‘MOHABBATEIN’ GOLDEN JUBILEE

Yash Chopra’s Mohabbatein, the second directorial venture of Aditya Chopra, entered its 50th week at Novelty (matinee), Bombay on 5th October. Starring Amitabh Bachchan, Shah Rukh Khan, Aishwarya Rai (guest appearance), Jugal Hansraj, Jimmy Shergill and newfinds Uday Chopra, Shamita Shetty, Preeti Jhangiani and Kim Sharma, the film has music by Jatin Lalit and lyrics by Anand Bakshi.

In a gesture similar to the one that marked the 300-week celebrations of its DDLJ, Yash Raj Films is distributing a double cassette of dialogues and songs of Mohabbatein as souvenirs, among the audience at Novelty in its 50th week.

Mohabbatein has become the second highest grosser, after DDLJ, of Yash Raj Films. Yash Raj Films has also released a double DVD set of Mohabbatein in Overseas where it is ranking among the highest-selling Hindi film DVDs.

‘MISSION KASHMIR’ GOLDEN JUBILEE

Producer-director Vidhu Vinod Chopra’s Mission Kashmir entered 50th combined week at Dreamland (matinee), Bombay on 5th October. The film stars Sanjay Dutt, Hrithik Roshan, Preity Zinta, Jackie Shroff, Sonali Kulkarni and Puru Raaj Kumar in a guest appearance. It has story and screenplay by Abhijat Joshi, Suketu Mehta, Vikram Chandra and Vidhu Vinod Chopra, and dialogues by Atul Tiwari. Lyrics of Rahat Indori and Sameer have been set to tune by Shankar-Ehsaan-Loy.

LATEST POSITION

Chandni Bar is excellent in Bombay but poor elsewhere. 1st week Bombay 35,27,684 (91.39%) from 7 cinemas (4 on F.H.); Ahmedabad 1,00,267 (1 unrecd.), Rajkot 88,000; Pune 8,36,256 from 3 cinemas (1 in matinee), Solapur 88,050; Delhi 10,58,896 (33.08%) from 6 cinemas; Agra 85,000, Varanasi 40,223, Allahabad 40,000; Nagpur 1,30,023, Amravati 62,993, Akola 47,117; Hyderabad (gross) 3,94,410.

………….

Ajnabee dropped quite badly almost everywhere. 2nd week Bombay 52,88,675 from 15 cinemas (7 on F.H.), total for 2 weeks 1,27,48,755; Ahmedabad 3,81,983 from 3 cinemas (4 unrecd.), Rajkot 1,83,540, Jamnagar 71,124 from 2 cinemas (1 in matinee), Adipur 1,27,640, Bhuj 1,10,000; Pune 14,02,458 from 4 cinemas, Solapur 2,10,500 from 2 cinemas (1 in matinee); Bijapur 62,987; Delhi 54,63,428 from 13 cinemas (2 on F.H.); Kanpur 3,05,658 from 2 cinemas, Lucknow 4,38,315, Agra 3,60,000, Varanasi 2,03,416, Allahabad 2,00,455, Bareilly (6 days) 99,536, Dehradun 1,82,000, 1st week Jaunpur 1,05,000; 2nd week Calcutta 14,37,782 from 12 cinemas; Nagpur 2,89,147 from 2 cinemas, Amravati 1,34,610, Akola 1,01,313, total 3,16,683, Raipur (6 days) 1,10,052, Durg 81,637, Jalgaon 1,32,624 (1st 2,46,161), Wardha 32,511; Indore 1,08,972 (2 on F.H.); Jaipur 4,32,047 (57.19%) from 2 cinemas, Ajmer (gross) 2,26,562, Bikaner 1,52,552; Hyderabad (gross) 9,72,787 from 3 cinemas (1 in noon).

Kyo Kii… Main Jhuth Nahin Bolta is steady in U.P. 2nd week Bombay 23,85,722 (49.02%) from 8 cinemas (9 on F.H.), total for 2 weeks 63,83,129; Jamnagar 78,645 from 2 cinemas (1 in matinee); Pune 5,59,558 from 3 cinemas, Solapur (matinee) 53,705; Bijapur 54,787; Delhi 23,88,601 from 9 cinemas (3 on F.H.); Kanpur 2,82,648 from 2 cinemas, Lucknow 3,74,190, Agra 2,22,000, Varanasi 1,25,366, Allahabad 1,21,327, Bareilly (6 days) 67,409, Dehradun 93,797, Jaunpur 20,000; Calcutta 5,04,705 from 4 cinemas; Nagpur 1,86,300 from 2 cinemas, Amravati 1,03,289, Akola 1,04,758, total 2,61,141, Raipur (6 days) 59,502, Jalgaon 75,055 (1st 1,16,257), 1st week Gondia 80,458, Wardha 53,495, 2nd week Yavatmal 40,943 (1st 76,499); Indore 93,300 (3 on F.H.); Jaipur 1,44,856 (23.97%), Ajmer 49,568; Hyderabad (gross) 4,11,563.

………….

Nayak 4th week Bombay 9,02,266 (40.04%) from 5 cinemas (7 on F.H.), total for 4 weeks 1,05,73,691; Ahmedabad 2,57,862 from 2 cinemas, Rajkot 74,000; Pune 1,92,255 from 3 cinemas (1 in matinee), Solapur 1,11,011; Kanpur 1,10,701 from 2 cinemas, Lucknow 1,58,278, Varanasi 60,859, Allahabad 65,733, Bareilly 35,927, Dehradun 38,284, Jaunpur 18,411, total 1,83,548; Calcutta 1,07,768; Nagpur 1,17,688 from 2 cinemas, Jabalpur (6 days) 30,060, Amravati 1,07,359, Akola 61,594, total 5,29,425, Dhule 55,725, total 4,28,030, Raipur (6 days) 71,736, Jalgaon 84,111 (3rd 96,928), Wardha (5 days) 21,956, Chandrapur 93,178, total 6,78,263, Yavatmal (4 days) 24,727; Jaipur 98,352 (17.75%); Hyderabad (gross) 2,51,486 (1 on F.H.).

Lajja 5th week Bombay 3,67,362 (31.55%; 5 on F.H.), total for 5 weeks 1,33,41,381; Ahmedabad 62,561 from 2 cinemas (4 unrecd.), Rajkot (matinee) 11,870; Pune 2,51,433 from 3 cinemas, Solapur 27,200; Delhi 2,23,665; Kanpur 94,673 from 2 cinemas, Lucknow 2,13,142, Varanasi 70,954, Allahabad 54,000, Bareilly (6 days) 21,000; Calcutta 68,177; Nagpur 1,10,490 from 2 cinemas, Jabalpur (6 days) 88,151, Amravati 83,497, Akola 53,869, total 6,24,110, Raipur (6 days) 1,00,506, Jalgaon 51,800, total 5,68,189; Jaipur 5,29,877 (62.57%); Hyderabad (gross) 1,87,895.

Gadar Ek Prem Katha 16th week Bombay 2,19,625 (32%), total for 16 weeks 5,96,87,826; Pune 83,031, Solapur 26,200; Delhi (TF) 16,24,817 from 8 cinemas (1 on F.H.); Kanpur 1,24,469 from 2 cinemas, Lucknow 2,10,125, Agra 58,000, Varanasi 54,686, Allahabad 12,352, Bareilly 28,000; Nagpur 47,310, Jabalpur (6 days) 63,230; Indore 52,053, Bhopal 63,000; Hyderabad (gross, noon) 32,008.

PAHLAJ NIHALANI RE-ELECTED AMPTPP PRESIDENT

Pahlaj Nihalani was re-elected president of the Association of Motion Pictures & TV Programme Producers at the first meeting of its new governing council, held on 29th September in Bombay. Shyam Benegal, Shabnam Kapoor, Gordhan Tanwani and Mahesh Kothare were elected vice presidents. Kamal Kumar Barjatya and Yash Johar were elected honorary treasurers, while Ratan Jain and Jimmy Nirula were elected honorary general secretaries.

Earlier, at the 10th annual general meeting of the AMPTPP, the following members were also elected to the governing council:- Ramesh Sippy, Ramesh Taurani, Manmohan Shetty, Manish Goswami, Salim Akhtar, Harmesh Malhotra, Subroto Bose, Jhamu Sughand, Babubahi Thiba, Subhash Ghai, Sushil Kumar Agarwal, G.P. Sippy, N. Chandra, Vashu Bhagnani, N.D. Kothari, Markand Adhikari and Zafar Abid.

ENTRY DATE EXTENDED FOR V. SHANTARAM AWARDS

The date for sending entries for the V. Shantaram Awards for the years 1997 to 2000 has been extended to 10th October. Forms for the entries can be collected from Rajkamal Studio, Parel, Bombay or from the offices of the film associations.

SAMRAT KHAN PATHAN DEAD

Samrat Khan Pathan (Khan Sahab), owner of Shalimar Cinema, Shahalam (Ahmedabad), expired on 30th September in Ahmedabad.

AHMEDABAD EXHIBITORS DECRY AMC’S
HIGH-HANDEDNESS

The Ahmedabad Theatre Owners Association has issued a public statement, clarifying its stand in the wake of news reports which state that the city municipal corporation is contemplating taking stern action against nine local cinemas for failure to pay property taxes. According to news reports, the cinemas viz. Shree, Natraj, Shiv, Roopalee, Rupam, Ashok, Advance, Relief and Kamal owe the AMC a total of Rs. 3.28 crore by way of property taxes.

According to a newspaper advertisement, issued on 21st September by the ATOA, collector Z.A. Sancha has assessed the taxes in an arbitrary manner. The Association claims that over the last two years, the municipal commissioner repeatedly declined to allow the cinema owners to plead their case in person. Moreover, the municipal corporation cut off water supply and sewage connections in various cinemas for non-payment of taxes, besides issuing public notices naming the defaulting cinemas. The cinema owners have had to suffer loss of reputation due to the AMC’s pathetic attitude, states the Association.

After much persuasion by the cinema owners, the commissioner finally consented to meet them on 14th September. However, at the outset of the meeting, claims the Association, the commissioner gave a taste of his high-handedness by declaring that he alone had the authority to decide on the matter and that he would not consider the opinions of either Ahmedabad mayor Himmat Sinh or the chairman of the tax committee. According to the cinema owners, the commissioner gave them an ultimatum to pay a reduced amount of Rs. 1.40 crore as tax or face action, at the meeting. The meeting had to be called off abruptly when the official called exhibitor Biharilal Shah a criminal in reaction to the latter’s appeal for an equitable application of the existing tax laws, concludes the Association’s statement.

TAX EXEMPTION FOR ‘VEER SAVARKAR’

Veer Savarkar, produced by Savarkar Darshan Pratishthan, has been exempted from entertainment tax in Maharashtra.

‘JODI NO. 1’ SILVER JUBILEE

Time Films International’s Jodi No. 1 completed a combined silver jubilee run at Naaz (matinee), Bombay this week. Produced by Dhirajlal Shah, it is directed and edited by David Dhawan. It stars Sanjay Dutt, Govinda, Twinkle Khanna, Monica Bedi, Anupam Kher, Ashish Vidyarthi, Mukesh Rishi, Sayaji Shinde and Shakti Kapoor, with Rajat Bedi and Pooja Batra in special appearances. It has story-screenplay by Yunus Sejawal and Imtiaz Patel, and dialogue by Rumi Jafri. Lyrics: Dev Kohli, Sudhakar Sharma and Pratik Joseph. Music: Anand Raaj Anand.

‘ALBELA’ SILVER JUBILEE

Tips Films’ Albela entered 25th combined week of its run at Edward, Bombay on 5th October. Directed by Deepak Sareen for producers Kumar Taurani and Ramesh Taurani, the film has story-screenplay by Honey Irani, and dialogues by Javed Siddiqi. It stars Jackie Shroff, Govinda, Aishwarya Rai, Namrata Shirodkar and Saeed Jaffrey. It has music by Jatin Lalit and lyrics by Sameer.

AMPTPP UP IN ARMS AGAINST NEW TAX
RESOLVES NOT TO PAY ST ON COPYRIGHT

In an important development, the AMPTPP has passed a resolution whereby none of its producer-members will pay a single paisa by way of sales tax on copyright, to the Maharashtra government. It may be recalled that the Maharashtra government’s recent decision to levy sales tax on all transactions of transfer of copyright has come under heavy fire from the film industry. The AMPTPP’s resolution was passed during its 10th annual general meeting, held in Bombay on 29th September. It was also decided that in the event of the Maharashtra government pursuing with the imposition of the new tax, the AMPTPP will urge its members to shift the entertainment industry to another state.

Among the other resolutions passed at the meeting were:

(i) To persuade Maharashtra government to reduce entertainment tax to 15%;

(ii) to not deliver any film to members of the Orissa syndicate because the syndicate insists, its members will buy films on outright basis only;

(iii) to act on a priority basis on complaints of non-payment by TV channels to producers;

(iv) to take up registration of concepts, stories and scripts etc. in favour of its members;

(v) to ratify the arrangement with the Indian Music Industry in order to stop illegal telecast of films and TV serials, and song clippings on satellite channels;

(vi) to not align with any other body in its day-to-day functioning; and

(vii) to implement the member-to-member arrangement with the Federation of Western India Cine Employees.

AMPTPP PERSUADES FILM CITY TO LOWER CHARGES

The Film City authorities have bowed down to the AMPTPP’s demand for lower charges for shooting. Under the revised rates, the producers will be charged a flat sum of Rs. 8,000 per day for shooting at any location at the Film City. Moreover, producers of 16mm Hindi films as well as of regional films will be given a 25% discount on the charges. The new rates will be applicable on 24-hour basis only if the producer makes a specific booking of a location. In case the producer chooses to use only the available location (without booking any specific location), he will be given 25% discount on the charges.

DO YOU KNOW?

* THE CBFC seems to be having a problem with Tarzan films. The third revised version of LADY TARZAN has been refused certificate. Another film, JUNGLEE TARZAN, has been refused certificate by the revising committee. But ‘Night’ films have had a clear passage in recent times. HER NIGHTS and DARK NIGHT (revised version) were both passed for adults this week. 

* Rakesh Roshan’s KOI MIL GAYA will be launched with a song recording this month. 

3-E
Education-Entertainment-Enlightenment

Entertainment Tax In Maharashtra

The total annual entertainment tax collected by the Maharashtra government has more than doubled in the past seven years. While the total recovery was Rs. 80.21 crore in 1994-95, the figure rose to Rs. 179.02 crore in 2000-2001. A total of Rs. 860.97 crore has been collected by the revenue department as entertainment tax in the 1994-2001 period, against a total budget estimate of Rs. 890.50 crore. In the current financial year, the recovery of entertainment tax stands at Rs. 77.18 crore in the April-August period, as against the annual budget estimate of Rs. 206.08 crore.

The year-wise break-up of entertainment tax collection:- 1994-95 – Rs. 80.21 crore; 1995-96 – Rs. 88.73 crore; 1996-97 – Rs. 100.02 crore; 1997-98 – Rs. 123.76; 1998-99 – Rs. 134.46 crore; 1999-2000 – Rs. 154.77 crore; 2000-2001 – Rs. 179.02 crore.

Entertainment Tax From Cable TV Operators

The Maharashtra government may not be very adept at keeping cable piracy in check, but it sure knows how to recover entertainment duty from the cable operators. The state government’s recovery of entertainment duty from cable television operators has more than trebled in the past three years! In rupee terms, the government has collected a whopping Rs. 36.11 crore from cable operators catering to over 17 lakh connections in the year 2000-2001. The figure stood at Rs. 12.82 crore (10.5 lakh connections) in the previous year. In 1998-99, the tax collection was Rs. 11.02 crore (9.57 lakh cable connections).

Producers, Distributors, Beware!

Producers are treading a dangerous path by announcing so many releases this Diwali. They must understand that this Diwali will not be like the Diwali of earlier years because the advantage, to the box-office, of the festival of lights will, to an extent, be offset by Ramzam. Still, there are at least half a dozen films lined up for release on 16th November: Boney’s Koi Mere Dil Se Pooche, Vashu’s Deewanapan, Babloo Pachisia’s Tera Mera Saath Rahen, Tutu’s Khullam Khulla Pyar Karenge, Kamal Haasan’s Abhay, and Sudhir Phadke’s Veer Savarkar. Phew!

Musical Notes

The highest-selling music album of this year is Lagaan. Next on the list is Mujhe Kucch Kehna Hai. Audio sales of Gadar picked up phenomenally after the film became a blockbuster. Otherwise, the pre-release sale of Gadar music was quite dull. Music of Lagaan also picked up after the film’s release. Mujhe Kucch Kehna Hai started on a slow note but once the Rabba mere Rabba song was aired on trailers in satellite channels, the album sold like hot cakes. Another album which did brisk business in 2001, although it was released in 2000, was Mohabbatein. Despite the hit Bumbro song, Tips lost a lot of money in the music of Mission Kashmir. It also lost heavily in the music of Yaadein….

Yeh Topical Hai

Anand Raaj Anand’s music in Yeh Mohabbat Hai is quite melodious. Although the film, directed by Umesh Mehra, stars newcomer Akanksha and Rahul Bhat, corners have not been cut in the song picturisations. The film, according to Prem Kishen and Umesh Mehra (two of the three producers, the third being Sunil Mehta), is topical because it is a love story against the backdrop of terrorism.

