I guess, it’s the system, but I am very very sad about it. I find myself helpless because I alone can’t change the system.”

INFORMATION MEETS

“I have worked with many directors but seldom come across a perfectionist like Subhash Ghai!”

– KABIR LAL

Dr. SHIVAJI SEN-GUPTA

From the dawn of cinema, the director and cinematographer have shared a special empathy. “Four eyes are always better than two!”, the father of cinema, David Wark Griffith, used to constantly tell his cameraman, Billy Bitzer. Griffith’s words have proved to be the gospel truth as cinema has evoked and grown over the decades.

Several eyebrows shot skywards when Kabir Lal came on the television screen to collect every award of his behind-the-scenes work as best cinematographer for Subhash Ghai’s Taal. Born in Madras on August 15, 1961, this young artist has already cranked the camera for nearly 80 feature films to-date. Of ad films, one has lost count. Incredible to imagine that the Film Institute at Adyar (Madras) had rejected his application for admission in the cinematography course but, undeterred, Kabir joined his father, Sangeet Shahid Lal, who was an active cinematographer in the ’60s in Tamil, Telugu and Kannada films and was universally regarded as a special effects specialist. After studying for his first year in commerce (he later graduated through correspondence course) at Loyola College, Madras, Kabir joined his father as an assistant and the rest is best told in his own words!

Excerpts from our conversation:

What precisely drew you to cinematography? Was it your father’s influence?

It certainly was, but my father was not at all keen on my following in his footsteps! He wanted me to have a ‘secure’ job, such as a Chartered Accountant’s while I was keen to be a cameraman since I used to accompany him for shootings from a very early age. The atmosphere, the challenges, the whole milieu appealed to me very very much. In fact, I have had the advantage of seeing the transition from B & W to colour. I call this an ‘advantage’ purposely. Because in a B & W film, when a weak scene comes along, as it invariably does in every film, the cameraman is helpless since he can’t divert the audience’s attention with tones of black, grey and white. Whereas, once colour came in, the cameraman had the power to hold the attention of the most demanding audience in case he used colour imaginatively and turned a mundane scene into an engrossing one merely by slick presentation, by highlighting the costumes, background and foreground in such a manner that the viewer’s attention would be drawn away from the ‘weak’ scene. Looking back, I am grateful that my father never treated me as a son but like any of his other assistants. I gradually graduated to becoming his chief assistant with the Telugu film, ‘Intolo’ Ramaya ‘Veedilo’ Krishnaya.

How did you get your break?

Even when I was assisting my father, I got a couple of offers including a 16mm film in colour, but somehow, they all got stalled midway! I lost my father in June 1984 when I was barely 23. K.S.R. Doss, the famous director who has made well over a 100 films gave me a break with a Kannada film, Karthavya, in Eastmancolor, starring Vishnuvardhan. The set-up was good but when the film was completed in 3 months and released in December 1984, it did average business. Luckily, my work was noticed, and I did around 25 films in Kannada in a short span. I have worked with all the top stars of Kannada cinema including Dr. Rajkumar, Ambarish, Shankar Nag, Anant Nag. The reason why I received so many offers was because I had learnt special effects on camera from my father very diligently and was considered an expert in ‘special effects’. Those days, no one had even imagined that computer graphics would come into existence!

But my major break came courtesy director Singeetham Srinivasa Rao and Kamal Haasan. They signed me for a Tamil film, Michael Madan Kama Rajan, in which Kamal Haasan played four roles. Since I was considered a ‘double role’ expert, they probably felt that this would be just the right film for me! This film, released in 1990, brought me into the limelight. After this, I was flooded with offers but I treasure the two other films I did with Singeetham Srinivasa Rao — Aditya 369 in Telugu, starring N.T. Rama Rao’s son, Balakrishna, won me the Kalasagar Akademi Award, while for Bhairav Deepam (Cinemascope, Telugu), I received the Andhra Pradesh state government’s Nandi award. The latter was a fantasy film with lots of special effects. I must have totally done over 70 films in Tamil, Telugu and Kannada; 40 of them were in Cinemascope.

What or who drew you to Bombay?

Dance director B.H. Tharun Kumar. He was choreographing a song for Fateh which was being cinematographed by Nirmal Jani. But this song, to be picturised on Sanjay Dutt, needed a lot of special effects and so, Tharun Kumar insisted that I shoot this song. Lawrence D’Souza saw this song shot by me and immediately asked me to shoot the song Bahut pyar karte hain tumko sanam on Madhuri Dixit for his Saajan. I also did a little bit of special effects on songs featuring Sanjay Dutt and Salman Khan in the film. Thereafter, I was signed as full-fledged cameraman with Anas Films’ Rang, directed by Talat Jani; Nitin Manmohan’s Laadla, directed by Raj Kanwar; and Mukesh Duggal’s Dil Ka Kya Kasoor, directed by Lawrence D’Souza. I also did 50% of Tutu Sharma’s Rajkumar, directed by Pankuj Parashar.

I simultaneously shot a lot of ad films for Mukul Anand, like the first Pepsi ad with Kapil Dev, Timex Watches, the jeans ad with Akshay Kumar; Kingfisher with the West Indies cricket team, Bagpiper Whisky with Shah Rukh etc. These ads were full of special effects and that was their highpoint.

How did you come in contact with Subhash Ghai?

By a curious coincidence, I shot for one day for Trimurti because of a ‘clash’. I never tried to meet Subhash Ghai as such, but the opportunity came my way and he was able to see my work. I feel, what impressed Subhash Ghai was the 50% of Rajkumar I had shot. I was told that he was considering me for Pardes. At that time, I was in Hyderabad shooting the Kingfisher ad. Even Mukul asked me if I was doing Subhash Ghai’s next film and I replied, in all honesty, that I just did not know. When I went back to Madras after that, I was happily surprised that a maker of Subhash Ghai’s stature was keen to work with me. After all, he is one of the topmost directors.

What was the experience like?

While I was doing Pardes, I was simultaneously shooting Hameshaa for Sanjay Gupta. I was not a stranger to Bombay any longer and I never faced any language barrier since my mother-tongue is Urdu. I had worked with quite a few directors. However, working with Subhash Ghai was something special, something to treasure. I recall, at Agra, he had given a call sheet for 6 in the morning. When I went to his room at 5.30 a.m., I was surprised to find him ready and writing the scenes to be shot. He puts in so much hard work and, more significantly, he is very confident about his work. Plus, he has a unique vision. While shooting for a song, he suddenly asks you to take some random shots. Only when you see the final edited version do you realise that he had actually shot portions for four songs. His homework is that thorough! He is a very good writer and keeps making minor yet crucial changes all the time while shooting. And finally, he makes the film on the editing table. He shoots every little detail he has in his mind and then puts together the fragments into a grand design. He has complete command over the medium and does not believe in making compromises. This is very challenging for a cameraman since it can lead to a lot of patch-work shooting. Subhash-ji does not make a film; he makes an event, a dream come true. His passion is enviable. That is why you will see that he keeps his characters very realistic, be they the mother, father, brother or sister. Another asset of his is that he is always open to suggestions. He first narrates the complete script in detail to all the key technicians and thereafter, keeps discussing the ‘look’ of the film. The bound script is kept in his office for ready reference and each small detail is discussed much before the shooting. These discussions are healthy and lively, with ideas being thrown back and forth. I think, I am lucky that for Pardes, the patch-work shooting was very little, just a few close-ups and scenes. For Taal, there was no patch-work whatsoever! I have worked with many directors but seldom come across a perfectionist like Subhash Ghai!

Coming to KAHO NAA…PYAAR HAI, tell me, did you expect it to be such an enormous success? Also, how did you get this film?

Well, to answer your second question first, Hrithik Roshan recommended my name after he saw my Hameshaa. On the other hand, Rakesh Roshan had liked my work in Pardes. About the success part, I did not expect the film to become such a runaway hit. I enjoyed doing the film, especially because I was working with new faces, new locations…. everything was new! Rakesh Roshan has had a long innings as an actor first and then as a director. He has a very good sense of screenplay and a keen eye for details. He is very fond of exploiting exotic locations and he is one director who doesn’t believe in re-shooting at all. He was very confident about his conception in Kaho Naa…Pyaar Hai, the story was so good and Hrithik’s talent was very cleverly tapped by his father. Another factor that went in Hrithik’s favour was that having assisted his father in Karan Arjun and Koyla, he had developed tremendous film sense.

Now that computer graphics are so common, your special effecs wizardry must be hardly needed!

Very true. Computers have brought in a technical revolution in the entertainment media and this is evident in the satellite channels, internet, ad films — in short, everywhere. But that has not bothered me at all. Frankly, as a cameraman, I wanted to be different. I have shifted my attention to other spheres such as ‘push processing’ in the laboratory — forced development of the film. It gives fabulous results.

In case I feel a scene needs a certain kind of look, I go all out to get it. Basically, there are just two kinds of raw stock — daylight (for outdoors) and tungsten (for indoors). Now, in Pardes, the first time Shah Rukh sees Mahima, I wanted a special kind of aura. Thus, I used high-speed daylight film indoors. I believe in changing my style according to the need of the scene. I basically prefer natural light, bounced skim light without shadows and natural faces, that is, faces without much make-up. I have some new ideas which I intend to implement in Subhash-ji’s Yaadein.

JUNG

Satish Tandon Productions’ Jung (A) is an uncommon story, though not exceptionally unusual. On the one side, it tells the story of a battle for life and on the other, a battle with law.

A brave and law-abiding high-ranking police officer (Jackie Shroff) is under tremendous mental pressure to save the life of his seven-year-old son who is suffering from blood cancer. He pleads with a dreaded criminal (Sanjay Dutt), who is behind bars, to donate his bone marrow to save his son (as the criminal’s bone marrow matches that of the police officer’s son who has a rare blood group). The criminal agrees, but only after the police officer’s wife (Raveena Tandon) fervently appeals to him. However, after agreeing to donate the bone marrow, he escapes from the hospital without donating it as he has to recover money that is owed to him by an erstwhile associate. In comes another police officer, who is stern and known to eliminate criminals because he does not believe in giving them another chance. In the confrontation between the escaped criminal and the stern cop, the former kills the latter and returns to the hospital to donate his bone marrow in time. He thereby makes his beloved (Shilpa Shetty) happy.

Till the interval, the drama is replete with tense scenes between Jackie Shroff and Sanjay Dutt in the jail. Jackie’s tough character then suffers a setback (after he pleads with Sanjay Dutt) and from thereon, the drama loses grip and it moves on a different track — showing the criminal’s escapades, his romance with a dancer and his friendship and enmity with his partners. The scenes showing the child’s illness trauma become too sombre after a while. However, the entry of the criminal’s beloved provides relief after more than an hour of serious viewing. The song (‘Aaila re’) comes after the interval; it would have been prudent to have the song preceding the interval and then repeating the same even after the interval. Two songs could easily be deleted to maintain the momentum of the drama. Dialogues are in keeping with the situations. The tension in the climax (whether to operate the criminal or not for removal of the bullet) looks too forced because the impending threat to the criminal’s life is there, whether or not the bullet is removed from his injured body.

Sanjay Dutt has done extremely well. His character is negative throughout the film except in the end when he does the good act of donating his bone marrow. Jackie Shroff looks lifeless after an initial good showing. Raveena Tandon is convincing in emotional scenes. Shilpa Shetty charms with her sensual movements in the ‘Aaila re’ dance number and in romantic scenes. Aditya Pancholi is good. Navin Nischol lives his role. Saurabh Shukla gives able support. Neeraj Vora fails to evoke laughter. Master Yash is tolerable. Sachin Khedekar is quite good.

Direction is good in parts and weak in other parts; the scenes showing tough drama are good, but the emotional scenes are very dull. Action scenes are executed in the style of Hollywood films. Musically, two songs, ‘Aaila re’ and ‘Balli di galli’, are extremely well-tuned, the former being the best attraction where its picturisation is concerned. Other songs are also good but their picturisation on Jackie Shroff are a sore point because he is a bad dancer. Besides, some of the songs come up abruptly. Cinematography and other technical aspects are of standard.

On the whole, Jung will face a hard battle at the box-office due to lack of entertainment and very little relief. A loser for all concerned, except, maybe in Delhi-U.P.

Released on 12-5-2000 at Novelty and 20 other cinemas of Bombay thru Devgan Entertainment & Software Ltd. Publicity: fairly good. Opening: fair. …….Also released all over. Opening was dull at many places, but good in Delhi and U.P.

LATEST POSITION

It was a normal week and the collections were, therefore, low as usual.

Chal Mere Bhai has not been appreciated. 1st week collections, however, are impressive at places. 1st week Bombay 56,08,357 (93.81%) from 11 cinemas (9 on F.H.); Ahmedabad 28,33,823 from 8 cinemas, Vapi 4,69,833, Padra 1,94,666, Rajkot 2,94,817 from 2 cinemas (1 in matinee), Jamnagar (matinee) 24,151 (1 in regular unrecd.), Adipur 1,20,726, Bhuj 97,382; Pune 14,97,581 from 5 cinemas (1 in matinee), Solapur 2,22,178 (100%), Satara 2,20,640 from 2 cinemas (1 in matinee); Hubli (noon) 69,385 (1 in regular unrecd.), Bijapur 88,242; Delhi 48,38,360 (77.71%) from 9 cinemas (4 on F.H.); Lucknow 59,29,385, Agra 4,66,000, Varanasi 2,56,590, Allahabad 1,68,731, Bareilly (6 days) 1,72,937, Hardwar 90,000; Calcutta 16,93,740 from 10 cinemas; Nagpur 9,06,250 from 4 cinemas, Amravati 2,73,396, Akola 2,05,607 (95%), Raipur (6 days, gross) 3,47,264, Durg 1,21,727, Jalgaon 2,18,796, Wardha 94,250, Bilaspur 1,74,202; Jaipur 8,17,464 from 4 cinemas, Ajmer (29 shows, gross) 2,39,767; did fair in Hyderabad.

Dahshat is dismal. 1st week Bombay 5,82,396 (24%) from 5 cinemas; Pune 45,000; did poor in Calcutta.

Dacait Queens did poor in 1st week in East Punjab.

The Destroyer (dubbed) did ordinary in 1st week in Hyderabad.

Chote Miyan (dubbed) drops. 2nd week Bombay 2,81,846 (40.55%); Ahmedabad 3,64,112 from 2 cinemas; Pune 26,792; Delhi 3,76,257 from 2 cinemas; Nagpur 1,90,000.

Hadh Kar Di Aapne faces a steep fall. 4th week Bombay 12,26,171 (38.45%) from 6 cinemas (3 on F.H.); Ahmedabad 1,11,923 from 2 cinemas, Rajkot (matinee) 19,250; Pune 2,13,574 from 2 cinemas, Solapur (matinee) 68,060; 2nd week Bijapur 32,240 (1st 1,19,000); 4th week Delhi 9,21,132 from 7 cinemas (1 on F.H.); Lucknow 1,90,586, Agra 97,000, Varanasi 1,09,298, Allahabad 90,183, Bareilly (6 days) 57,524, Hardwar 20,000; Calcutta 1,49,319; Nagpur 1,14,755 from 2 cinemas, Jabalpur (6 days) 85,168, Amravati (6 days) 84,396, Akola 66,194, total 4,36,614, Raipur (6 days) 64,386, 2nd week Jalgaon 1,34,034; 4th week Indore 1,65,000 from 2 cinemas; Jaipur 1,21,617, Bikaner 74,797; Hyderabad (gross) 4,30,989 from 2 cinemas (1 in noon).

Hera Pheri 6th week Bombay 23,26,152 (58.92%) from 9 cinemas (7 on F.H.); Ahmedabad 3,56,275 from 3 cinemas, Rajkot 70,000 (1 unrecd.); Pune 4,07,088 from 3 cinemas (1 in matinee), Solapur (matinee) 35,951; Delhi 6,00,161 from 4 cinemas; Lucknow 53,486, Agra 29,500, Varanasi 34,012; Calcutta 86,229; Nagpur 74,653 from 2 cinemas, Amravati (6 days) 79,579, Akola 47,577; Bhopal 34,000; Hyderabad (gross) 1,74,740 from 2 cinemas (1 in noon, 1 on F.H.)

Dulhan Hum Le Jayenge is doing well in small centres of C.I. due to hit music. 7th week Bombay 6,31,211 (41.30%) from 2 cinemas (7 on F.H., 5 unrecd.); Ahmedabad 55,303; Pune 1,15,328 from 2 cinemas (1 in matinee), Solapur 1,23,579, Satara (matinee) 23,965; Delhi 1,99,606 from 2 cinemas (1 on F.H.); Lucknow 1,65,234, Agra, 84,000, Allahabad 63,000, Bareilly (6 days) 23,356; Calcutta 1,02,532; Nagpur 49,997 from 2 cinemas, Jabalpur (6 days) 97,835, Amravati (6 days) 62,266, Akola 42,500, total 6,81,160, 3rd week Kamptee 38,146, total 1,48,674, 7th week Raipur (6 days) 38,257; Bhopal 55,200; Jaipur 5,84,447; Hyderabad (gross) 4,52,954 from 4 cinemas (1 in noon, 1 on F.H.).

Kaho Naa…Pyaar Hai 17th week Bombay 8,48,700 (55.45%) from 4 cinemas (4 on F.H.); Ahmedabad 4,51,541 from 3 cinemas, Baroda 1,91,712; Pune 4,09,824 from 3 cinemas (1 in matinee), Solapur 1,30,593, Satara (matinee) 52,270; 4th week Bijapur 73,614, total 5,93,201, share 3,94,450; 17th week Delhi 6,03,318 from 3 cinemas (2 on F.H.); Lucknow 1,70,477, 16th week Agra 86,000, 17th week Allahabad 53,000, Varanasi 96,978, Bareilly (6 days) 33,444; Calcutta 3,27,159 from 5 cinemas; Nagpur 1,39,886 from 2 cinemas, Jabalpur 92,394, total 21,84,061, Amravati 93,121, Akola 89,023, total 20,96,406, Raipur 80,426, total 21,29,915, Jalgaon 71,038, 12th week Wardha 37,382, 16th week Chandrapur 81,310, total 21,87,166, 3rd week Sagar 68,522, 1st week Khandwa (2nd run) 1,02,270, excellent; 17th week Bhopal 97,917; Jaipur 1,34,240 from 2 cinemas; Hyderabad (gross) 4,77,743 from 2 cinemas (1 in noon).

_________

Mota Ghar Ni Laaj (Gujarati; TF) is not good. 2nd week Ahmedabad 2,70,302 from 3 cinemas.

Manvi Tara Monghera Mol (Gujarati; TF) 1st week Baroda 37,671, poor.

_________

Stuart Little (E.) is quite good. 2nd week Bombay 8,07,992 (79.97%) from 2 cinemas; Pune 1,05,127; Delhi 13,07,256 from 3 cinemas; Calcutta 3,01,216; 2 weeks Vijayawada 2,50,938.

POSH NEW CINEMA IN SURAT

A new cinema — Rajhans Prime Cinema — will open in Surat on Friday, May 19, with Kya Kehna!. A grand get-together will be held on 18th May in Surat. Many exhibitors and distributors from Bombay are expected to attend the opening.

Rajhans is reported to be an excellently done-up cinema. Central air-conditioning system, fibre lighting on the floor, comfortable seats and beautiful decor are some of the salient features of the cinema. It is owned by the famous Rajhans Oil group.

NIGAR SULTANA FADES AWAY

Mughal-E-Azam made her, Mughal-E-Azam unmade her. For, it was well nigh impossible for an actress, however gifted, to emulate the inspired performance put in by Nigar Sultana as Anarkali’s rival in her husband’s epoch-making saga. Indeed, her scenes with Dilip Kumar were a rare blend of poignancy and piquancy. Nigar breathed life into the saying, ‘Hell hath no fury like a woman scorned!’ It came as no surprise then that this was to be her last screen appearance.

Before marrying K. Asif, Nigar was married to noted director S.M. Yusuf who migrated to Pakistan after completing Pak Daman (1957). One-time screen heroine and later character artiste Heena Kauser is her daughter. Nigar shot to instant fame and had the audience empathising with her as she wailed Bahaaren phir bhi aayengi magar hum tum juda honge in dulcet notes only Lata and composer Shyam Sunder could touch, in Bazaar, directed by K. Amarnath.

In a brief but brilliant career, Nigar co-starred with actors like Raj Kapoor (Aag), Dilip Kumar (Yahudi, Mughal-E-Azam), Dev Anand (Khel), Motilal (Mastana), Sohrab Modi (Sheesh Mahal), Bharat Bhooshan (Mirza Ghalib) and Nazir Khan (Saaya). Just as it is said of generals that they never die but simply fade away, so also can it be said of screen legends. Nigar Sultana is another one of this privileged lot. She has not died, she simply faded away when she breathed her last at Jaslok Hospital last week. She was suffering from leukemia. She is survived by three children.

YOU ASKED IT

Since a good number of films are being processed at Adlabs which is at Film City, Bombay, it becomes inconvenient for distributors to take delivery of their prints from a place which is considered far-off. Will it not be possible for Adlabs to deliver the prints at a centrally-located place in Bombay.

– Inconvenience in a city like Bombay? You must be joking!

Why do stars turn distributors?

– Because the grass is always greener on the other side.

Has ‘feeding’ ever helped a sagging film?

– Not really! A film has to have merits to run. ‘Feeding’ can help to a minor extent only. By the way, the system of ‘feeding’ exists mostly in Bombay.

DO YOU KNOW?

* Jaaneman jaaneman, a song of KN…PH, which is there in the film’s music album, will be incorporated in the film when it enters the 19th week on 19th May.

* For the first time, the Surat cinegoers got to see a Gujarati film — MAA BAAP NE BHULSHO NAHIN — in an air-conditioned cinema, Raj Palace, which provides a good ambience. And this has resulted in ascending collections week after week. While the 1st week registered 64,569/-, its 2nd week was 82,165/-, 3rd week 82,793/-, 4th week 90,739/- and 5th week 92,484/-. This, despite the film having been released at Raj Palace after a 10-week run at the nearby Alankar cinema in Surat. A case of cool cinema and ‘hot’ collections.

* For the first time in Jalgaon (or, may be in the country), a film has been shifted to the same cinema in which it was the opening attraction, after being shifted to two other cinemas. The film is DULHAN HUM LE JAYENGE. It was the opening attraction at the new Mohan Chitra Mandir in Jalgaon, where it ran for 5 weeks. It was then shifted to two other cinemas (Natwar and Natraj) where it ran for one week each. It has now been shifted back to Mohan (from 12th May), as if to suggest, Dulhan hum phir se le aayenge!

* Producers Thakur Bherwani and Kumar Manwani are getting a lot of enquiries from the Overseas buyers for their Sindhi film, DIL DIJE DIL WAARAN KHE. It has already been sold for Spain at a price almost equal to that of a Shah Rukh Khan starrer. This is the first Sindhi film made after a gap of nearly two decades.

AIFPC’S LETTER TO ARUN JAITLEY

APPPOINT INDUSTRY MAN AS NFDC CHAIRMAN

Pahlaj Nihalani, president of the All India Film Producers Council (AIFPC), in a letter (dated 9th May, 2000) to Union I & B minister Arun Jaitley has pointed out the “sorry state of affairs” in the functioning of the NFDC due to non-constitution of the board of directors. He has demanded that the majority representation on the NFDC board be given to the film industry, and the chairman of the NFDC be appointed from the film industry.

The letter has also pointed out that the NFDC made “significant progress and produced excellent films like Gandhi and achieved fantastic results only when a person from the film industry, like Hrishikesh Mukherjee, D.V.S. Raju and B.K. Karanjia, was the chairman.”

The AIFPC president also pointed out that the NFDC was required to be managed by a board of directors consisting of a maximum of 15 and a minimum of five members. This position was, however, maintained only till 31st January, 1993. Thereafter, the full board of the Corporation had never been constituted, and the truncated board with four or five directors had been managing the affairs of the NFDC. Even the important posts had been lying vacant as a result of which the performance of the NFDC had been badly affected and the consistent profitability of more than 20 years had taken a severe beating in 1998-99 and ended up with a colossal loss of Rs. 15 crore, the letter points out.

The AIFPC has also asked for the important posts of regional officer and assistant regional officer of the CBFC, Bombay region, which are lying vacant, to be filled up at the earliest by preferably appointing experienced persons from the film industry.

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Education-Entertainment-Enlightenment

London Fan Is Falling Down… Falling Down…

…And the Hrithik mania continues. While in London, the current heartthrob of millions made an appearance at a couple of cinemas screening his debut film, Kaho Naa…Pyaar Hai. The crowd, as expected, went wild with excitement. Kisses came by Hrithik’s way like the blowing wind dashing against a speeding car. Excited girls tore off Hrithik’s coat; bodyguards who were escorting Hrithik, were flung onto the ground. One over-excited girl even fell off a balcony and broke a leg. But she refused to be taken to the hospital till she had kissed Hrithik, the pain notwithstanding! Such adulation — pleasure or pain?!?