SHOOTING COVERAGE

ESCAPE TO FREEDOM

The scorching heat (38 degrees Celsius) and the miles and miles of sand land at Jaisalmer in the desert state of Rajasthan couldn’t have got worse. The reflectors only add to the misery of the unit engaged in the picturisation of an action scene, no less! Imagine Shah Rukh Khan having to fight goons with lathis, roll in the burning sand, ‘bleed’ because of being shot at…. And Karisma Kapoor having to run in the desert terrain, with her 3-year-old child in her arms, bleeding in the face, looking tired and scared and with only Shah Rukh and hope on her side. She has to escape from her villainous father-in-law (played by Nana Patekar) from a village (which Jaisalmer is supposed to be) even as another gang of villains is trying to kill her and her little son because the tiny tot’s grandfather had killed their leader’s son. The gang leader’s son had been done away with by Nana because his own son (Karisma Kapoor’s husband, played by Sanjay Kapoor) had been gunned down by the gang leader. Family feud, you see. Phew! Is that too much of maara-maari? That’s exactly why Karisma wants to flee the village. She doesn’t want her son to grow up to become a gang leader like her pa-in-law who only understands the language of guns and goons. And so, the lady is trying to board a train to wherever it can take her, in her escape from the wily villains, the sound of gun-shots and the land where the law of the jungle still prevails.

WELCOME TO THE HEAT & DUST

That’s Boney Kapoor’s untitled production venture being shot in the desert region of Jaisalmer. Despite the heat and dust, Shah Rukh, Karisma and director Vamsi (who had also directed the original Telugu hit, Anthapuram, of which Boney’s film is a remake) are cool as cucumbers and never miss an opportunity to crack jokes on the sets. Like when Boney Kapoor comes on the set in the afternoon, having obviously overslept in the comfort of his airconditioned hotel room, Shah Rukh, who has been shooting since 8 a.m., says with a straight face, “Welcome, Boney-ji, you look very tired. You’ve been working very hard, I think.” Or, when it is time for Boney to depart for Bombay, leaving the unit, including Khan, Kapoor and the others to the care of his executive producer, Trilok Malhotra, Shah Rukh jokes, “Boney-ji, you’ve pampered me so much that I’m a spoilt actor now. I’ve always come to the location with you and returned to Bombay with you. How can you leave without me? My wife just telephoned to say, ‘Jaisalmer is a border area and with the fear of a war breaking out, go where Boney goes. If he laves for Bombay, it means, it is not safe to stay back in Jaisalmer. So you too leave with Boney.’ I’m coming with you, Boney-ji.”

Karisma Kapoor, like Shah Rukh, is in a fantastic mood. She welcomes a newcomer, like yours truly, on the sets with a warm smile (nothing to do with the temperature) and the words, “Welcome to the heat and dust.”

OH! FOUR!!

Jokes apart, Boney has to leave for Bombay as the shooting of his other film, Khushi, starring Fardeen Khan and Kareena Kapoor, is in progress there. There’s also the post-production work of Koi Mere Dil Se Pooche that is on in full swing, not to talk of the shooting of Boney’s fourth venture, Company, which he is making jointly with Ram Gopal Varma. Gosh! Four at a time, that’s Boney for you, or B4U!

DREAM BOY SHAH RUKH

Coming back to the untitled film. Besides cracking of jokes, there’s plenty of work also being done, what with shooting beginning at the crack of dawn or almost so, every day and going on up to 10 and 11 p.m. sometimes. So fast is work progressing that after this film, Boney may well join the list of producers who complete their films fast. For, this film was started in February 2001 at Khejarla, near Jodhpur, and, after eight months, all that remains to complete the shooting is, as Boney informs, “one song on Shah Rukh Khan, and a couple of scenes.” Incidentally, Shah Rukh makes a special appearance in the film. His entry is at a very crucial stage in the film. He plays a Bihari who is always in an inebriated state and who lives with the dream of going to Dubai. When he is not day-dreaming about Dubai, he dreams of spending quality time with beauty queen Aishwarya Rai. Shah Rukh’s dialogues, spoken in Bihari accent, are fun to hear. Trust the guy to add his two bits in the dialogues. Like, for instance, when Karisma’s train chugs out of the railway station, Shah Rukh mutters, “Aaj train time par ja rahi hai, phaar (for) a change!” Or when he bids adieu to the train, he says, “O.K., tata, bye-bye,” and adds impromptu, “Horn pleaje (please),” to sound like the message written on the back of trucks on the roads.

Talking about his character, Shah Rukh explains, “I play a person without any emotions whatsoever. I help Karisma escape only because she gives me dollars which will help me realise my dream of going to Dubai. It is not as if I feel sorry for her or her three-year-old child. I don’t even look at the child, so heartless am I.”

“SRIDEVI DESERVES THE BEST”

Shah Rukh’s reason for doing the special appearance role in the film is quite noble and thoughtful. Says the top actor, “Kajol was to have earlier played the heroine in the film and it is she who told me to do the film. Karan (Johar) also liked my role and goaded me into doing it. But what actually prompted me to accept the offer is that the film is the first production venture of Sridevi whom I admire as an actress. I feel, after having given so much to the industry for so many years, she deserves to have the best in her film. I couldn’t say ‘no’ to her when she approached me.”

BLOOD AND SWEAT

In the original version, Nana Patekar’s role was essayed by Prakash Raj, for which the actor bagged the National Award for the best performance in a supporting role. Director Vamsi wanted Prakash Raj to do a small role in the Hindi remake too and so you have the South film actor, clad in jeans, fighting it out with Shah Rukh. Prakash Raj plays a contract killer in Boney’s film. In one fight sequence, Shah Rukh’s stick hits the award-winning actor under his left eye so hard that he begins to bleed. This blood is for real, the doctor is called and he recommends stitches. Action director Alan Amin intervenes, “Doctor, I shall not allow stitches to be administered. He will be alright after a while. At the most, you may give him an antiseptic injection,” Sure enough, Alan’s recommendation works and the flowing blood from Prakash’s vein reduces to a trickle! The actor comments in a lighter vein, “So, I too have given my blood for this film.” Make that blood and sweat! Alan Amin, who has supervised the action sequences in a number of Hollywood films, besides Hindi films, explains later that he is himself a half-doctor, having done stunts for so many films. Vamsi reveals, “Shah Rukh had a sixth sense that he may inadvertently hurt Prakash Raj. In fact, just minutes before his stick hit Prakash, Shah Rukh had told him to be careful as he was scared, his stick may injure the actor.”

SHAH RUKH’S ‘BONE’Y PROBLEM

Just a day before Prakash Raj was injured, Shah Rukh had hurt two fingers of his left hand when they were caught on the window sill of the train on which they were picturising the action scene, with the window coming crashing down on them. The doctor had to bandage the swollen fingers. The actor was in pain but managed to do his stunts with the injured fingers. Every morning thereafter, his make-up man had to apply make-up on the white bandages also, colouring them to match the actor’s skin tone. The pain persisted all through Shah Rukh’s stay there. “I think, there’s a problem with the bone of the middle finger,” said Shah Rukh. A ‘bone’y problem, this! The actor then revealed how he had hurt every part of his body during shootings. “I never feel pain at the time I get injured,” he explained, adding, “which is why my injuries get aggravated.”

NANA’S HAAN-HAAN

Coming back to the role that fetched Prakash Raj a National Award. Nana Patekar is quite sure, the film can get him also a National Award. In fact, that may have been the reason for Nana’s haan-haan for the role. Not just an award, the talented actor, after his shooting at Khejarla (near Jodhpur), also gave an indication of his confidence in the film itself when he wrote in Boney’s diary, ‘Pannas saptah’, implying thereby that he thought, the film had the merits to enjoy a fifty-week run in cinemas. Nana has some firebrand dialogues in the film, penned by his favourite writer these days, Kamal Pandey. Isn’t Kamal apprehensive of the censors? Pat comes the reply, “Nana’s character is such that he can only speak rough language. He is a man of the soil, uneducated and uncouth.”

THREE GENERATIONS

Sanjay Kapoor plays the educated son of the uneducated Nana and the docile Deepti Naval. Docile she may be in the film but the actress is bold and brash in real life. While at Khejarla in March, she hurt her lower lip in a car accident, and found it difficult to laugh or even smile. Thank God, Shah Rukh wasn’t around when Deepti was shooting.

Three-year-old Jai Gidwani plays Sanjay and Karisma’s son in the film. The cute child bears a striking resemblance to Karisma; he even has green eyes like the actress. “Yeah, he looks so much like me,” agrees Karisma. The child is the unit’s darling, at both, Khejarla and Jaisalmer. In the Jaisalmer stint, Karisma is required to run with the kid in her arms. Says she, “I used to joke with Jai, telling him to go on a diet because it was difficult to run in the sand with him in my arms. Poor child, he used to tell his guardians, ‘Karisma aunty told me not to eat.’ The kid was quite traumatised when Nana used force to stop Karisma from running away. He used to start crying for real at Khejarla. Then, he would go around, telling one and all, “Mujhe chup karao!”

Jai had company in Boney and Sridevi’s daughter, Jahnvi, during the first shooting schedule at Khejarla. Jahnvi’s birthday had been celebrated on the film’s set with the cutting of a huge cake. In all probability, Jahnvi will cut her next birthday cake to coincide with the film’s release next March. Nana is due to start his dubbing shortly. But before the release, the film will have to be titled. Boney, Sridevi and director Vamsi are frantically in search of a suitable title. Vamsi explains, “The title should speak of a woman’s power. The story is about the victory of a woman in her fight to save her child from the evil influence of her father-in-law.” Any suggestions?

SMILES AND TEARS

In the film, if Karisma and the child’s emotions manage to strike a chord in people’s hearts, it will be difficult to stop them from crying in the cinema halls. But the film is not just a weepy story. To try and make it a wholesome entertainer, the makers have added a comedy track with Jaspal Bhatti and Tiku Talsania. Well, they may also have to add one scene with Shah Rukh Khan. The suggestion has come from Khan himself. Revealed Boney in Bombay, “Shah Rukh feels, we must shoot one more scene with him. Although he is playing a special appearance, look at his involvement. Otherwise, why would he have suggested anything to us? I am very impressed with his sincerity.”

LIVING THE MOMENT

Shah Rukh himself says about his acting, “I try to live that moment while I am acting. I don’t like to rehearse too much. I am appalled when I see some actors give so much importance to how they look or how their hair are even in an emotional scene in which the audience won’t be bothered about anything but the performance. Such actors lose out on the scene because of their priorities lying elsewhere.”

GOODBYE TO THE HEAT & DUST

After the shooting on 27th October, Shah Rukh’s priority is to be driven from Jaisalmer to Jodhpur in time to board the flight to Delhi and from there, to hop on to a connecting flight to Bombay. Even as he is preoccupied with the release plans of his Asoka, he wonders what an appropriate title for Sridevi’s film can be. The thinking mind never rests.

– KOMAL NAHTA

LATEST POSITION

While AJNABEE took a very good start last week, collections dropped at many places as days passed. KYO KII… was poor from day one.

Ajnabee 1st week Bombay 74,60,080 (92.82%) from 14 cinemas (11 on F.H.); Ahmedabad 32,72,415 from 8 cinemas, Rajkot 3,10,652, Jamnagar 1,43,193 from 2 cinemas (1 in matinee), Adipur (gross) 2,44,723, Bhuj (gross) 1,87,214; Pune 20,11,148 from 4 cinemas, Solapur 4,08,294 from 3 cinemas (1 in matinee), Satara 2,08,163 from 2 cinemas (1 in matinee); Bijapur 1,40,700; Delhi 91,38,743 (71%) from 14 cinemas (2 on F.H.); Kanpur 5,35,811 from 2 cinemas, Lucknow 6,02,096, Agra 6,00,000, Varanasi 2,86,141, Allahabad 2,92,690, Bareilly (6 days) 2,05,864; Calcutta 29,42,570 from 19 cinemas (14 on F.H.); Nagpur 8,41,214 from 4 cinemas, Jabalpur 2,40,000, Amravati 2,54,623, Akola 2,15,370, Raipur (6 days) 1,97,128, Jalgaon 2,62,761; Indore 2,13,000 (3 on F.H.); Jaipur 8,16,343 (64.37%) from 2 cinemas, Ajmer (29 shows, gross) 3,69,749, Bikaner 3,67,238, Kota 2,40,000; Hyderabad (gross) 43,60,306 from 15 cinemas. Total 3,73,68,229 from 107 cinemas.

Kyo Kii… Main Jhuth Nahin Bolta is a disaster. 1st week Bombay 39,97,407 (59.29%) from 11 cinemas (7 on F.H.); Ahmedabad 2,25,310 (4 unrecd.); Pune 8,51,262 from 5 cinemas (1 in matinee), Solapur (matinee) 59,220; Belgaum 87,918, Bijapur 82,180; Delhi 36,68,712 (45.70%) from 11 cinemas (3 on F.H.); Kanpur 3,48,836 from 2 cinemas, Lucknow 3,98,158, Agra 3,25,000, Varanasi 1,34,079, Allahabad 1,50,000, Bareilly (6 days) 89,811, Jaunpur 50,000; Calcutta 7,07,958 from 5 cinemas; Nagpur 4,87,827 from 4 cinemas, Amravati 1,43,155, Akola 1,56,383, Raipur (6 days) 65,699, Jalgaon 1,16,257, Chandrapur 1,04,181 (32.35%); Indore 95,000 (3 on F.H.); Jaipur 3,52,019 (31.33%) from 2 cinemas, Ajmer (29 shows) 60,802, Bikaner 1,40,367; Hyderabad (gross) 17,50,789 from 9 cinemas. Total 1,46,48,330 from 66 cinemas.

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Nayak 3rd week Bombay 11,09,359 (49.12%) from 5 cinemas (8 on F.H.), total for 3 weeks 96,71,425; Ahmedabad 2,52,607 from 2 cinemas (3 unrecd.), Rajkot 10,800, Jamnagar 37,971 from 2 cinemas (1 in matinee); Pune 4,10,222 from 4 cinemas (1 in matinee), Solapur 1,41,329, Satara 61,390 from 2 cinemas (1 in matinee); Delhi 3,03,193 from 4 cinemas (2 on F.H.); Lucknow 1,95,430, Agra 2,53,000, Varanasi 78,645, Allahabad 82,178, Jaunpur 28,283, total 1,56,138; Calcutta 1,33,073; Nagpur 1,40,301 from 2 cinemas, Jabalpur (6 days) 65,780, Amravati 1,37,098, Akola 77,810, total 4,67,831, Dhule 67,135, total 3,27,360, Raipur (6 days) 72,815, Jalgaon 96,938 (2nd 1,62,913), Chandrapur 1,16,184, total 5,85,085; Jaipur 1,96,090 (24.74%), Bikaner 21,655; Hyderabad (gross) 2,41,838 (1 on F.H.); 1st week Mangalore 1,76,987.

Lajja 4th week Bombay 4,74,383 (40.74%; 4 cinemas unrecd., 8 on F.H.); Ahmedabad 3,83,311 from 6 cinemas (3 unrecd.); Pune 2,74,582 from 4 cinemas (1 in matinee), Solapur 37,443, Satara 39,964; Delhi 2,47,318 (2 on F.H.); Kanpur 1,18,998 from 2 cinemas, Lucknow 2,62,210, Agra 72,300, Varanasi 85,992, Allahabad 90,500, Bareilly (6 days) 26,249; Calcutta 1,22,755; Nagpur 1,46,934 from 2 cinemas, Jabalpur (6 days) 88,308, Amravati 1,04,354, Akola 64,092, total 5,70,240, Raipur (6 days) 1,11,231, Jalgaon 52,749; Jaipur 6,13,393 (72.43%), Ajmer 31,561; Hyderabad (gross) 1,81,461.

Dil Chahta Hai 7th week Bombay 15,58,867 (45.14%) from 9 cinemas (2 on F.H.), total for 7 weeks 3,36,71,349; Ahmedabad (7 shows) 32,518 (1 unrecd.); Pune 5,74,675 from 3 cinemas, Solapur 16,250; Delhi 3,38,237 from 2 cinemas; Lucknow 1,79,311, Allahabad 27,000; Calcutta 1,11,481; Bhopal 30,797, total 7,99,286; Jaipur 46,605 (8.41%); Hyderabad (gross) 1,45,753 from 2 cinemas (1 in noon, 1 on F.H.).

Gadar Ek Prem Katha 15th week Bombay 4,33,017 from 3 cinemas (5 on F.H.), total for 15 weeks 5,94,68,201; Pune 88,856, Solapur 40,884 from 2 cinemas (1 in mg. shows); Delhi (TF) 14,70,258 from 8 cinemas (1 on F.H.); Kanpur 79,355 from 2 cinemas, Lucknow 84,314, Agra 74,000, Varanasi 53,399, Allahabad 27,800, Bareilly (6 days) 38,000; Nagpur 52,643, Jabalpur (6 days) 47,568, 2nd week Karanja 77,657, total 1,75,125, 15th week Amravati 33,732, Akola 57,101, total 20,62,782, share 15,36,623, Raipur (6 days) 24,835, Jalgaon 56,988, total 24,32,839; Indore 57,100, Bhopal 51,967, total 28,84,726; Jaipur 56,660 (14.50%).

I & B MINISTER SETS UP GROUP TO REPORT ON CABLE PIRACY

Union I & B minister Sushma Swaraj had a long meeting on 28th September in Bombay at The Club with representatives of the film industry, cable operators and broadcasters. The issue of discussion was the problem of cable piracy.

A sub-group was formed in the meeting to report its findings on the menace and arrive at solutions. The sub-group consists of Yash Chopra, Yash Johar and Amit Khanna from the film industry; and Roop Sharma, A.K. Rastogi and Hingorani from the cable industry. Anjali Duggal, joint secretary, I & B ministry, is also a member of the sub-group which will submit its report soon.

PADMINI KOLHAPURE’S COMEBACK FILM

Deoyani Movies Pvt. Ltd.’s Chimni Pakhru (Marathi; tax-free), which was released at several stations of Maharashtra this week, marks the return of Padmini Kolhapure to the big screen. She is paired opposite Sachin Khedekar in the film, directed by Mahesh Kothare.

SMITA THACKERAY IS IMPPA CHIEF

Smita Thackeray was unanimously elected president of the Indian Motion Picture Producers’ Association (IMPPA) for 2001-02 at the first meeting of the newly constituted executive committee, held on 22nd September at IMPPA House. Sushama Shiromanee and Vinay Kumar Sinha were elected senior vice president and vice president respectively. Satish Khanna was elected hon. treasurer.

Earlier, on 21st September, the following 17 members, besides the four aforementioned, were elected to the executive committee: K.D. Shorey, Pawan Kumar, Jyotin Goel, A. Krishnamurthi, Dimppy Ramdayal, Saawan Kumar Tak, Shiv Kumar, Anil Ganguly, Madan Mohla, Babloo (N.R.) Pachisia, B.S. Shaad, Rono Mukerji, Kulwant Jaani, Thakur Tapassvi, Dara Singh, Anand Girdhar and Johny Bakshi.

VIJAY ANAND APPOINTED CBFC CHAIRMAN

Vijay Anand has been appointed chairman of the Central Board of Film Certification. He took over charge from the outgoing chairperson, Asha Parekh, on 26th September.

DILIP KUMAR RECOVERING

Thespian Dilip Kumar was admitted to Lilavati Hospital at Bandra, Bombay on 26th September after he complained of uneasiness. He was at Lonavala and was rushed to Bombay. He was diagnosed to be suffering from urine infection. His condition is now stable.

CINEMAS OWE AMC RS. 3 CRORES IN TAXES

According to a news report, the Ahmedabad Municipal Corporation (AMC) is considering taking strict action against nine city cinemas which owe a total of Rs. 3.28 crore in property taxes. Reportedly, Shree Cinema owes the highest amount (Rs. 76.36 lakh), followed by Natraj (Rs. 56.03 lakh), Shiv (Rs. 52.84 lakh), Roopalee (Rs. 38.86 lakh), Rupam (Rs. 26.97 lakh), Ashok (Rs. 23.35 lakh), Advance (Rs. 23.99 lakh), Relief (Rs. 22.54 lakh) and Kamal (Rs. 8.19 lakh). Apparently, the AMC had this year applied a new formula whereby the total due tax amount had been reduced to Rs. 1.4 crore. However, theatre owners had refused to pay even the reduced amount, says the report.

‘GADAR’ BONUS

In celebration of 100 days’ run of Gadar Ek Prem Katha at Vasant Cinema, Akola, the management gave the employees as well as representative Anil Gawande 15 days’ salary as bonus.

AMIT KHANNA ELECTED GUILD PRESIDENT

Amit Khanna was unanimously elected president of The Film Producers Guild of India Ltd. for the year 2001-02, as its 47th annual general meeting held on 27th September at The Club, Bombay. Yash Chopra and Tilak Raj Magan were elected vice presidents, and Kiran Shantaram and Kamal Kumar Barjatya were re-elected honorary treasurers. Other members elected to the council of management were Surnider Kapoor, J. Om Prakash, Ramesh Sippy, Harmesh Malhotra, Prakash Mehra, Sandeep Singh Bedi, Ravi Chopra, Rajkumar Kohli, Rakesh Roshan, Ram Dayal, A.G. Nadiadwala, Yash Johar, Dr. Ramanand Sagar and Pramod Chakravorty. Kiran Shantaram and Randhir Kapoor are permanent members while G.P. Sippy, Dr. B.R. Chopra and F.C. Mehra were made members emeritus.

At the meeting, a sub-group to interact with the Federation of Western India Cine Employees was set up. It comprises Yash Chopra, A.G. Nadiadwala and Yash Johar. Another sub-group to interact with distributors, comprising Yash Chopra, Kamal Kumar Barjatya and Rakesh Roshan, was also set up.

The Guild appreciated the work being done by the FICCI for the film industry.

FIRE ON ‘DEVDAS’ SET 

Sanjay Leela Bhansali’s Devdas set was once again in the news this week when a fire broken out on it on the night (9 p.m.) of 24th September and gutted a godown where all the props used in the film shooting were stored. Three fire engines and a jumbo tanker took more than two hours to control the fire, the cause of which is unknown. No one was injured.

INTERNATIONAL WOMEN’S FILM FESTIVAL IN MARCH

The 24th International Women’s Film Festival will be held at Créteil in South-east Paris from 15th March to 24th March, 2002. The festival aims to promote films directed by women on subjects of their choice, and to allow for better understanding of the situation and evolution of women and their cinema in each country represented. The last date for sending the entry forms is 15th December, 2001. Application forms are available at Audiovisual Attaché, French Embassy, 2 Aurangzeb Road, New Delhi-110 011.

AKOLA DEOL FANS CLUB CELEBRATES ‘GADAR’ 100 DAYS

The Akola Deol Fans Club celebrated the completion of 100 days’ run of Gadar Ek Prem Katha in Akola by distributing free food to over 500 poor people.

LANDSLIDE VICTORY FOR SANTOSH SINGH JAIN
Re-Elected CCCA President

Santosh Singh Jain was unanimously re-elected president of the Central Circuit Cine Association (CCCA) for 2001-03 in Jaipur on 25th September at the first meeting of the newly elected executive committee. The panel of Santosh Singh Jain had a landslide victory with all 16 of its candidates being voted to power in the elections held the same day at Ravindra Manch. Vijay Rathi was re-elected vice president. S.K. Surana was elected hon. general secretary while Vinod Malhotra was elected hon. treasurer.

Polling began at 1.45 p.m. A total of 705 votes were cast, of which 46 were invalid. There were, therefore, 659 valid votes.

The victorious were as follows:-

C.P. Berar Distribution: Bharat R. Khajanchi (polled the highest number of votes – 619), Dilip G. Mudliar (575 votes), Ramkisan Kasat (509) and Bhagwandas (Laloo) Kabra (455).

C.P. Berar Exhibition: Vijay Rathi (578 votes), Mahendra Jain (552), Azad Laddha (500) and S.K. Surana (492).

C.I.V.P. Distribution: Santosh Singh Jain (515 votes), Vinod Malhotra (380).

C.I.V.P. Exhibition: Uttam Chand Nahar (408), and O.P. Goyal (389).

Rajasthan Distribution: Mohan Godha (386), and Nandkishore Jalani (382).

Rajasthan Exhibition: Trilok Singh (382 votes), and Kishanchand Jain (376).

The opposition, led by Ramesh Sureka, faced complete defeat with not a single of its candidates making it to the committee. The names of the vanquished are:

C.P. Berar Distribution: Vinod Bhandari (254 votes), and Premchand Sah (224).

C.P. Berar Exhibition: Vishnuprasad Agrawal (262), and Rajnish Purohit (252).

C.I.V.P. Distribution: Hemant Vyas (258 votes), and Mahesh Sharma (165).

C.I.V.P. Exhibition: Ramesh Sureka (344 votes), and Azizuddin Jameeluddin (177).

Rajasthan Distribution: Chandrashekhar Choudhary (271), Satyavan Pareek (204), and Rakesh Sabharwal (129).

Rajasthan Exhibition: Kishinchand Janiani (287), and Sandeep Bhandari (273).

Ramdhan Mamoria from Rajasthan, Pramod Munot (C.P. Berar) and Inder Chand Dhariwal (Chhattisgarh) were co-opted on the new committee.

Earlier, on 24th September, the open session, which followed the 48th annual general meeting of the CCCA, was a fairly heated affair. Opposition members questioned the working of the ruling group of Santosh Singh Jain. They also demanded annual elections as against the biennial elections being held.

Eighty-five members, who’ve completed more than 50 years in the CCCA, were felicitated in the annual meeting.

LUCKY MASCOT!

* Is O.P. Goyal the lucky mascot of the Santosh Singh Jain panel? Seems so! In 1984, Goyal contested the CCCA elections as part of the Jain Panel for the first time. Although the Jain Panel had a tough opposition in the R.R. Khajanchi panel, it won all the 16 seats.

Again this year, O.P. Goyal contested the elections from the Jain Panel. Once again, the panel bagged all the 16 seats. Interesting to note that in 1984 as also in 2001, the elections were held in Jaipur and on a Tuesday!

MADE FOR EACH OTHER

It is not for nothing that the CCCA and its president of 35 times, Santosh Singh Jain, have become synonymous with one another. Members of the biggest association of the film industry swear by Jain Sahab’s name, and the majority of them can’t imagine the CCCA without Santosh Singh Jain at the helm of affairs. Although way over 70 years of age, Jain is so active that he could give a 16-year-old a complex.

Santosh Singh Jain’s memory is razor-sharp and his eagerness to solve problems has won him admirers galore, not just among members of the CCCA but also among the production sector.

YOU ASKED IT

Will Shah Rukh and Kareena starrer Asoka take a good opening?

– Yes, if its music (which is very good) is promoted (by Sony) with a vengeance and if the producers succeed in the next 20 days in wiping out the impression from public minds that the film is just a historical. ASOKA has a love story, emotions and plenty of sex in it.

Is Sony closing down its Overseas distribution operations for Hindi films?

– May be, because Sony has gone back on its commitments for Overseas distribution to Yash Johar (KABHI KHUSHI KABHIE GHAM) and Shah Rukh Khan (ASOKA).

Does the flopping of Kyo Kii… Main Jhuth Nahin Bolta mean, it is the end of the road for the Govinda-David Dhawan team.

– One flop cannot take away from them the great work the two have done together. So, relax!

3-E
Education-Entertainment-Enlightenment

‘Asoka’: The Rate

Shah Rukh Khan and Juhi Chawla have decided to bring out a book on the making of their second production venture, Asoka. Harper Collins has actually contracted to publish the book which will be brought out in two editions — coffee table and paperback. Shah Rukh, for one, is as excited about the book as he is about his film. For, nobody in India has so far attempted to release a film and a book on it simultaneously. Of course, M.F. Hussain did it in Gaja Gamini but then, the film was so horrific that nobody heard about the book that came with it! Another thing Shah Rukh is really happy about these days is the rave reviews his Asoka got in the international press. “One critic gave the film four out of five stars. Another gave it two thumbs up,” smiled the actor.

Ask him if he is confident about the film’s performance in India and pat comes the reply, “The film is not just a historical. It has a love story, plenty of emotions including those involving a child, a lot of sex, though not vulgar, and action in the last few reels. So it is like a normal commercial film.” A very sensible thing the actor-producer has done is to sell the film to all his distributors at the ratio of Rs. 1 crore. “I paid my stars much less than their market price because I had told them, I’d be selling it cheap. I’m keeping my promise to them.” Actually, there was a time during the film’s making when Shah Rukh thought, he’d earn a table profit of some crores at the time of release. That was when Sony’s Kunal Dasgupta promised to buy its Overseas rights for a good amount. An excited Shah Rukh even told his artistes that since he would be making a profit in the film, he would pay them all more than their contracted prices. But with Sony backing out of the commitment at the eleventh hour, not only have the artistes not got anything more than the contracted monies, Shah Rukh’s production company has also suffered a table loss of a few crores in the film. But Shah Rukh isn’t complaining because he has immense faith in his film.

Juhi Chawla’s New Role

If you thought Juhi Chawla is on her way to retiring from films, stand corrected. Even though the actress does not have too many acting assignments, she has found ways to keep herself creatively involved in films. Currently, Juhi is neck-deep in the post-production work of Asoka, produced by Archlightz, a company owned jointly by Shah Rukh and herself. So what if Juhi doesn’t star in the film, she is going about her job as a co-producer of the Shah Rukh-Kareena starrer with admirable zeal. She was stationed in Madras for most part of this week, alongwith Aziz Mirza, supervising the background music recording of the film. Her unit people, in fact, are quite scared of Juhi’s temper because she is quite a perfectionist as a producer too. Whoever said, beauty and brains don’t come together?

Beginning With A Bang

The audience reaction to the second theatrical trailer of Kabhi Khushi Kabhie Gham is fantastic. This trailer shows excerpts from the title song of the film. Looking at the huge assemblage of stars in the trailer, the public is going ecstatic in cinemas which began screening the trailer this week.

Helpful Rajasthan Govt. 

The Rajasthan government looks very keen on attracting producers and directors to the state for shooting their films. Not only is a Film City coming up in Jodhpur (and not near Jaipur, as originally planned) but visiting units are also accorded all assistance for carrying out their shootings smoothly. Boney Kapoor’s unit has been in Jaisalmer since two months, shooting an untitled film starring Nana Patekar, Karisma Kapoor, Sanjay Kapoor and Shah Rukh Khan in a special appearance. Their experience with the authorities has been great, says Trilok Malhotra, executive producer of the film. The collector of Jaisalmer, Kuldeep Rana, is scheduled to meet with the production people today (29th September) in Jaisalmer to know what more the state government can do so as to make shooting there a pleasurable experience. Tourism, art and culture minister Bina Kak’s secretary will also attend the meeting. Ms. Kak sure meant business when she said, her government was keen to make Rajasthan a hub of film activity. Now, if only films shot majorly in the state could also be granted entertainment tax exemption in Rajasthan, as is done by the Uttar Pradesh government, it would be the perfect icing on the cake.

Incidentally, Babloo Pachisia is planning to shoot his Tera Mera Saath Rahen early next month in Jaisalmer.

AJNABEE

Film Folks’ Ajnabee (A), inspired by the English film Consenting Adults, is the story of two young Indian couples settled abroad. Being neighbours, they become friends and go to Mauritius on a picnic. The wife (Bipasha Basu) of one of the friends (Akshay Kumar) seduces the other guy (Bobby Deol) even as he shuns her. As if that were not enough, the friend (Akshay) puts forth a proposal to the other (Bobby) to swap their wives for one night. This disturbs the other friend so much that he snaps all ties with the couple for their behaviour but doesn’t reveal the reason to his wife (Kareena Kapoor). On their return, the couple apologises and the friendship blossoms once again. One night, the friend again puts forth the same proposal of exchanging wives for that night and twists things in such a way that the other guy, in an inebriated state, ends up sleeping with the former’s wife. In the morning, he is shocked to find himself in bed with the friend’s wife. A greater shock comes when it is revealed the same day that the friend’s wife (who he was supposed to be sleeping with) had been killed the very night they were together. The needle of suspicion for murdering his friend’s wife obviously points to the guy.

While it is clear that the guy has been framed for murder of his friend’s wife, the victim has no proof of his innocence. Even while his trial is on, he runs away from the foreign court to gather evidence to prove his innocence. From then on, it is a game of revelation of the suspense. Ultimately, the murderer is found but that is not the real suspense because all along, it is quite clear that it is the friend himself who has killed his own wife. The suspense is why and, to an extent, how he murdered her.

The suspense thriller has several plus points and several minus points, too. On the plus side is a novel angle (of swapping wives) to a suspense murder drama. But this very point has such shock value that when one considers ladies and family audience in small centres especially, it could be construed as a minus point.

Among the other pluses in the film are the huge canvas, excellent foreign locations, plenty of sex and youthfulness, superb camerawork, entertaining comedy and lovely music.

The main drawback, however, is that the story doesn’t hold the interest of the viewers for long, mainly because of inherent flaws. The second half, in particular, is quite boring. A major negative point is that other than the novel angle (which itself has a plus and a minus side to it), the film is a routine suspense thriller which has been burdened with extravagant spending (cost). There are also several flaws in the screenplay (Robin Bhatt, Neeraj Vora, Sanjeev Duggal and Shyam Goel). While several of these flaws reveal lack of effort on the part of writers and a recourse to writing according to convenience, some also give a feeling that the story (Neeraj Vora) has purposely been made confusing so that the suspense solving becomes more intriguing. An example of the latter: Akshay Kumar gets married to one girl (Mink) but gives the impression that another girl (Bipasha Basu) is his wife. Ultimately, while Mink is murdered, the world believes Bipasha to be dead. Considering that the entire murder is master-minded and planned meticulously by Akshay’s genius brains, wouldn’t it have been far, far more sensible to have not brought Bipasha in the open at all till Mink was murdered? But what Akshay does is, flaunt Bipasha while keeping Mink away from the world. Why? This point jars because the suspense begins to unfold only because of the knowledge about two girls in Akshay’s life. So one gets the impression that Bipasha Basu’s presence in the whole drama is only to make matters more complicated and to ultimately arrive at a starting point for the resolution of the mystery.