Kuchh Na Kaho… Hrithik

Pepsi may be good. But the new Pepsi ad is very bad. Pepsi may leave a good taste in the mouth. But the new Pepsi ad leaves a bad taste in the mouth. This is what Hrithik Roshan must have angrily thought before dashing off letters to Pepsi, its ad filmmaker, Prahlad Kakkar, and Shah Rukh Khan who modelled for the new Pepsi ad and, in the process, made a jibe at Hrithik through a Hrithik look-alike. The story behind this ‘bad-mad-sad’ Pepsi ad has its genesis in the Pepsi-Coke cola war. With Hrithik becoming a heartthrob among youngsters, both, Pepsi and Coke, wanted him to model for their product. Hrithik chose Coke and, therefore, Pepsi chose to poke fun at Hrithik through a look-alike they discovered.

One fails to understand the rationale behind Hrithik’s ire. Hrithik has had the marvellous fortune of generating mass adulation for his great performance in his papa, Rakesh Roshan’s Kaho Naa…Pyaar Hai. According to Rakesh Roshan, “Such an ad would be detrimental to his (Hrithik’s) image.” Does Rakesh Roshan really think so?! Will a small ad of Pepsi really affect Hrithik Roshan? Even if Hrithik had not reacted angrily, his fans would have dismissed the ad as being in bad taste, for humiliating their idol. Or, for that matter, even Coke might have come out with an equally naughty ad. Carry on, Hrithik, without sulking. For, a sulky image may be more detrimental!

Size Does Matter

In some scenes of Jung, Jackie Shroff, who plays a top police officer, appears a little too flabby. But in others, he is his usual fit self. Obviously, the stocky Jackie makes it clear that the film has taken time in the making, during which Jackie put on weight and then lost weight. The continuity jerk is sought to be circumvented with a dialogue in a scene in which Jackie’s senior remarks on the size of his body (“Aaj kal tum bahut mote ho gaye ho”). Did someone say, “Size does matter”?!

CHAL MERE BHAI

Neha Arts’ Chal Mere Bhai is a comedy which has punches similar to those that’ve been seen before, and a story-line that resembles films like Dillagi and Yeh Dillagi. Two brothers fall in love with the same girl and because the younger brother adores and respects his elder brother, he decides to sacrifice his love and, towards that end, he does not reveal to the elder brother that he was ever in love with the girl. But the elder brother gets to know of the younger brother’s love story, and it is he who ultimately sacrifices his love.

The screenplay is fair in the first half but after interval, the film is shoddy and looks like it has been made without application of the mind. There is an attempt to bring in the family emotions first, as in Hum Aapke Hain Koun..!, but director David Dhawan and writers Ikram Akhtar and Yunus Sejawal fail miserably. Another attempt to arouse brotherly emotions also falls flat on its face. In short, emotions in the film look like a farce. The scene in which the younger brother reveals to his dancing pals that his elder brother is in love with the girl is incorrect because it looks like he is complaining when the intention is to show that he is willing to sacrifice. The childish antics of the two brothers (funny sounds and actions) irritate after a point of time. How and why the elder brother falls in love with the girl is simply not explained. The younger brother’s drunken scene, in which he pours his heart out to his elder brother, looks contrived and accommodated only for convenience. In fact, the entire drunken scene is shabby. What, perhaps, saves the film to a small extent is the witty dialogues (Rumi Jafri) and the wonderful performances of the girl (Karisma Kapoor) and, in some scenes, the younger brother (Salman Khan). It is because of these that the audience laughs at places, mainly in the pre-interval portion.

Sanjay Dutt does a fair job as the elder brother. Salman Khan is funny and cute till he quarrels with and romances the girl, but once the story takes a turn, he is average. He dances beautifully, though. Karisma Kapoor is a delight to watch. She looks lovely and puts in a performance that’s superb. Her dances are also fabulous. Dalip Tahhil, Sushma Seth and Himani Shivpuri provide reasonable support. Shakti Kapoor is wasted. Guest Naghma has slimmed down and pops up whenever a dance situation arises. Sonali Bendre and Twinkle Khanna, also in guest appearances, add face value. Suresh Bhagwat, Ghanshyam, Birbal and Javed Khan are dull. Asrani, Shashi Kiran, Dinesh Anand, Shiva, Ravi Baswani and the rest fill the bill.

Director David Dhawan seems to be running out of ideas — that’s the impression one gets from the film. He is simply not in form and seemed to be in a hurry to only wrap up the film. Editing (A. Muthu) is loose because, although the film is short in length, it bores a great deal. Anand Milind’s music is a mixed bag but there’s not a single hit song. ‘Aaj kal ki ladkiyan’, ‘Chori chori sapnon mein’, ‘Meri neend jaane lagi hai’ and ‘Mehndi rang layee’ are tuneful. Dances (Ganesh Acharya) are refreshing. Camerawork (Harmeet Singh) is excellent. Foreign locations are very good. Action is functional and does not fit well in the film. Production values are of a good standard. Sets (R. Varman) are rich.

On the whole, Chal Mere Bhai will tire fast in its box-office journey because it bores at several places. Considering its high price on the one hand and below-the-mark opening on the other, it will entail losses to its distributor-bhais.

Released on 5-5-2000 at Metro and 19 other cinemas of Bombay by Neha Arts thru Devgan Entertainment & Software Ltd. Publicity & opening: good. …….Also released all over. Opening was way below the mark in Delhi, parts of U.P., East Punjab, C.P.C.I. Rajasthan. 1st day Jaipur 1,82,264 (53.39%) from 4 cinemas.

SECOND SUNDAYS TO BE OBSERVED AS HOLIDAY

The Federation of Western India Cine Employees (FWICE) unanimously decided in its general council meeting held on 8th April that second Sundays will be observed as a compulsory holiday. Till recently, second Sundays every month used to be observed as compulsory holiday. Then, the holiday was made optional.

DO YOU KNOW?

* JORU KA GHULAM of 1972 starred Rajesh Khanna while JORU KA GHULAM of 2000 stars his daughter, Twinkle Khanna. Quite like JEET — the old one starred Randhir Kapoor and Babita, and the new one, their daughter, Karisma Kapoor.

* Who says, matinee shows yield little or no shares? STUART LITTLE (English) dispels this deep-rooted notion. At Chitra, Dadar, Bombay, where this film was screened in matinee shows last week, it recorded a collection of 95,348/- in 1st week against a capacity of 1,10,029/-. That’s 87%! Why, a film like DDLJ has yielded a share of 50 lakh in matinee shows alone at Maratha Mandir, Bombay (in 181 weeks) and is still running at the cinema. The day is not far when distributors will release different films in matinee and regular shows.

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Education-Entertainment-Enlightenment

‘Rishta’ – The Bone Of Contention

The title registration committee of the IMPPA has accepted that it committed a mistake in registering the title Rishtaa – The Bond Of Love in favour of producer-director Suneel Darshan even while the title Rishta stands registered in favour of Indra Kumar (Indu) and Ashok Thakeria’s Maruti International. Indu and Ashok were quick to act when Suneel Darshan last week launched Rishtaa – The Bond Of Love with Amitabh Bachchan, Akshay Kumar, Juhi Chawla and others. They approached the title registration committee and apprised it of the title Rishta standing registered in their concern’s name. They also informed the committee that they were about to launch Rishta with Anil Kapoor and Aishwarya Rai. The committee realised its mistake and informed Indu and Ashok that the title Rishtaa – The Bond Of Love would be deregistered. Reasons Ashok, “If this is the way titles are going to be registered, nobody can make a film. Imagine me registering Yaadein – The Memories or Kabhi Khushi Kabhi Gham – The Family Saga or Josh – The Passion.” Anyway, it is to be seen how Suneel would react to the action of deregistration by the title registration committee. Considering that Suneel is a thinking person, it doesn’t seem likely that a controversy would flare up. But, but…. before Indu and Ashok approached the IMPPA, they did try to reason it out with Suneel Darshan who refused to change the title of his film. Maybe, a bit of persuasion by people who believe in fair play would help. Because, today, it has happened with Indu  and Ashok; tomorrow, it could even happen with Suneel Darshan himself.

Second Impression, Better Impression?

For those who had written off Feroz Khan’s son, Fardeen Khan, after his debut film, Prem Aggan, bombed, there’s news. The boy holds promise in Ram Gopal Varma’s new film, Jungle. Glimpses of the film’s songs one saw at the music release function of the film on 2nd May at The Regent, Bombay gave the impression that Fardeen bids fair to prove himself this time — that too, with a vengeance. The songs, like Ram Gopal’s earlier films (Rangeela, Daud, Mast), are racy and a couple of them, even foot-tapping. After all, it’s Sandeep Chowta’s music. Jungle co-stars Sunil Shetty (on whom there’s no song picturised) and Urmila Matondkar.

O Calcutta! O Hrithik!!

There were reports that many school girls of Calcutta were trying to sneak out of their homes and fly off to Bombay to catch an eyeful of their most idolised young star of today. The Calcutta police are reported to have caught at least a dozen teenagers trying to take a flight or a train to Bombay after Kaho Naa…Pyaar Hai created a storm.

Appalled by the Hrithik mania, principals of several schools of Calcutta got together and urged Hrithik to appeal to his fans to exercise restraint. The principals conveyed their appeal to the young heartthrob through Mithun Chakraborty. Hrithik lost no time in faxing a reply stating, “The girls need not come to Mumbai. I will be in the city (Calcutta) for them.” And Hrithik did go to the city last month.

Principals of some reputed schools in Calcutta were even thinking of putting the Hrithik mania to some constructive and educative use. One school principal opined that the students would understand History, Geography, Biology and other subjects better if they were linked to film stars. According to her (the principal), “For instance, students could be told that the capital of Maharashtra was Mumbai from where Hrithik hailed, or, the longest bone in Hrithik Roshan’s body was the femur.” In that case, Hrithik would represent the three qualities of this column — education, entertainment and enlightenment, 3-E, you see.

Only Credit? No Cash?!

Writer Ranjan Bose wrote the screenplay for 40 episodes of Akbar Khan’s television serial, Akbar The Great. Although the serial acknowledges Ranjan Bose’s name in the credits, the writer has alleged that he has not been paid at all! He was promised Rs. 10,000 per episode. But why is the money not coming to me, the writer asks. ‘Great’ indeed!

INFORMATION MEETS

“The people I was supposed to have ‘destroyed’ are the ones who are responsible for my revival. Words are a poor substitute to express my feelings for Anil Kapoor and Boney Kapoor.”

– SATISH KAUSHIK

Dr. SHIVAJI SEN-GUPTA

In the recognisable past, Satish Kaushik’s career, as director, seemed to be slipping away faster than the landscape seen through the window of a speeding train. To repair and then resurrect a situation as alarming as this calls for tremendous strength of character besides, of course, an unswerving belief in oneself. And to his credit, Satish Kaushik must be possessing both the qualities in ample measure, as he proved beyond doubt with Hum Aapke Dil Mein Rehte Hain.

Ironically, while director Satish Kaushik was involved off-screen in this grim fightback, audiences were laughing their hearts out at actor Satish Kaushik’s hilarious antics on screen and rolling down the aisles. ‘When the going gets tough, the tough get going’ is an age-old adage and Satish put aside everything else from his mindscape as he set out to prove this saying right. And the results are there for all to see now — Boney Kapoor’s Hamara Dil Aapke Paas Hai is on the verge of completion; and this gifted graduate of the National School of Drama (NSD), Delhi, is already immersed in Vashu Bhagnani’s Mujhe Kuch Kehnaa Hai (the first film of Jeetendra’s son, Tushar); Ripples Picture Entertainment’s Prod. No. 1, starring Anil Kapoor; Subhash Ghai’s next; and his own Badhai Ho Badhai, a joint venture of his concern, Chitrayug, and Anas Films. As an actor too, he has peaked and now has to make the painful decision to prune his assignments. What’s more, he has made a spectacular return to stage after a gap of 15 years!

Excerpts from our conversation:

To use your punchline from JALWA — “…..can you give me some idea” as to how you are managing all this adulation?

By working and only working. After all, all said and done, I am a worker, a karmayogi. The trade does not take much time in dismissing Roop Ki Rani Choron Ka Raja and Prem as disasters. I am not denying or disowning this bitter truth. But, please spare a thought for the TEN years of my youth which also suffered a serious setback while these two films were in the making. That is why, I have resolved to make films quickly, for, only then are they cost-effective. I want to make compact films which are family entertainers and economically viable. If I am unable to achieve this, the trade will not remember my Hum Aapke Dil Mein Rehte Hain for very long.

Strange, isn’t it, that the people I was supposed to have ‘destroyed’ are the ones who are responsible for my revival. Words are a poor substitute to express my feelings for Anil Kapoor — he had faith in me and he recommended me to D. Rama Naidu. I was so moved by Anil’s gesture — he is a true friend and well-wisher. Likewise, Boney Kapoor. Boney could have signed anyone to direct Hamara Dil Aapke Paas Hai but he still picked me. I have worked very hard on this film primarily because I don’t want to let him down… again….

There is no doubting that remakes have been an inescapable part of Hindi films for a long, long time. What interests me is how you approach this touchy topic?

See, I am the last person to deny that Hamara Dil Aapke Paas Hai is based on a Telugu hit, Pelli Chuskuandam. Similarly, Hum Aapke Dil Mein Rehte Hain had its roots in a Telugu film which was loved by the audience in Andhra. Having admitted this, let me now add that I am allergic to this very term, ‘remake’! I certainly do not reshoot the film frame by frame, shot by shot. I adapt the film and this process begins from the stage of scripting itself. It should be obvious to anyone and everyone that the very ambience and atmosphere in the South is poles apart from that in the North. So, naturally, when I am making a Hindi film, my target audience that lies North of the Vindhyas, must be my major area of concern. Accordingly, I have to make vital changes and give the film a totally different look. Characters have to be changed, cultural and moral values have to be changed — and all this takes time and a lot of hard work along with imagination. Adapting a subject, particularly a ‘hit’ subject, is a challenge in itself.

Do you have any plans of reviving producer Nitin Manmohan’s BUS CONDUCTOR, starring Anil Kapoor, at this juncture?

No, not at the moment. In any case, the film was in a stage of infancy. May be, it will figure in my plans some other time. That is what I like about this profession — the constant uncertainties! But as things stand today, Bus Conductor could be described as shelved.

Your popularity as a comedian has touched its peak! Hence it is natural that you must be flooded with acting offers. How do you manage to strike a balance between these two totally divergent tracks?

I feel, you are exaggerating! There are so many versatile comedians. I would like to make my mark primarily as a director. This does not mean that I do not enjoy acting or that I am closing my doors to acting assignments. How can I? My Alma Mater is the National School of Drama in Delhi, where I learnt whatever little I know. However, I will have to be judicious in spacing out my time since I am morally committed to the producers who have put so much faith in me. I am not here to make money. My priorities are different. I want to do something which people like and appreciate. Here is where an actor plays second fiddle to the director since the director designs the entire film. I will prefer to be recognised more as a director. That will be my ultimate award!

When Sony TV started, you had two mega serials on air — YEH SHAADI NAHIN HO SAKTI and O’ MARIA. Do you have any plans of making something for the small screen sometime in the foreseeable future?

I made those serials for Sudesh Iyer who is still a director on Sony TV — and now, I am doing a feature film for him (Ripples Picture Entertainment)! I enjoyed the experience of making those two serials. The inclination is there but, at the moment, there is precious little time.

Nevertheless, you found the time to return to stage after a gap of 15 years, with Arthur Miller’s Death Of A Salesman, albeit in Hindi!

I must admit that Willy Loman is one of my all-time favourites. The character and the play are very special for me. I was amazed when the noted theatre personality, Feroz Khan, approached me to do the role in Hindi, and he was absolutely adamant! He said that he would only do the play if I played the title role and thus, Salesman Ramlal was born. Again, it was very challenging to adapt an American character into the North Indian milieu but, going by the audience reaction, I feel, we have been successful. I must profess my admiration for Feroz Khan. He is a very dedicated and talented person doing yeoman service to theatre.

You assisted Shekhar Kapur in MR. INDIA. Could you anticipate at that stage that he would touch such dizzy heights?

Most certainly! I always found Shekhar to be a cut above his contemporaries. He is a very intelligent person and has a mind that is extremely creative. For example, while his Masoom was a runaway hit, the English film from which Masoom was inspired, was not worth writing home about!

I am grateful that I got an opportunity to work with Shekhar and I would rate that phase as a particularly rewarding one. I learnt a lot from him and that has stood me in good stead. Hence I am really happy for him that he is such an illustrious director on the international scene. Hardly any Indian director has achieved this — work in Hollywood and become a success in that milieu. Indeed, a miracle of sorts!

Do you nurse similar aspirations?

Please, please… As I mentioned at the outset, I consider myself to be just a worker. I mean this in all earnest. My first commitment is to the producers who have put their faith in me. Mind you, Subhash Ghai, Boney Kapoor and Vashu Bhagnani are all producers of stature — they don’t need any introduction. I still find it strange that I should be directing a film for Boney Kapoor after the twin debacles. As for Subhash Ghai, I liked his style immensely when I was acting in his films. It is the ultimate acid test now to be directing a film for his banner. Meanwhile, I am keeping my fingers and toes crossed for the box-office fate of Hamara Dil Aapke Paas Hai. As the saying goes — and I have first-hand experience of it twice, not once, here — you are only as good as your last film! Therefore, I really need everyone’s good wishes and prayers. You can call me a God-fearing person — and I would like to remain that way.

‘KN…PH’ 100 DAYS IN C.P. BERAR: BONUS, GIFTS, OVERFLOW

Rakesh Roshan’s Kaho Naa…Pyaar Hai has completed 100 days of its run at the following cinemas and centres in C.P. Berar:

Anand Cinema, Raipur; New Vasant Talkies, Bhilai; Satyam, Bilaspur; Anand, Jabalpur; Ashok Talkies, Jalgaon; Manek Talkies, Akola; Panchsheel Cinema, Amravati; Alankar, Nagpur; and Bhatwal Talkies, Dhule. It is expected to go on to celebrate silver jubilee in Raipur, Bilaspur, Jabalpur, Jalgaon, Akola, Amravati and Nagpur.

Vishwajyoti Films, the distributors of the film, have, together with the exhibitors in whose cinemas KN…PH has completed 100 days, distributed bonus equal to one month’s salary to staff members of the cinemas. Vishwajyoti Films has also distributed a month’s salary as bonus to its staff members.

Vishwajyoti Films was earlier distributing free T-shirts of KN…PH to lucky winners in cinemas. It has now started also distributing attractive photo cards of Hrithik Roshan to every person buying at least 5 balcony tickets of a show.

Laloo Kabra of Vishwajyoti has already paid over Rs. 42 lakh to Rakesh Roshan as overflow from KN…PH. Understandably then, Rakesh Roshan has decided to give the distribution rights of his next film too to Kabra.

KISHAN KUMAR ARRESTED

The Delhi police arrested actor and music industrialist Kishan Kumar on 28th April soon after the Supreme Court stayed the anticipatory bail granted to him by the Delhi high court in a case relating to cricket match-fixing.

The police took him into custody immediately after he was produced by the Tihar jail authorities before additional chief metropolitan magistrate (ACMM), Sangeeta Dhingra Sehgal, who had issued the production warrant against Kumar.

The production warrant was issued on the Enforcement Directorate’s (ED) application seeking his custody for further questioning in connection with alleged hawala transactions and FERA violations.

SUNEEL DARSHAN’S CELEBRATION & LAUNCHING PARTY

Producer-director Suneel Darshan launched Shree Krishna International’s Rishta – A Bond Of Love on 27th April at The Regent. It stars Amitabh Bachchan, Akshay Kumar, Juhi Chawla, Karisma Kapoor, Ashish Vidyarthi, Mohnish Bahl, Ashutosh Rana and Shakti Kapoor. The story by Suneel Darshan is being scripted by S.M. Ahale and Robin Bhatt. Dialogues: K.K. Singh.

Before the launch of the new film, Suneel distributed 100 days’ trophies of his Jaanwar to the film’s artistes, technicians and unit members.

SAJID NADIADWALA’S SISTER WEDS

Marriage of Afeefa, sister of producer Sajid Nadiadwala, with Arshad was solemnised on 27th April at The Club, Andheri, Bombay. A reception to celebrate the wedding was held the same evening.

HEMANT TRIVEDI CRITICAL

Young fashion designer and a sought-after costume designer of the film industry, Hemant Trivedi slipped into a coma after escaping death in a near-fatal road accident on the morning of 22nd April. He was admitted to Lilavati Hospital and is still critical.

Hemant was on his way to the airport when his Maruti car slammed against a vegetable tempo near Khar junction on the Western Express highway. He was sitting on the front seat next to his driver and was rushed to the hospital in an unconscious state.

PANDIT MUKHRAM SHARMA PASSES AWAY

Pandit Mukhram Sharma, a prolific and poignant script-writer, died on 25th April in Bombay due to old age. He was in his eighties. When the Hindi film industry was in its infancy, Pt. Mukhram Sharma carved a niche for himself by penning a number of bold and socially relevant themes. As veteran producer-director B.R. Chopra acknowledges in all humility, “Panditji laid the foundation for the success of my banner by giving me such brilliant scripts as Ek Hi Raasta — the first film to be made by B.R. Films — Sadhana and Dhool Ka Phool. Almost two decades later, he returned and wrote Karm for us. We have lost an excellent writer whose pen was a formidable force which could weave stories with a deep concern for social norms and he did succeed in breaking several ‘accepted’ do’s and don’ts.”

Pt. Mukhram Sharma, unlike most sensitive writers, was a man with an astute business acumen too — a rather rare combination. In the mid 1950s, he, along with N.C. Sippy and Mahesh Kaul, floated a production company titled Anupam Chitra. Talaq, Santaan and Diwana were made under this banner. The number of successful films he wrote were many — in fact, his name alone was a guarantee for the film’s success.

PEARL PADAMSEE DEAD

Stage and film actress Pearl Padamsee died of cardiac arrest on the night of 23rd April. Besides acting on stage and also directing plays, she played character roles in films like Khatta Meetha and Baaton Baaton Mein.

GANPATI BOHRA NO MORE

Ganpati, the youngest of the six sons of late producer Shree Ram Bohra, breathed his last on 28th April at 3.30 a.m. at his residence in Bombay. He was only 40 and had been suffering from cancer of the oesophagus (food pipe).

Ganpati Bohra, who was a producer and director, led a zestful life albeit brief. He had been suffering from cancer since more than a year. After medication, his condition had improved and he had also resumed office some months back. He had to be hospitalised about a fortnight back when his condition worsened. He was taken home on 23rd, five days before the end came. Ganpati was directing Balidan at the time of his death. He had earlier directed Mard (starring Mithun Chakraborty) and Kafan.

Ganpati is survived by his mother, wife, five brothers, two sisters and their families. His cremation at Chandanwadi crematorium the same day (28th) was largely attended by the Naaz traders.

Uthamna will be held on Monday, May 1. The venue and time of the uthamna had not been fixed at the time of going to the press.

RAZA MURAD ELECTED CINTAA PRESIDENT

Raza Murad was elected president of the Cine & TV Artistes’ Association at a meeting of its executive committee held on 24th April. Dharmesh Tiwari was elected general secretary, and Satyen Kappu, vice president. Dara Singh and Deep Dhillon were elected treasurer and assistant secretary respectively.

PRODUCTION NEWS

12-Day Stint Of ‘Hum Tumhare Hain Sanam’

BMB Productions’ Hum Tumhare Hain Sanam is being shot in a 12-day schedule from today (April 29) at Royal Palms, Filmistan Studios and at various locations in Bombay. Shah Rukh Khan, Madhuri Dixit, Suman Ranganathan, Atul Agnihotri, Alok Nath and Laxmikant Berde are participating. A song and action scenes are being filmed. Salman Khan plays the other lead man in the film being directed by Atheyaman and produced by K.C. Bokadia. Bharat Shah presents it. It is fast nearing completion.

‘Raju Chacha’ Climax

A 25-day shooting schedule of Devgan’s Films’ Raju Chacha will begin on May 1 at Wilson Dam and on different locales of Nasik. The entire climax and some action scenes will be picturised on the entire cast including Rishi Kapoor, Ajay Devgan, Kajol, Govind Namdev, Shahbaaz Khan, Smita Jayakar, Pramod Moutho, Tiku Talsania, Usha Bachani, Anil Nagrath, Navin Bava, Adi Irani, Johny Lever and child artistes Harsh Lunia, Hanshuk Vaidya, Sakshi Sen and Kewal Chadda. Being produced by Veeru Devgan and directed by Anil Devgan, the film has music by Jatin Lalit. Story: Anees Bazmee. Screenplay: Robin Bhatt. Dialogues: Javed Siddiqi. Lyrics: Anand Bakshi. Dances: Raju Khan. Cinematography: Nirmal Jani. Action: Jai Singh. Editor: Chandan. Art: Nitin Desai. Bharat Shah presents the film.