Bobby Deol’s statement in the court (before he flees) that he did go to his friend’s wife in an inebriated state, although not to sleep with her but to inform her of her husband’s indecent proposal (of swapping wives) seems ridiculous for two reasons: (i) By going to his friend’s wife, he allowed his friend, in turn, to go to his own wife. Wasn’t he concerned about his own wife’s safety? (ii) Why did he need to complain to the friend’s wife when she herself was hand-in-glove with her husband, a fact known to Bobby Deol? This appears like a clear case of convenient writing since the drama of framing Bobby begins only because he had rushed to his friend’s wife. The reason for his rushing to her should have been more solid or, in the alternative, he shouldn’t have gone to her. He could have only been shown to have slipped into sleep (due to sleeping pills mixed in his alcohol) and transported to the bed of the friend’s wife.

Therefore, the murder drama begins only because of a weak link in the story. The suspense also begins to unfold only because of another weak link in the story.

Bobby Deol’s imagination of an entire song sequence showing the bedroom romance between Kareena and Akshay has been handled a bit too casually. Intercuts of Bobby in the song make it look unintentionally funny. A better option would’ve been to show the entire song (which, otherwise, has tremendous sex appeal) in a flow and the revelation that it was in Bobby’s imagination, only at the end of the song.

The climax involving use of computer, password, English language etc. is too classy to evince the thrill that should have come with it. Dialogues are very good at places. However, lack of fiery dialogues between the two heroes in the second half dilutes the impact and the thrill of the drama to an extent.

Akshay Kumar looks very handsome and does a fine job. Bobby Deol also looks pleasing and acts naturally. Kareena Kapoor has performed ably. She also exposes uninhibitedly. Bipasha Basu makes an impressive debut and exudes abundant sex appeal. She doesn’t get much scope for acting and does well in what is required of her. Johny Lever is excellent in a comic role. He is ably supported by Narendra Bedi, Amita Nangia and Sheela Sharma. Dalip Tahhil, Sharat Saxena, Mink and the others lend the desired support.

Abbas-Mustan’s direction is good and very stylish. The film has a lot of gloss and a very snazzy look. Of course, the flaws in the script and some lesser-handled scenes do irritate. Music (Anu Malik) is hit. Almost all the songs have excellent tunes. The pick of the lot are ‘Mehbooba mehbooba’, ‘Meri zindagi mein ajnabee ka intezaar tha’, ‘Mohabbat naam hai kiska’ and ‘Kasam se teri aankhen’. Song picturisations are superb. Camerawork (Rajan Kinagi) is par excellence. Action (Kaushal-Moses) is thrilling. Editing is sharp. Background score is effective. Technically, brilliant. Production values are grand.

On the whole, high-priced Ajnabee relies more on style than substance and will, therefore, do well in cities mainly. For its distributors of Bombay and South, it will prove a rewarding experience. For the rest, it will be an average fare, at best. A long run for the heavy-on-initial film is a far cry.

Released on 21-9-2001 at Liberty and 24 other cinemas of Bombay thru Devgan Entertainment & Software Ltd. Publicity & opening: excellent. …….Also released all over. Opening was very good everywhere.

KYO KII… MAIN JHUTH NAHIN BOLTA

Shri Siddhivinayak Films’ Kyo Kii… Main Jhuth Nahin Bolta (UA) is a comedy inspired by the English film Liar Liar. A young lawyer is in the habit of speaking lies. He uses the easy way out to become a rich man by marrying a famous and top lawyer’s daughter. For wooing the girl, he resorts to lies and only lies, but all long gives the family the impression that he is a very self-respecting man. His dream of becoming rich is smashed to the ground when his wife, in a bid to respect his ideals in life, refuses to take anything from her father as dowry. Frustrated, the young lawyer accepts a challenge to save the brother of an underworld don, involved in a murder case, from the clutches of law. He succeeds (by talking lies in the court) and the don gives him all the luxuries of life. In the meantime, he also gets physically attracted towards the don’s moll.

One fine day, his little son prays to God to free his father from his habit of speaking lies. The boy’s wish is granted and the lawyer finds himself talking the truth and only the truth, whether in or outside the court. This lands him in trouble in a case in which he is representing a widow against the don. For, he had (before he began talking the truth) promised the don (for a fee) to actually plead the case of the don even while representing the widow. Now choosing to speak the truth, he ends up pleading the widow’s case! Having become honest, he exposes the don and ultimately helps the widow win the case. He also gets rid of his girlfriend because of his honesty. His wife, who was on the verge of giving him a divorce, comes back to him following his change of heart.

The film suffers on account of a weak and faulty screenplay (Younus Sejawal and Imtiaz Patel). Even the characterisation of the hero is not uniform. He is shown as a funster and crook of the highest order, but suddenly becomes serious at the interval point. In all his seriousness, he even vows to become a big man soon, presumably, without taking recourse to unfair means. Post-interval, the same funster and crook hooks a girl and has an extra-marital affair with her. Since that was never his character, the entire track of the other woman sticks out like a sore thumb in the drama.

Again, the young lawyer is shown to be so brainy that he could have made it big by his sheer genius. He comes up with a solution in a murder case when even his would-be-father-in-law can’t think of one despite being a top lawyer. He wins the case of the don’s brother also so easily that the viewer gets the impression that either he is super-intelligent or the law is an ass. If the guy is very intelligent, the whole drama looks false; if law is an ass, the drama again falls flat albeit for a different reason — for, in such a scenario, the young lawyer does not need to hoodwink people.

The top lawyer’s (father-in-law’s) character is also weird. He behaves more like a buffoon than a respectable lawyer he is shown to be.

Too much emphasis on courtroom dramas makes the film dull and very technical, even confusing at times.

While the portion when the young lawyer starts speaking the truth is quite funny, even hilarious at times, the same cannot be said of the entire film. Although designed as a laugh-riot, many jokes in the film fall flat and some of them evoke half-smiles rather than loud laughter. Yes, there are some hilarious scenes too but the thread of hilarity breaks ever so often that the comedy begins to jar. Dialogues are very witty but only at places.

Climax is not at all satisfying. The silliest part is when the hero runs to the court with a video cassette and asks the judge to watch its contents and rely on them even though he himself doesn’t have the faintest idea about what is there in the video cassette. It is scenes like these which make the viewer feel that the writers and director are under-estimating his intelligence — something which no viewer likes!

Govinda does an excellent job and, despite a faulty characterisation, manages to shine in almost every scene. The guy is truly a genius but even a genius needs a cohesive drama to make a film work. Sushmita Sen acts ably but she is no match for Govinda in comedy as also energy. Rambha is so-so. Anupam Kher does not behave like a top lawyer. Satish Kaushik, as Govinda’s friend, is first rate. Satish, like Govinda, has a super-fantastic sense of timing and is just too lovable. Sharad Kapoor is fair. Kiran Kumar, Mohnish Bahl and Ashish Vidyarthi lend average support. Razak Khan and Nilofer add their bits of comedy. Shahbaaz Khan, Ananth Mahadevan, Jaya Bhattacharya, master Jibraan Khan, Ram Mohan, Ajit Vachhani, Ghanshyam, Guddi Maruti, Brij Gopal, Amit Behl, Vikas Anand, Mahavir Shah and the rest pass muster.

David Dhawan has tried to pack the film with comic punches but the imperfect script plays the villain. The lack of effort on David’s part also shows in some scenes as the director may have realised his helplessness due to poorly conceived scenes. Anand Raaj Anand’s music is good. ‘Ek ladki chahiye’, ‘Main kee karaan’ and ‘Sajan re jhooth mat bolo’ are very well-tuned numbers. Song picturisations do not have much variety. Camerawork (K.S. Prakash Rao) is very good. Action scenes are functional. Production values are of a high order.

On the whole, Kyo Kii… Main Jhuth Nahin Bolta is a comedy that will make its distributors cry. A heavy loser.

Released on 21-9-2001 at Minerva and 17 other cinemas of Bombay thru Raksha Distributors. Publicity: fair. Opening: below the mark. …….Also released all over. Opening was poor everywhere.

LATEST POSITION

The lovely opening of AJNABEE gladdened the heart but the dull initial of KYO KII… saddened the trade.

Ittefaq bombs miserably. 1st week Bombay 27,49,834 (40.61%) from 13 cinemas (6 on F.H.); Ahmedabad 4,36,416 from 6 cinemas (3 unrecd.); Pune 4,72,386 from 4 cinemas, Solapur 1,22,860 from 2 cinemas (1 in matinee), Satara 82,723 from 2 cinemas (1 in matinee); Delhi 9,32,571 (25.49%) from 6 cinemas (2 on F.H.); Kanpur 1,17,962, Lucknow 1,55,246, Agra 1,50,000, Varanasi 1,25,828, Allahabad 70,665, Jaunpur 50,000; Calcutta 3,99,798 from 6 cinemas; Nagpur 75,367 (3 cinemas unrecd.), Jabalpur (5 days) 58,680, Amravati 89,401, Raipur (6 days) 46,402, Jalgaon 77,611, Wardha 44,000; Jaipur 3,16,292 (23.38%) from 3 cinemas, Ajmer (29 shows) 40,629; Hyderabad (gross) 7,64,581 from 5 cinemas (6 on F.H.).

…………

Nayak drops badly. Will entail losses of about 50 to 75 lakh per major territory. Is not as bad in Bombay. 2nd week Bombay 35,54,933 (58.77%) from 12 cinemas (5 on F.H.), total for 2 weeks 85,62,066; Ahmedabad 5,92,307 from 3 cinemas (4 unrecd.), Rajkot 1,96,000, Jamnagar 80,591 from 2 cinemas (1 in matinee); Pune 9,97,252 from 5 cinemas (1 in matinee), Solapur 2,89,895 from 2 cinemas (1 in matinee), Satara 1,02,637 from 2 cinemas (1 in matinee); Bijapur 90,800; Delhi 20,03,496 from 9 cinemas (2 on F.H.); Kanpur 3,00,255 from 2 cinemas, Agra 3,26,000, Varanasi 1,65,744, Allahabad 1,63,430, Jaunpur 40,075, total 1,27,856; Calcutta 3,03,570; Nagpur 2,77,844 from 2 cinemas, Jabalpur (6 days) 85,049, Amravati 2,24,727, Raipur (6 days) 1,42,083, Jalgaon 1,62,913 (1st 2,32,151), Wardha (5 days) 55,143, Chandrapur 2,06,179, total 4,68,900, Yavatmal (5 days) 49,375; Jaipur (6 days) 3,37,664 (49.71%), Ajmer (gross) 1,06,661, Bikaner (5 days) 1,23,168; Hyderabad (gross) 3,54,830 (1 unrecd.).

Lajja also drops further. Is quite good in C.P. and Eastern U.P. 3rd week Bombay 13,45,379 (49.87%) from 5 cinemas (4 unrecd., 10 on F.H.), total for 3 weeks 1,24,99,636; Ahmedabad 2,88,212 from 3 cinemas, Rajkot 1,07,150, Jamnagar 34,445 (1 in matinee unred.); Pune 5,39,353 from 3 cinemas (1 in matinee), Solapur 85,720 from 2 cinemas (1 in matinee), Satara 85,202; Bijapur 26,531; Delhi 19,36,602 from 9 cinemas (2 on F.H.); Kanpur 2,40,509 from 2 cinemas, Lucknow 4,04,423, Agra 1,25,000, Varanasi 1,34,785, Allahabad 1,82,470, Bareilly (6 days) 61,060; Calcutta 5,35,079 from 4 cinemas; Nagpur 2,57,000 from 2 cinemas, Jabalpur (6 days) 1,15,119, Amravati 1,66,524, Raipur (6 days) 1,82,892, Durg 58,298, Jalgaon 92,075, Wardha 45,344, Rajnandgaon (6 days) 40,000, Yavatmal 47,481, total 2,62,792; Jaipur 6,48,915 (76.63%), Ajmer 50,286, Bikaner 71,299; Hyderabad (gross) 5,81,963 from 2 cinemas.

Dil Chahta Hai dropped in Bombay too. 6th week Bombay 29,71,796 (49.62%) from 13 cinemas (3 on F.H.), total for 6 weeks 3,21,12,482; Ahmedabad 1,36,495 (1 unrecd.); Pune 11,33,448 from 5 cinemas, Solapur 57,700; Delhi 20,95,794 from 7 cinemas; Lucknow 2,26,491, Varanasi 38,722, Allahabad 1,70,005, Bareilly 21,000; Calcutta 4,00,482 from 2 cinemas; Amravati 52,391; Bhopal 53,201; Jaipur (6 days) 56,196 (10.85%); Hyderabad (gross) 5,09,515 from 3 cinemas (1 in noon).

Gadar Ek Prem Katha 14th week Bombay 6,04,332 (37.06%) from 4 cinemas (5 on F.H.), total for 14 weeks 5,09,35,184; Ahmedabad 58,149 from 2 cinemas, Rajkot (matinee) 12,800; Pune 1,22,063, Solapur 24,581; Delhi (TF) 23,06,068 from 9 cinemas (1 on F.H.); Kanpur 1,19,135 from 2 cinemas, Lucknow 1,60,972, Agra 1,05,000, Varanasi 67,871, Allahabad 38,000, Bareilly 49,732; 2nd week Puri 100%; 14th week Jabalpur (6 days) 50,369, Amravarti 42,990, Raipur (6 days) 29,887, Jalgaon 60,330, total 23,75,870; Indore 71,379, Bhopal 85,193; Jaipur 1,35,657 (23.18%), Ajmer (gross) 1,01,768; Hyderabad (gross) 1,87,161.

RAJARAM CHAVAN DEAD

Rajaram B. Chavan, proprietor of Sheetal Cinema at Kurla, Bombay, passed away in a city hospital on 19th September. He was 73 and had been ill for a short time. The cinema remained closed on 19th and 20th.

Rajaram Baburao Chavan’s other business interests included Bombay Motor Training School & Automobile Mechanical Institute.

TAX-FREE SERVICE CHARGE DOUBLED IN CHHATTISGARH

The tax-free service charge per ticket sold by cinemas in Chhattisgarh state has been doubled with effect from 21st September. The Chhattisgarh Cine Association, Raipur, led by its president, Inderchand Dhariwal, had been pressing the government of the newly-formed state to increase the service charge from the present Re. 1.

The government finally heeded the trade’s request and hiked the charge to Rs. 2 per ticket.

ADNAN SAMI WEDS

Singer and music director Adnan Sami got married to Sabah on 15th September in Dubai. The couple is currently on honeymoon.

‘LAGAAN’ UNAUTHORISED PRINT SEIZED

Acting on a written complaint by Radhika Films, Amravati, the SDOP (Harda) on 10th September raided Priti Talkies, Khirkiya (C.P. Berar) and recovered an unauthorised print of Lagaan being screened there. Upon investigation, it was discovered that the cinema management had procured the print from Indore. The cinema has been sealed indefinitely and a case has been registered against the management in Harda police station. The proprietor and the staff of the cinema have been absconding.

It may be mentioned here that Priti Talkies, not being a member of the CCCA, has reportedly been screening illegal prints of new releases on a regular basis. Not only that, the cinema hall also advertises the film being screened there in local newspapers!

The menace of no. 2 prints has been assuming killing proportions, eating into business of legitimate distributors.

ACTOR YOGRAJ SINGH IN JUDICIAL CUSTODY

Punjabi film actor Yograj Singh, facing criminal charges in model Jessica Lal’s murder case, was on 19th September remanded to judicial custody for five days by a Delhi court for his repeated failure to appear before it. The court rejected Singh’s appeal for cancellation of warrant and remanded him to judicial custody till 24th September.

AIFEC PROTESTS LIMITED QUOTA AT IFFI

The All India Film Employees’ Confederation has, in a strongly-worded statement, decried the allotment of only 200 technician-delegate cards for this year’s International Film Festival of India. The AIFEC, which has been clamouring for an independent quota for some time now, had been assured this year by I & B minister Sushma Swaraj that its demand would be granted at the ensuing festival. Till now, it is the FFI which gives 200 passes to the AIFEC for its members from out of the 1,200 received by it.

The AIFEC has returned the packet containing forms for the IFFI to the FFI and informed the Directorate of Film Festivals of the same.

‘LAGAAN’ RELEASED WITH POMP AND SHOW

Lagaan opened this week at Sangeet Cinema, Bhopal after being screened at other city cinemas. The cinema management held a puja to mark the release. Grand publicity has been done at the cinema. The film’s banner in the cinema premises was garlanded on the opening day.

‘GADAR’ 100 DAYS

Zee Telefilms’ Gadar Ek Prem Katha entered the 100th day of its run today (22nd September) at scores of cinemas all over. Produced by Nitin Keni for Zee and directed by Anil Sharma, the film stars Sunny Deol, Amisha Patel, Amrish Puri, Lillete Dubey, Vivek Shauq and others. It is written by Shaktimaan and has Anand Bakshi’s lyrics, set to tune by Uttam Singh.

‘LAGAAN’ STRIKES A TON

Aamir Khan Productions’ Lagaan entered the 100th day of its run today (22nd September) in Bombay and some other stations. Directed by Ashutosh Gowariker for producer Aamir Khan, the film stars Aamir Khan, Gracy Singh, Rachel Shelley, Paul Blackthorne, Suhasini Mulay, Kulbhushan Kharbanda, Raghuvir Yadav, Rajendra Gupta, Rajesh Vivek, A.K. Hangal and others. It has story by Ashutosh Gowariker, screenplay by Ashutosh Gowariker, Kumar Dave and Sanjay Dayma, and dialogues by K.P. Saxena (Awadhi) and Ashutosh Gowariker (English). The lyrics of Javed Akhtar have been set to music by A.R. Rahman.

YOU ASKED IT

Why did Jeetendra’s Kyo Kii… Main Jhuth Nahin Bolta not take even a fairly good opening?

– Its publicity was insipid, its music was not promoted to the desired level (three songs are good) and Govinda has lost his popular appeal quite a lot, after the TV game show, JEETO CHAPPAR PHAAD KE, which he hosts. Further, Govinda appearing in down-market TV commercials has also adversely affected his standing among the gentry audience. 

Were songless films made in the good old days too?

– The first film without songs was J.B.H. Wadia’s NAUJAWAN, released in 1937. There were no songs as the film was meant to be a thriller. A special trailer was made to explain this to the audience.

If a good opening is half the battle won, what is a poor opening?

– 75% of the battle lost! 

LATEST POSITION

The bad phase in the industry continues.

Nayak is poor except in Bombay, parts of Maharashtra and U.P. 1st week Bombay 50,07,133 (75.61%) from 13 cinemas (9 on F.H.); Ahmedabad 5,19,478 from 2 cinemas (4 unrecd.), Rajkot 2,26,616, Jamnagar 99,762 from 2 cinemas (1 in matinee); Pune 12,35,331 from 5 cinemas, Solapur 3,63,911 from 2 cinemas (1 in matinee), Satara (matinee) 44,521 (98.53%); Hubli 2,53,053 from 2 cinemas (1 in noon), Belgaum 1,93,111, Dharwad 1,33,256 from 2 cinemas (1 in noon), Nipani 71,819, Bijapur 2,30,276; Delhi 38,47,242 (52.35%) from 11 cinemas (2 on F.H.); Kanpur 4,13,170 from 2 cinemas, Lucknow 6,43,459 from 2 cinemas, Agra 3,54,000, Varanasi 2,38,343, Allahabad 2,11,367, Jaunpur 87,781; Calcutta 11,12,107 from 7 cinemas; Nagpur 7,59,321 from 4 cinemas, Jabalpur (6 days) 1,39,451, Amravati 3,00,536, Akola 2,26,154, Dhule 1,86,030, Raipur (6 days) 1,79,897, Bhilai (6 days) 1,22,314, Jalgaon 2,32,151, Wardha (4 days) 90,280, Chandrapur 2,62,721, Yavatmal (4 days) 69,937; Jaipur 7,03,555 (44.78%) from 3 cinemas, Ajmer (gross) 1,85,701; Hyderabad (gross) 29,65,981 from 10 cinemas (1 in noon). Total 2,17,09,765 from 87 cinemas.

………….

Lajja drops everywhere. 2nd week Bombay 43,56,579 (59%) from 11 cinemas (9 on F.H.), total for 2 weeks 1,11,54,257; Ahmedabad 2,70,691 from 2 cinemas (6 unrecd.), Rajkot 1,79,000, Jamnagar 72,678 from 2 cinemas (1 in matinee); Pune 10,35,374 from 5 cinemas (1 in matinee), Solapur 1,31,887 from 2 cinemas (1 in matinee); Bijapur 61,808 (1st 1,20,686); Delhi 43,42,607 from 12 cinemas (1 on F.H.); Kanpur 3,54,449 from 2 cinemas, Lucknow 6,31,510 from 2 cinemas, Agra 2,11,000, Varanasi 2,04,233, Allahabad 2,41,500, Bareilly (6 days) 84,718; Calcutta 8,21,338 from 5 cinemas; Nagpur 4,40,571 from 3 cinemas, Jabalpur (6 days) 1,70,825, Amravati 2,05,257, Akola 1,44,814, total 3,91,065, Raipur (6 days, gross) 2,29,445, Bhilai (6 days) 96,206, Durg 91,891, Jalgaon 1,35,286 (1st 2,36,279), Wardha 79,667, Yavatmal 77,590, total 2,15,311; Indore 1,37,000 (3 on F.H.); Jaipur 6,77,556 (80.01%), Ajmer 69,286, Kota 1,55,000 (1st 2,18,000); Hyderabad (gross) 4,79,080 from 2 cinemas; 1st week Davangere 2,13,768. Total 1,64,02,614 from 68 cinemas.

Dil Chahta Hai 5th week Bombay 42,60,526 (63.20%) from 14 cinemas (6 on F.H.), total for 5 weeks 2,91,40,686; Pune 11,24,775 from 3 cinemas, Solapur 60,340; Delhi 22,36,386 from 6 cinemas; Kanpur 37,192, Lucknow 2,73,078, Agra 1,25,000, Varanasi 48,212, Allahabad 45,000; Calcutta 4,76,987 from 2 cinemas; Amravati 58,427, Raipur (6 days) 41,451; Bhopal 69,663; Jaipur 72,770 (12.04%); Hyderabad (gross) 5,70,604 from 3 cinemas (1 in noon; 2 on F.H.); 1st week Mangalore 1,87,318.

Gadar Ek Prem Katha 13th week Bombay 4,75,856 (46.29%) from 3 cinemas (6 on F.H.), total for 13 weeks 5,84,30,852; Ahmedabad 52,108 from 2 cinemas (2 unrecd.); Pune 2,97,691 from 4 cinemas (1 in matinee), Solapur (matinee) 30,900, Satara (21 shows) 21,411; Delhi (TF) 21,43,391 from 9 cinemas (1 on F.H.); Kanpur (6 days) 1,38,930 from 2 cinemas, Lucknow 1,60,903, Agra 1,22,000, Bareilly 60,918; 12th week Calcutta 61,856; 13th week Nagpur 97,684 from 2 cinemas, 5th Kamptee 39,684, total 3,62,812, 13th week Amravati 53,667, Akola 64,689, total 19,54,780, share 14,96,683, Raipur (6 days) 39,528, Jalgaon 65,363, total 23,15,569; Indore 81,500, Bhopal 92,771; Jaipur 1,34,005 (22.90%), Ajmer (gross) 88,250; Hyderabad (gross) 2,05,690.

EIGHT INDIAN FILMS FOR CAIRO FETE

As many as eight Indian films have been selected for the 25th Cairo International Film Festival to be held between 9th and 20th October this year. The films, to be screened in various sections at the fete, are Tapan Sinha’s Daughters Of This Century, Aamir Khan’s Lagaan, Ashok Mehta’s Moksh, Yash Johar’s Kuch Kuch Hota Hai, Jayaraj’s Shantham (Malayalam), M.P. Sukumaran Nair’s Sayanam (Malayalam), Raja Sen’s Atmiyo Swajan (Bengali) and M.T. Vasudevan Nair’s Oru Cheru Punchiri (Malayalam). The selection of the eight films was made by the festival authorities after previewing a total of nine films recommended by the fete’s Indian representative and jury member, R.A. Jalan (of Gaurang Films, Calcutta). Actress-danseuse Mamata Shankar has also been invited to be a part of the festival’s jury panel.

AMPTPP DECRIES INCREASE IN FILM CITY CHARGES

The AMPTPP has written to Film City authorities, asking them to reconsider their decision to enhance the rates of shooting charges separately for each location as well as for outdoor locations, together with electricity and air-conditioning charges per shift. Earlier, on 14th January ’99, during a joint meeting of producers’ associations and Film City authorities, it was decided that the latter will charge a flat rate of Rs. 6,000 per day to shoot on any location in Film City. However, the Film City authorities unilaterally decided on the rate enhancement.

3 DIE IN CRASH IN CALCUTTA CINEMA

Three people were crushed to death and over 30 injured when a 1,000 square feet front roof of Society cinema in Calcutta collapsed on 10th September. The people were waiting under the roof as it was raining heavily. Nearly 100 people were under the roof but most of them managed to run to save their lives when it gave way.

The second show was coming to its end when the roof crashed. The panic-stricken audience had to be escorted out through the emergency gates. Snarled rescue effort took time to take off and several people were trapped under the debris for over five hours. The injured were moved to two hospitals.

AMPTPP, IMI, PPL SIGN MOU

The Association of Motion Pictures & TV Programme Producers (AMPTPP), India Music Industry (IMI) and Phonographic Performance Ltd. (PPL) signed a memorandum of understanding on 11th September, in an effort to prevent unauthorised screening of film clips, usually containing song sequences, on satellite channels. Under the terms of the MOU, PPL is authorised, on behalf of film producers, to administer the rights in the film clippings in respect of their use by the satellite channels. PPL is also authorised to issue permissions and licences to the channels as well as to fix the terms and payment for such use.

All revenue collected by the PPL will be shared 50:50 by the AMPTPP and PPL. It may be noted that non-film music videos produced by IMI/PPL members have been excluded from the purview of the MOU.

‘AJNABEE’ SONG: LYRICIST CRIES FOUL

Lyricist Taabish Romani has alleged that the song ‘Mohabbat naam hai kiska’ from Film Folks’ Ajnabee, credited to Sameer, has been plagiarised from a song written by him in 1991. The song had been registered with the Film Writer’s Association in the same year, he claims.

AMPTPP WRITES TO CULTURE MINISTRY

The AMPTPP has, in a letter dated 10th September, proposed various concessions which the Maharashtra government’s ministry of cultural affairs can grant to the film industry. They are as follows:

(i) The government to provide electricity and water to studios, laboratories, recording centres, cinema halls etc. at industrial rates and not at commercial rates as at present.
(ii) The government to provide more benefits in terms of free or low land lease, tax-exemption, loans and subsidies to boost the production sector’s efforts at creating necessary infrastructure for film production in Maharashtra, thereby eliminating the need to go to other states.
(iii) The 5-year tax-holiday scheme for multiplexes be made applicable to existing single-screen cinemas if they renovate and convert to at least 2-screen cinemas.
(iv) Lowering the minimum limit to avail of the above multiplex policy to 2 screens instead of 4 as at present.
(v) Removal of sales tax on copyright.
(vi) Local government bodies to be urged to provide all assistance to film and TV serial crews while shooting.
(vii) A stringent implementation of the Copyright Act and Cable TV Act.

M.P. GOVT. HONOURS MAHENDRA KAPOOR

The Madhya Pradesh government has conferred the annual Lata Mangeshkar award on veteran singer Mahendra Kapoor. Besides a scroll of honour, the award carries Rs. 1 lakh in cash prize. The function to felicitate the singer will be held on February 17, 2002.

CINEMA REBUILT AFTER FIVE YEARS

Sapna Cinema in Ulhasnagar (Thane district), which had been shut down nearly five years ago, will reopen on 21st September with Ajnabee. The cinema has been entirely rebuilt and is situated between the 3rd and 5th floors of a shopping complex. The seating capacity is 470 (balcony – 143; stalls – 327). The admission rates are Rs. 60 and Rs. 40.

Santosh Singh Jain Panel Set To Sweep CCCA Elections In Jaipur

With just a little over a week to go before members of the Central Circuit Cine Association descend upon Jaipur to attend its 48th annual general meeting on 24th September and biennial elections the following day, some heat has been generated. A total of about 800 members are expected to cast their votes this time despite the lack of much heat. Giving a meek competition to Santosh Singh Jain’s panel of contestants is the opposition led by Ramesh Sureka.

The following nominations had been received and found in order till 10th September, the last date for filing them:

C.P. Berar Distributors (4 seats):- Anil Kumar Rathi, Bhagwandas (Laloo) Kabra, Bharat R. Khajanchi, Chandrashekhar Choudhary, Dilip G. Mudliar, Girdhar Solanki, K.D. Sonar, Mohan Godha, Premchand Sah, Ramkisan Kasat and Vinod Bhandari.

C.P. Berar Exhibitors (4 seats):- Arjundas Bhateja, Azad Laddha, G.N. Ganediwal, Inderchand Dhariwal, Mahendra Jain, Milapchand Jain, Munshiram Upveja, Rajnish Purohit, S.K. Surana, Vijay Rathi and Vishnuprasad Agrawal.

C.I. Distributors (2 seats):- Dinesh Sharma, Hemant Vyas, Jitendra Jain, Mahesh Sharma, Nandkishore Jalani, O.P. Goyal, Santosh Singh Jain and Vinod Malhotra.

C.I. Exhibitors (2 seats):- Arvind Joshi, Azizuddin Jameeluddin, Dhanraj Oza, O.P. Goyal, Ramesh Sureka, Shiv Kumar Jaiswal and Uttamchand Nahar.

Rajasthan Distributors (2 seats):- Akhilesh Ramdeo, Chandrashekhar Choudhary, Kishan Puri, Kishinchand Janiani, Mohan Godha, Nandkishore Jalani, Narendra Singh Baid, Rakesh Sabharwal, Ramdhan Mamoria, Satyavan Pareek, Subhash Burad and Sudhir Puri.

Rajasthan Exhibitors (2 seats):- Chandrashekhar Choudhary, Kishanchand Jain, Kishinchand Janiani, Kishanchand Bansal, Liyakat Ali, Madhusudan Pareek, Narendra Sharma, Ramesh Chand Jain, Ramdhan Mamoria, Sandeep Bhandari, Trilok Singh and Vedprakash Goyal.

There seems to be no competition in the C.P. Distributors’ as well as Exhibitors’ section. Members of the Santosh Singh Jain panel are poised for a cake-walk victory. In the Distributors’ section, the most likely winners are Bharart R. Khajanchi, Ramkisan Kasat, Dilip Mudliar and Bhagwandas (Laloo) Kabra. In the C.P. Exhibitors’ section, the balance of scales seems to be titled in favour of S.K. Surana, Vijay Rathi, Azad Laddha and Mahendra Jain.

The fight, if any, will be in the C.I. and Rajasthan territories. CCCA president Santosh Singh Jain’s victory from the C.I. Distributors’ section is, of course, a foregone conclusion. In the C.I. Exhibitors’ section, there may be a tough fight between Santosh Singh Jain’s Uttam Nahar and O.P. Goyal and the opposition’s Ramesh Sureka and Azizuddin Jameeluddin.

The Rajasthan Distributors’ section may also see both candidates of Jain’s group — Mohan Godha and Nandkishore Jalani — winning. Trilok Singh’s victory from the Rajasthan Exhibitors’ section is almost a certainty.

All in all, at least 13 or 14 members of the Jain panel are bound to romp home victorious. It should not be a surprise even if all 16 of the panel are declared elected.

A total of 85 CCCA members and workers, who have completed more than 50 years in the industry, will be felicitated at the annual general meeting this year. The names of the members to be honoured at the hands of MPA (Delhi) president G.S. Mayawala are:

C.P. Berar Region (total 51 to be felicitated): Sharad Chandra J. Malpani, S.B. Agrawal (Jhunjhunwala), Bhalchandra Keshaorao Garud, S.A. Hussaini, S.B. Patil (Nana Saheb), V.P. Solanki, Laxminarayan C. Bhandari, Shikharchand Jain, Vasant Pundlik Pande, Syed Mehboob Syed Moiuddin, Jagannath Narhari Dusane, C.K. Mahajan, Jagannath H. Pandya, N.B. Kazi, Kashinath Dattatraya Sonar, S. Mohan Singh, Dattatraya Eknath Naik, Dhondu Vithoba Lanjulkar, Sudhakar Anandrao Saikhedkar, H.G. Daga, Manohar K. Aware, Keshrimal Lunkad, Yahyabhai Taherali, Sukhwant N. Killor, P.V. Oza, N.D. Kabra, D.K. Goliwale, G.E. Naik, S.D. Palkar, N.P. Phalak, Chintaman Choudhary, Dwarkadas C. Bhate, Saitwal, M.B. Patil, Pundlik Narayan Patil, Vasant Rao Bhikaji Patil, Nagarmal Premraj Sharma, P.A. Kulkarni, Ramanlal H. Bhatia, Naunital H. Bhatia, Vinayak Vishnu Upasani, G.M. Pardesi, M.N. Bhosekar, P.G. Gujrathi, P.S. Patil, H.S.P. Rao, B.G. Dave, Vishwaraj Singh, Kashiram Asaram Sawale, F.H. Sisodiya, Vishwamohan Tiwari.

C.I. Region (total 26 to be feted): Santosh Singh Jain, Dayanand Kapoor, Lachhmi Narain Kapoor, Shantilal C. Jain, Pukhraj Nahar, Babulal Wani, Brijmohan Saraf, M.L. Jain, Nayan Ranjandas, Surendra Parekh, Harisingh Dularelal Mukharya, Joharilal Jhanjharia, Devdutt, G.S. Gupta, S.M. Kothari, V.K. Joshi, C.S. Lunkad, Radheshyam Gupta, H.R. Malhotra, Manohar Vishnu Kapde, Asaramji Saboo, B.B. Chaturvedi, P.J. Agrawal, B.P. Jhanjharia, Ramjilalji Sharma, S.S. Jogdand.