‘Dhadkan’ Racing Towards Completion

Venus Records & Tapes Ltd.’s Dhadkan is racing towards completion. Being directed by Dharmesh Darshan, the film stars Akshay Kumar, Sunil Shetty, Shilpa Shetty, Mahima Chaudhry, Parmeet Sethi, Sushma Seth, Kiran Kumar, Neeraj Vora, Manjit Kullar, Anjana Mumtaz, Nilofer and Sharmila Tagore. Its music is scored by Nadeem Shravan and lyrics are penned by Sameer. Cinematographer: W.B. Rao. Art: Bijon Dasgupta.

DO YOU KNOW?

* D. Rama Naidu’s Telugu hit, KALISIVUNDHAM RAA, has created a record by celebrating 100 days at as many as 76 cinemas of Andhra Pradesh.

* KN…PH is the 11th film to celebrate 100 days at Delite Theatre, Delhi, in the last six years. The earlier ten films were HAHK..!, RAJA HINDUSTANI, PARDES, ISHQ, JAB PYAAR KISISE HOTA HAI, PYAAR TO HONA HI THA, MANN, BADE MIYAN CHOTE MIYAN, HUM AAPKE DIL MEIN REHTE HAIN and HS-SH.

YOU ASKED IT

Is it true that Hrithik Roshan has a meatier role than Shah Rukh Khan in Karan Johar’s Kabhi Khushi Kabhi Gham?

– What you are saying is the figment of someone’s imagination. Merely because KN…PH is a super-hit, Karan Johar will not give a meatier role to Hrithik and lesser role to Shah Rukh Khan. The young director has far too much confidence in himself and his story to play it by star popularity. Perish the thought!

Who has dubbed for Sanjay Dutt in Jung?

– Sanjay Dutt surely hasn’t!

Why do good times come in spurts in the industry and not remain for a few months together?

– Because filmmakers are short-sighted. They think of immediate gains rather than long-term profits. And, therefore, they are unable to hold on to good times for a longer period.

3-E
Education-Entertainment-Enlightenment

Sex Sells More Than Stars

The business of sex and horror films is thriving even as big-budget and star-studded films fall like nine pins one after the other. What stars cannot do, cheap and vulgar sex is doing — luring the audience to cinemas. For, the business of non-star cast sex and horror films is rosy only because of the addition of uncensored portions or, what is called, ‘bits’ in them. Why, distributors who buy such films are interested in only seeing the ‘bits’ in the trial show before a deal is struck. The enthusiastic ones insist on ‘bits’ being shot with the same artistes who are there in the film. Earlier, the ‘bits’ used to be sex portions of a film not even remotely connected with the film in which they were to be added. But the demand these days is for matching masala (another code word for ‘bits’). At small stations, some of these sex films yield shares more than even hit or successful star cast films. For instance, Sarfarosh was booked at a ‘C’ class centre of Rajasthan on a fixed hire of Rs. 20,000 whereas Johrabai was booked at the same centre on a fixed hire of Rs. 30,000!

Rishta-Bound Amitabh

Seems Amitabh Bachchan is destined to have an atoot rishta with Rishta, the film. In not too distant a past, Rishta was to be a production venture of ABCL, and Indra Kumar was to direct that film. Well, that one did not go beyond the launching stage. And now, Amitabh stars in Suneel Darshan’s Rishta – A Bond Of Love along with Akshay Kumar, Juhi Chawla, Karisma Kapoor, Ashutosh Rana, Ashish Vidyarthi, Mohnish Bahl and Shakti Kapoor. Meanwhile, Indra Kumar and Ashok Thakeria are about to launch Rishta (the same subject which was to have been made for ABCL) with Anil Kapoor in the lead.

His Mother’s Choice

With Jaanwar having achieved the success it deserved, producer-director Suneel Darshan was toying with the idea of making another story-oriented action film with Akshay Kumar. He had already worked out the subject and had even recorded a song for the film. But before it could be launched, Suneel went to Indore for a while, where he has his distribution office. In Indore, the doors of his mind opened to an old subject which had been haunting him for a long time. Back in Bombay, he narrated the revived-in-Indore subject to his mother who liked it immensely. She advised him to make the film on that subject and keep the action subject in abeyance because she thought, Suneel would grow as a director with the film of which Suneel had narrated her the story. Suneel then gave a narration of the subject to Akshay Kumar, who, too, gave the same reaction as Suneel’s mother. And when Suneel approached Amitabh Bachchan, he also liked the subject and readily agreed to do the film. And thus was launched Rishta – A Bond Of Love.

Role-Winning Innocence

Several months back, Abhishek Bachchan had seen the Telugu super-hit, Tholi Prema, and had liked it immensely. He was so enamoured of the hero’s character that he requested producer Vashu Bhagnani to remake it and cast him in the hero’s role in it. But Vashu told Abhishek that he didn’t think him (Abhishek) to be the appropriate choice for the role. What the script demanded was a very innocent-looking hero, according to Vashu. Some months later, when Vashu saw Jeetendra’s son, Tushar, he immediately signed him on for the Hindi remake of Tholi Prema, titled Mujhe Kuch Kehnaa Hai. What won Tushar the lead man’s role was his genuinely expressive innocence on the face.

Of ‘Lagaan’ And Lagan

Aamir Khan, who is shooting his Lagaan on a village set at Kunaria near Bhuj (Gujarat), had a cause to partake in a lagan (marriage) of his two love-struck British artistes. Jammy and Catkin, who are among the many Britishers acting in his film, fell in love during the shooting schedule and decided to get married. Aamir, who had the marriage conducted as per Hindu rites, performed the kanyadaan, acting as the bride’s father. The only ‘lagaan’ (tax) in this lagan was an amount of Rs. 5,000 which the groom had to shell out to retrieve his stolen shoes from the bride’s friends!

INFORMATION MEETS

“The basic idea of all films is to give an emotional experience”

– KUNDAN SHAH

Dr. SHIVAJI SEN-GUPTA

For those who had seen Kundan Shah’s diploma film at the FTII, Bonga — a wacky 20-minute virtually silent comedy — it came as no surprise to find him associated with the first widely acclaimed sitcom on TV, Yeh Jo Hai Zindagi. However, what came as a cause for distress was that he was only an ‘episode director’. And to add to one’s woes, he remained an episode director in such runaway successes as Nukkad, Manoranjan, Wagle Ki Duniya, Circus and Mrs. Madhuri Dixit. In fact, Abhi To Main Jawaan Hoon was his first independent serial and this, too, had a limited viewership since it was made for Hinduja’s cable network, ‘In Mumbai’.

On the feature film front, he made his debut with a comedy, Jaane Bhi Do Yaaro which was followed, after a fair gap, with Kabhi Haan Kabhi Naa. Strange to reflect that Hum To Mohabbat Karega and Tips Films’ Kya Kehna will be only his third and fourth releases — a sad state of affairs for an ingenious and prodigally talented filmmaker. The bright side is that Shah has finally been ‘recognised’ and a steady stream of films crafted and designed by him are on the anvil.

Born in Aden on October 10, 1947, Kundan Shah shifted to Bombay when he was in sixth standard. After graduating in commerce from Sydenham College, he worked for four years in a publishing concern (Popular Prakashan) before joining the FTII at the age of 25. One could, hence, console oneself by saying that good things have happened to him relatively late in life!

Excerpts from our conversation:

The question that first comes to mind is a rather obvious one — why did it take you so long to make your first film?

– The answer is just as obvious! Opportunities have to come your way. It is not all that easy to get a break. Bonga, as a showreel, did not help me at all because you can’t possibly tell a story in a span of 20 minutes. Neither can one make such a film with dialogues. I did a lot of research and soul-searching on this and the only comforting factor which emerged was that the best short films made in the history of cinema are without dialogues, such as Roman Polanski’s Three Men And A Wardrobe and Roberto Enrico’s An Incident At The Owl Creek. Now this is something that is not taught at the FTII. It should, in my opinion.

Anyway, after returning to Bombay, I began as an assistant. I was Saeed Mirza’s only assistant director in Albert Pinto Ko Gussa Kyon Aata Hai?. That was a great experience since it gave me the opportunity to write scenes and dialogues at the spur of the moment. Saeed improvised a fair bit in this film. I also did mundane jobs like writing the continuity and sounding the clapper-board! Thereafter, I assisted Vinod Chopra in production in his maiden film, Sazaye Maut. I still treasure my stint as Robin’s (Rabindra Dharmaraj’s) chief assistant director in Chakra. Coincidentally, that was Robin’s first and — as it regrettably turned out to be — last film. I was particularly drawn towards this film on account of its poignant story penned by Jaywant Dalvi. It may interest you to know that this was Rajkumar Santoshi’s first film as an assistant director.

Another reason could be my attitude. I had strong convictions about filmmaking per se. The basic idea of all films is to give you an emotional experience. I still believe in this premise. I was quite sceptical about the way films were being made. The formula was king and I could not quite adjust myself to what is fashionably termed as ‘mainstream cinema’. The ‘art’ films were made only by the FFC (later NFDC) then. So, I started writing scripts to feed my creative hunger — nothing fancy, just scripts based on simple ideas. My first sense of achievement came when I won the third prize jointly with Vijay Tendulkar in a script competition held by the FFC!

Was this the script that resulted in JAANE BHI DO YAARO?

– No, no, not at all. Although I was elated that I had won an award for my script, I somehow did not feel that it would be the right one for my first film. I explained this to Anil Dharker, the then incharge of films at the FFC, who asked me to submit another script — something I felt, would be more to my liking as my launching pad. I went back to them with the script of Jaane Bhi Do Yaaro much later.

Meanwhile, you became part of a ‘new wave’ in TV!

– That is an exaggeration since there was only one channel — Doordarshan — then. But I have an affinity towards comedy, for coming up with gags, and they clicked and, in the process, made stars of strugglers like Shafi Inamdar, Swaroop Sampat, Satish Shah etc. Since I only directed a few episodes of Yeh Jo Hai Zindagi, Nukkad, amongst others, it really didn’t boost my career very much.

JAANE BHI DO YAARO was labelled as a ‘black comedy’! How do you react to this?

– In that case, you can call Woody Allen’s comedies pathological! The key character in any comedy is the underdog; look at the films of Chaplin and Buster Keaton. When an underdog fights for his rights, a comedy is born and there is an emotion attached to it, a life. For instance, when one sees the ‘tramp’ Chaplin madly in love with a beautiful, rich girl in The Gold Rush, it evokes a sense of poetry and pathos.

Jaane Bhi Do Yaaro had barely 39 scenes, out of which 19 were before the interval. In fact, all my films have long scenes. The opening scene of my forthcoming Hum To Mohabbat Karega, in which the hero meets the heroine, is 11 minutes long! The climax of Kya Kehna is 12 minutes in length. Now, this may defy traditional film grammar, but when you make a comedy, you build a gag upon a gag and then you milk these gags!

Several eyebrows were raised when you cast Bhakti Barve in JAANE BHI DO YAARO.

– Well, the casting of Jaane Bhi Do Yaaro has an interesting aside. Naseer was an obvious choice since I had built a good rapport with him during Albert Pinto…. and Sazaye Maut. I actually wanted to cast Aparna Sen in the role played later by Bhakti, but Aparna fell asleep while hearing the script! Not that I blame her; the script was slow in pace, full of minute details.

KABHI HAAN KABHI NAA starred Shah Rukh and Suchitra. What made you pick them?

– I had been very impressed with Shah Rukh in the TV serial Fauji, and then later, I did a couple of episodes of Circus with him. He was not a superstar then and I enjoyed working with him. My films always have strong protagonists and Shah Rukh is a very versatile actor. As for Suchitra, I was looking for a fresh face that radiated warmth and innocence, and I think, she lived the role.

To digress a little, although you have made few films only, one person who has been a constant feature in all your films is writer Ranjit Kapoor. Can you shed some light on this?

– I share an intuitive rapport with Ranjit Kapoor and I also have tremendous respect for his phenomenal talent. He is an extremely intelligent and a multi-faceted person. Not only is he well-read but he has an exhaustive knowledge of music too. Further, I feel, he is one of the foremost talents in Hindi theatre. Indeed, he is something of a cult figure on stage. He has a rare knack of handling actors, of drawing the best out of them — and although he is rarely present on the sets, he brings in all these nuances when we are scripting. I must confess that our tuning is so perfect that when we watch the final print, it is difficult to make out who has contributed how much!

Although he has written only the dialogues of Kya Kehna, he will be writing all the films I make from now on. Also, I have immense regard for Majrooh Sultanpuri. Ranjit and Majrooh will be associated with me in all my future ventures.

Coming to LOVERIA — is it status quo or status woe?!

– Frankly, I just don’t know. You know, I had written the script of Loveria way back in 1979. The film is complete; it needs just about a fortnight’s post-production work. I will be the happiest man when this film is released. You will see Saif and Karisma in a different light. A lot of love, a lot of pain, a lot of effort has gone into making Loveria.

Perhaps, for the first time in your career, you have so much work on hand. HUM TO MOHABBAT KAREGA and KYA KEHNA are on the verge of release. It must be a heady feeling!

– All films are shadows of oneself. I have a strong protagonist in every film — be it Preity Zinta in Kya Kehna or Bobby Deol in Hum To Mohabbat Karega. Bobby Deol enacts the role of a waiter in an Udipi restaurant in Hum To Mohabbat Karega and I have a gut feeling, this will be one of his best performances. I had written this object in 1994 and I am very glad that it will not languish in my files of mortgaged dreams but pulsate on the big screen.

One gets the feeling from the ads that KYA KEHNA is a departure of sorts for you as a filmmaker.

– Kya Kehna is definitely a departure, but in many ways, it is similar to the kind of films I have been making. You see, when you give your soul to a film, the soul remains the same! But a lot of things in the film are very bold, and I am very grateful to my producers, Tips Films, for giving me a free hand. The film deals with a very serious issue. There is this girl, Preity Zinta, who believes in truth. Now, truth is a pretty relative term and she makes the audience question what is right and wrong about her viewpoints. The inherent strength of this character as well as the family background are the high points of this film.

Since the film revolves around a character and not dramatic events, the climax, quite understandably, is the resolution of this character. This is a dramatic sequence around 12 minutes long, in which Preity is attacked. I am looking forward to the manner in which viewers react to this climax.

What are your impressions on the present state of affairs in the film industry — given the high mortality rate of films at the box-office?

– I think, we are concentrating too much on the music and too little on the content of films. One of the reasons for the films flopping is this excessive emphasis on music. Promos of all the films look alike since they are mostly made by music companies. I strongly believe that a concentrated effort must be made to make a good film. The music would then automatically be a hit!

It  is believed that most of your future projects will be for Tips Films. Comment.

– Well, Tips Films has made a very generous offer and since they are excellent producers, I have agreed. I had only one misgiving — that since Tips is basically a music company, they will be making musicals, which is really not my cup of tea. But they were very understanding and have given me a free hand to make films on subjects I believe in. The musicals can be made by others. After all, I am not the only director who will be making films for Tips!

DIL HI DIL MEIN

Sri Surya Movies’ Dil Hi Dil Mein (partly dubbed) is a love story where the romance begins and develops via the internet. A rich college-going girl and a poor college-going boy become friends on the net and soon, their friendship turns into love although they do not meet each other personally. Gradually, once they realise that they both are from the same city, they even start exchanging glances and smiles whenever they cross each other. Fate plays a cruel joke on the poor boy when he is forced to sacrifice his love. But in the end, the two lovers unite in matrimony.

The film’s greatest drawback is that a very small section of the audience would be able to appreciate the role internet can play in initiating romance. When a majority among the masses isn’t even aware of computer operation, to assume that it will appreciate and comprehend the meaning and importance of internet, chats on the net and e-mails is foolhardiness. Even those who are knowledgeable about the net will find the pace so slow and irritating that the internet romance will lose its freshness for them. The film reminds of Sirf Tum in the initial reels (so long as the lovers do not meet). Dialogues are ordinary. Comedy is very feeble. Emotions fail to touch the heart.

Sonali Bendre looks extremely pretty and also acts very well. Kunal looks too immature for the hero’s role. His performance is average. Johny Lever is very loud and does not raise laughter; rather, he gets on one’s nerves with his performance as well as get-up. Anupam Kher gets limited scope and is alright. Nasser plays Sonali’s father effectively. Rajoo Shreshtha, Chinni Jain, Kalpana Iyer and the rest are average.

Kathir’s scripting and direction are both too ordinary to merit any discussion. A.R. Rahman’s music is average. Song picturisations, however, are heavenly and so are the locations on which the songs have been picturised. P.C. Sreeram’s camerawork is extraordinary. Production values are grand. Editing needed to be much sharper. Dubbing is so-so.

On the whole, Dil Hi Dil Mein is a dull hi dull fare and will find the going very tough.

Released on 21-4-2000 at New Empire and 3 other cinemas of Bombay by Sri Surya Movies thru Shringar Films. Publicity: so-so. Opening: fair. …….Also released in Bengal, C.P. Berar, C.I., Rajasthan and Nizam.

ASHA PAREKH, RAM MOHAN RESIGN FROM CINTAA

Asha Parekh, chairperson of the Cine and TV Artistes’ Association (CINTAA), Ram Mohan (general secretary) and actress Shammi tendered their resignations from the Association due to allegations of malfunctioning against them. “The charges, though baseless, are serious,” Ram Mohan told Information before wryly adding, “In any case, change is the order of the day. The old must give way to the new — better sooner than later. Yet, I must admire the efforts put in by Asha-ji, Amrish-ji (Puri) and Mithun, in particular. It was largely on their initiative that we could re-christen our body from the Cine Artistes’ Association (CAA) to Cine & TV Artistes’ Association (CINTAA), reopen our old office at Famous, Mahalaxmi, and disburse a pension of Rs. 1.25 lakh to several senior, retired artistes. In case the young Turks, who have cast aspersions on our integrity, are able to not only carry on the show but also improve upon our humble efforts, I will personally have no complaints whatsoever. I wish them the very best from the bottom of my heart and bear no ill-feeling towards anyone,” concluded Ram Mohan. Repeated efforts to contact Asha Parekh proved futile.

‘HUM SAATH-SAATH HAIN’ SILVER JUBILEE

Rajshri Productions’ Hum Saath-Saath Hain, written and directed by Sooraj R. Barjatya, and starring Salman Khan, Karisma Kapoor, Tabu, Saif Ali Khan, Sonali Bendre, Mohnish Bahl, Neelam, Mahesh Thakur, Reema and Alok Nath, entered 25th week at many stations in the country on 21st April. The film has music by Raamlaxman. It is produced by Kamal Kumar Barjatya, Rajkumar Barjatya and Ajit Kumar Barjatya.

‘KAHO NAA…PYAAR HAI’ SCORES A CENTURY!

Producer-director Rakesh Roshan’s runaway hit, Kaho Naa…Pyaar Hai, starring newcomers Hrithik Roshan and Amisha Patel with music by Rajesh Roshan, is celebrating 100 days all over today (22nd April). The film is still going strong at several places.

JAL MISTRY NO MORE

Cinematographer Jal Mistry passed away on 13th April in Bombay following a heart attack. He was 76. He was the younger brother of late cinematographer and director Fali Mistry. He is survived by another brother who is based in London. Although Jal was a Parsi by birth, his funeral was performed (on 16th April) according to Hindu rites, as per his wishes.

Among the notable films photographed by Jal Mistry were Allahrakha (1986), Jheel Ke Us Paar (1973), Heer Ranjha (1970), Baharon Ke Sapne (1967), Aakhri Khat (1966), Uran Khatola (1955), Aandhiyan (1952) and Barsaat (1949).

NEW DRIVE-IN CINEMA IN SURAT

A new Drive-In Cinema is due to be inaugurated in Surat next month. The cinema is designed and constructed by Creata Architects, Ahmedabad.

Incidentally, the first Drive-In cinema in India came up in 1973 in Ahmedabad. It has a 141′ x 62′ screen and a capacity of 700 cars and 1,000 seats.

ANNOUNCEMENT & LAUNCHING

‘Mujhe Kuch Kehnaa Hai’ Launched With Recording

Producer Vashu Bhagnani’s Mujhe Kuch Kehnaa Hai, to be directed by Satish Kaushik, was launched on April 21 with a song recording at Sahara. The film introduces Tushar, son of Jeetendra, as the lead man opposite Kareena Kapoor. Tushar, who was present on the occasion, told the press that his role in the film was akin to his real-life character. Tushar took his acting lessons from Roshan Taneja who has groomed many present-day acting talents.

The first song, tuned by Anu Malik, was rendered by Babul Supriyo. It was penned by Sameer. Banner: Puja Films.

PRODUCTION NEWS

‘Champion’ Climax

The action climax of Shree Shiv Bhakti Films’ Champion was shot till April 20 in a 10-day schedule at a graveyard set erected at Film City. Action director Tinnu Verma supervised the shooting. Now, only two songs remain to be picturised to complete the film. Starring Sunny Deol, Manisha Koirala, Kashmira Shah, Rahul Dev, Vikram Gokhale, Surendra Pal, Tom Alter, A.K. Hangal, Anil Nagrath, Dina Pathak, Abhishek, Neha Sharad, Rakesh Pandey, Vivek Shauq, Panni, baby Tanvi and Deepak Parashar, the film is being produced by Sujit Kumar and directed by Padam Kumar. Music: Anu Malik. Lyrics: Javed Akhtar. Dialogues: Sanjay Masoom. Cinematography: Thiru. Dances: Ahmed Khan and Raju Sunderam.

‘Dhai Akshar Prem Ke’ 24-Day Schedule Over

Producer-director Raj Kanwar picturised two songs and scenes for Inderjit Film Combine’s Dhai Akshar Prem Ke on five different sets at Kamal Amrohi and Filmalaya Studios. A huge haveli, a church, a hospital, a gigantic bedroom and a huge modern hall were specially erected for the marathon 24-day schedule which concluded on April 13. The entire cast participated alongwith junior artistes and dancers. The film stars Abhishek Bachchan and Aishwarya Rai in the lead, with Anupam Kher, Tanvi Azmi, Neena Kulkarni, Sushma Seth, Himani Shivpuri, Harish Patel, Supriya Karnik, Dalip Tahhil, Inder Sudan, Shakti Kapoor and Amrish Puri. It has music by Jatin Lalit, lyrics by Sameer, story by Raj Kanwar, scenario by Ratna Rajaiah, dialogues by Jainendra Jain, cinematography by Ishwar Bidri, art by R. Varman, action by Bhiku Verma, editing by Kuldip Mehan and sound by Jagmohan Anand. K. Pappu is the film’s co-producer.

YOU ASKED IT

The film industry used to cry hoarse and even today cries that satellite channels and DD have ruined its business. But, on the other hand, sale of satellite and DD rights of films fetches huge revenues to the producers. Isn’t this a paradox?

– Those crying are distributors and exhibitors because they don’t get to share in the revenues from sale of satellite and DD rights. The ones making the money are the copyright holders or, in other words, the producers.

When will Yash Chopra’s studio be ready?

– Work on the studio has not even begun. Yash Chopra has bought a place in Andheri, Bombay, for constructing a studio but work on the same has not yet started.

Is there more money in films or television serials?

– Money has to be in one’s fate, basically. Then, whether it is films or television serials, it hardly makes a difference.

Why is no Rajasthani film becoming a hit these days? Does it mean, it is the end of the road for Rajasthani films?

– No Rajasthani film has done well for a long time because no good film has been made. It is not as if a good Rajasthani film has bombed. So, it is definitely not the end of the road.

Two Stars And A Full Moon

The venue was the open-air ground of The Club at Andheri, Bombay. The occasion was the music release of a film that stars two of the most awaited star-children together. The mood, therefore, was very upbeat, the excitement, very palpable.

J.P. Dutta chose the night of 18th April when the moon was in full bloom, to launch the music of his Refugee and to introduce his two new stars to the world. Abhishek Bachchan and Kareena Kapoor were first seen on the screen when glimpses of the making of Refugee and excerpts of its songs were shown to the invitees at the music release function. It was after a fairly long wait and many speeches later that the two star-children were called up on the dais to greet the invitees.

Abhishek, wearing a black suit and a rare confidence, addressed the gathering in English (was it because the film’s title is English?) and thanked his director for the break. Since Kareena Kapoor preferred not to make a speech like all the other unit members, Abhishek spoke on her behalf as well.

The music was released formally by the star-parents of the two discoveries. Amitabh and Jaya Bachchan released the music cassettes whereas Randhir Kapoor and Babita released the CDs of Refugee. Jaya specially flew for the function from the US where she had gone to present stage shows of the two plays in which she plays the title role, Maa Retire Hoti Hai and Dr. Mukta. The music of Refugee is being marketed by HMV.

J.P. Dutta held centre-stage for a fairly long time, briefing the guests about Refugee, his two new stars and the other stars and unit members of the film. His father, O.P. Dutta, who has written the dialogues of Refugee as of all of J.P.’s earlier films, was in great mood and he regaled the audience with his humour-laced speech. Jackie Shroff revealed how the camels in the film had given him a stiff back during the shooting schedules. Sunil Shetty exclaimed emphatically that two stars had been born.

Ashish Vidyarthi, dressed in Rajasthani attire, played the master of ceremonies, speaking intermittently in Marwari and English. Anu Malik was gracious enough to give all the credit for his melodious music in the film to J.P. Dutta who, he said, knew to extract work out of him. He repeatedly thanked J.P. and lyricist Javed Akhtar.

Now a word about the music. It is very Indian, melodious and of the kind which is bound to grow on the listener. There’s a qawwali which should definitely reach the top of the charts. Panchhi nadi hawa ke jhonke and the Taal numbers are also excellent. Abhishek and Kareena look lovely together. Bachchan Jr. plays a Hindu from India. He is in love with Kareena who plays a Muslim girl from Pakistan. The qawwali forms part of the climax, it is learnt.

All said and done, it was one full-moon night with a marked difference. Unlike other such nights every month when stars in the sky almost stop shining due to the brilliance of the full moon, 18th April saw two rising stars shine brighter on the earth than even the moon in the sky.

3-E
Education-Entertainment-Enlightenment

Javed Moves — And How!

A poignant document on the plight of street children in India. And Javed Akhtar amassed a fortune — Rs. 32.50 lakh! A windfall for any Indian film writer. Well, Javed Akhtar ‘earned’ this grand amount of money not for — as you must have assumed — a script or a book he may have written. He collected this money in just one instalment and in no time. Javed Akhtar ‘earned’ this royal sum for a moving speech he recently made at the Lions Club of Enfield in the U.K. The Club had invited Javed Akhtar to address a gathering of its members and he spoke on the topic of ‘street children in India’. The members were so moved by Javed’s speech that they quickly collected 50,000 pounds for aiding the street-children. It is said that a wise writer’s words move even the mountains. But ever heard of a writer’s spoken words moving people so much as to initiate them into removing their wallets from their pockets?!

Javed’s Punches

Here’s another one on Javed Akhtar. The writer was recently invited to recite his poems at a function held in Delhi to bid farewell to the retiring Rajya Sabha members. Before he could start reciting his poems, he looked around the hall and said, “Normally, at public gatherings, I greet two or three VIPs by their names at the start of my speech/recitation and generalise the others by referring to them with the words ‘and all my friends’. But today, every person here is a VIP. So, I can either address everyone by name, or recite my poems, not do both. I, therefore, start reciting my poems right away, if you please.” The humour was well-acknowledged by the VIPs who included prime minister Atal Behari Vajpayee and home minister L.K. Advani. At the same function, Javed delivered another punch by saying, “I am happy that the people whom the whole of India listens to, would be listening to me today. And I am happier because I would be listened to by those who do not listen to each other!”

House Full Or Fooling The House

The dancing hero is at it again. For his recent release, the guy purchased the unsold tickets in cinemas of Bombay to paint a rosy picture of the film. On Tuesday (18th April), the hero ordered that unsold tickets worth Rs. 21,000 in one single (matinee) show of a Bombay cinema be ‘torn’ so as to project it as a house-full show. Imagine the bewilderment of our staffer, who had gone to see the film at the cinema, when he saw the ‘house-full’ board on the outside and a far-from-house-full crowd inside.

A Father-Son Day

April 21 was a day of launching for baap and beta, Jeetendra and Tushar Kapoor. During the day, Shri Siddhivinayak Films’ maiden venture, being presented by Jeetendra, went before the camera at Filmistan Studios. The film is produced by Jeetendra’s wife, Shobha Kapoor, and daughter, Ekta Kapoor. While the launching rituals were being performed in Bombay, producer Ekta was away on the seven hills of Tirupati, offering prayers to Lord Balaji for the success of the Kapoors’ venture, starring Govinda and Sushmita Sen and directed by David Dhawan, and also for her brother, Tushar.

In the afternoon, Jeetendra’s son, Tushar Kapoor, was launched as the leading man, opposite Kareena Kapoor, in Vashu Bhagnani’s Mujhe Kuch Kehnaa Hai.

INFORMATION MEETS

“I think, I picked up the basics of cinema at a young age almost subconsciously”

– B.R. CHOPRA

Dr. SHIVAJI SEN-GUPTA

As the millennium, that has just gone by, stepped gingerly into its teens, Baldev Raj Chopra stepped into this world on April 22, 1914 in a milieu which barely hinted that he would be honoured with the prestigious Dadasaheb Phalke Award one day. His father was in government service, and B.R. had been groomed to be an ICS officer rather assiduously. He was a brilliant student and hence his success in this stiff examination was considered a foregone conclusion. Few could then perceive the strange designs of destiny! A freak bout of ill-health prevented B.R. from appearing for some papers of the examination and the depressed, despondent young man embarked on the tangential path of film journalism. To date, he remains the only successful filmmaker who has his roots in the print medium. No doubt, umpteen articles and interviews have appeared in the last few months, extolling his deeds; yet the objective of this interview is to assemble some insights of how and why B.R., who completes 86 years today, was drawn to the liveliest art.

Excerpts from our conversation:

To rephrase just one word from the introduction you wrote for your DHARMPUTRA: “The best way to start this interview is to start from where it started!”

Well, actually I was always very fond of writing — right from my student days. I recall writing articles mainly on cinema and sending them to various magazines. New Theatres used to publish a film magazine called Varieties, edited by Mr. Sanyal, and I distinctly remember sending them my first ambitious article titled ‘Around the Indian Screen’. You can well imagine how disappointed I was when it was not published! Nevertheless, I sent them another article on Rattanbai — but even that did not see the light of day. Refusing to accept rejection, I sent them yet another piece — a review of Swarag Ki Sidi, directed by J.K. Nanda; this was a rather scathing review and I mentioned that only New Theatres was capable of making good pictures. You can imagine how pleasantly surprised I was when I received a letter of apology from Mr. Sanyal and a complimentary copy of Varieties in which all the three articles were published! Apparently, my articles had not reached Calcutta on account of the vagaries of the postal department. In hindsight, that was one of the most satisfying days in my life.

But did you not contribute to magazines published in Lahore? After all, you were studying in the Government College there.

Yes, I did and therein lies an interesting story. When I was in my final year of M.A., a gentleman named N.S. Suri, who was running an Urdu magazine called Filmstage and had been reading my forays in film journalism, approached me to edit 40 pages in English for a special annual number of Filmstage. I used to go to his press and spend a couple of hours every evening after attending my classes at college. Suri was keen to reach out to a wider audience and that is the reason he had decided to spread his wings. He was happy with my work and when the issue was packed, he presented me with a cheque of Rs. 250, a princely amount in those days. I was naturally thrilled and I went to the Government College the next day and showed this cheque to my friends, teachers and, above all, my principal, H.L.O. Garrett, who, I must say, was all praise for my ‘earn while you learn’ approach and even singled me out for a special mention at the College assembly. He was a very affectionate and learned man and since he had planned to retire and return to England, he used to always tell me, “Meet you in London next year!” It was common knowledge that I was going to appear for the ICS exams.

Before I forget, I must add that the Filmstage people later felt, they had underpaid me! So they got in touch with me again and presented me with a Ranken suit piece, shirt, tie, shoes — the works!

In spite of tasting such heady success in the field of film journalism, were you still keen to pursue a career as an ICS officer?

Absolutely! In fact, I was bitterly disappointed when I couldn’t complete my papers. I brooded for almost a month in despondence. I used to live in Amritsar then and would cycle daily to Lahore — a distance of 32 miles to attend college. After I had passed out of college, quite out of the blue, Shaadilal Handa approached me one day in Lahore and offered me the post of an editor in a magazine he was planning to start — a monthly called Cine Herald. He owned the Okay Press in Lahore and I took up the challenge since this was something novel and exciting. He offered me a monthly salary of Rs. 120 to begin with, and I asked him to add a bicycle which I could use in Lahore. Somehow, I think best while cycling; ideas come in a stream as I pedal along! Anyway, he agreed; the magazine was launched and became a runaway success. I have fond memories of meeting Mehboob Khan then. He had come to Lahore on a talent hunt. To this day, I feel privileged that I was a part of the team that selected Govinda’s father, Arun Ahuja, to play the lead role in Mehboob’s Ek Hi Raasta or The Only Way; those days, films had two titles — one in Hindi and the other in English.

Sohrab Modi asked me to bring out a special edition of Cine Herald on Minerva Movietone. An advertisement of his Jailor was on the cover, and the film went on to become a very big hit and so Modi regarded Cine Herald as his lucky mascot. Indeed, when I first came to Bombay in 1938, there were two cars waiting to receive me at the airport. One belonged to Mehboob Khan and the other, to Sohrab Modi. I can never forget their warm, generous hospitality. Within no time, I was on friendly terms with everyone who was anyone in the Hindi film industry.

Did this fame and coveted position of editor of Cine Herald open more vistas?

Yes, it did. Northern India Studios in Lahore were making Sethi Murad, very similar to Heer Ranjha. They were stuck for a good climax and approached me. I conjured up a dramatic climax choc-a-bloc with effects and they accepted it gladly. Indeed, they were so impressed that they appointed me as a director in their company and paid me Rs. 10,000! Further, there were some foreign companies which were making documentaries. One such was ‘The Himalayan Wolf’ and I remember Roop Shorey and R.K. Shorey urging me to write its commentary. The first shot was that of a herd of sheep moving across the frame and I penned, “Here is the moving soil on which wool grows.” Noted Urdu poet Hafeez Khan Jallandhary saw this documentary and since he was writing some poems for the elections in Lahore, he asked me to add visual values.

Looking back, I feel, all these experiences were very educative.

I think, I picked up the basics of cinema at a young age almost subconsciously.

I suppose the next logical step at this stage was to make films.

Quite true. You see, Cine Herald had become a hit and Shaadilal Handa later on became my partner. When the question of revising my remuneration came up, Raghubeer Singh, proprietor of Nishat Cinema, Lahore, was mutually agreed upon as arbiter. He gave me 17½% of the profit as my fees and a 50:50 partnership thereafter. Now, I had some financial clout — not a great deal, but adequate. Besides, Mohanlal Sibal and Harkishanlal Sibal were my father’s colleagues, who had voluntarily retired from government service and started their own paper business in Rawalpindi. They used to keep egging me on to make a film. Finally, we formed a company with five partners — Mohanlal Sibal, Harkishanlal Sibal, Shaadilal Handa, D.P. Berry and myself. In 1945, we started with a Muslim social, Chandni Chowk, which was famous music director Khayyam’s first film as an assistant to his uncle, Chishti. We completed all the spadework but, as luck would have it, on the day the first song was to be recorded in the first week of August, 1946, the Partition riots broke out and all of us fled to Bombay. When we resumed the project in Bombay, my partners were of the viewpoint that we should make a film that is virtually a carbon copy of the latest hit. I held a radically different opinion but my partners waived aside my protests and went ahead. The result was Karwat, a disaster, to put it mildly. I was left penniless after the film was released. In fact, it was released in the first place on account of my excellent rapport with distributors all over India. Once Karwat flopped, I was totally down and out. I used to while away my time at The Parisian Dairy (now The Pizzeria) on Marine Drive in Bombay. In a state of dire depression, I wrote a letter to Durgadas-ji, a friend of my father (Durgadas-ji was then the editor of The Hindustan Times), for a job. Durgadas-ji was like a father to me and he offered me a job but, more importantly, he gave me an invaluable piece of advice, “Never return defeated from the battlefield.” His words inspired me and the seeds of Afsana were sown! And the rest is, I think, far too familiar to merit repetition! I would like to end this chat by expressing my immense gratitude to God. But for his blessings, I would not be sitting here and reflecting aloud on my past!

HADH KAR DI AAPNE

R.R. Productions’ Hadh Kar Di Aapne is a comedy film which relies more on funny incidents and situations than a cohesive or logical story to further the drama. A young detective goes to Europe to keep an eye on his friend’s wife and, while doing so, falls in love with a pretty girl. As it turns out to be, this girl is impersonating the friend’s wife and, after the detective falls in love with her, he is informed, to his dismay, by his friend that she is his (friend’s) wife (because neither the detective nor the friend is aware of the impersonation). Confusion is confounded when the pretty girl also falls in love with the detective but is wrongly informed by her friend that he is actually her (friend’s) husband. The husband and wife are playing this somewhat crazy hide-n-seek game because they want a divorce, initiated by two unscrupulous lawyers to make fast money! In the end, all the misunderstandings are cleared and the detective and his beloved unite in matrimony after being convinced of each other’s single status.

The film rests on a thin story-line and even thinner logic in screenplay. The subject is convoluted, to say the least. For instance, the detective is madly in love with the girl who is his co-traveller in the Europe tour but he is not even aware of her identity and name (she and her friend whom she is impersonating share the same name). On the other hand, although the two ladies are great friends, the impersonator is shown to have never seen what her friend’s husband looks like — the reason for the confusion to be confounded. The coincidences in the film are cooked up to further the story and they, therefore, keep reminding the viewer of the contrived nature of the drama. How and why the unrelenting girl starts liking the detective is not explained.

But this is not to say that the weak foundation, on which the story and screenplay rest, is such a sore point that there’s nothing enjoyable in the drama. Rather, two to three scenes are absolutely hilarious. The best and most entertaining scene is the one involving the detective and an acquaintance (Satish Kaushik) when the latter tries to sneak into the girl’s room. Another hilarious scene is the one in which Govinda appears in various get-ups on television. Besides the entertaining scenes, the film boasts of a very racy music score and excellent foreign locations.

Govinda, as the detective, is excellent as usual, in an out-and-out comedy role. His dances are just too fantastic and an exercise in graceful body moments. But there’s no impact of his six get-ups in the same scene because the six characters he plays have nothing to do with the story. Nevertheless, the conception of the scene, Govinda’s make-up and performance are very good. Rani Mukerji dances ably. Her acting, however, is average. Johny Lever is good only at places. He plays a double role; the older Johny Lever hardly impresses and, in fact, irritates after a point. Satish Kaushik is the best performer, besides Govinda. The guy’s sense of timing and facial expressions are marvellous. Paresh Rawal is also entertaining but gets very limited scope. Ritu Shivpuri, as the divorce-seeking wife, looks attractive and does a fair job. Nirmal Pandey, as Ritu’s husband, is not impressive at all. Helen Brodie, Tanaaz Currim and Navneet Nishan provide good support. Tinnu Anand, Viju Khote, Bharat Kapoor, Avtar Gill, Himani Shivpuri, Smita Jayakar, Gavin Packard, Padmini Kapila, Babban, Charlie, Rakesh Bedi (friendly appearance) and the rest are all average.

Manoj Agrawal’s direction is limited by the ordinary story (Satish Jain) and inconsistent screenplay (Rajiv Kaul and Praful Parekh). Dialogues (Anwar Khan) are witty at places. Anand Raaj Anand’s music, as mentioned above, is an asset. The title song, ‘Beqarar main beqarar dil’, ‘Kudi kunwari’ and ‘Mujhe kuchh tumse hai kehna’ are wonderful numbers. Song picturisations are all beautiful, and the locations on which they’ve been shot are just too eye-filling. Cinematography (Nirmal Jani) is slick and superb. Action stunts are good.

On the whole, Hadh Kar Di Aapne has fun but not consistently hilarious fun. Since its story and screenplay are weak, it will have to depend on its comedy, songs, performances and photography to win over the audience. It can hope to score in Bombay and Maharashtra but will remain average elsewhere, thanks to a good start and the holiday period. Business will be better in ‘A’ class centres and will keep on declining as the centres become smaller.

Released on 14-4-2000 at New Excelsior and 15 other cinemas of Bombay thru Govinda Yashwardhan No. 1 Distributors. Publicity: good. Opening: very good. …….Also released all over. Opening was very good in several circuits due to Ambedkar Jayanti holiday on Friday. 1st day (5 shows) Jaipur 1,22,887 from 3 cinemas.

GANG

Azhar Azaan Cinema Company’s Gang (A) is a gang-war drama. Four unemployed friends form a gang unintentionally, and include in petty crimes while harbouring illusions of making it big through their unethical but small-time criminal acts. But they step into the big league when a one-eyed don is eliminated by one of the four friends. They are protected by another don, a good Samaritan. But falling to the tempting offer from another underworld kingpin, they detach from the good Samaritan gangster. This is resented by the principled one among the four friends. He wants to detach himself from his friends but is later arrested by the police for killing the one-eyed don. While he is in jail, his three friends take care of his mother. In the intervening period, the other friends make enough money to lead a luxurious life just as they had once dreamt of. Thereafter, the film highlights the perils that come in with all the easy luxuries. The end depicts the futility of the whole exercise of establishing supremacy in the underworld. Those who live by the gun, die by the gun. This is the moral that is sought to be implied in the end.

The film’s subject runs on one main track — the rise and fall of gangsterism — at times, touching on the sentiments of a mother, a foster-sister and wives of two gang members. The drama is heavy throughout. There are just a few light moments here and there but they don’t come as any relief.

Jackie Shroff has essayed his character in the most natural manner. Nana Patekar, as the angry man, scores with the expression of anger in his eyes and through his deep baritone voice. Kumar Gaurav is fair while Jaaved Jaffrey does not look like the one who would wield a gun. Juhi Chawla has a very brief role but she makes her presence felt in the opening song-dance number. Shagufta Ali has a more important role than Juhi, as the foster-sister of the four friends; she has done very well. Imtiaz Khan, Gulshan Grover, Tinnu Anand, Dinesh Anand, Raza Murad, Girija Shankar, Ekta, Usha Nadkarni and Siddharth Ray are fair. Mukesh Khanna and Dalip Tahhil have done well.

As director, Mazhar Khan has executed some of the shots in style but could not infuse life in the drama. The gang-war shots have been well-taken but shots of this kind have been seen earlier too. The climax action scenes, though well co-ordinated, are too lengthy and tedious. Musically, only one song, ‘Chhan chhan chhanana’ is tuneful. Other songs are well-tuned but don’t go down at all with the demands of today’s audience. Background score is effective. Other technical aspects and production values are okay. The long time-lag in production is also obvious and glaring at many places.

On the whole, Gang is a stale, heavy and tension-ridden gruesome violent drama which will hold appeal only for a minor segment of the audience. It may prove average in Bombay and Maharashtra but faces bleak prospects elsewhere.

Released on 14-4-2000 at Maratha Mandir, New Empire and 18 other cinemas of Bombay thru VIP Enterprises. Publicity: fair. Opening: good. …….Also released all over. Opening was poor in several circuits despite the Ambedkar Jayanti holiday.

LATEST POSITION

The extra holiday on Ram Navmi (12th April) gave a boost to collections. This week is full of holidays.

Baaghi is dismal. 1st week Bombay 39,32,971 (54.70%) from 15 cinemas (9 on F.H.); Ahmedabad 6,36,664 from 5 cinemas (1 unrecd.), Rajkot 1,48,985 from 2 cinemas (1 in matinee), Jamnagar 1,07,855; Pune 5,02,888 from 6 cinemas, Solapur 2,50,678 from 3 cinemas (1 in matinee); Hubli 1,64,649; Delhi 15,08,433 (31.12%) from 10 cinemas (2 on F.H.); Lucknow 2,10,630, Agra 2,50,000, Varanasi 1,64,814, Bareilly 71,622; Calcutta (6 days) 10,41,306 from 9 cinemas; Nagpur 4,73,185 from 5 cinemas, Jabalpur (5 days) 67,589, Amravati (6 days) 1,64,262, Raipur (5 days) 70,594; Indore 1,31,066 from 2 cinemas (2 on F.H.), Bhopal 1,84,906 from 3 cinemas; Jaipur 4,21,652 (24.71%) from 4 cinemas, Ajmer (29 shows, gross) 1,43,827, Bikaner 1,02,518; Hyderabad (gross) 16,54,599 from 8 cinemas (3 on F.H.).

Kharidaar 1 week Jaipur (29 shows) 67,457 (17.12%).

Hera Pheri is pretty steady in Bombay and Maharashtra and quite good in Delhi city and Nizam. 2nd week Bombay (6 days) 40,98,304 (78.57%) from 10 cinemas (7 on F.H.); Ahmedabad 8,11,368 from 4 cinemas, Rajkot 1,65,540; Pune 10,61,009 from 4 cinemas (1 in matinee), Solapur 1,82,430 from 2 cinemas (1 in matinee); Delhi 26,51,893 from 11 cinemas (1 on F.H.); Lucknow 2,86,314, Agra 1,10,000, Varanasi 82,941, Bareilly 43,590, Hardwar 30,000; Calcutta (6 days) 3,42,089 from 3 cinemas; Nagpur 1,43,227, Jabalpur (6 days) 30,876, Amravati (6 days) 1,41,904, Akola 1,22,106, total 2,96,612, Raipur (gross, 6 days) 1,55,557, Jalgaon (6 days) 1,03,449; Indore 1,46,104 from 2 cinemas (1 on F.H.), Bhopal 80,570; Jaipur 2,17,049, Ajmer (28 shows, gross) 70,200, Bikaner 54,236; Hyderabad (gross) 7,76,504 from 5 cinemas (2 in noon).

Dulhan Hum Le Jayenge continues to do well in Maharashtra. 3rd week Bombay 34,69,962 (80.07%) from 10 cinemas (8 on F.H.); Ahmedabad 9,92,528 from 6 cinemas, Rajkot 1,33,000, Jamnagar 60,838; Pune 10,06,560 from 7 cinemas (1 in matinee), Solapur 1,85,075; Delhi 28,21,463 from 9 cinemas (1 on F.H.); Lucknow (24 shows) 2,79,126, Agra 1,75,000, Bareilly (6 days) 73,160, Hardwar 35,000; Calcutta (6 days) 5,15,310 from 3 cinemas; Nagpur 2,09,138 from 3 cinemas, Jabalpur (6 days) 1,21,759, Amravati (6 days) 1,11,535, Akola 1,00,500, total 4,50,450, Raipur (6 days) 70,716, Wardha (6 days) 31,972, Chandrapur 74,664, total 3,35,046, 2nd Yavatmal (gross) 90,341, total 2,72,538, share 1,48,538; 3rd Jaipur 5,91,340, Ajmer (28 shows) 60,964, Bikaner 1,71,110; Hyderabad (gross) 9,84,961 from 4 cinemas (1 in noon, 1 on F.H.).

Kaho Naa…Pyaar Hai 13th week Bombay (6 days) 19,34,440 (65.17%) from 8 cinemas (5 on F.H.); Ahmedabad 6,28,726 from 6 cinemas, Baroda 2,00,003; Pune 7,24,941 from 4 cinemas (1 in matinee), Solapur 1,55,426 (12th 1,45,387); Delhi 4,75,049 from 4 cinemas (1 on F.H.); Lucknow 1,95,821, Agra 56,000, Varanasi 95,593, Bareilly (6 days) 30,000; Nagpur 1,79,875 from 2 cinemas, Jabalpur (6 days) 67,476, Amravati (6 days) 86,433, Akola 1,06,241, Raipur (6 days) 63,841, 9th week Wardha 38,235, 12th week Chandrapur 88,038, 11th Yavatmal 73,344; 13th Bhopal 1,23,036; Jaipur 1,24,167; Hyderabad (gross) 4,97,934 from 2 cinemas (1 in noon).

________

Dalda Leedha Chori Raj (G., TF) 1st week Ahmedabad 3,29,618 from 4 cinemas, Rajkot 64,555.

ANAND BROTHERS REMANDED TO JUDICIAL CUSTODY

Vivek Anand and producer-director Ketan Anand, sons of late filmmaker Chetan Anand, have been remanded to judicial custody till April 27 along with maid-servant Mala Choudhary and her accomplice, Ashok, for their alleged involvement in the murder of actress Priya Rajvansh on 27th March. The remand order was passed by metropolitan magistrate V.A. Pokle on April 13 after assistant public prosecutor Pradeep Rane urged for police custody of the accused on the ground that additional material had to be collected by the police to prove the involvement of the accused in the crime.

Defence lawyer Satish Maneshinde urged that the accused be granted bail. The magistrate said that he had no powers to enlarge the accused in a case of murder. Maneshinde will file a bail petition on behalf of Ketan and Vivek in the sessions court on Monday, April 17.