Rajasthan Region (8 to be feted): Gaurishankar Pandia, S. Krishnamurthy, Luqman Hussain, Gopaldas Purohit, Dhanpat Singh Bengani, Chandanmalji Baid, Sunderlal Devpura, Laxminarayan Sharma.

YOU ASKED IT

What are the definite releases this Diwali?

– With two months still to go, there will be several changes in the release position of films. So there’s no sense in hazarding a guess now.

What is the price of one roll of Kodak film positive?

– Rs. 2,050. There is a discount available for bulk purchase.

Is it true that Sunny Deol is demanding 5 crore as his fee for a film.

– If a star is not interested in working in a film, the best way to say this is to ask for the moon.

CENSOR NEWS

Arclightz and Films P. Ltd.’s Asoka (historical) was given C.C. No. CIL/2/26/2001 (UA) dt. 11-9-2001; length 5048.25 metres in 17 reels (cuts: 6.47 metres).

Sri Siddhivinayak Films’ Kyo Kii… Main Jhuth Nahin Bolta (social), seen on 7th, has been issued C.C. No. CIL/2/27/2001 (UA) dt. 12-9-2001; length 4317.91 metres in 18 reels (cuts: 8.85 metres).

Film Folks’ Ajnabee (social), seen on 6th, has been issued C.C. No. CIL/3/81/2001 (A) dt. 13-9-2001; length 4525.95 metres in 18 reels (minor deletion in sound only).

DO YOU KNOW?

* Mukesh Khanna has written to the Guinness Book of World Records, asking for the inclusion of his SHAKTIMAAN in the Book as the longest running TV serial. The serial, produced by his Bheeshm International, has entered the fifth year of its run on DD1.

* GADAR has created a record by fetching a distributor’s share of 55,93,487/- in 13 weeks at Milan, Delhi. Total collection for 13 weeks: 85,18,487/-.

* GADAR has created a city record by collecting 81,310/- in 12th week at Anand, Jabalpur. 12 weeks’ total: 25,41,930/-.

* GADAR has created a Khandesh record by collecting 65,363/- in 13th week at Chitra, Jalgaon. Total for 13 weeks: 23,15,569/-, Khandesh record. 

* GADAR has created a city record by collecting 19,54,780/- in 13 weeks at Vasant, Akola. Share: 14,96,683/-, city record. 

* GADAR has created a city record by collecting a total of 3,62,812/- in 5 weeks at Shree Talkies, Kamptee (C.P. Berar). 5th last week’s collection was 39,684/-.

* KANASUGARA (Kannada) has fetched a share of 22,00,000/- in 6 weeks from Sujata, Hubli and Mahalaxmi, Gadag. 

3-E
Education-Entertainment-Enlightenment

Distributor: Speak No Truth!
Producer: Hear No Truth!

Ever wondered why the producer of a film is the last to know that his film has bombed? Firstly, because he doesn’t want to believe that it has flopped. Secondly, his distributors will not let him know so. Distributors are a funny lot. Even if a film, released by them, seems obviously heading towards becoming a disaster, they would not risk breaking the news to its producer. Rather, many distributors do the opposite — while insulating their producer from the genuine (bad) reports, they praise the film sky-high before the producer and even tell him of an excellent public reaction which actually doesn’t exist. If the film has opened to full houses, they substantiate their claim with box-office figures. But if the initial is poor or ordinary, they’ll support their concocted public reaction by saying that the film will soon pick up and that the producer should not worry at all.

Why this strange behaviour of all distributors — or almost all? Are they such an insecure lot that they fear, the producer will not give them his next film if they speak the truth? In the first place, would they be interested in the producer’s next? Also, are producers so vain that they don’t want to be told the truth for as long as possible?

New Zeal In Promotion

Producer Vashu Bhagnani has done what no producer has done so far. He released the music of his forthcoming film, Rehnaa Hai Terre Dil Mein, in New Zealand earlier this week. For the grand release, he flew not just members of the fourth estate but also some leading dealers of HMV, the music company which will market the audio cassettes and CDs. Vashu was to have launched the music in India by releasing it in five or six cities of the country on the same day. For this, he wanted to charter a plane which would fly his guests and unit to the different cities for the audio release. But when the airlines authorities pleaded their inability to arrange for cabin crew for the flight that would be chartered, due to staff shortage, Vashu decided to instead fly his unit and guests to New Zealand.

Malaysian Malady

Film industry people are a superstitious lot. So trust them to dig out information like the one that follows.

Malaysia has proved to be a very unlucky shooting spot as far as the box-office fates of films shot there go. To substantiate their claim, they throw names of such disasters as One 2 Ka 4, Yaadein…, Aks, Yeh Raaste Hain Pyar Ke and Aaghaaz as the films which have been shot in the Asian country. More recently, Shankar had taken his unit to Malaysia for Nayak. Not just Hindi films, even Telugu films shot in Malaysia have bombed. But there are two exceptions in Telugu, at least. D. Rama Naidu’s Preyasi Raave and S.V. Krishna Reddy’s Telugu film did well after being shot in Malaysia. Of course, two films out of 20-odd shot there is not much of a consolation. So while the Malaysian tourism department would like to promote the country for Indian film shootings, with the catchline ‘Malaysia – Truly Asia’, the more discerning (read that superstitious) producer would like to cry ‘Malaysia – Truly Unlucky’. Howzzat?!?

South African Shivers

Like Malaysia, another country that has translated into bad luck for Hindi film producers is South Africa. Some of the films shot in SA and which, on release, proved to be duds at the box-office are Khel, Karobaar, Kartoos, Prem Granth, Mast and Hera Pheri (it did very well in Bombay only).

NAYAK

Sri Surya Movies’ Nayak is a political thriller and a crusade against corruption, with a novel concept of a one-day chief minister. A simpleton TV news reporter, in the course of his job, interviews the chief minister of his state who challenges him (reporter) to take over as the CM for a day and show what he can achieve. The reporter accepts the challenge and, during his one-day stint as the chief minister, not only dismisses the corrupt in the government, but also manages to collect a grandiose amount as sales tax in a single day. In the end, he also gets the corrupt chief minister and other ministers arrested. The people of the state see a hero in the one-day CM.

As the government of the corrupt CM falls, mid-term polls are announced and the one-day hero is forced by the public to contest elections. He relents after a lot of persuasion, and is elected the new chief minister. He continues his crusade to expose the corrupt and bring them to book but has to face a lot of hurdles in the way, including the murder of his parents. Ultimately, he masterminds a plan to bring to book the ex-chief minister who has made life miserable for him.

The film, a remake of Tamil blockbuster Mudhalvan, has novelty for the audience but the drama has been handled in so simplistic a manner that although it gives thrill when it is happening, it looks rather unbelievable once it is over. Firstly, to show that a CM can achieve so much in a single day is far-fetched and unrealistic. Even if that were taken as a cinematic liberty, the CM issuing dismissal orders to all and sundry raises the obvious questions: who will fill the vacant posts and what is the guarantee that the new incumbents will not become corrupt? So while the entire drama of dismissing the corrupt is extremely enjoyable, the film offers no permanent solution to the problem of corruption. Had the punishment for corruption been shown to be frighteningly severe, it would have made a more dramatic impact on the viewer. Mere dismissal looks too minor a punishment in the scheme of things.

After the TV hero becomes the elected chief minister, the only worthwhile new thing he does is the putting up of complaint boxes in every area, a scheme that becomes very successful. Although he continues his fight against corruption, the impact then is far lesser and less exciting than what it was when he was the CM for a day. In that sense, the crescendo has been reached in the first half while the latter half pales in comparison. The second part of the film becomes a personal vendetta drama more than a fight against corruption which the film professes to be.

This is not to say that the film has no positive points. On the plus side are: The concept and scenes of the one-day CM; the sequence showing the dilemma of the one-day CM when he is approached for contesting elections and the (excellent) final resolution of the dilemma; his elevation almost to the status of God (his abhishek — people bathing him with milk because there’s no water at hand); his parents’ death in a bomb explosion and his emotional outburst thereafter. Several scenes are worthy of evoking claps from the audience. But it is also a fact that while the first half is very enjoyable, the second half has several dull moments.

Coming to individual sequences, one of the most important sequences in the film — the live interview of the CM — could have been handled more artistically. Politicians are adept at handling difficult questions smartly and this CM also does so, but after giving himself out completely. While all this can be explained as exaggerated reactions, they gel less with the mood of the film because the issue is too serious to be treated with such frivolity. Yet another unbelievable aspect is that the TV reporter manages to get sound bytes of the CM so easily — sound bytes which any reporter would die to get! Furthermore, to expect the CM to be so naive as to openly reveal his evil designs to the conscientious police commissioner during the chakka jaam sequence is rather strange. More so because on the one hand, the CM is shown to be terribly corrupt (he has assets worth Rs. 500 crore) and on the other, he is shown to be almost an idiot! No shrewd and corrupt guy can be so idiotic.

The film’s biggest drawback is, therefore, that while some things are too realistic, others are just as unrealistic and unbelievable. So, while the film claims to present reality and tackle real issues, it takes too many liberties wherever and whenever convenient.

Climax is abrupt and the lack of action in it is jarring. Dialogues are fantastic at places.

Anil Kapoor does a splendid job as the reporter-turned-chief minister. He looks every inch the character he plays and shines in emotional and dramatic scenes. Rani Mukerji acts ably but has a small role. Amrish Puri makes an effective villain but he too gets limited scope. Paresh Rawal is superb. His simplicity is his biggest asset. His dialogues are very effective. Johny Lever’s comedy entertains till it becomes repetitive. Saurabh Shukla does a fair job. Shivaji Satam is natural. Pooja Batra has no scope. Neena Kulkarni is fabulous as Anil’s mother and so is Anil’s father. Sushmita Sen and Ahmed Khan impress in a dance. The rest of the cast lends admirable support.

Shankar’s direction could have been better at places. His inept handling at times becomes conspicuous as unrealistic and unbelievable things happen in this serious issue-based drama. Music (A.R. Rahman) is a major minus point of the film. Except for ‘Mitwa’ and ‘Shakalaka’ songs, the other numbers are too boring to be true. Although song picturisations, especially ‘Saiyyan’ and ‘Tu achchha lagta hai’, are heavenly and also novel, the impact is half-lost due to the boring tunes. Both the songs can easily be cut to half their size. Action scenes (Kanal Kannan) are well composed and look rich. The mud fight has special appeal. Computer graphics are superb. K.V. Anand’s camerawork is marvellous. Background score is effective. Production values are just too grand. Editing is loose at places. The film could do with deletion of at least 10 to 15 minutes’ length. Other technical values are of a good standard.

On the whole, Nayak will score in Bombay (excellent), Maharashtra, U.P. and Bihar on the strength of mass patronage mainly. But in the other parts, especially in Gujarat, Delhi, Punjab, C.P. Berar (Madhya Pradesh part), C.I. and Rajasthan, it may not do the trick even if it picks up after the average start since it does not have enough entertainment value for everyone (ladies and families). Considering the high price at which it has been sold, it will put many of its distributors to losses. The lack of political awareness and disinterest in politics among the general public will further mar its prospects.

Released on 7-9-2001 at Novelty and 21 other cinemas of Bombay thru Raksha Distributors. Publicity: excellent. Opening: very good. …….Also released all over. Opening was very good in U.P., Bihar, parts of C.P. Berar and South, but below the mark in Gujarat, Delhi, Bengal, C.I. and Rajasthan (also affected adversely due to change in show-timings, forced by shuttling of prints which were in short supply).

LATEST POSITION

Lajja has done well initially in parts of Maharashtra, U.P., East Punjab and Bihar and in Rajasthan but is not up to the mark in other circuits. 1st week Bombay 67,97,678 (78.59%) from 12 cinemas (9 on F.H.); Ahmedabad 21,28,018 from 6 cinemas (3 unrecd.), Vapi 7,75,624 from 2 cinemas, Rajkot 3,25,061 (1 in matinee unrecd.), Jamnagar 1,37,964 from 2 cinemas (1 in matinee); Pune 16,06,753 from 5 cinemas (1 in matinee), Solapur 2,71,653 from 2 cinemas (1 in matinee); Delhi 83,11,476 (66.74%) from 14 cinemas; Kanpur 6,33,072 from 2 cinemas, Lucknow 9,65,025 from 2 cinemas, Agra 4,04,090, Allahabad 3,10,000, Bareilly (6 days) 1,77,063; Calcutta 27,57,371 from 11 cinemas; Nagpur 9,39,069 from 4 cinemas, Jabalpur 2,50,251, Amravati 3,14,406, Akola 2,46,250, Raipur (6 days, gross) 3,23,975, Durg 1,25,322, Jalgaon 2,36,279, Wardha 1,33,496, Rajnandgaon (6 days) 1,15,877, Yavatmal 1,37,721; Indore 2,35,465 (3 on F.H.); Jaipur 12,67,669 (63.17%) from 3 cinemas, Ajmer (29 shows) 1,41,114, Bikaner 2,08,352; Hyderabad (gross) 34,98,143 from 10 cinemas. Total 3,37,74,237 from 91 cinemas.

………….

Dil Chahta Hai continues its victory march in cities of Bombay circuit. 4th week Bombay 56,41,564 (80.14%) from 15 cinemas (7 on F.H.), total for 4 weeks 2,48,80,160; Pune 15,50,492 from 3 cinemas, Solapur 93,218; Delhi 30,27,892 from 9 cinemas (1 on F.H.); Kanpur (6 days) 93,316 from 2 cinemas, Lucknow 3,68,023, Agra 1,60,000, Allahabad 62,500; Calcutta 2,52,034; Nagpur 31,887, Jabalpur (6 days) 31,447, Amravati 63,026, Akola 34,418, total 2,78,902, Raipur (6 days) 50,617, 2nd week Yavatmal 40,806; Bhopal 80,468 (1 unrecd.); Jaipur 1,04,879 (17.36%); Hyderabad (gross) 5,81,398 from 3 cinemas (1 in noon).

Gadar Ek Prem Katha 12th week Bombay 14,14,270 (55.21%) from 7 cinemas (10 on F.H.), total for 12 weeks 5,79,54,996; Ahmedabad 1,64,915 from 3 cinemas, Vapi 1,02,736, Rajkot 80,580 from 2 cinemas (1 in matinee); Pune 6,20,125 from 4 cinemas, Solapur (matinee) 42,660; Delhi (TF) 34,35,408 from 14 cinemas (1 on F.H.); Kanpur (6 days) 1,37,555 from 2 cinemas, Lucknow 2,02,749, Agra 1,55,000, Allahabad 59,700, Bareilly 80,895; 11th week Calcutta 56,302; 12th week Nagpur 70,842, Jabalpur (6 days) 72,971, 4th week Kamptee 46,540, total 3,23,128, 12th week Amravati 55,738, Akola 77,223, total 18,90,090, share 14,66,140, Raipur (6 days) 49,418, Jalgaon 71,990, total 22,50,205, Chandrapur 45,081, total 17,78,484, share 13,00,000; Indore 95,471, Bhopal 1,05,600; Jaipur 1,32,285 (22.61%), Ajmer (gross) 1,05,737.

50TH ANNIVERSARY OF LAXMI, BHOPAL

The 50th anniversary of Laxmi Talkies, Bhopal was celebrated this week by its managing director, Jaikishan Lalchandani. Mayor of Bhopal, Bibha Patel, was the chief guest. She lit the traditional lamp to inaugurate the function and was assisted by Congress leader Rajkumar Patel. The last show of the day of Jis Desh Mein Ganga Behti Hai was thrown open to the public for free. The film’s print was supplied by J.P. Chowksey.

BHAPPI SONIE PASSES AWAY

Well-known Hindi film producer and director Bhappi Sonie passed away on 5th September in Bombay. At the time of his death, he was on the operation table, undergoing a heart bypass surgery at Nanavati Hospital. He was 73 and is survived by his wife, son Shakti and daughters Sagarika and Malvika.

Bhappi Sonie made his directorial debut in 1960 with the Sunil Dutt – Waheeda Rehman starrer, Ek Phool Char Kante. His notable films include Janwar (1965), Brahmachari, Jheel Ke Us Paar, Pyar Hi Pyar, Tum Haseen Main Jawan, Bade Dil Wala (1984), Sasti Dulhan Mahenga Dulha, Khoon Ka Karz and Nishchaiy. The last two named films were only produced by him. His last film, Tere Pyar Ki Kasam, starring Sanjay Dutt and Sunil Shetty, is currently under production. It is being directed by Mahesh Manjrekar.

His chautha is being held this evening (8th September) between 5 p.m. and 6 p.m. at Arya Samaj, Linking Road, Santacruz (West), Bombay.

SURINDER KAPOOR FINE

Producer Surinder Kapoor, who had been recently discharged from hospital, was admitted to Nanavati Hospital in Bombay again, earlier this week. He was discharged on 6th and is recovering at home. His test reports are normal.