RENU SALUJA SERIOUS

Accomplished film editor Renu Saluja, now wife of director Sudhir Mishra, is in a serious condition at Bombay Hospital where she was admitted for treatment of cancer.

TIPS TO GO PUBLIC: IPO OF 125 CRORE PLANNED

Tips Industries Limited is entering the capital market with an initial public offering of 30,00,000 equity shares of face value of Rs. 10/- each. The issue includes book-building portion of 27,00,000 equity shares and fixed price portion of 3,00,000 equity shares. Anand Rathi Securities is the lead book runner and the lead manager to the IPO. The shares are proposed to be listed on the Bombay Stock Exchange and the National Stock Exchange. The public dilution will be 25% and the promoters will hold 75% of the post-issue capital.

Tips, as is known, manufactures and markets pre-recorded audio cassettes, blank audio cassettes and replicated CDs. The company markets its products under the registered trademark of Tips. It has a plant in Silvassa with a capacity to manufacture 21 lakh blank audio cassettes per annum and facilities for the recording of 387.15 lakh pre-recorded cassettes per annum at Silvassa and Palghar.

Tips, promoted by the Taurani family with Kumar Taurani as the chairman and managing director, has on its board of directors Boney Kaproor, David Dhawan, Ramesh Taurani, Shiv Abhichandani and Shyam Lakhani.

The company, as part of a major expansion plan, is expanding the present cassette manufacturing facilities, and is setting up a CD manufacturing plant and a studio for recording music. It plans to increase its market share through acquisitions of more audio rights, and also plans to forge alliance with overseas companies for distribution and marketing its music in international markets. Another venture is the setting up of a music academy. This academy will provide opportunities to young artistes.

Tips has a library of over 8,000 music albums. This library contributes approximately 50% to the revenues of the company.

Besides, the company is expected to acquire 52 audio rights of films which are under different stages of production, for which the company has already paid around Rs. 25.59 crores.

GUL ACHRA’S SON COMMITS SUICIDE

Anand, the 22-year-old son of Bombay exhibitor-distributor Gul Achra, committed suicide on 10th April at his father’s cinema, Shriram Plaza, at Ulhasnagar, a distant Bombay suburb. Anand poured petrol on himself and set himself ablaze in full public view at 3.30 p.m. in the premises of the cinema. Some people tried to stop him, but to no avail. The young boy breathed his last at Central Hospital at Ulhasnagar the same day.

Gul Achra and three of his employees had a few weeks back been arrested by the Kalyan anti-extortion cell for screening obscene films at Shriram Plaza.

BALASAHEB SARPOTDAR PASSES AWAY

Veteran Marathi film producer and distributor Vishwas Narhar alias Balasaheb Sarpotdar passed away on 13th April at 7 a.m. in Pune at Joshi Hospital. He was 68 and is survived by his wife, a son, three daughters, a daughter-in-law, sons-in-law and grandchildren.

Balasaheb Sarpotdar was suffering from cancer since last some days and he had undergone surgery for the same. While he was being treated for his malady, he had a mild heart attack and later breathed his last.

Sarpotdar, who was the president of the Marathi Chitrapat Mahamandal consecutively for the last ten years, had produced a number of films, notable among them being Lakshmi, Pahuni, Heech Khari Daulat and Z.P.. He had also acted in some Marathi films as a guest artiste, mostly in the role of a senior police officer.

Sarpotdar, as distributor, pioneered the screening of English films in Pune and was very knowledgeable about foreign films. As the president of Marathi Chitrapat Mahamandal, Sarpotdar was instrumental in getting tax-exemption and subsidies for Marathi films.

YOU ASKED IT

What do you think of the Arthur Andersen report on the entertainment industry, presented at the recent FICCI conference on the industry?

– It is a well-researched report but one that gives a somewhat exaggerated picture of things to come.

Is it true that a top actor has started directing his choreographers instead of following their instructions?

– Not just choreographers, he also refuses to follow the instructions of his directors. He does what suits him, with scant regard for what his directors want from him. But, by the way, why do you choose to not name the star? Maybe, you are right. Our readers can well guess who you are asking about and we are talking about — after seeing the star’s recent release.

Will Abhishek Bachchan prove to be as good as Hrithik Roshan?

– Did you know before the release of KAHO NAA…PYAAR HAI that Hrithik would be so good?

DO YOU KNOW?

* GANG, which was launched on 12th January, 1989, took 11 years in its making, completion and release (this week)! The release has been made possible, thanks only to the efforts of Bharat Shah.

* Bobby Deol is now in the midst of stage shows being performed in the USA and Canada. So far, he has presented six programmes and in every show, he is made to also perform to the songs of HUM TO MOHABBAT KAREGA which have caught the fancy of Indians there, thanks to the film’s music promotional trailers. The shows are arranged by the Moranis.

DOUBLE HAT-TRICK!

* It has never happened before. And it might not, in the years to come. Two promising newcomers having three releases each, in the same debut year! Hrithik Roshan, who made his debut this year in KN…PH, and Abhishek Bachchan, who will make his debut in REFUGEE, to be released in June, will both be seen in two more films each. Hrithik’s other releases this year will be FIZA and MISSION KASHMIR. Abhishek will be seen in TERA JADOO CHAL GAYAA and DHAAI AKSHAR PREM KE before the year 2000 ends. Three cheers to that!

MIX MASALA

‘KUCHH’ KEHNA HAI

With Karan Johar’s Kuch Kuch Hota Hai proving a super-hit, people in our industry were doubly convinced that Kuch is the right spelling for Kuchh. Even Vashu Bhagnani has used Kuch (as in KKHH) for his next film, Mujhe Kuch Kehnaa Hai, when actually it should have been Mujhe Kuchh Kehna Hai. In fact, there is an extra ‘a’ in Kehnaa instead of an extra ‘h’ in Kuch. Numerologically, Mujhe Kuch Kehnaa Hai comes to 9, considered to be a lucky number. With the correct spelling (Mujhe Kuchh Kehna Hai), it works out to 5, which has also proved lucky for Vashu in the past. Yes, Biwi No. 1 added up to 5, numerologically. Kuchh bhi chalega, yaar!

First Quarter Of 2000

Eventful But Unexciting

What happened in the first quarter of the new millennium? Nothing much, you would say, except for KN…PH which proved the most ‘happening’ film. But there are many notable things that have happened. A recapitulation of the quarter ended 31st March, 2000:

• Of the 46 films released in the first three months of 2000, there was just one film — Kaho Naa…Pyaar Hai — which hit the bull’s eye. At least 35 films proved disastrous in almost every circuit in which they were released. Badal was the best among the films which did well but not universally so. It scored in North, Bengal and Bihar. Pukar, which did well in South, was salvaged due to tax-exemption in states like Maharashtra, U.P., M.P. and Delhi. Mela, Hera Pheri and Dulhan Hum Le Jayenge were the other films which did/are doing fairly well in one or two circuits.

• Hum Saath-Saath Hain entered the new year while already running in its 9th week. It continued to create records.

• January 14 (Makar Sankranti) proved the most auspicious release date. KN…PH and Govindbhai Patel’s Gujarati film, Gaam Ma Piyaryu Ne Gaam Ma Sasaryu, released on this date, proved to be super-hits.

• The International Film Festival of India (IFFI 2000) was inaugurated on 10th January in Delhi.

• While Hrithik Roshan shot to stardom with KN…PH, dad and producer-director Rakesh Roshan was shot at by then unknown assailants, on the evening of 21st January just when KN…PH completed its first week. The incident created panic in the industry. Roshan underwent an emergency by-pass surgery of the heart on 26th January. The alleged assailants of Rakesh Roshan were apprehended by the police on the night of March 29 in Bombay.

• Producer-director Subhash Ghai presented a print of his Taal as a jubilee gift to Ashok Purohit, the owner of the beautiful City Pulse cineplex in Gandhinagar. A grand function to celebrate the film’s silver jubilee was held on 30th January at City Pulse.

• Deepa Mehta, who was to start the shooting of Water on 30th January, found herself in troubled waters. Despite an okay from prime minister Atal Behari Vajpayee, Hindu hardliners in Varanasi, where the shooting was scheduled, forced the unit to leave the holy city because of the controversial subject of the film. Deepa explored the possibility of shooting in Madhya Pradesh, Maharashtra, Bihar and West Bengal (where she got embroiled in another controversy, this time over the originality of her film’s script). Much water has flowed down the Ganges since then, but Deepa’s Water stands still.

• Producer D. Rama Naidu proved the world’s most prolific filmmaker and made it to the hallowed pages of the Guinness Book of World Records in March. He has, in the last 36 years, produced the maximum number of films (103) and in languages as varied as Telugu, Tamil, Hindi, Bengali and other Indian languages.

• President K.R. Narayanan presented B.R. Chopra with the Dadasaheb Phalke award for his life-long contribution to cinema, at the 46th National Film Awards in New Delhi on 15th February.

• The film industry welcomed the Union Budget proposals for granting some concessions and reliefs viz. abolition of countervailing duty on colour positive and colour negative film; reduction in the basic customs duty on colour positive jumbo rolls and colour negative film; reduction in customs duty on cinematographic cameras and other film equipment; and extension of income-tax benefits under section 80HHF of the Income-Tax Act to all film exporters.

• In March, Dilip Kumar and producer-director Dasari Narayana Rao were elected unopposed to the Rajya Sabha from Maharashtra and Andhra Pradesh respectively.

• A sea-change is in sight in the production sector of the Hindi film industry with several top production houses and music companies having decided to go public.

• Subhash Ghai opened Audeus Telecine Studio, a division of his Mukta Arts, in association with Adlabs, at Adlabs (Film City) in March.

• The decision of the Rajasthan state government to compound entertainment tax in the state sent shivers down the spines of Rajasthan exhibitors. Tax evasion by cinemas is said to have prompted the introduction of the system. The scheme came into force on 1st April. And this was no April Fool joke! However, the government seems to have heeded the industry representation and may reconsider.

• Karnataka CM and finance minister S.M. Krishna hiked entertainment tax on non-Kannada films from 70% to 100% in the state. Kannada films will continue to be tax-free, as before. This comes as an April Fool ‘present’ for the producers and distributors of Hindi films. Surely, an unjust, unwarranted, anti-Hindi and retrograde policy. Hey Krishna!

• Andhra Pradesh exhibitors downed shutters on April 1 as a one-day token strike. The closure was partial. The strike was to demand, among other things, abolition of entertainment tax and reduction of the exorbitant power tariffs in the state.

• The compound tax facility, which was to be discontinued for cinemas in Gujarat in towns having a population between 1 lakh and 3 lakh, has been retained. The government subsidy of Rs. 5 lakh to Gujarati films will also continue. However, the tax-free service charge on cinema tickets has been reduced from Rs. 2 to Re. 1 per ticket and this is likely to hit the exhibitors badly.

• The 2-day FICCI seminar on the entertainment industry, held on March 30 and 31 in Bombay, was an experience to cherish for those who attended it. The international conference on the business of Entertainment: India – Opportunities in the 21st Century’ discussed wide-ranging topics — finance and capital market, intellectual property rights, the content aspect, film music, webcasting and the Indian film industry. Sadly though, active filmmakers were mostly conspicuous by their absence.

• Sahara India launched its satellite channel on March 28 with a star-studded show.

3-E
Education-Entertainment-Enlightenment

Dream Merchants In Nightmarish Light

It hasn’t been a very encouraging fortnight for the film industry. On more occasions than one, the industry in the last 15 days has been shown in bad light. While the stories involving film people are unconfirmed, they, nevertheless, are of a very serious nature. Ketan and Vivek Anand, sons of late filmmaker Chetan Anand, were arrested earlier this month for allegedly master-minding the murder of actress Priya Rajvansh. Kishan Kumar, actor and brother of slain music magnate Gulshan Kumar, has found himself embroiled in the shocking cricket match-fixing controversy involving South African captain Hansie Cronje. Bombay exhibitor-distributor Gul Achra’s son, Anand, committed suicide earlier this week and it is believed, he did so because he was unhappy about his father screening obscene films at their cinemas.

Vashu’s Generation Next

After introducing star-son Abhishek Bachchan in Tera Jadoo Chal Gayaa, Vashu Bhagnani is now introducing another star-son, Tushar Kapoor (son of Jeetendra), opposite Kareena Kapoor, in his next which will be launched on 21st April. The film, titled Mujhe Kuch Kehnaa Hai, is a remake of the Telugu super-hit, Tholi Prema, which starred Pawan Kalyan (brother of Telugu superstar Chiranjeevi) and Kirti Reddy, who made her debut in a Hindi film with Vashu (Tera Jadoo Chal Gayaa). It is interesting to note here that Pawan Kalyan’s first Telugu film as a hero was a big flop. But Tholi Prema greatly resurrected his career as the film ran for more than 40 weeks and, when it was revived after six months, it again ran to packed houses. Jeetendra, when shown the film, was moved to tears by its emotional content. The dancing hero, who was to launch his son after two years, agreed to let Vashu introduce him because the role was so powerful. So, coming back to Mujhe Kuch Kehnaa Hai, the film, to be directed by Satish Kaushik, will be a quickie which will be completed in 5/6 months. Anu Malik will score its music.

Daily Pot Shots On Film Industry

It is a case of the pot calling the kettle black. Dainik Bhaskar newspaper group, which has been illegally screening Hindi films on cable channels owned by it in Bhopal and Jaipur and which, therefore, has been ‘banned’ by the CCCA, has published a report in its Indore edition (13th April) alleging that film producers, distributors and exhibitors are evading payment of entertainment tax. The paper points out that the distributors manipulate the accounts and present false statements. The paper has also alleged the complicity of the income-tax officials in this exercise. In another report on the film industry’s “misdeeds”, published on 14th April, the paper has published the names of leading distributors of C.P., C.I. and Rajasthan as defaulters. The daily, it seems, is set to paint the film industry black, with a vengeance. All this, in reaction to the CCCA’s ban on Dainik Bhaskar group.

BAAGHI

Triple Aar Movies’ Baaghi (A) is the usual don drama. A roadside don is so ferocious that he talks with his fist and guns at the drop of a hat. A professor, who comes to stay with his family in his locality, refuses to acknowledge the don’s might, but his little child develops a liking for him (the don). Much to the consternation of his father, the child befriends the don and grows up in his company. But the don loves the young boy like an elder brother would, and refuses to let him tread the path he (don) has adopted in life. The young boy falls in love with a very rich girl who is the sister of another dreaded don. Both the dons are great friends and although the young boy’s don-friend tries to make the other don agree to the alliance, the latter refuses as he has fixed his sister’s marriage with another guy. There is a battle of bullets and the young boy is nearly killed in it. Not only does his don-friend save his life but he also ensures that he gets his love. Ultimately, the two dons die in a blood-bath.

The film takes a fairly promising start as the child is shown being impressed by the don. The child’s defiance of his father also makes for interesting viewing. But the film degenerates into a routine drama once the child grows up into a young man. While the child and the don’s sister become adults, the two dons seemingly don’t grow old at all. Save in the initial reels, the screenplay has no place for police officers whatsoever. Screenplay is as commonplace as the story. Some dialogues are good but some others are unnecessarily flowery.

Sanjay Dutt does fairly well as the don and the doting friend. Manisha Koirala has no role to write about and is almost an extra in the film! Aditya Pancholi, as the other don, is alright. Indra Kumar plays the romantic hero and does an average job. Tina Senn is no heroine material. Shivaji Satam is supremely sincere as the upright and unbending professor. Master Rohan is brilliant. Sanjay Narvekar leaves a mark. Shama Deshpande, Gulshan Grover, Mohan Joshi, Mahesh Anand, Shalini Kapoor, Aroon Bakshi, Dinesh Hingoo, Rana Jung Bahadur, Tej Sapru, Dipen Vartak, Jack Gaud, Gavin and the rest lend average support.

Rajesh Kumar Singh’s direction is dull although it shows sparks in the first few reels. Music (Sajid Wajid) is a letdown. Song picturisations are ordinary. Camerawork is so-so. Production values are average.

On the whole, Baaghi is a poor drama.

Released on 7-4-2000 at Novelty and 23 other cinemas of Bombay thru Dilsa Distributors. Publicity & opening: dull. …….Also released all over. Opening was poor almost everywhere.

LATEST POSITION

With examinations coming to an end, the box-office is in dire need of new releases which have merits.

Hera Pheri has done well in Maharashtra and Nizam but is very poor elsewhere. 1st week Bombay 52,62,036 (77.30%) from 12 cinemas (6 on F.H.); Ahmedabad 12,47,993 from 5 cinemas, Rajkot 2,20,547; Pune 14,25,769 from 5 cinemas (1 in matinee), Solapur 2,73,804 from 2 cinemas (1 in matinee), Satara 1,36,586; Delhi 37,94,547 (47.88%) from 12 cinemas (2 on F.H.); Kanpur 2,52,679 from 2 cinemas, Lucknow 4,16,784, Agra 2,32,000, Allahabad 1,31,421, Bareilly 99,849, Hardwar 60,000; Calcutta 11,03,898 from 9 cinemas (1 in noon); Nagpur 5,11,372 from 2 cinemas, Jabalpur (6 days) 62,173, Akola 1,74,505, Raipur (gross, 6 days) 2,45,489, Jalgaon 1,92,200; Indore 2,40,103 from 2 cinemas (3 on F.H.), Bhopal 2,82,157 from 2 cinemas; Jaipur 5,55,007 from 3 cinemas, Bikaner 1,61,409; Hyderabad (gross) 27,57,318 from 12 cinemas (1 in noon, 1 on F.H.), share including Aurangabad 19 lakh.

…………

Dulhan Hum Le Jayenge drops further, but is fairly good in Bombay and parts of Maharashtra. 2nd week Bombay 37,13,950 (86.13%) from 10 cinemas (9 on F.H.); Ahmedabad 17,54,294 from 8 cinemas, Rajkot 1,81,000, Jamnagar 91,349; Pune 9,90,769 from 6 cinemas (1 in matinee), Solapur 2,15,272, Satara 1,32,257 from 2 cinemas (1 in matinee); Bijapur 1,12,544; Delhi 46,70,860 from 12 cinemas (1 on F.H.); Kanpur 3,37,830 from 2 cinemas, Lucknow 4,69,212, Agra 2,45,000, Allahabad 1,97,000, Hardwar 50,000; Calcutta 7,79,436 from 3 cinemas; Nagpur 3,37,018 from 3 cinemas, Jabalpur (6 days) 1,54,229, Akola 1,20,500 (1st 2,30,000), Raipur (6 days) 89,734, Jalgaon (6 days) 81,000, Wardha 46,807, Chandrapur 83,083, 1st week Yavatmal 1,82,197; Bhopal 73,741; 2nd week Jaipur 6,30,069, Bikaner 1,80,130; Hyderabad (gross) 12,20,121 from 5 cinemas (1 on F.H.).

Kaho Naa…Pyaar Hai 12th week Bombay 21,47,829 (64.71%) from 8 cinemas (7 on F.H.); Ahmedabad 3,89,743 from 3 cinemas, Baroda 2,15,286, 12 weeks’ total in Rajkot about 17,00,000; 12th Pune 6,75,212 from 4 cinemas (1 in matinee), Solapur 1,45,387, 1st week Barsi 82,070, 10th Satara 1,17,449 from 2 cinemas (1 in matinee); 12th week Dharwad 51,286; Delhi 9,81,415 from 7 cinemas; Kanpur 1,29,918 from 2 cinemas, Lucknow 2,78,014, Agra 1,06,000, Allahabad 63,376, Bareilly (6 days) 37,964; Calcutta 7,43,654 from 4 cinemas; Nagpur 1,83,546 from 2 cinemas, Jabalpur 84,733, total 17,11,498, 5th week Balaghat 37,504, total 3,21,764, 12th week Amravati 89,331, Akola 92,491 (11th 87,224), total 16,09,052, Raipur 78,160, Jalgaon 80,039, 7th Wardha 44,200, 11th week Chandrapur 76,785, total 17,38,870, 10th week Yavatmal 55,687; 12th week Bhopal 1,19,793; Jaipur 1,58,712; Hyderabad (gross) 6,84,210 from 3 cinemas (1 in noon, 4 on F.H.).

Mahiyar Ni Maya (Gujarati; TF) 1st week Ahmedabad 2,36,354 from 4 cinemas.

Navra Mumbaicha (Marathi; TF) 1st week Bombay about 1,00,000 (60.23%).

Split Wide Open (English; partly in Hindi) is dull. 1st week Bombay 8,35,797 from 8 cinemas; Calcutta 1,54,909.

VINOD RATHOD BEREAVED

Poornima, wife of playback singer Vinod Rathod, expired on the morning of 6th April at her residence in Bombay, reportedly due to depression. She was 39.

A.P. CINEMA BANDH PARTIAL

Most of the cinemas in Andhra Pradesh remained closed on 5th April in response to a bandh call given by various film chambers of commerce seeking total exemption of entertainment tax for locally-made films and tax concessions for films produced outside Andhra Pradesh.

The associations had earlier decided to go on an indefinite strike but it was later decided to restrict it to a one-day strike. The strike was almost total in Nizam and Ceded areas. Only a few cinemas in Hyderabad, showing Hindi films, were functioning on the day of the strike. The Andhra region, however, did not participate in the one-day strike.

KETAN, VIVEK ANAND REMANDED TO POLICE CUSTODY

Late filmmaker Chetan Anand’s sons, Ketan and Vivek, who were arrested by the Bombay police on the night of 4th April in connection with the murder of former actress Priya Rajvansh, were produced before metropolitan magistrate P.P. Shiroshe of the Bandra holiday court, Bombay, on 5th April. The Anand brothers were remanded to police custody till 10th April. Two other accused, the maid servant, Mala Choudhary, and her accomplice, Ashokan Swami, were also remanded to police custody. The accused have been charged with conspiracy and murder.

Priya Rajvansh, who was a close friend of Chetan Anand, had died in mysterious circumstances on 28th March in the Ruia Park (Juhu, Bombay) bungalow of the Anands. Her funeral was held on 6th April.

NEW KOHINOOR CINEMA IN JODHPUR INAUGURATED

A new cinema, New Kohinoor Upper, was inaugurated on 1st April in Jodhpur at the hands of the Rajasthan Housing Board president, Man Singh Deora. City MLA Jugal Kabra and Bhanwar Bali of Sur Sagar were the chief guests at the function. The cinema is owned by Noor Mohammed.

RAJASTHAN TRADE TO OBSERVE DAY’S CLOSURE IN PROTEST AGAINST NEW FORMULA FOR ENT. TAX

A meeting of the Rajasthan film trade, convened by the Central Circuit Cine Association (CCCA) on 7th April in Jaipur, decided to observe a day’s token strike on 20th April if the state government did not withdraw the new formula of calculating the minimum entertainment tax at 25% on capacities of cinemas. The new tax, calculated at a minimum of 25% of the capacity per show (and not per day or week), came into effect from 1st April, 2000. CCCA president Santosh Singh Jain presided over the meeting held behind Moti Mahal cinema. Surendra Kumar Golechha, Kushal Chand Surana, CCCA executive committee members Trilok Singh, N.K. Jalani and Kishanchand Jain attended the meeting. Kishan Chand Janiani and Ramdhan Mamoria organised the meeting alongwith others.

In the meantime, writ petitions against the new tax have been filed in the Rajasthan high court on behalf of Samrat cinema, Jaipur and Ajanta cinema, Ajmer. While the former writ will come up for hearing on 10th April, that of Ajanta cinema will come up for hearing the following day (11th April).

As far as the cinema closure goes, the opinion in the Rajasthan trade was divided. While some wanted an indefinite closure of cinemas across the state, there were others who felt a token strike would suffice.

YOU ASKED IT

Does it make a difference if a hero distributes a film starring himself?

– To a small extent, it does make a difference among the exhibition community. There is something known as star charisma. As far as the public is concerned, it doesn’t make any difference.

What do you think of so many producers floating public issues in the forthcoming months?

– Public sentiments for media and entertainment companies are high, so producers want to ride on that wave. Like our films, in public issues too, 20-25% of the producers will succeed, others won’t.

Does a new hero click when people are tired/bored of the existing ones or do people get bored of the existing heroes when a new hero clicks?

– This is like asking me, what came first — the hen or the egg?

3-E
Education-Entertainment-Enlightenment

Endangered In Africa

One is filled with dread as one reads the pathetic and frightening state which cinemas in Nairobi have been reduced to. A 12-column report in a Nairobi daily, Daily Nation, reveals the following hard facts:

Embassy cinema, Nairobi, which has 850 seats, hardly attracts 5 people a day!

Another cinema, Nairobi Cinema, attracts only 20 to 30 per cent of its 850-seat capacity. This, despite the cinema having the largest screen in East Africa and being equipped with Dolby Digital sound system.

Sun City and Eastlands cinemas, which are video cinemas, offer 6 films on one ticket. But there are hardly any buyers!

Fox Drive-In and Kenya Cinema are on the verge of closure. …..Almost all East African cinemas tell the same sad story.

Many Nairobi cinema-owners are letting out their cinemas to churches on Sundays. Globe, Shan and Rainbow cinemas have been turned into churches!

The reasons for such a depressing state of affairs are: failure of the government to crack down on abusers of Copyright Act; crime and insecurity in the areas neighbouring the cinemas; poor economy; screening of new films by television and video outlets, showing of contraband films on the licensed cable TV channels….. Is the situation not quite similar here at home? It would be better to take stock of the scene in our country and take corrective action before India goes the East African way!

Jaldi Kar Di Aapne

The dances of Govinda in Hadh Kar Di Aapne once again prove that he is the best dancing hero the industry has. The grace with which the guy dances cannot be matched by any other hero. That apart, Rani Mukerji’s matching panache, Anand Raaj Anand’s music, and the song picturisations are also very good. In fact, the songs are so nice that one really feels, their popularity today does not match their potential. Despite T-Series doing a good job of the television publicity of the film, the songs have not reached the peak of their popularity for whatever reason. Producers Rajeev Anand and Rakesh Malhotra and director Manoj Agarwal would surely find solace in the fact that their songs are immensely likeable, but one surely feels, they have hurried up with the release. April 14 is almost around the corner. A release at least three weeks from now would have been more desirable because the catchy songs would’ve got more time to get popular before the film hit the screens. That would have ensured on opening better than what the film can now hope to get. A little bit of jaldbaazi, this!

INFORMATION MEETS

“The basic concept of filmmakers in Bombay is wrong!”

– R. MOHAN

Dr. SHIVAJI SEN-GUPTA

Sometimes our actions are not answers but questions. And it was with numerous questions that a young electrical engineer from Trichy, R. Mohan, came to Bombay in 1974. The answers came slowly and anything but easily. After working for companies like Kotak and Batliboi for around 3 years, followed by a stint of trading independently, he turned into an entrepreneur by setting up a modest plant at Vasai. It took him another three years to launch ‘Good Knight’, a pioneer in mosquito repellents, in the market. The Good Knight coil more than lived up to its name and Mohan was quick to market an entirely different product — Snuggies (diapers for babies) and this, too, was a runaway success. The answers had — well, more or less — all fallen into place for the man brought up in a typical middle-class family and fifth in the hierarchy of seven siblings.

His next foray took many by surprise. He made a Malayalam film, Isabelle (1987), on a modest scale but his tally at present is impressive by any count. Thirty-two films in Malayalam, 2 in Tamil, 2 in Hindi with several in each language either waiting for release or under-production.

Excerpts from our conversation:

I recall first meeting you at a special screening of WAHEM in the mid-’80s at Hotel SeaRock where ‘Good Knight’ mats and machines were being given as complimentaries to all invitees. How were you involved in this particular film?

– Well, I was not involved as such in Wahem! But I did get an opportunity to dabble with the medium at close quarters. Further, my primary motive was to promote my product ‘Good Knight’ through imaginative in-film advertising. In fact, along with the neon signs and hoardings of ‘Good Knight’, it was pretty deftly woven into the plot as well. It was a pity that the film of A.V. Mohan was not successful! I spent around Rs. 4-5 lakh on this.

What made you enter this line in the first place? Was it the financial cushion provided by ‘Good Knight’ by any chance?!

– No no, not at all. If this was to be the criterion, then the house of Tatas would have been the leading producers. A strong inclination, a taste for the fine arts must be there within you. I recall seeing not less than 400 films per year during my college days. Also, I remember my passion to become an actor in my youth. Indeed, me and some of my friends had run away to Madras in pursuit of this nascent dream! Mercifully, this phase was short-lived, it died a natural death. Nowadays, I don’t feel like essaying even a small role in my own films! Incidentally, I was one of the first to predict that the corporate sector will enter the arena of entertainment.

Can you enlighten us about the business trends in Malayalam cinema and how they differ from Hindi cinema?

– The strange aspect about Malayalam films is that the entire financial burden has to be shouldered by the producer. There is no MG royalty system. The distributors release films only on commission basis. If the film is a hit, the producer hits the ceiling, but if it is a flop, then he is drowned.

Even in the exhibition sector, things are different. Exhibitors follow what is known as a daily holdover system. If a film is not able to register collection up to the level fixed by the exhibitor, then the theatre owner can legally discontinue your film and replace it with some other.

As we all know, there is a large expatriate population of Malayalees all over the world in general and in the UAE in particular. How much is it possible for a producer to recover from the Gulf?

– It depends largely on the star cast of a film. If one has a Mohanlal or a Mammootty starrer, then Rs. 15 lakh is easy to get. To put it in a nutshell, the range is from Rs. 5-15 lakh. For a non-star cast film, one can expect Rs. 5 lakh, and for an average star cast film, Rs. 10 lakh. Considering that the average cost of making a film with Mohanlal or Mammootty is in the region of Rs. 2-2.5 crore and even an average film costs around Rs. 75 lakh to 1 crore to make, this amount that one recovers from the Gulf is not particularly significant. All the more, since the distributor in the Gulf markets the film all over the world through video cassettes, VCDs, LDs or DVDs or whatever!

What about satellite rights and Doordarshan’s Movie Club — are they attractive alternatives?

– The market for satellite rights has been rising and I feel that it will soon be equivalent to one territory. Asianet and Surya TV are the leading satellite channels in Malayalam. Asianet is, without doubt, the most popular channel with the largest viewership. In the initial stages, I used to get around Rs. 1-2 lakh per film from Asianet but today, I am offered anything in the region of Rs. 10 to 15 lakh. Again, the star cast does play a role in determining the price. Yet, though I have made many films with Mohanlal and Mammootty, I also made 2 films with fresh faces, which became runaway hits.

Surprisingly, in Tamil cinema, although there is respite in film distribution — distributors there buy films on MG royalty basis — the TV channels do not offer as much as the Malayalam ones. I really can’t understand this!

Since you are active in regional and Hindi films, what are the major differences that strike you?

– The basic concept of filmmakers in Bombay is wrong! They are more concerned about booking the dates of a star and then weaving a story around him. In the South, we first sit on the story for 4-5 months. Then and only then do we decide on the stars. That is the reason why film production in the South is not only more disciplined but also of superior quality.

Reams have been written on the delay in completing RAJA KO RANI SE PYAR HO GAYA. How has it shaped up, in your opinion? Also, what are the other projects on the anvil?

– While making Raja Ko Rani Se Pyar Ho Gaya, I encountered a unique superstar — a baby elephant. There were times when the entire unit would sit twiddling their thumbs waiting for the elephant to wake up! I have a feeling that this film will run. I have noticed that films with animals in pivotal roles always go down well with the audience. And the film is well-made and engaging — the delays have not affected the end result. Besides, promotion and publicity, I believe, do make a noticeable difference.

I am very excited about my next two projects. The first is titled Pagalpan and has a fresh star cast — Rakesh Nath’s (Rikku’s) son is the hero, and a girl from America, called Aarti, is the heroine. The director is Joy Augustine, the maker of ABCL’s Tere Mere Sapne. Once I complete Pagalpan, I have a fascinating subject about the girls working in the beer bars of Bombay. Tabu palys a stellar role, and this film — we have not yet finalised the title — is being directed by Madhur Bhandarkar, an associate of Ram Gopal Varma.

I am very ambitious about this film and I intend entering it in every major film festival all over the world. Atul Kulkarni plays an interesting role in it. I intend starting it by July — subject to Tabu’s dates being available. I have a hunch, this will be a landmark film in Tabu’s already distinguished career!

I must not fail to mention that I have bought the rights of a fantasy film for children as the target audience. The next year promises to be a rather eventful one for me.

A few years ago, you had launched a company to make software for television and before one could say “Jack Robinson”, the project had vanished! Are your sights set solely on the big screen?

– Not quite. I do agree that I had started Shogun Enterprises and shelved it, but now, I have plans of reviving it in a big way. I plan to make software only in Hindi for leading channels like Zee, Sony, Star Plus etc. I must lay stress on one aspect. I am open to new talent, fresh talent, discarded talent and what have you, as long as they are armed with novel ideas and subjects. And this applies as much to my TV serials as to my films.

Finally, an observation. Is there an inherent streak of violence hidden in your personality — first, Good Knight, and then, Shogun. Quite a curious choice of names for your banners, wouldn’t you agree?

– I agree, I agree. But when you become successful, there are friends and well-wishers who start making you believe in certain things which, according to them, are lucky mascots. I was advised that ‘Knight’ is a warrior in the West and my next banner should be named after a warrior from the East. Hence we decided on the name ‘Shogun’. These are minor compromises that one has to make in business.

For instance, although I am still addressed by the press as ‘Good Knight’ Mohan, the fact is, I have sold ‘Good Knight’ to Godrej. A lot of people ask me if I was emotionally disturbed in parting with my baby. Well, all I can say in reply is that there is really no room for emotions in business!

HERA PHERI

A.G. Films (P.) Ltd.’s Hera Pheri, remake of the successful Malayalam film, Ramji Rao Speaking, is a comedy of situations. One young man, who would do anything to make money, takes refuge in the house of a large-hearted motor garage owner. Another young man, who comes in search of a job, also begins to live in the same home. Together, the three of them land themselves in a kidnap drama with a view to making quick money.

The film has many comic situations and some truly entertaining dialogues. But it lacks in three basic ingredients of a commercial film — a sensible plot, romance and emotions. Music is also below the mark. The film looks like an assemblage of comedy items pieced together by a thin story-line. Therefore, although several scenes do evoke peals of laughter from the audience, the absence of a plausible plot is sorely felt. There are a few action scenes but they look contrived in the scheme of things. The sequences in which the two heroes cry (separately) do not touch the heart.

Akshay Kumar and Sunil Shetty have both performed very ably. Paresh Rawal is the best performer in the film. Playing a Maharashtrian, he is just too brilliant as the large-hearted garage owner. His acting is worthy of awards. Tabu has a brief role, but looks good and acts ably. Om Puri is also excellent in a comic role. Gulshan Grover, as the kidnapper, does quite well. Kashmira Shah has no scope. Kulbhushan Kharbanda, Asrani, Mukesh Khanna, Sulbha Arya, Mushtaq Khan, Razzak Khan and Dinesh Hingoo lend fair support. Namrata Shirodkar looks fetching in a dance number.

Director Priyadarsan needs to be complimented for extracting great work from Akshay, Sunil, Paresh Rawal and Om Puri. But he needs to be much more selective in his choice of subjects. Music (Anu Malik) is fair. Picturisation of two songs are indeed an eyeful. Foreign locations are splendid. Camerawork (Jeeva) is very good. Production values are rich.

On the whole, Hera Pheri is truly funny alright but also too frivolous to be lapped up by the audience. It has some chance in Maharashtra because of Paresh Rawal’s character and the hilarious comedy.

Released on 31-3-2000 at Metro and 17 other cinemas of Bombay by UTV Motion Pictures thru Shringar Films. Publicity: very good. Opening: fair. …….Also released all over. Opening was average at some places and dull at some others.

LATEST POSITION

DULHAN HUM LE JAYENGE has not found appreciation. It began to drop mid-week.

Dulhan Hum Le Jayenge 1st week Bombay 42,45,383 (95%) from 10 cinemas (9 on F.H.); Ahmedabad 23,17,037 from 6 cinemas, Padra 1,99,202, Rajkot 1,80,000, Jamnagar 1,23,177; Solapur 3,33,443 (97.71%), Satara 2,02,838 from 2 cinemas (1 in matinee); Bijapur (6 days) 1,41,052; Delhi 81,06,522 (84.69%) from 13 cinemas (1 on F.H.); Kanpur 6,84,415 from 2 cinemas, Lucknow 9,02,152 from 2 cinemas, Allahabad 3,17,000, Bareilly 2,26,409, Hardwar 1,15,000 (49.65%); Calcutta 25,34,538 from 17 cinemas; Nagpur 7,31,111 from 3 cinemas, Jabalpur (6 days) 2,28,048, Amravati (6 days) 2,25,913, Raipur (6 days) 1,55,650, Chandrapur 1,77,300; Indore 2,29,833 (4 on F.H.); Jaipur 13,06,779 from 4 cinemas; Ajmer (29 shows) 1,69,618, Bikaner 2,64,335; Hyderabad (gross) 25,58,683 from 5 cinemas (1 on F.H.).

Krodh drops further. 2nd week Bombay 14,44,110 (60.47%) from 6 cinemas (10 on F.H.); Ahmedabad 1,37,191 from 4 cinemas (1 unrecd.); Solapur (matinee) 49,053, Satara (matinee) 35,566; Delhi 4,59,147 from 5 cinemas (1 on F.H.); Kanpur 1,08,160 from 2 cinemas, Lucknow 1,07,349, Allahabad 70,920, Bareilly (6 days) 46,802; Calcutta 1,24,304; Nagpur 52,070, Jabalpur (6 days) 41,390, Amravati (6 days) 75,703, Raipur (6 days) 60,738; Indore 38,300; Jaipur 1,00,323, Ajmer (gross) 65,763; Hyderabad (gross) 1,67,773.

Sultaan is too dismal to be true. 1st week Ahmedabad 57,808 from 2 cinemas (2 unrecd.), 1st week Jamnagar 28,958; 2nd week Delhi 2,27,588 from 3 cinemas (4 on F.H.); Kanpur 50,490 from 2 cinemas, 1 week Lucknow 70,996, 2nd week Allahabad 23,500, Bareilly 27,861, 1st week Hardwar 25,000; Nagpur 20,965, 2nd week Raipur (5 days) 10,493, Bilaspur (6 days) 16,456; 1 week Ajmer (29 shows) 71,8343; 1st week Hyderabad (gross) 3,61,483 from 5 cinemas.

Badal 7th week Bombay 2,06,047 (29.65%; 3 on F.H.); Solapur 35,780; Kanpur 75,963, Lucknow 1,72,088, Bareilly 53,777; Nagpur 33,070, 3rd week Kamptee (5 days) 28,566, 7th Amravati 38,252, 1st week Balaghat 93,700, Itarsi (gross) 70,000; 7th week Jaipur 66,826; Hyderabad (gross) 72,294.

Pukar 8th week Bombay (TF) 4,37,324 from 2 cinemas (5 unrecd., 4 on F.H.); Solapur (TF, matinee) 13,938; Delhi (TF) 3,26,761 from 4 cinemas (1 on F.H.); Kanpur (TF) 94,686 (1 on F.H.), Lucknow (TF) 2,46,542, Allahabad (TF) 52,632; Calcutta 63,410; Nagpur (TF) 57,611, Amravati (TF, 6 days) 46,915; Hyderabad (gross) 1,84,487 (1 on F.H.).

Kaho Naa…Pyaar Hai 11th week Bombay 27,24,334 (66.86%) from 10 cinemas (7 on F.H.); Ahmedabad  5,83,703 from 4 cinemas, Baroda 2,20,978; Solapur 1,45,750, 9th week Satara 1,09,325 from 2 cinemas (1 in matinee); 11th week Delhi 12,93,777 from 8 cinemas (1 on F.H.); Kanpur 2,07,345 from 2 cinemas, Lucknow 3,36,744, Allahabad 1,01,023, Bareilly (6 days) 52,889, 8th week Hardwar 25,000, total 4,12,526; 11th week Calcutta 6,06,829 from 5 cinemas; Nagpur 1,92,110 from 2 cinemas, Jabalpur (6 days) 1,03,060, Amravati 1,09,336, total 16,90,470, 4th week Balaghat 46,140, total 2,84,260, 11th Raipur 86,216, 9th week Durg 46,070, 6th Gondia (gross) 60,427, total 6,48,077, 10th week Chandrapur 84,521, total 16,62,084, Itarsi 7 weeks’ share 1,11,000; 11th week Jaipur 1,40,647; Hyderabad (gross) 7,40,935 from 3 cinemas (1 in noon, 4 on F.H.).

Hindi Film Distributors Dejected As
KARNATAKA GOVT. HIKES ENT. TAX
FOR NON-KANNADA FILMS

Karnataka chief minister S.M. Krishna, who is also the finance minister, on 27th March hiked entertainment tax from 70% to 100% in the state. This increase in tax is applicable only to non-Kannada films as Kannada films continue to be completely exempt from payment of entertainment tax. The hike came into force from today (April 1). A sop for air-conditioned cinemas in the state has come in the form of a hike in the tax-free service charge per ticket to Re. 1. The charge for non-air-conditioned cinemas continues to be 25 paise per ticket.

The Film Federation of India has sent a memorandum to the Karnataka chief minister, asking him to reconsider the hike in entertainment tax. The B.K.T. Film Distributors Association, Bangalore has also rushed a letter to the CM. It points out that the industry faces severe opposition from video parlours and satellite channels, because of which the film industry is not in a position to bear any enhancement of entertainment tax. It cautions that after the hike, the actual tax collected may reduce due to a drop in ticket sales. The letter also reminds the CM that the rates of entertainment tax in neighbouring states like Tamilnadu, Kerala and Andhra Pradesh were much lower. Since more than 50% of the cinemas of Karnataka depended on non-Kannada films, their survival had been jeopardised, the letter adds. A fear has also been expressed that many distribution offices would face extinction due to the hike.

At a time when satellite television channels are proliferating and they offer free entertainment from across the world, it comes as a surprise that any government should think of increasing entertainment tax on films. The hike will adversely affect both, distributors and exhibitors of non-Kannada films. Hindi film distributors are contemplating downing shutters in protest against the hike. But going by the strong influence of the Kannada film lobby in the Karnataka Film Chamber of Commerce, it may not be easy for the non-Kannada film distributors and exhibitors to make the closure a reality. A section of the non-Kannada film lobby feels, the hike in tax has been effected at the behest of the Kannada film lobby.

Not only does the 30% hike appear to be a retrograde step, it is also discriminatory towards Hindi and other non-Kannada films.

Leading Mysore distributor Pal Chandani decried the hike and said, “The increase in entertainment tax just doesn’t make sense. The Bombay film industry must support us in our fight against the unjust hike.” Basha Lal, another distributor, who only recently acquired a line of films for Mysore, remarked, “We will die if the hike is not cancelled. It will be impossible to survive. We simply cannot bear this foolish action on the part of the state government.” K.N. Vasudev Murthy, president of the Karnataka Tamil Film Distributors Association, questioned the government action thus: “When free entertainment is available on television, why is the government penalising the people by increasing tax on films? Why is it distinguishing between Kannada and other languages?” He described the action as “outdated”.

Compound Tax Scheme Restriction In Gujarat Goes
Tax-Free Service Charge Reduction Stays

The compound tax facility, which was to be discontinued for cinemas in Gujarat in towns with a population between 1 lakh and 3 lakh, will remain. This announcement was made in the Gujarat government’s budget presented last week. The government subsidy of Rs. 5 lakh to Gujarati films will also continue. However, the tax-free service charge on cinema tickets has been reduced from Rs. 2 to Re. 1 per ticket.

The budget proposals had envisaged a reduction in entertainment tax from 165% to 100%; reduction in tax-free service charge by half; discontinuation of compound tax scheme in towns with population upto 3 lakh; and withdrawal of subsidy to Gujarati films while granting perpetual tax-exemption. While the first two proposals have been carried out, the last two have been dropped. Entertainment tax, in fact, has been further reduced by 5% (it is now 95%) in specified areas.

The Gujarat and Saurashtra trade had raised a united voice of protest against the budget proposals last month. Hectic lobbying has led to two of the three unfavourable proposals being dropped, but the government has been rigid on the most important of all — reducing the tax-free service charge to Re. 1. This is likely to hit exhibitors rather badly.

BIJAPUR EXHIBITORS RESIGN FROM KFCC IN PROTEST

All the members of the Bijapur District Exhibitors Association have resigned from the Karnataka Film Chamber of Commerce (KFCC) in protest against the recent hike in entertainment tax for non-Kannada films from 70% to 100% — with effect from 1st April. The Bijapur District Exhibitors Association has expressed its resentment over KFCC’s non-co-operation with them to plead with the government of Karnataka for reduction in entertainment tax for non-Kannada films.

CONTROVERSY OVER SCREENING OF ‘SHAHEED UDDHAM SINGH’

Demonstrators belonging to Pathik Sena, Delhi, on 30th March demanded the banning of Shaheed Uddham Singh and the arrest of Raj Babbar for portraying Uddham Singh and other freedom fighters in bad light. Addressing the demonstrators outside Shiela cinema, Delhi, Pathik Sena president Mukhiya Gujjar said that Raj Babbar, who had enacted the title role in the film, should be arrested for insulting those who had fought for India’s freedom. He said, the film made derogatory remarks against Mahatma Gandhi and showed Uddham Singh as having had a romantic liaison with an Irish revolutionary.

‘VAASTAV’ SILVER JUBILEE

Mahesh Manjrekar’s Vaastav entered 25th combined week at Novelty (matinee), Bombay on 31st March. It stars Sanjay Dutt, Namrata Shirodkar, Reema, Shivaji Satam and Sanjay Narvekar. Music: Jatin Lalit.

GOVINDA’S DISTRIBUTION OFFICE

Govinda’s Bombay distribution concern, which is named Govinda Yashvardhan No. 1 Distributors, will have its office at 7, Goverdhan Building, behind Naaz Cinema Compound (that is, in the premises of A.S. Enterprises of Ayub Selia and Raju Bagde). The business affairs will be looked after by Shashi Prabhu and Laxman Doiphode. Telephone numbers: 389-1909/386-6923. Cell: 98200-58450 (Shashi Prabhu).

Hadh Kar Di Aapne is the first release of the new concern.

A.P. EXHIBITORS DEMAND ABOLITION OF ENT. TAX

Exhibitors of Andhra Pradesh have decided to down shutters from today (April 1) if the state government does not concede their long-pending demand for the abolition of entertainment tax in view of the recession in the state’s film industry.

The Andhra Pradesh Film Exhibitors Association (APFEA) had last month submitted a memorandum to chief minister Chandrababu Naidu, demanding the abolition of entertainment tax to save the Telugu film industry. The memorandum had highlighted the unprecedented slump resulting in an all-time low film production: only 60 films were made last year. The low-budget films may become extinct, it is feared.

The memorandum also highlighted some other alarming facts: falling occupancy rate in cinemas; prohibitive tax structure, exorbitant power tariffs; and the closure of more than 500 cinemas across Andhra Pradesh in the past few years.

Andhra Pradesh has over 3,000 cinemas, which is the highest in the country. Of them, 60 per cent are said to be incurring losses or facing closure.

A. Arjuna Reddy, president of the APFEA, lamented, “We will be forced out of business if corrective steps are not taken immediately. Dwindling film production, onslaught of local cable networks and video piracy are dealing a death-blow to the exhibition trade.”

PRIYA RAJVANSH’S DEATH STILL SHROUDED IN MYSTERY

Having received the post-mortem report of actress Priya Rajvansh, the Juhu (Bombay) police have registered a case of murder. The police had earlier thought her death to be a case of suicide. Dr. V.N. Vanmore and Dr. P.M. Shinde, who conducted the post-mortem examination on the actress, said that Priya Rajvansh had not committed suicide. “She was strangulated after being hit with a hard object. The assailants might have hit her and later strangulated her in order to confirm that she was dead.”

The cause of Priya’s death is, however, still shrouded in mystery as the police are not willing to rely solely on the post-mortem report. Consequently, they have asked for another post-mortem examination to be carried out.

The actress, who was 57, was found dead in the bathroom of a bungalow (belonging to late Chetan Anand) at Ruia Park at Juhu, Bombay on the night of 28th March.

According to the additional police commissioner (North-West region), Subhash Awate, “On the night of her death, Priya was high on alcohol and feeling restless. She was not keeping well for a long time although she otherwise maintained good health. She asked the maid to fetch her a glass of milk. The maid had found her lying in the bathroom…. It’s too early to reach any conclusion.”

Doctors also revealed that a friend of Priya Rajvansh visited the post-mortem centre on March 28 and told them that two days before the incident, Priya Rajvansh had a heated argument with the maid. The police said that they were not aware of any heated argument between the actress and the maid whose name was given as Mala Prasad Chowdhary.

Meanwhile, the actress’ blood samples, viscera and nail clippings have been sent for chemical analysis to Kalina Forensic Lab. The report will be made available to the police in a couple of days. Priya’s two brothers, in the meanwhile, have arrived from the UK and the USA to claim her body.