IMPAA AGM, ELECTIONS

The annual general meeting of the Indian Motion Picture Producers Association will be held on 21st September in Bombay. At the conclusion of the AGM, a new executive committee will be elected. Sixteen members will be elected in the Ordinary Class while 5 members will be elected in the Associate Class-I. The nominees, numbering 22, in the Ordinary Class are A. Krishnamurti, Anil Ganguly, B.S. Shaad, Dimppy Ramdayal, Jyotin Goel, K.D. Shorey, Kulwant Jaani, Madan Mohla, Mahendra Bohra, N.R. Pachisia, Pawan Kumar, Priti Sapru, Rono Mukerji, Saawan Kumar Tak, Sayed Waris Ali Rizvi, Sharukh Mirza, Shiv Kumar, Shiv Kumar (Lala) Damani, Smita Thackeray, Thakur Tapssvi, Vinay Kumar Sinha and Vinod Kumar Verma. The nominees in the Associate Class-I (total 12) are Anand Girdhar, Dara Singh, Darshan Sabharwal, Dimppy Ramdayal, Johny Bakshi, Kant Kumar, Nilu Gavankar, Saakshi Thakur, Satish Khanna, Shakti Samanta, Surjit Aujla and Sushama Shiromanee.

Dimppy Ramdayal will contest either from the Ordinary Class or the Associate Class-I. He will withdraw his nomination from the Class from which he will not contest.

NO CUSTOMS DUTY ON EXPOSED NEGATIVE

Following a representation made by the AMPTPP, the union finance ministry has, vide notification dated 3rd September, abolished customs duty on (i) cinematographic films, exposed but not developed, and (ii) recorded magnetic films used for producing TV serials, with retrospective effect from 1st March, 2001. It may be recalled that Bombay customs had been levying customs duty on exposed film brought back by Indian units after shooting abroad.

Those who’ve paid the duty can claim refund under the said notification.

CINEMA RE-BUILT

Huma Talkies at Kanjur Marg, Bombay reopened on 7th September with Nayak. The cinema has been completely re-built. The new seating capacity is 150 and the admission rate is Rs. 50.

Two more cinemas are likely to come up in the same complex in the near future.

VINOD KHANNA APPOINTED SHIPPING BOARD CHAIRMAN

Vinod Khanna has been appointed chairman of the Shipping Board by prime minister Atal Behari Vajpayee. The post has the status of a minister of state.

YOU ASKED IT

Do you think, Kamal Haasan’s Abhay will get a good opening? The film’s advertisements in newspapers look attractive?

– If the audience is as observant as you are, the film should take a good initial!

Hema Malini, Rekha and Jaya Prada from South India made the Bombay film industry their main work station. But now, Hindi film heroines are in demand in the South. Any specific reason?

– The world is becoming a much smaller place and exchange between states is common. It is just a coincidence that a South Indian actress is not making it in Bombay filmdom, but Aishwarya Rai is a South Indian. 

How has a religious film like Shirdi Sai Baba been released during the shraddh period considered inauspicious?

– Only Sai Baba can answer that question!

MIX MASALA

SLEEPLESS!

Over the past two weeks, one has heard nothing but distributors complaining of losing sleep. And not because they have lost heavily in their recent releases of the last 90 days — that’s a nightmare that comes later. The reason that is turning the distributors into owls at night is the delivery hassles that the past two weeks’ releases have run into. Some of the distributors of Lajja were last week stationed in Hyderabad to take delivery from Rainbow Lab and could not sleep for two nights due to the tension. This week, some prints of Nayak were not ready and the affected distributors had to spend at least two sleepless nights! Said one harassed distributor, “Meri to bilkul neend hi haraam ho gayee hai. Ab yeh delivery ho jaaye to bas aesa sounga ki 18-20 ghante uthoonga hi nahin!” Yawn!

DO YOU KNOW?

* GADAR collected 73,662/- in 1st week at Galaxy cinema, Naroda (Ahmedabad) after running for 10 weeks in the nearby Anand cinema. It collected 33,846/- in 10th last week at Anand, Naroda. The handsome collection at Galaxy, which is at a walking distance of just 5 minutes from Anand, was, perhaps, because the cinema is air-conditioned and has a good sound system. 

3-E
Education-Entertainment-Enlightenment

Delivery: The Real Pain

As if the delivery hassles for distributors of Lajja last week weren’t enough, distributors of Nayak, too, had to face problems this week. The trouble this time arose not because of any fault of the producer or laboratory but because the quantity of prints that had to be made was increased at the last moment, thanks to demand for more prints from distributors of the various circuits. Prasad Laboratory in Madras was not geared up for this sudden order for additional prints, totally numbering over 40. The positive stock also was not available in Madras at short notice. To compound matters, the printing machine in the laboratory developed a snag. All this led to the cancellation of the film’s release in several cinemas on Friday (7th September). Some cinemas managed with shuttling of prints. Most of the cinemas, which did not get the prints, will now start screening Nayak from Sunday (9th). West Bengal distributor Sanjay Roy flew to Madras with Boney Kapoor (who helped sort out matters, having been the person who looked after the business of Nayak) and was there on Friday too, waiting for his prints, unlike the other distributors who were not in Madras but who were, all the same, waiting for their prints.

Sanjay Roy — The Real Hero

Sanjay Roy must have created a record of sorts this week. All the three films released on 7th September have been distributed in West Bengal by Roy. While Nayak and Shirdi Sai Baba opened in his circuit on Friday, Dil Ne Phir Yaad Kiya is due in West Bengal next week. After the stupendous success of his Gadar Ek Prem Katha, Sanjay Roy is the hottest buyer for West Bengal. Of course, the three aforesaid films were all prior commitments.

The Roshan Show

Rakesh Roshan completed 52 years of age on 6th September and he celebrated his birthday with a grand party at Athena. The invitees were all close friends and must say, the attendance was fabulous. The birthday boy, his wife, son Hrithik and daughter-in-law Sussane played perfect hosts, looking after the guests who had a ball of a time, wining, dining and dancing.

Javed ‘Wins’ A Home 

Javed Akhtar is not just a good writer and lyricist, he is also an exceptionally wonderful speaker. With his honest speech last week in Bhopal, the man of words moved the people of Bhopal to tears! Javed, who had his college education in the capital city of Madhya Pradesh, had been invited by the people of Bhopal and felicitated there recently. In the course of his speech, he recounted his years in college and confessed that he didn’t have a home to live in in those days in Bhopal. So emotional was his narration that several in the audience had tears rolling down their cheeks. MP chief minister Digvijay Singh, who was present at the felicitation function, was moved in a different way. After Javed Akhtar’s emotional speech, the chief minister offered him a house anywhere he desired in Bhopal. That was Digvijay Singh’s way of repaying Javed for having brought fame to Bhopal and also of making good Javed’s feeling of homelessness then. Needless to add, while the chief minister made this announcement, it was the writer’s turn to become emotional.

LAJJA

Santoshi Productions’ Lajja is a film of four episodes, all of which highlight the plight of women in the male-dominated Indian society. The story is sought to be conveyed through the journey of an Indian woman (Manisha Koirala) who flees New York from her flirtatious Indian husband in order to save her life and, more importantly, the life of the child in her womb. She comes to India and her journey takes her to three completely different women — each of them troubled and exploited due to the orthodox beliefs and the norms of society.

The first woman she meets is a victim of the dowry system. This woman (Mahima Chaudhry) revolts rather than succumbing to the system and asks her groom and to-be in-laws to get out of the wedding venue.

The second lady who Manisha encounters is a bold and brash nautanki actress in a village. She is carrying the child of her beloved. The guy has promised to get married to her. He, however, deserts her. In a fit of frustration, she questions the sanctity of Sita’s agnipariksha demanded by the people of Ayodhya and Ram’s bowing down to their wish, while enacting the role of Sita in a stage-play. For this act of sacrilege, she is beaten up so brutally by an irate mob that she loses her unborn child.

The third lady is a village midwife who is trying to uplift the lot of the womenfolk in her village. A rich and evil village lord rapes the midwife and burns her to death because her son is in love with his daughter.

While these three different stories, completely unrelated to each other, unfold on the screen, Manisha is being trailed by her husband (Jackie Shroff) who is desperate to get his child when he is born, so that the family name can continue. His desperation is born out of the fact that after impregnating his wife, Jackie has met with an accident which has rendered him impotent.

While Rajkumar Santoshi’s story idea is good, his screenplay leaves a lot to be desired. For one, the main reason for Manisha leaving her husband (because he flirts with other women) is not solid enough for the audience sympathy to go to her. Jackie comes across as a fun-loving guy rather than a sex-hungry bed-hopper, because of which Manisha’s extreme step of breaking her marriage does not win her sympathy. Then, while Jackie is shown to be ultra-modern in his thoughts, he is also orthodox enough to be wanting to have a male heir at any cost. But what if his wife would deliver a baby girl? No thought is given to that!

The trail of Jackie looks childish as Manisha keeps escaping easily. Since Manisha’s character is the thread which runs through the three other episodes, her running away and her husband’s trail should have been more eventful by itself. Madhuri Dixit questioning Sita’s agni pariksha also does not have the desired impact, if only because she herself is not a symbol of virtue. She drinks alcohol, uses swear-words and, to top it all, is pregnant without being married. In Mahima Chaudhry’s episode, the portrayal of the humiliation faced by a girl’s father during her marriage has been stretched to ridiculous levels. That portion is too lengthy to be true.

Coming to Rekha’s episode, the problem highlighted is the orthodox mindset of males in the village. The solution lies in changing that mindset but the ladies of the village seem to think that a computer, which Rekha has bought, is the panacea for all the ills! What can a computer do to overnight change the thinking of illiterate men?

Another problem with the drama is that since it tackles women’s problems, men have been shown in such poor light that many among the male audience may not like the film. While some women would adore the drama and applaud the revolution brought about by the women-characters in the film, there would be others who would find it too much to digest.

The aforesaid flaws and weaknesses notwithstanding, the film also boasts of some exceptional scenes. The one in which Mahima revolts against her in-laws is the best scene in the film and is sure to be applauded in cinemas all over. Madhuri’s revolt would meet with mixed reaction. Some dialogues (Rajkumar Santoshi and Ranjit Kapoor) have been brilliantly written. The film has quite a bit of shock value and is also novel in thought and content.

Rekha does a fantastic job, living her character. She goes through her part with all the sincerity at her command. But her rape was unwarranted. Anil Kapoor, coming in Mahima’s episode, is wonderfully likeable. He easily endears himself to the audience, playing to the gallery with aplomb. Jackie Shroff looks terrific and acts quite well. Madhuri Dixit is mind-blowing. Her portions are a delight to watch and will hold special appeal in Maharashtra. She shines in light scenes and is extraordinary in the dramatic scenes in which she loses her unborn child as she is beaten and trampled upon by a crowd that goes berserk. Ajay Devgan, as the messiah in Rekha’s village, has the most mass-appealing role among heroes. His dialogues are clapworthy. His performance, though, could have been more effective. Ajay looks quite weak physically.

Manisha Koirala is miscast. Being the central character of the film, a heroine more worthy of winning audience sympathy was the demand. She neither evokes sympathy nor acts very effectively. Her long lecture in the climax is hardly impactful. Mahima Chaudhry is good. Her wedding mandap scene is simply splendid. Samir Soni has little to do.

Danny Denzongpa is effective. Govind Namdev leaves a mark with a polished performance. Rohini Hattangady is natural. Johny Lever is quite funny. Tinnu Anand does a fine job. Gulshan Grover, Suresh Oberoi, Jagdeep, Asrani, Anjan Srivastava, Farida Jalal, Ritu Shivpuri, Beena, Viju Khote, Trilok Mallik, Pushpa Verma and Brij Gopal lend fair support. Razak Khan gets limited scope. Nasir Khan irritates. The rest of the cast fits the bill.

Rajkumar Santoshi’s direction is not up to the standards set in his earlier endeavours. The film looks like a rush job at places. Of course, some sequences have been brilliantly shot but the overall impression is not that of a quality product. Editing is so poor that it almost seems, Santoshi had fallen in love with his work and was, therefore, reluctant to chop off unnecessary scenes. The film could easily do with re-editing by at least 20 minutes.

Music (Anu Malik) is a letdown. ‘Badi mushkil’ is well-tuned and its picturisation is also nice. ‘Aaeeye’ strikes more for its stylish picturisation (on Urmila Matondkar) than the tune. ‘Mujhe saajan ke ghar’ is fair (picturised on Sonali Bendre). ‘Kaun dagar’ is boring despite Lata’s excellent rendition. Background music (Dr. Ilaiyaraaja) is very appropriate.

Madhu Ambat’s camerawork is neat and effective. Action scenes (Bhiku Verma and Pappu Verma) are fairly exciting. Sets are proper. Production values are okay.

On the whole, Lajja will meet with mixed response. It will do well only in U.P., Bihar and parts of Maharashtra but will find the going tough in the rest of the country. Its heavy price will see most of its distributors sad and in the red.

Released on 31-8-2001 at Metro and 20 other cinemas of Bombay thru V.I.P. Movies. Publicity: very good. Opening: below the mark. …….Also released all over. Opening was not appropriate in most of the circuits but was good in U.P.

LATEST POSITION

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Dil Chahta Hai 3rd week Bombay 60,80,975 (83.56%) from 14 cinemas (7 on F.H.), total for 3 weeks 1,92,38,596, excellent; Ahmedabad 31,487, Jamnagar 35,044; Pune 17,93,619 from 4 cinemas, Solapur 96,477; Delhi 65,97,131 from 12 cinemas (1 on F.H.); Kanpur 1,41,926 from 2 cinemas, Lucknow 4,10,161, Agra 1,72,000, Varanasi 99,221, Allahabad 86,827; Calcutta 3,71,543; Nagpur 1,66,113 from 2 cinemas, Jabalpur (6 days) 52,629, Amravati 92,963, Akola 43,563, total 2,44,484, Raipur (6 days) 64,320, Jalgaon 48,380, 1st week Yavatmal 81,023; 3rd week Bhopal 1,00,220 (1 unrecd.); Jaipur 1,46,250 (24.20%), Ajmer 38,934; Hyderabad (gross) 6,52,715 from 3 cinemas (2 in noon, 2 on F.H.); 2nd week Davangere 1,65,817.

Gadar Ek Prem Katha 11th week Bombay 11,87,200 (43.31%) from 8 cinemas (10 on F.H.), total for 11 week 5,65,40,726; Ahmedabad 3,01,255, Jamnagar 41,487 from 2 cinemas (1 in matinee); Pune 6,36,496 from 3 cinemas, Solapur (matinee) 33,254; Delhi (TF) 51,08,610 from 16 cinemas (1 on F.H.); Kanpur (6 days) 1,74,056 from 2 cinemas, Lucknow 2,13,984, Agra 1,78,000, 10th week Varanasi 1,30,986, 11th week Allahabad 65,000, Bareilly 98,685; 10th week Calcutta 2,55,700 from 2 cinemas; 11th week Nagpur 1,28,610 from 2 cinemas, Jabalpur (6 days) 74,943, Amravati 62,270, Akola 74,269, total 18,12,867, share 14,23,202, Raipur (6 days) 64,336, Jalgaon 77,925, total 21,78,215, 6th week Gondia (gross) 88,857, total 7,09,089; 11th week Indore 86,000 (1 unrecd.), Bhopal 1,17,116; Jaipur 1,64,425 (28.10%), Ajmer (gross) 1,17,445; Hyderabad (gross) 4,31,250 from 2 cinemas (1 on F.H.).

MUKTA ARTS NOMINATED FOR ET AWARDS

The Economic Times has nominated Mukta Arts Limited for its Emerging Company of the Year award for 2000-2001.

Meanwhile, Mukta Arts is preparing to celebrate the directorial silver jubilee of its creative head and chairman, Subhash Ghai, on 24th October with the launch of three films. Of the three, one film will be directed by David Dhawan. The other two will be directed by Satish Kaushik and Abbas Mustan. One more film will be helmed by Ghai himself.

‘MUJHE KUCCH KEHNA HAI’ 100 DAYS

Vashu Bhagnani’s Mujhe Kucch Kehna Hai, which introduced Tusshar as the hero opposite Kareena Kapoor, is completing 100 days of its run all over today (1st September). Satish Kaushik has directed the film co-starring Rinke Khanna, Dalip Tahhil and Amrish Puri. Music: Anu Malik.

PRODUCER, NOT SPONSOR, IS COPYRIGHT OWNER OF SERIAL: SUPREME COURT

In what could be termed a landmark decision for TV serials, a Supreme Court bench recently upheld the lower courts’ decision that the producer — and not the sponsor — is the copyright owner of a TV serial. The bench comprising Justice S. Rajendra Babu and Justice Doraiswamy Raju on 13th August dismissed a special leave petition (no. 679 of 2000) filed by sponsor Vicco Laboratories, challenging a high court decision that it was producer S.S. Oberoi who owned the copyright of the comedy serial, YEH JO HAI ZINDAGI, sponsored by Vicco. 

The immensely popular serial, starring Shafi Inamdar, Swaroop Sampat, Rakesh Bedi and Satish Shah, debuted on Doordarshan in 1984-85 and went on to record a viewership of 93%. Its broadcast was stalled abruptly following litigation initiated by Vicco Laboratories. 