FICCI REPORT: ENTERTAINMENT INDUSTRY’S BRIGHT FUTURE

A FICCI report on the ‘Indian Entertainment Industry: Strategy & Vision’, prepared by Arthur Andersen, is an enlightening piece of work. Some of the pertinent points made by the report:

► Revenues of television software industry are expected to grow from Rs. 1,200 crore in 1999 to Rs. 9,000 crore in 2005.

► Television ad spend in India today is Rs. 2,160 crore from out of the total ad spend of Rs. 6,000 crore. It is estimated to rise to Rs. 8,000 crore in 2005 as against a total ad spend of Rs. 16,392 crore.

► Export of Indian languages TV software is expected to rise from Rs. 350 crore in 1999 to Rs. 5,830 crore in 2005.

► Film exports (including animation) is expected to increase more than 20 times, from Rs. 665 crore in 1999 to Rs. 14,692 crore in 2005.

► Film industry revenues (including animation) are expected to soar from Rs. 6,215 crore (1999) to Rs. 33,984 crore (2005).

► India has 12,900 cinemas as against 31,000 screens in the US. Population per screen in India is 77,520 whereas in the US, it is 8,580. The cinemas per 1 million people are 12.9 in India and 116.6 in US.

► The government may earn at least Rs. 425 crore annually from licence fees on privatisation alone of FM channel on radio.

► The music market in India is expected to almost double in 5 years.

► The event management industry may grow from Rs. 200 crore in 1999 to Rs. 3,355 crore in 2005.

NEW CINEMA OPENS

A new cinema, Chand, opened at Tapkara (district Alwar, Rajasthan) on 31st March. The cinema is air-cooled and is equipped with Dolby sound.

NEW CINEMA IN HALOL

A new cinema, Jap, was recently inaugurated at the GIDC Industrial Area in Halol (Gujarat). The cinema has 503 seats and is equipped with Dolby sound and Westrex projection systems. Jayantibhai Patel and Hameshbhai Patel are its owners.

ALKA CINEMA OPENS IN JAIPUR

Alka theatre, a new cinema in Jaipur, was inaugurated on 27th March with Dulhan Hum Le Jayenge. The cinema is equipped with DTS six-channel Ultra SR stereo sound system. Rahmat Khan Panwar is its owner.

SHAAD HONOURED IN U.K.

Shiromani Akali Dal, U.K. honoured writer-producer-director and novelist Boota Singh Shaad on 19th March at Gurudwara Sri Singh Sabha Akaal Darbar at Handsbirth in Birmingham (U.K.). The president of the U.K. Akali Dal, Gurdev Singh Chauhan, presented the Siropa (a sacred robe of honour) to Shaad for his contribution to Punjabi literature and language.

U.K. Sikh Council chief Gurdial Singh Atwal made an appeal to the Sikh community to follow the lifestyle of the Sikh as illustrated in Shaad’s latest Punjabi novel, Sikh. He also thanked B.S. Shaad for his great service to Punjabi language and requested him to continue serving it in future.

‘JAANWAR’ SCORES A CENTURY

Producer-director Suneel Darshan’s Jaanwar completed 100 combined days of its run on 31st March at Naaz, Bombay and in cinemas in other territories. The film stars Akshay Kumar, Karisma Kapoor, Shilpa Shetty, Mohnish Bahl, Ashish Vidyarthi, Shakti Kapoor, Johny Lever and Kader Khan. It has music by Anand Milind, and lyrics by Sameer. Story: Suneel Darshan. Screenplay: Robin Bhatt. Dialogues: K.K. Singh.

ALL KHANDWA CINEMAS UNDER ONE CONTROL

Abhishek Bahety, proprietor of Abhishek cinema of Khandwa, has secured the control of Anjani Talkies, Khandwa with effect from 1st April. He also controls Triyug Talkies, Khandwa. Therefore, from 1st April, all the three cinemas of Khandwa are under his control.

LARGE TURNOUT AT BARJATYA RECEPTION

The large industry turnout at the wedding reception of Rajat, son of producer Ajit Kumar Barjatya and nephew of Kamal Kumar Barjatya and Rajkumar Barjatya, on 25th March at the RWITC, Mahalaxmi, Bombay bore testimony to the goodwill enjoyed by the Barjatya family in showbiz. All the three sectors — production, distribution and exhibition — of the film industry were amply represented from all over India. Top stars also graced the occasion with their presence. The dinner served was excellent.

BIG HAUL OF ‘DULHAN HUM LE JAYENGE’ VCDs IN BOMBAY

The airport intelligence unit at Sahar, Bombay, recovered about 4,000 VCDs of Dulhan Hum Le Jayenge from passengers flying on three separate international flights on 25th March. Over 2,000 VCDs of the film were seized from a female passenger who arrived from Karachi on a Pakistan International Airlines flight. Later the same night, over 900 VCDs each of the same film were recovered from two passengers, arriving from Karachi and Singapore on Indian Airlines and Singapore International Airlines flights respectively. All three passengers have been detained for interrogation.

RAKESH ROSHAN’S ASSAILANTS APPREHENDED

Sunil Gaikwad (33) and Sachin Khambe (20), the alleged assailants of producer-director Rakesh Roshan, were apprehended by the special squad of the additional commissioner of police of Bombay North-West, Subhash Avate, on the night of March 29.

The two men had opened fire on Rakesh Roshan while he was leaving his Santacruz (Bombay) office on the evening of January 21. Rakesh Roshan sustained injury on his chest while his driver was hit by a bullet. The motive behind the firing is yet to be ascertained by the police.

According to Mr. Avate, “It seems that the assailants were instructed to intimidate Roshan which is why they did not kill him. They were paid Rs. 5 lakh, besides being promised a flat each. Imported pistols were used to execute the job.” The police suspect the involvement of the underworld in the incident. According to one police officer, “An underworld don wanted the Overseas rights of Kaho Naa…Pyaar Hai. Since Rakesh Roshan refused to sell the rights, the don decided to teach him a lesson.”

The police has informed that more than 7,500 persons had been questioned in the past two months, and searches had been conducted at various parts of the city of Bombay. The police also interrogated 250 criminals who were in jail and who were out on bail.

MUSIC DIRECTOR GANESH NO MORE

Music director Ganesh, brother of music director Pyarelal, passed away on 28th March in Bombay due to cardiac arrest. He was 58 and is survived by his wife, a son and a daughter. Among the films for which he scored hit music were Shararat (directed by Manmohan Desai), Ratan Mohan’s Thakur Jarnail Singh, Satyen Bose’s Sa Re Ga Ma Pa, Chalak, Badnaam, Smuggler, Husn Aur Ishq and Do Gaz Zameen Ke Neeche. Ganesh used to also assist late Laxmikant and elder brother Pyarelal in setting the tunes.

MEENA T., JAYSHREE T. BEREAVED

Sugandha Chitrasen Talpade, mother of Meena T. and Jayshree T., expired in Bombay on 30th March due to old age, She was 85. The funeral was held on 31st March.

YOU ASKED IT

Why are there no permanent sets of interiors of bungalows/houses in Bombay studios as in Madras and Hyderabad?

– Because we have real bungalows available for shootings in Bombay — and plenty of them to choose from!

Why don’t we have a library of great Indian classics to serve as references for the new writers and directors entering the film industry?

– Those who want to refer to old classics have to go to the National Archives in Pune.

In the not-too-distant past, some top technicians were keen to turn producers, but they don’t want to think on those lines today. Why so?

– Because film production is a big and risky game today, which cannot be everybody’s cup of tea. Besides, the technician who turns a producer loses on outside assignments as a technician.

And Now, Subhash Ghai Brings Technology In Visual Arts

Ashok Chavan, minister of revenue, Maharashtra government, on 25th March inaugurated Audeus Telecine Studio, a division of Subhash Ghai’s company, Mukta Arts Ltd. The telecine set-up consists of Ursa Diamond machine, installed at the premises of Adlabs at Film City in association with Adlabs Films Ltd. Prominent filmmakers, ad filmmakers, television producers, directors and cinematographers of repute graced the inauguration ceremony followed by a luncheon party. Mrs. Ghai played the perfect hostess, personally looking after the comfort of each and every guest.

The telecine set-up, which cost Rs. 6 crore, boasts of the Rank Cintel Ursa Diamond Telecine which is the only one of its kind in Bombay.

The set-up is supported by Da-Vinci colour corrector and D.V.N.R. along with Evertz Key Coder. Provision of Ultrasonic cleaning at the site is yet another advantage of the set-up. The telecine equipment will enable a negative to be transferred to beta directly.

Commenting on the reason for setting the equipment at Adlabs, Subhash Ghai said, “Being suitably located at Adlabs laboratory, which houses the majority of negatives from the industry, the problem of mishandling and transportation of the negatives will be reduced to the bare minimum.”

The telecine set-up will be handled, maintained and operated by a team of experts under the supervision of technocrat Pramod Patil who has 18 years’ experience.

Arun Jaitley Gives Hopes Of Better Times For Film Industry

Union I & B minister Arun Jaitley made a spirited speech at the inaugural session of the FICCI conference on the Indian entertainment industry, held on 30th March in Bombay. His address gave an indication that the Centre was keen to help the entertainment industry which had been ignored for far too long. Uniform entertainment tax in all the states may soon be a reality if one read between the lines of Arun Jaitley’s well-delivered speech. “We are preparing proper legislative framework in which the entertainment industry can grow,” Jaitley announced.

He informed a packed hall that his ministry was following up the issue of film financing with the finance minister. He also said that his government was contemplating serious changes in the copyright laws, violation of which was harming the legitimate industry. The proposed legislation, he explained, would impose deterrents to stop violation of the Copyright Act and piracy, he added.

The Union I & B minister said, the government was considering linking the legislative framework for the broadcast and telecommunications industries.

Jaitley also formally released the FICCI report on the entertainment industry, prepared by Arthur Andersen. He informed that the Centre was considering major revisions in the draft legislative framework for the entertainment industry to incorporate the impending media convergence.

The I & B minister, however, warned against broadcast content that offended the cultural sensibilities of Indians. He asked content providers to exercise caution and restraint before broadcasting vulgar or obscene material. He also explained that to avail of institutional finance, the entertainment industry would have to graduate to a more transparent system of accounting and learn to function with one colour of money.

3-E
Education-Entertainment-Enlightenment

Poor Show

The motto of our industry is that the show must go on. But a cinema may sometimes find it impossible to go on with its show. A case in point is that of Sona (Borivli), Bombay, which was screening Hum Saath-Saath Hain in repeat-run last week. In the first 3 days, the film could collect only 6,000/- (approx.). Discontinuing the film, the cinema management, instead of screening some other film, kept the cinema closed for the remaining four days of the week! Seems, there is hardly any audience for a repeat-run film these days. Otherwise, what explains the dismal fate of another super-hit film at Relief, Ahmedabad?! The cinema was screening Kuch Kuch Hota Hai in repeat-run last week. How much did it collect in a week’s run? Just 20,216/- against a capacity of 4 lakh. That’s just 5.05%! Unprecedented, indeed!! Some shows of Le Chal Apne Sang too had to be cancelled last week because of lack of audience.

The Diary Magic

Remember the Biwi No. 1 diaries taken out by producer Vashu Bhagnani?  They were beautiful, to say the least. But even those sexy diaries would be put to shame if one were to see Vashu’s new diaries of his new film, Tera Jadoo Chal Gayaa. The new diaries are just too fantastic. Equally superb are the photo show-cards of the film. In fact, those who’ve seen the diaries and the show-cards feel that the jadoo indeed chal gayaa!

No Comeback Yet

Rumours of Sridevi’s comeback are doing the rounds again. Before Aditya Chopra’s Mohabbatein had started, it was being rumoured that Sridevi would be paired with Amitabh  Bachchan in the film. The rumours now in circulation are that Subhash Ghai has signed the actress for a role in Yaadein. But in both the cases, the rumours are baseless as neither Chopra nor Ghai have approached Sridevi for acting in their films. Even otherwise, Sridevi, whenever she stages a comeback, is keen to do so in a film to be produced by husband Boney Kapoor. For the present, however, she has decided to remain away from the arc lights for a while. In the meantime, Boney, who had acquired the Hindi remaking rights of the Telugu hit, Anthapuram, will start the film with another actress in place of Sridevi, as originally decided.

Nadeem Shravan, Anuradha Together Again

Anuradha Paudwal, who had very lately decided to sing only devotional songs and not any film song, suddenly changed her decision to sing a film song under the baton of music director duo Nadeem Shravan, much to the shock of those belonging to late Gulshan Kumar’s camp. The last time Anuradha Paudwal rendered a song under the music direction of Nadeem Shravan was exactly four years back. It was a duet with Kumar Sanu, recorded on 28th March at Sunny Super Sounds. And it was again on 28th March (2000) that Anuradha rendered a song under Nadeem Shravan’s baton. It is again a duet with Kumar Sanu, and was, like the last time, recorded at Sunny Super Sounds. The song this time was for Aroona Irani and Kuku Kohli’s Dil Hai Aashiqana.

J.P. Dutta, Vashu Bhagnani In An Ugly War! ‘Tera Jadoo…..’ To Come Before ‘Refugee’

J.P. Dutta’s Refugee may not be Abhishek Bachchan’s first release after all. There are all chances of Vashu Bhagnani getting the credit for introducing Amitabh Bachchan’s son because the odds now are in favour of Vashu’s Tera Jadoo Chal Gayaa hitting the screens before Refugee.

Tension between Dutta and Bhagnani had been brewing since the last couple of months although none of them was talking about it. The first showdown between the two producers took place at Film City on 25th March at the party hosted by Subhash Ghai to launch his telecine set-up.

J.P. Dutta and Vashu were invitees at the well-attended luncheon function. The cold vibes between the two at the said party did give an indication that all was not well between them.

It was an innocuous question by Boney Kapoor to Vashu Bhagnani, which actually started a terrible drama. Boney, sipping a cola, was talking to an Overseas distributor (reportedly, Kishore Lulla) who, perhaps, asked him about the release schedules of some forthcoming big films. Even while the conversation was on, Boney turned to Vashu, who was standing nearby, and asked him, “Vashu-ji, aapki film kab aa rahi hai? June mein ya July mein?” Vashu was quick to reply, “Main toh April aur May mein bhi la sakta hoon, par kuchh cheezein mere haath mein bhi nahin hain.” Some of those present felt that Vashu Bhagnani was hinting at his helplessness because Refugee was decided to be Abhishek’s first release. But another section of people present at the party said that Vashu did not mean to pass on any message to J.P. Dutta who was standing close to him.

Anyway, Dutta, who was involved in a serious conversation with Manmohan Shetty and Jackie Shroff, heard the comment of Vashu Bhagnani and said within hearing reach of Bhagnani, “I’ve not stopped anybody from releasing any film. But a commitment is a commitment, so what if it was an oral commitment.” Dutta was probably referring to an oral understanding between himself and Vashu that Refugee would be Abhishek’s first release.

Onlookers realised, it was battle time from then on. Vashu, leaving the plate from which he was having lunch, advanced towards J.P. Dutta and shouted, this time looking directly at the director, “Maine aap ko toh kuchh nahin kaha na, why are you trying to pick up a fight?” It was now Dutta’s chance to shoot back, “Samajhdaar ko ishara kafi hota hai. I’ve been hearing of the nasty comments you have been making about me and my film. I’m not retaliating, but that doesn’t mean that you can keep on saying anything. Bas, ab bahut ho gaya.”

“Kya bahut ho gaya?” thundered Vashu. One had never seen this side of the otherwise soft-spoken Bhagnani. “You please mind your tongue, Mr. Dutta. Can you prove that I have been speaking nasty things about you or your film. Dekhiye, aap jaan boojhkar jhagda mol le rahein hain.”

By now the tempers were running high and the entire scene of the party had shifted to the spot where angry exchanges were being bartered. Subhash Ghai, who had just seen off a government dignitary at the Film City gate, was aghast to see the ugly drama unfolding. Boney Kapoor tried to pacify Vashu. Ghai and Manmohan Shetty, with perplexed expressions on their faces, were pulling J.P. Dutta away from the scene, in a bid to calm him.

“Arre, what jhagda is he talking about?”, quizzed J.P. Dutta, looking intermittently at Ghai and Shetty. “Did I pick up the fight — aap boliye, Shetty Sahab,” he continued. Even before Manmohan Shetty could reply, Vashu came charging towards Dutta and, as if to answer the question, said, “Of course, you sowed the seeds of a fight the day you postponed the release date of Refugee. April, May, now June. How long can I wait? Had I known, you will come in June, I would have worked on my release strategy accordingly. Now I am ready. Main har mahine to apni film postpone nahin kar sakta, na?”

“You speak to Amit-ji then,” screamed Dutta. “How does Amit-ji come in the picture?” yelled Vashu. By now, it had become a free-for-all. The tension was too palpable to be true. For a couple of minutes, even the peace-makers were at a loss for words. Suddenly, one heard the click of a press photographer’s camera!

Shocked glances were exchanged between the onlookers who must’ve admired the guts of the lensman. The shock gave way to dismay as a new round of wordy duel commenced. J.P. Dutta turned towards Subhash Ghai and said, “We must take up this matter in the United Producers’ Forum, Subhashji.” This, perhaps, was too much for Vashu (who is not a member of the Forum) to bear. “Don’t try to scare me by dropping names,” he retaliated, shaking his index finger in a gesture to Dutta to not mess around with him. Sensing that things were getting too hot for comfort, Ghai left J.P. Dutta and advanced towards Vashu Bhagnani. “Vashu, Vashu, suniye….” But his voice was drowned in the angry exchanges between the two parties, which had by now turned into mild abuses too!

“Arre nahin, Subhash-ji, aap nahin jaante,” Vashu said, trembling with excitement. “Saari duniya jaanti hai, I have waited silently for far too long without uttering a word. But ab bahut ho gaya hai, paani sar se upar…..” Even before Vashu could complete his tale of woes, Dutta shouted back, “Okay then, I challenge you to release your film before mine. I’ll see how you can.” “How I can?” countered Vashu. “You are challenging me? Aap mujhe chunauti de rahein hain?” continued Vashu with the same fire. “Yes, yes, if you have the guts, go ahead and release your Jadoo before my film…. Dekhte hain, kya jadoo ho jaayega,” shouted Dutta, now livid. “See, don’t get personal,” threatened Vashu. “I can also do tukkbandi on Refugee. Will you like that? See, you mind your tongue….,” added Vashu.

It was now Boney Kapoor’s turn to intervene. “Yaar, mujhe maloom hota ki mera ek sawaal itna bada jhagda khada kar dega toh main….. J.P., Vashu, please yaar, stop it. Enough is enough….,” Boney tried hard to make the two see reason.

Vashu, without bothering about what Boney was trying to get at, declared with finality, “Now, I just don’t care. My silence all through the past three months has been misinterpreted. I am certainly going to release Tera Jadoo Chal Gayaa on June 2. And my film will be Abhishek’s first release.”

So that’s that! But, but, wait a minute. Please look down a little lower than this line — at the date-line on this page. Yes, it is 1st April — All Fools’ Day — today. If you’ve believed this story, you qualify for the title of April Fool. But don’t sulk. There are thousands who share the platform with you. So sit back and laugh — at them, silly! And simply pretend that you did not read this page at all!!

DULHAN HUM LE JAYENGE

Baba Films’ Dulhan Hum Le Jayenge is a comic drama about a boy who has to woo a girl, win her heart and thereafter win over her three crazy uncles to get her hand in marriage. Inspired from Ek Phool Char Kante, the film has its moments of fun and frolic, but the drama is not too exciting and involving. The three uncles are more caricatures than characters and due to this, they appear fake and frivolous. Even this could have worked had the comedy been hilarious. The drama unfolds in too pre-meditated a manner and, therefore, looks predictable and piecemeal rather than naturally-flowing. Further, the uncles do not have worthwhile roles although they are the biggest opposition to the proposed marriage of the boy and the willing girl.

The film’s first half is ordinary. The pace picks up a bit after interval but not consistently so. The screenplay (Rumi Jafri) relies on scenes, ideas and incidents borrowed from earlier films like DDLJ and Dil Hai Ke Manta Nahin. Dialogues are also not so witty as to turn the scenes into hilarious ones.

Salman Khan looks terrific, acts quite well and dances wonderfully. Karisma Kapoor’s is the best and sincerest performance in the film. In every scene of the film, whether dramatic, emotional or comic, and in dances and thrilling sequences, Karisma puts her best foot forward and succeeds in winning the hearts of the audience. Her ‘Oh hello’ dialogue will be liked. Her costumes are splendid. Om Puri, Paresh Rawal and Anupam Kher are only average as the three uncles, mainly because their roles are not substantive enough. Johny Lever does a fine job as always and evokes laughter by his sheer presence as well as performance. Himani Shivpuri is so-so. Farida Jalal and Kader Khan (special appearance) fill the bill. Satish Kaushik (special appearance) acts ably but not many would be able to appreciate his brand of comedy (he is forever laughing). Dara Singh, Mayur (both in guest appearances), Deepak Tijori, Rakesh Bedi, Usha Bachani and Kashmira Shah add precious little to the film.

David Dhawan’s direction looks like a job hurriedly done. The director has seemingly not even made attempts to provide a fare that’s novel in some respects at least. Climax is quite a letdown and predictable. Himesh Reshammiya’s music (holding appeal mainly for the youth), the producer’s lavish spending on song picturisations and costumes, and the picturesque foreign locations are the really good things in the film. But if the songs have racy tunes of the popular genre, the situations of most of them are abrupt. Nevertheless, the song are a veritable eyeful. ‘Raat ko aaungaa main’, the title track, ‘Chhamiya’, ‘Munda kamaal hai’, ‘Tera pallo sarka jaay re’ and ‘Pyar dilon ka mela hai’ are truly entertaining songs and their picturisatons are extraordinary. But the title song has been wasted in the credit titles. Production values are superb. Camerawork (Harmeet Singh) is excellent. Editing (David Dhawan) is sharp. Sets (R. Varman) are rich.

On the whole, Dulhan Hum Le Jayenge has an ordinary drama and comedy that’s not marked by hilarity. It will, therefore, appeal only to some classes and age-groups of audience, mainly youngsters. Considering its high price, it doesn’t seem likely to be a paying proposition for distributors. Business in Bombay and South, however, will be better while being lesser in North.

Released on 24-3-2000 at Liberty and 18 other cinemas of Bombay by Baba Entertainment Ltd. thru Metro Films. Publicity: outstanding. Opening: very good. …….Also released all over. Opening was very good in Delhi, West Bengal, Bihar and Nizam but not up to the mark in parts of U.P., East Punjab and some stations of C.I. 1st day Jaipur 2,55,060 (80.73%) from 4 cinemas.

LATEST POSITION

The festival holidays did not really help last week’s releases.

Krodh began to drop as the week progressed. While it is fair at some centres, it is rather dull at others. 1st week Bombay 38,24,570 (75.82%) from 10 cinemas (9 on F.H.); Ahmedabad 5,97,912 from 5 cinemas (2 unrecd.), Jamnagar (matinee) 23,712; Pune 6,42,289 from 4 cinemas (1 in matinee), Solapur 1,91,380 from 2 cinemas; Delhi 24,33,930 (32.62%) from 12 cinemas (1 on F.H.); Kanpur 3,59,634 from 2 cinemas, Lucknow (6 days) 2,70,261, Agra 2,25,000, Varanasi 2,27,884, Allahabad 1,51,965, Bareilly (6 days) 1,46,443; Calcutta 14,68,077 from 12 cinemas; Nagpur 3,50,070 from 2 cinemas, Jabalpur (6 days) 1,26,156, Amravati (6 days) 1,91,009, Akola 1,26,189, Raipur (6 days) 1,28,209; Indore 2,15,312 from 2 cinemas (3 on F.H.); Jaipur 4,51,897 from 3 cinemas, Ajmer (29 shows, gross) 2,28,897; Hyderabad (gross) 23,25,107 from 10 cinemas.

Sultaan is very poor. 1st week Bombay 9,85,528 (49.67%) from 6 cinemas (4 on F.H.); Pune 1,97,480 from 3 cinemas; Delhi 10,06,260 (21.10%) from 8 cinemas (3 on F.H.); Kanpur 1,32,714 from 2 cinemas, Lucknow 93,330, Agra 94,000, Varanasi 1,08,417, Allahabad 42,610, Bareilly (6 days) 70,315; Calcutta 4,02,352 from 6 cinemas; Nagpur 1,51,601 from 3 cinemas, Amravati (6 days) 70,302, Raipur (6 days) 30,471, Bhilai 28,239, Bilaspur (6 days) 61,225; Bhopal 78,951; Jaipur 1,70,455 from 2 cinemas.

…………

Badal continues to shine in U.P. 6th week Bombay 6,83,636 (62%) from 3 cinemas (3 on F.H.); Ahmedabad 54,720; Solapur 49,932; Delhi 1,77,877; Kanpur 2,78,371 from 2 cinemas, Lucknow 3,46,109, Agra 2,50,000, Allahabad 75,000, Bareilly 1,29,164; Calcutta 1,50,579; Nagpur 55,612, 2nd week Kamptee (4 days) 36,570, 1st week Balaghat (3 days) 49,749, 6th week Amravati 66,177, Akola 56,681, total 6,45,717, 5th week Chandrapur 54,202, total 5,79,909, 2nd Yavatmal 1,11,006 (1st 1,83,787); 6th week Indore 78,000, Bhopal 64,325; Jaipur 1,32,473, Ajmer (gross) 64,808; Hyderabad (gross) 3,40,635 from 3 cinemas (1 in noon, 1 unrecd.).

Pukar reaps the benefit of tax-exemption in U.P. with a phenomenal pick-up at several centres. 7th week Bombay (TF) 12,45,674 from 3 cinemas (4 cinemas unrecd., 2 on F.H.); Ahmedabad 3,69,982 from 2 cinemas; Pune (TF) 2,37,528 from 3 cinemas, Solapur (TF, matinee) 22,926; Delhi (TF) 3,45,206 from 2 cinemas (1 on F.H.); Kanpur (TF) 1,27,804, Lucknow (TF) 3,11,568, Agra (TF) 1,65,000, Varanasi (TF) 1,56,268, Allahabad (TF) 64,312, Meerut 81,000, Gorakhpur 78,000 (6th week 36,000), Dehradun 86,000, 3rd week Hardwar (TF) 25,000, 1st week Bijnor (TF) 1,08,000, Secunderabad (TF) 72,000; 7th week Calcutta 1,14,211; Nagpur (TF) 89,280, Jabalpur (TF, 6 days) 35,114, Amravati (TF, 6 days) 71,564, Akola (TF) 56,680, total 6,51,230, Raipur (TF, 6 days) 34,667, Jalgaon (TF) 90,007 (6th 85,212); Indore (TF) 33,397, Bhopal (TF) 30,000; Hyderabad (gross) 7,43,571 from 5 cinemas (1 in noon).

Kaho Naa…Pyaar Hai is still mind-blowing. 10th week Bombay 40,15,662 (90.03%) from 10 cinemas (8 on F.H.); Ahmedabad 15,67,321 from 6 cinemas, Baroda (28 shows) 2,42,285, 4th week Padra 2,18,769, 3rd week Cambay 1,91,204 (2nd 1,64,668), 10th week Jamnagar 92,086; Pune 12,29,605 from 4 cinemas (1 in matinee), Solapur 1,78,727; Delhi 20,77,221 from 5 cinemas; Kanpur 3,27,530 from 2 cinemas, Lucknow 7,13,952 from 2 cinemas, Agra 1,85,000, Varanasi 2,17,191, Allahabad 1,25,754, Bareilly (6 days) 1,07,503, 7th week Hardwar 50,000; 10th week Calcutta 8,07,700 from 5 cinemas; Nagpur 2,21,708 from 2 cinemas, Jabalpur 1,72,210, 3rd week Balaghat 57,154, total 2,38,120, 10th Amravati 1,45,725, Akola 1,37,833, total 14,29,337, Raipur 1,23,213, Bhilai 67,051, 8th week Durg 71,003, 10th week Jalgaon 1,39,052 (9th 1,38,260), 5th Gondia (gross) 87,781, total 5,87,095, Wardha (nett) 1,04,556, total 6,13,503, share 4,98,503, 9th week Chandrapur 1,48,585, total 15,77,563, 8th Yavatmal 86,469; 10th week Bhopal 2,39,200, total 20,70,775; Jaipur 3,65,909 from 2 cinemas; Hyderabad (gross) 10,69,084 from 5 cinemas (1 in noon, 2 on F.H.); doing extraordinary in U.K., 10th week in England is as good as 2nd week, which is unprecedented.

GULSHAN KUMAR’S KILLERS ARRESTED NEAR DELHI

Three persons, allegedly involved in the murder of Gulshan Kumar, were arrested at Bahadurgarh village near Delhi on March 24. The names of the arrested persons have been given as Imtiaz Dawood Merchant, Adil Mohammed Khan and Pratap Singh. A team from Thane (near Bombay) police went to Delhi, following a tip-off, on March 19 when the Delhi police were carrying search operations in view of US president Clinton’s visit. The police team nabbed the assailants with the help of the Delhi police.

D.S. TULI ELECTED CEA PRESIDENT

D.S. Tuli was elected president of the Cine Exhibitors Association, Nagpur, at its annual general meeting held at Hotel Tuli International, Nagpur on 28th February. Dr. Sudhir Bhiwapurkar was elected patron; Vijay Kher and Prashant Rathi, vice presidents; S.B. Patil, honorary secretary; K.K. Sawhney, honorary treasurer; and B.M. Diwan, joint secretary. Others elected to the executive committee were K.G. Sarda, Prakash Ramlakhiyani, Rajesh Sharma, S.A. Sorathiya, Q.S. Kamal and Pranit Singh.

‘PUKAR’ CELEBRATES 50 DAYS

S.K. Film Enterprises and Boney Kapoor’s Pukar, produced by Surinder Kapoor and co-produced by Bharat Shah, completed its 50th day on 24th March at about 125 cinemas of the country. Starring Anil Kapoor, Madhuri Dixit, Namrata Shirodkar and Danny, the film is directed by Rajkumar Santoshi. It has music by A.R. Rahman and lyrics by Majrooh Sultanpuri and Javed Akhtar.

SENTENCED FOR PIRATING HINDI MUSIC IN U.K.

A Warwick Crown Court judge in UK on 14th March found one Ebrahim Sodha guilty of importing and distributing pirated Asian music CDs and sentenced him to 8 months’ imprisonment on two counts under the Copyright, Designs and Patents Act, 1988. The judge also sentenced him to two months’ imprisonment for failing to attend trial in November 1999. Sodha was arrested in December 1997 by the Warwickshire police following a raid on a house in Nuncaton town where he was found to be in possession of over 3,500 pirated CDs of Hindi music such as ‘Maa Tujhe Salaam’, ‘Chaand Sa Chehra’, ‘Awaara Bhanware’ etc.

The seizure was made following a complaint received by Warwickshire Trading Standards from the British Phonographic Industry (B.P.I. Ltd.) which had been contacted by members of the Asian Music Industry.

NINE AHMEDABAD CINEMAS DEFAULT IN PAYMENT OF ENT. TAX

Nine cinemas of Ahmedabad have defaulted in the payment of entertainment tax amounting to a total of Rs. 1.68 crore, according to a report submitted by the ministry in the Gujarat legislative assembly. Of the nine cinemas mentioned in the report, six are situated in the city area. They are: Shree (arrears of Rs. 84.27 lakh), Kamal (Rs. 60.67 lakh), Mohan (Rs. 6.02 lakh), Roopalee (Rs. 2.62 lakh), Meera (Rs. 7.66 lakh) and Sonal (Rs. 4.30 lakh). The remaining cinemas are: Shyam Bareja (Rs. 2.51 lakh), Mayur Hathijan (Rs. 0.72 lakh) and Farook Dhandhuka.

PRAKASH MEHRA’S SON TO MAKE ACTING DEBUT

Producer-director Prakash Mehra’s son, Sumeet, will shortly make his acting debut in films. The details are not announced as yet.

FICCI TO HOLD MEGA CONFERENCE ON ENTERTAINMENT INDUSTRY

The Federation of Indian Chambers of Commerce & Industry (FICCI) is organising a 2-day conference on 30th and 31st March in Bombay, to discuss the problems faced by the entertainment industry in India. The conference, to be inaugurated at the hands of Union I & B minister Arun Jaitley, will be presided over by Maharashtra chief minister Vilasrao Deshmukh. It will be addressed and attended by people from the entertainment industry as well as those connected with intellectual property rights (IPR) protection.

An important part of the conference will be the seminar consisting of seven dedicated sessions to discuss: (i) the future of broadcasting in India; (ii) the Indian music industry; (iii) IPR and the entertainment industry; (iv) Indian film industry; (v) the content aspect of entertainment business; (vi) finance, capital markets and insurance issues for the entertainment industry; and (vii) regulatory framework in convergence.

The conference will also have a special session focussing on Maharashtra, besides the inaugural and valedictory sessions. A highlight of the seminar will be the presentation of a paper, by the well-known financial firm, Arthur Anderson, on ‘the Potential of Indian Entertainment Industry’. Prominent speakers at the seminar include Prasar Bharati CEO R.R. Shah; Discovery Communications India MD Kiran Karnik; Universal Music (India) president and MD Vijay Lazarus; Subhash Ghai (who will chair the special session focussing on Maharashtra); Shravan Shroff; Pahlaj Nihalani; Amit Khanna; Shekhar Kapur; Kamal Haasan; Shyam Benegal; Ramesh Sippy; Nimbus executive director and president Harish Thawani; Ambit Finance MD Ashok Wadhwa; NASSCOM chairman Dewang Mehta; and SET India CEO Kunal Dasgupta.

The organisation of the conference comes close on the heels of FICCI conducting an exhaustive study of the entertainment industry in India. The study makes several important suggestions to the government, which will help provide impetus to the future growth of the industry, such as creation of special anti-piracy cell in conjunction with the law enforcement authority; bringing the entertainment sector in parity with the IT sector with respect to overseas investment and stock-listing norms; streamlining of laws pertaining to the issuance of radio broadcasting licences; review of the functioning of the CBFC; issuance of broad regulations/guidelines for banks and financial institutions to facilitate lending to the entertainment sector; and review of archaic laws and onerous responsibilities cast especially on the film exhibition and live entertainment sectors.

CHITRA CINEMA, BOMBAY TO RE-OPEN WITH NEW-LOOK INTERIOR

The extensively-renovated Chitra cinema at Dadar, Bombay, will reopen on Sunday, 26th March with Dulhan Hum Le Jayenge. The cinema, owned by Dara P. Mehta, is now controlled by Ramesh Sippy and his son, Rakesh Sippy, in the name of Raksha Exhibitors. The ‘all-new Chitra’, as being publicised by the Sippys, is now totally air-conditioned and is equipped with Dolby digital sound system. For the projection, the latest Xenon Lamphouse with platter has been installed. The seats have been replaced by more comfortable ones. Even the ceiling, sidewalls and floor have been totally redone. “It would look like a vintage book with freshly-printed pages,” says Rakesh Sippy, as the exterior facade has been kept unaltered. Despite a complete overhaul, the admission rates are modest: Rs. 30 for stalls, Rs. 40 for executive class, and Rs. 50 for balcony class. The cinema’s weekly capacity is Rs. 3,30,421.77.

NEW CINEMA TO OPEN IN INDORE

A new cinema — Man Mandir — will open in Indore on 26th March (tomorrow) with Dulhan Hum Le Jayenge. The cinema, situated near Sayaji Club, has a seating capacity of 1,200. The ticket rates are Rs. 16, 26 and 36. It is equipped with Dolby DTS sound. Jagdish Sharma is the owner of the cinema.

NEW CINEMA OPENS AT WARDHA

A new cinema — Shree Ganesh — opened at Wardha yesterday (24th March) with Pukar (tax-free). The cinema is equipped with an air-cooling plant and has a large parking space. It has 750 seats — 251 in balcony and 499 in reserve class. Its screen size is 48′ x 20′.

The cinema is owned by Ravindra Kumar Bajaj of Durga Talkies, Wardha.

TWO NEW CINEMAS OPEN IN RAJASTHAN

Two new cinemas opened in Rajasthan this week. Alka Theare opened in Jaipur. Shivam opened at Kishangarh. Both the cinemas are equipped with DTS sound and are air-cooled.

NEW CINEMA IN JALGAON OPENS TODAY

A new cinema, Mohan Chitra Mandir, will open today (25th March) in Jalgaon with Dulhan Hum Le Jayenge. The cinema has a capacity of Rs. 7,982.70 per show and Rs. 2,23,515.60 for 28 shows. Phone: 225893 (cinema), 220350 (residence).

‘KKHH’ COMPLETES 75 WEEKS

Producer Yash Johar’s Kuch Kuch Hota Hai, directed by newcomer Karan Johar, completed 75th combined week of its run at Alankar (matinee), Bombay, last week. It stars Shah Rukh Khan and Kajol. Music: Jatin Lalit.

GHAI, SHETTY START TELECINE SET-UP

Audeus, the equpiment division of Subhash Ghai’s Mukta Arts Ltd., will launch its telecine set-up today (25th March) at 1.30 p.m. The set-up is installed in the premises of Adlabs at Film City and is being jointly promoted by Ghai and Manmohan Shetty (Adlabs).

The Rank Cintel Ursa Diamond telecine machine is installed at the studio, the first in Bombay. It is supported by Da-Vinci colour corrector and DVNR (digital visions noise reduction system) alongwith Evertz key coder. The site also has a provision for ultrasonic cleaning. It will be ideal not just for feature film producers but also for ad film makers, music album producers and promotional trailer makers. The location (at Adlabs) will ensure that there is minimum mishandling and transportation of negatives as many of them are stored at Adlabs itself.

SINGER RAJKUMARI DEAD

Well-known playback singer of yesteryears, Rajkumari, passed away on 17th March at a hospital in Bombay following prolonged illness. She was 84 and is survived by her son, Rajendra Dubey. Her songs from Mahal, Baware Nain, Anhonee and Bhakt Surdas are popular even today.

Rajkumari made her debut in films in 1934 as a singer, and later on also acted in films like Bombay Ki Sethani, Sansar Leela, Red Letter and Samsher-E-Arab. Some of her memorable songs are Sun bairi balam sach bol (Baware Nain), Ghabrake jo hum sar ko takraaye to achha and Tu mere dil mein dard (both of Mahal), Kajrari matwali (Nav Bahar) and Sarpe kadar ki chhaya (a duet with K.L. Saigal in Bhakt Surdas).

RAM GOPAL VARMA FINED FOR BOUNCED CHEQUES

On a petition filed by a still photographer, Ravindra Reddy, for dishonoured cheques, the 23rd metropolitan magistrate, Nampally, Hyderabad, has convicted A.V.S. Raju, director in Varma Corporation, and sentenced him to rigorous imprisonment for six months. The metropolitan magistrate also fined both, Raju and producer-director Ram Gopal Varma, Rs. 5,000.

The still photographer had sued Ram Gopal Varma’s company for non-payment of dues to the tune of Rs. 90,000. The photographer was hired by Ram Gopal Varma’s company to shoot stills of Daud in 1997. The company had made an initial payment of Rs. 1.05 lakh to him. For the remaining amount of Rs. 90,000, the company issued two cheques which were dishonoured, the photographer alleged in his plaint.

DADASAHEB PHALKE MAN OF THE MILLENNIUM

A meeting of the Dada Saheb Phalke Trust of India was held on 24th March under the presidentship of Santosh Singh Jain. It was decided at the meeting to bestow the title of Man of the Millennium on late filmmaker Dadasaheb Phalke, at a function to be held on 30th April at ISKCON auditorium, Juhu, Bombay. It was also decided to commemorate the occasion by honouring the seniormost members of all the film crafts, producers, distributors and exhibitors for contributing their mite to the development of the industry.

YOU ASKED IT

In your editorial in last week’s issue (18th March), you have expressed hope that corporatisation in the film industry will bring in its wake more discipline, greater transparency and more organisation. But do you think, the speculators will invest in film companies with hundreds of corporate companies listed on the stock exchange? And what is the guarantee of transparency when transactions with the stars are in black?

– If there is transparency, discipline, organisation in the film industry, why will people not invest in film companies? For, film business then will be like any other business with the added advantage of glamour attached to it. And that is no mean advantage, you would agree. Besides, the entertainment sector is the fastest growing sector in the world.

There was a successful star who troubled his producers; there was a hard-to-get expensive writer who, despite his arrogant ways, gave many hits; and there was a director whose films always used to go over-budget, yet they were hits. They all died. Who must have gone to heaven and who, to hell?

– All must have gone to heaven because a very reliable source tells me, God is planning a film up there and wants to sign proven names to minimise His risk. That should make a divine proposal!

DO YOU KNOW?

* Nizam distributor Ravi Machhar had so much confidence in PUKAR that he went in for an absolutely limited-prints release in Hyderabad and Secunderabad. His experiment and confidence have paid off because he has recovered his entire MG royalty and print cost in 7 weeks.

* Goldie cinema of Aurangabad, which had paid a very high MG for PUKAR, has recovered it in just 50 days.

* MELA has created yet another city record at Nandurbar (C.P. Berar) in 11th week at Amrit Chitra Mandir.

* BADAL has created a city record by collecting 92,542/- in 1st week (27 shows) at Alankar, Sagar.

* BADAL has created a city record by collecting 80,072/- in 1st week at Goyal, Kamptee. 2nd week 4 days: 36,570/-.

3-E
Education-Entertainment-Enlightenment

Because Of The Stars

Not a single trial show of Gordhan Tanwani’s Dulhan Hum Le Jayenge was held before its release. Except for director David Dhawan, co-producer Ajay Acharya, writer Rumi Jafri and publicity designer Rahul Nanda, nobody connected with the film had seen its first copy before its theatrical release. Not even producer Gordhan Tanwani himself, what to talk of the film’s distributors or those not at all connected with the film. Even the four aforementioned persons saw the first copy in the laboratory in Madras as they happened to be there. It wasn’t a trial show in that sense of the term. And why was no preview show held? Because Tanwani’s guruji had told him that the stars in the sky foretold that it would bode well if no private or public show of the film was held before 9.32 a.m. of Friday (24th March). Resultantly, the film did not open anywhere on Thursday, not even in Orissa. Even on Friday, there was no 6 a.m. show in C.P. Berar or C.I.

Dilip Kumar’s Presentation

Remember Aag Ka Dariya, starring Dilip Kumar, Rekha, Padmini Kolhapure, Rajiv Kapoor, Amrita Singh and Amrish Puri? A film launched over a decade ago? Had the film been made in scheduled time and released, it would have almost been time today to sell its re-issue rights. But as the pandits say, fire and water don’t go together (Deepa Mehta will testify to this belief, as of now!). And the film’s title, Aag Ka Dariya (meaning ‘Sea of Fire’), once again goes to prove this belief, till now. Well, the hot proposal of those days got stalled when the film was just nearing completion and its producer, R. Venkatraman, ran into problems. It was through the intervention of Dilip Kumar that the film saw its completion. According to producer R. Venkatraman, Dilip Kumar stood by him through all these difficult years, and raised finance for the completion of balance shooting, background music recording and mixing. The film is now being presented by Dilip Kumar. What does the thespian actor think of the ‘staleness’ that might have set in due to the delay in production? According to him, if the film has merit, time lag would not make any difference. He cited the examples of Pakeezah and Mughal-E-Azam which, he said, were completed years after their commencement and yet proved big hits. He conceded that it was for the people to decide the film’s fate. An hour-long assemblage of selected portions of Aag Ka Dariya was screened for the press on 23rd March at Dimple preview theatre, Bombay, before Dilip Kumar held a press conference at his house. The film, directed by S.V. Rajendra Singh ‘Babu’, has some dramatic, emotional and patriotic scenes which are impressive enough. The film is now censored and is due for release in May. One can only wish that the film has a smooth sailing.

Losers All In This Jung:
Two Sanjays And A Satish In A Free-For-All

The jung over Jung is getting dirtier by the day. The latest is that hero Sanjay Dutt called a press conference in Bombay on 22nd March, where he exhorted the cinegoers to not see Jung as it was an incomplete film. According to Sanjay Dutt, he had only shot 60% of the film and was not dubbing for it as he had not been paid part of his remuneration.

But if you ask producer Satish Tandon, he is emphatic that his film is complete. “If after exposing 1,70,000 feet of raw stock and shooting for 125 shifts, Sanjay Gupta feels that the film is not complete, I wonder what his definition of a complete film is and how many days more he would want to complete the film,” said Satish Tandon to Information. The harried producer added, “Sanjay Gupta had told me that the film would be completed within a budget of Rs. 6 crore and in 6 months. But he has spent Rs. 12 crore and taken 3 years, and yet, he says, he has not completed the film! On his own admission, he needs 12 days to complete the film. He has also said that he needs to shoot two more songs and some scenes. When he takes at least 8 days to picturise a song, how does he plan to complete 2 songs and scenes in 12 days?”

When asked to clarify, Sanjay Gupta denied that he had exposed 1,70,000 feet in 125 shifts. “The world knows, Satish Tandon is lying. I’ve shot for exactly 71 shifts and exposed 1,10,000 feet,” he clarified. Gupta also dubbed a lie, Tandon’s contention that he had paid the director Rs. 7 lakh more than his contracted remuneration. Said Gupta, “Will a man, whose cheques of Rs. 4,000 bounce, pay Rs. 7 lakh extra to his director? He owes money to everybody.”

Sanjay Gupta has retaliated to Tandon’s court case against him for damages. The director was due, on 24th March, to file a civil defamation suit against Satish Tandon for the remarks made in the press against him.

While Sanjay Dutt and some other artistes and technicians are standing by Sanjay Gupta, the other hero of the film, Jackie Shroff, has not supported the captain of the ship. Sanjay Gupta interprets Jackie’s stand thus: “Jackie has no principles, no ethics. He is the man solely responsible for the current state of affairs. Had he not supported Satish Tandon in his wrongdoings, things would not have come to such a pass.” Efforts to contact Jackie for his version did not bear fruit.

Jackie and Raveena Tandon play a married couple in the film. They have a child suffering from cancer. Gupta was appalled that the songs, which were recorded to be picturised on Sanjay Dutt and Shilpa Shetty, were, on the sly, got picturised by Tandon on Jackie and Raveena in a slipshod manner in Hyderabad, after Gupta’s exit from the film. Satish Tandon admitted having had two songs shot without Gupta, by Bharat Kaushal (assistant of Sanjay Gupta). Gupta bemoaned the shuffling and mocked, “How can Jackie and Raveena be singing romantic songs when their child is suffering from cancer?” Reportedly, Universal, the company which holds the music rights of Jung, has not paid the balance instalments to Satish Tandon because it has not approved of the song picturisations on Jackie Shroff.

If trade talk is to be believed, at least two distributors of Jung have expressed their keenness to relinquish their rights in the film as they are wary of releasing a film that has been projected as incomplete, among the public. Not just that, some technicians of the film have filed cases in their respective associations for recovery of their balance remunerations from Tandon.

But producer Satish Tandon would like people to believe that his distributors are solidly behind him. To prove his point, he read out to Information a letter he had received from his West Bengal distributor. It is being rumoured that two more songs of the film may be picturised on Mamta Kulkarni. Gurdas Maan may be Mamta’s co-star in one of them. For this, Tandon may have to even change the lyrics of a song because the name of the character being played by Sanjay Dutt would have to be replaced in the song by another word.

The differences have not remained just professional. They’ve also gone personal with Tandon blaming Gupta of having undertaken a honeymoon trip to South Africa with his wife, at his (Tandon’s) cost. Gupta scoffed, “I don’t need Tandon’s money to go for a honeymoon, that too, three years after my marriage.”

There’s no denying the fact that the fault lies on both the sides. If Satish Tandon feels, he has been terribly wronged, it is also true that he has not come clean in the entire episode. Likewise, if Sanjay Gupta has been wronged by Tandon, he has himself to blame, say insiders. Nothing could be more apt to describe where the fault lies in this case, than the age-old Hindi adage: Ek haath se taali nahin bajti hai.

Whatever the misgivings on either side, some questions and points do crop up:

(1) The differences were between Satish Tandon and Sanjay Gupta. Why did Sanjay Dutt have to make the public a party to the dirty drama by asking them not to see the film? If Sanjay was afraid that the film will not do well when released, was he also scared that his reputation would be jeopardised? The answer to this question can be in the affirmative only if all of Sanjay Dutt’s previous releases have been hits or at least successful at the box-office. Otherwise, it is in bad taste to pre-empt the audience to not see a film.

(2) More importantly, in the fight between the producer and director, the sufferers are also going to be the film’s distributors and exhibitors who’ve invested their monies in the film. With claims and counter-claims of the film being complete/incomplete, good/bad, imagine the plight of the distributors and exhibitors.

(3) According to Sanjay Dutt, he has shot for only 60% of the film. According to Sanjay Gupta, he needs only 12 days to complete the film. If the two claims are read together, does it mean that Sanjay Gupta can complete 40% of a film in 12 days? If so, he may be one of the fastest directors we have, completing a film in 30 days.

(4) Whether people believe Satish Tandon or Sanjay Gupta, nobody will be the winner. In all probability, some will sympathise with Tandon and some, with Gupta. But all that may be mere lip sympathy. The fact is that the world is interested in watching the tamasha as two mature adults fight it out like kids. There’s no winner in this jung. But the industry is the biggest loser.

– Komal Nahta