‘TUM BIN…’ STARS AT JWALA, AGRA

The male lead stars of Super Cassettes Industries and Anubhav Sinha Productions’ Tum Bin… — Priyanshu, Himanshu and Raakesh — attended a special screening of the film at Jwala cinema in Agra on 27th August. The show was well-attended by local dignitaries. It was organised by Haqeekat Rai Malhotra, Rajnish Malhotra and Rachit Malhotra of Jwala cinema, all of who played perfect hosts to the three heroes. The crowds at the luxurious cinema also accorded a very warm welcome to the heroes from Bombay.

The film has been released in Delhi-U.P. by Bobby Art International.

WHY SHOWS WERE CANCELLED IN BOMBAY

Matinee shows of Lajja in some cinemas of Bombay city and suburbs were cancelled on Friday (31st August) for a reason so silly that one would find it difficult to believe it! The prints of Bombay arrived from Hyderabad on Friday morning and got further delayed while coming out of the cargo section of Bombay airport. Rather than delivering the prints to the various cinemas from the airport itself, the V.I.P. representative, who had gone to collect them, first took all the prints to V.I.P.’s office in Naaz building! From Naaz, the prints were sent to the cinemas. This additional exercise must have easily taken an extra hour-and-a-half. By the time the prints reached some cinemas, it was past the matinee show time. Such cinemas, mostly in far-off suburbs, therefore, had to cancel their matinee shows and refund monies to the patrons.

The cancellation was, therefore, more because someone did not use his common sense, nothing more than that! As they say, common sense is most uncommon!!

Prints in different parts of Maharashtra also reached late and cinemas had to cancel one or two shows on Friday.

PRODUCERS’, WORKERS’ NEW UNDERSTANDING

A number of issues of mutual interest were resolved at a joint meeting of representatives of producers’ organisations and the Federation of Western India Cine Employees (FWICE) on 3rd June. The following main decisions were taken:

(i) No producer will employ a non-member of an FWICE-affiliated Association in his film unit. Likewise, no worker, technician or artiste will work with a producer who is not a member of a producers’ Association.

(ii) In case of violation of terms of contract between the producer and worker/technician, a joint dispute settlement committee of the producers’ Associations and the FWICE will be the arbitrator.

(iii) The FWICE, in an effort to increase punctuality, would inform all the crafts Associations that a part of the basic wage of a worker, musician or dancer etc., will be deducted in case he arrives late for shooting or recording.

(iv) On the suggestion of the Cine Singers Association (CSA), it was decided that the singers’ shift will be of 4 hours. If the recording goes on beyond 4 hours, they will be paid overtime. An allowance of Rs. 50 and a night allowance of Rs. 50 will also be paid to them.

(v) It was decided to change the shift timings with effect from 1st July, 2001 as follows: 10 a.m. to 2 p.m.; 4 p.m. to 8 p.m.

Background for 7 hours – 10 a.m. to 6 p.m.

Background for 10½ hours – 10 a.m. to 9.30 p.m.

(vi) Musicians will report at stipulated time with 15 minutes’ grace on either side. In case any musician comes late beyond that time, it was decided to either deduct the wages proportionately from the basic wages and/or send him back.

(vii) Music directors should inform the producer and Cine Musicians Association in writing about the detailed list of musicians together with their remuneration, one day in advance, and, in case of emergency, within 8 hours.

(viii) It will not be compulsory to have live recording for background music, and dubbing of different tracks for different musicians will be allowed even for background.

(ix) Dates to be fixed for meeting with music directors and musicians to sort out various irritants.

(x) It was clarified that the messengers are entitled to get only one-time payment per song irrespective of the fact whether the same is recorded in one day or any number of days and they cannot charge per day of recording.

(xi) Hire charges of electronic musical instruments should be firmly fixed. It was decided to have a joint meeting with Cine Music Directors Association and Cine Musicians Association to take a final decision in the matter.

(xii) The producer will be allowed to hire junior artistes and dancers from outside, only after the Junior Artistes Association, the Mahila Kalakar Sangh and the Cine Dancers Association is unable to fulfil his requirement. The FWICE will instruct the abovementioned Associations to desist from stopping the shootings of TV game shows and chat shows. The letter regarding 30% requirement to be filled by the JAA and MKS members will be withdrawn.

(xiii) The workers will be paid 2½ shift charges, instead of the usual 1½, while shooting abroad. However, a final decision on this will be taken soon.

(xiv) On producers’ assurance that singers would be paid within 24 hours of completion of recording, the CSA withdrew its demand of 10% service charge.

Surinder Kapoor, Yash Johar, Yash Chopra, A.G. Nadiadwala, Shakti Samanta and Anil Nagrath represented the producers’ Associations while Prakash Verma, Rock Gonsalves, Baldev Malik, Opender Chanana, Khayyam and Ashwin represented the FWICE at the meeting, chaired by Pahlaj Nihalani. It was held at A.G. Nadiadwala’s residence.

ASHOK CHOUDHARY ELECTED INDORE CINE CLUB CHIEF

Ashok Choudhary was elected president of the Cine Club of Indore, and Anwar Khan, vice president. Elections of the Club were held on 25th August in Indore. Ashok Choudhary also bagged the highest number of votes, 91. Anwar Khan got 61 votes. The total number of votes polled was 139, of which two were invalid.

Hemant Vyas (87 votes) and Mahesh Sharma (64) were elected hon. secretary and joint secretary respectively. Vikrant Kapde (62) was elected games secretary. Manoj Jain (72) was elected treasurer. The other members elected were Ashutosh Shukla (61), Sunil Choudhary (81), Sandeep Jain (91; highest with Ashok Choudhary), Vasant Laddha (80), Satyanarayan Gupta (61) and Aditya Chowksey (80). Although the committee comprises 11 members, there will be 12 members this time because there was a tie between three persons, on the 10th, 11th and 12th positions, viz. Anwar Khan, Ashutosh Shukla and Satyanarayan Gupta, all of who bagged 61 votes. Rather than elect two on the committee, all the three were elected and two, instead of three, were co-opted. The co-opted members are Pradeep Narsariya and Jitendra Joshi.

Those who lost the elections were: Ashish Goyal, Harish Dawar, Raju Kapoor, Sitaram Gupta, Satnam Singh, Girdharilal Agarwal, Sushil Patni, Sudhir Agarwal, Vinayak, Jagdish Advani and Ashok Sharma.

ASIT SEN NO MORE

Noted Bengali and Hindi film director Asit Sen passed away on 24th August in Calcutta following a cardiac arrest. He was 79 and is survived by his son, Partho.

Born in Dhaka in 1922, Sen became a director with the Assamese film, Biplabi, in 1948. He made his first Bengali film, Chalachal, in 1956. In the same year, he made his debut in Hindi films with Parivar which was produced by his mentor, Bimal Roy.

Sensitive and reclusive by nature, Asit Sen is best remembered for his Bengali film Uttar Phalguni which he later remade in Hindi as Mamta (1966). Both the versions starred Suchitra Sen and were critical and commercial successes. He remade another of his Bengali classic, Deep Jele Jaai, as Khamoshi in 1969. The next year, Sen directed Safar which was a remake of his first hit, Chalachal.

In a career spanning about half a century, Sen worked with some of the best artistes from Calcutta and Bombay, including Ashok Kumar, who Sen repeated in a number of his films, Suchitra Sen, Nutan and Jaya Bachchan.

Never the one to fight shy of taking the less-travelled road, Sen at times experimented, choosing unusual themes for some of his films. The entire story of his Anokhi Raat (1968) takes place over just one night. Khamoshi (1969) and Annadata (1972) are two other examples of Sen’s experimental streak.

Asit Sen was also responsible for giving roles completely different from their established image to actors like Rajesh Khanna in Safar; Dharmendra, who played an idealistic professor in Sharafat (produced by Madan Mohla in 1970); and Dilip Kumar, who Sen gave a triple role in the 1976 film, Bairaag (produced by Mushir Alam and Mohammed Riaz).

YOU ASKED IT

Do awards or inclusion of a film in international film festivals help its box-office prospects?

– Not in India. The box-office in India is insensitive to awards and film festivals.

Why is the film industry called the most speculative industry in the world?

– Because there’s no set formula for making a successful film. Each film is an individual case and it is impossible to scientifically predict its fate even after it is complete. The audience decide whether a film will run or not but audience tastes differ from time to time. 

Do producers of star-cast films manage to recover their entire cost of making a film and also make profit before release?

– Generally, yes, but Rajiv Rai has made a loss in PYAAR ISHQ AUR MOHABBAT because he released it himself in some territories.

CENSOR NEWS

Sri Surya Movies’ Nayak was given C.C. (in Madras) No. CIL/1/9006/2001 (U) dt. 6-8-2001; length 5078.65 metres in 16 reels (minor cuts).

Arclightz And Films P. Ltd.’s Asoka (length 5048.72 metres in 17 reels), applied on 28th, will be seen early next week.

3-E
Education-Entertainment-Enlightenment

Not Communication-Savvy?

Producer-director Rajkumar Santoshi, perhaps, doesn’t believe in the heroes of his films. While Jackie Shroff, one hero of his Lajja, is shown as being very communication-savvy, Santoshi himself mustn’t be half as networked in real life as Jackie is in the film. For, when Information telephoned Santoshi for his reaction to the delivery fiasco of his film in Hyderabad, the producer-director feigned ignorance of the exact drama. It was hard to believe that the producer-director of a film, in this age of mobile phones, was not completely aware of the hardships his distributors had to face for no fault of theirs. The ignorance, pleaded by Santoshi, became more pronounced because one had seen Jackie Shroff in his Lajja just a day earlier. For those who haven’t seen the film, let it be said that Jackie keeps track of his wife, played by Manisha Koirala, with the help of his cellular phone — even if she is in a toilet in an Indian airport and he is abroad!

On second thoughts, it may be that Rajkumar Santoshi is as communication-savvy as Jackie Shroff in the film, but he chose to say, he didn’t know the complete story.

Kabhi Cassette Kabhie Book

Before Karan Johar’s Kabhi Khushi Kabhie Gham unfolds on the screens on 14th December, 2001, a book on its making will hit the markets. Being authored by former film journalist Niranjan Iyengar, the book will be brought out by Penguin in paperback and coffee table editions. The former will be priced at Rs. 495 and the latter, at Rs. 995. The book covers all the stages in the film’s making, right from the scripting stage. Although it is common to have a book on a Hollywood film’s making released a little before the film itself, this will be the first time someone will do it for a Hindi film. Just recently, Penguin had brought out a book on Sholay, 25 years after Ramesh Sippy’s blockbuster wrote box-office history.

In the meantime, Sony has released the singles audio cassettes of Kabhi Khushi Kabhie Gham, containing the title song in different versions. If Lata Mangeshkar’s rendition of the bhajan is brilliant, Sonu Nigam also does not fall short of the high standard set by the nightingale. While Jatin Llit’s music is good, the lyrics of the song, penned by Sameer, are splendid.

‘LAJJA’ ISSUED ‘UA’ CERTIFICATE

Santoshi Productions’ Lajja has been issued C.C. No. CIL/2/23/2001 (UA) dt. 24-8-2001; length 5639.70 metres in 18 reels (cuts: 23.98 metres). It is scheduled for release on 31st August all over.

LATEST POSITION

GADAR becomes the fastest money-spinner ever. It crossed the 5-crore mark in collections in Bombay city & suburbs a couple of weeks back.

…………

Yeh Raaste Hain Pyar Ke drops drastically. 2nd week Bombay 27,56,034 (41.07%) from 14 cinemas (5 on F.H.), total for 2 weeks 86,19,316; Ahmedabad 1,70,412 from 2 cinemas; Pune 4,97,888 from 4 cinemas, Solapur 1,11,370 from 2 cinemas (1 in matinee); Bijapur 36,572; Delhi 14,48,802 from 8 cinemas (1 on F.H.); Kanpur 2,05,588 from 3 cinemas, Lucknow 2,50,251, Agra 1,80,000, Allahabad 1,06,251, Bareilly (6 days) 1,38,339, Jaunpur 15,000; Calcutta 4,41,499 from 4 cinemas; Nagpur 1,00,278, Jabalpur (6 days) 60,209, Amravati 98,435, Akola 69,591, total 2,43,992, 1st week Raipur (6 days) 71,658, Jalgaon 1,28,185, 2nd week Wardha (3 days) 19,046, 1st week Yavatmal 79,933; 2nd week Jaipur 3,25,824 (41.11%), 1st week Ajmer (29 shows, gross) 1,34,946, 2nd Bikaner 50,918; Hyderabad (gross) 3,61,192 from 2 cinemas.

Dil Chahta Hai continues to do very well in Bombay, other ‘A’ class cities of Bombay circuit and in Delhi. 2nd week Bombay 64,05,595 (90.34%) from 12 cinemas (8 on F.H.), total for 2 weeks 1,31,57,621; Ahmedabad 4,70,561 from 4 cinemas, Jamnagar 54,793; Pune 18,75,977 from 3 cinemas, Solapur 1,55,695 from 2 cinemas (1 in matinee); Bijapur (9 shows) 27,637; Delhi 76,36,073 from 13 cinemas; Kanpur 1,67,180 from 2 cinemas, Lucknow 4,60,718, Agra 2,50,000, Allahabad 1,03,704, Bareilly (6 days) 34,216; Calcutta 12,97,748 from 4 cinemas; Nagpur 2,71,381 from 2 cinemas, Jabalpur (6 days) 73,525, Amravati 1,29,347, Akola 67,010, total 2,00,920, Raipur (6 days) 91,232, Jalgaon 80,600, Wardha 41,528; Bhopal 1,75,000 (1 unrecd.); Jaipur 1,66,589 (27.57%), Ajmer 49,505; Hyderabad (gross) 13,20,889 from 5 cinemas (2 in noon, 1 on F.H.); 1st week Davangere 2,23,649; Vijayawada 2,88,275, Visakhapatnam 2 weeks’ total 6,65,646.

Lagaan (21 shows all over) is super-strong in Bombay and South. 10th week Bombay 22,24,286 (68.26%) from 7 cinemas (8 on F.H.), total for 10 weeks 5,01,57,446; Ahmedabad 28,000; Pune 7,16,132 from 3 cinemas; Delhi (TF) 14,18,304 from 4 cinemas (1 on F.H.); Kanpur 28,066, Lucknow 1,64,309, Allahabad 29,043; Calcutta 1,92,887; Nagpur 1,31,199, Amravati 62,890, Raipur (6 days) 38,408; Indore 40,388, Bhopal 44,514; Jaipur 70,072 (14.29%); Hyderabad (gross) 4,62,717 from 2 cinemas (1 in noon); 3rd week Mangalore 1,53,911; Vijayawada 5 weeks’ total 16,82,361, Visakhapatnam 2 weeks’ total 3,64,513.

Gadar Ek Prem Katha is still on a record-breaking spree at several places. 10th week Bombay 20,38,888 (52.30%) from 9 cinemas (16 on F.H.), total for 10 weeks 5,53,53,526; Ahmedabad 1,00,892, Jamnagar 63,783 from 2 cinemas (1 in matinee); Pune 5,90,349 from 3 cinemas (1 unrecd.), Solapur 88,277 from 2 cinemas (1 in matinee); 2nd week Harihar 57,218; 10th week Delhi (TF) 39,78,222 from 13 cinemas (1 on F.H.); Kanpur 1,92,796 from 2 cinemas, Lucknow 2,30,547, Agra 2,02,000, Allahabad 78,000, Bareilly (6 days) 41,248; 9th week Calcutta 2,57,975 from 2 cinemas; 10th week Nagpur 1,50,340 from 2 cinemas, Jabalpur (6 days) 90,032, 8th week Balaghat 36,469, total 6,62,775, 2nd week Kamptee 91,104, total 2,16,204, 10th week Amravati 74,047, Akola 82,979, total 17,38,597, share 13,83,185, Dhule 57,435, total 15,27,090, Raipur (6 days) 54,888, Jalgaon 96,102, total 21,00,289, Wardha 21,522, total 9,57,538, Yavatmal 31,632, total 10,48,894, share 7,98,894; Indore 1,17,373 (1 on F.H.), Bhopal 1,43,286, total 24,36,007; Jaipur 2,08,847 (35.69%), Ajmer (gross) 1,40,542, Bikaner 1,02,054; Hyderabad (gross) 3,25,530 (2 unrecd.).

NASEEM BANO SERIOUS

Actress Naseem Bano, mother of Saira Bano and mother-in-law of Dilip Kumar, is seriously ill and has been hospitalised in Bombay. Dilip Kumar, who was to fly to Hyderabad on 23rd August for the launch of Dinesh Patel’s film, starring himself and Ajay Devgan, had to cancel his trip. The muhurt of the film, being directed by Kuku Kohli, stands postponed.

‘EK RISHTAA….’ 100 DAYS

Shree Krishna International’s Ek Rishtaa The Bond Of Love entered 100th day of its combined run, at Bombay’s Royal cinema today (25th August). Produced and directed by Suneel Darshan, the film stars Amitabh Bachchan, Raakhee, Akshay Kumar, Karisma Kapoor and Juhi Chawla. Its music is scored by Nadeem Shravan while lyrics are penned by Sameer.

ULTRA BUYS VIDEO RIGHTS OF YASH CHOPRA’S FILMS

Ultra has acquired the video rights of all Yash Chopra films which will be made available in VCD and VHS formats. The films include Mohabbatein, DDLJ, DTPH, Silsila, Kabhi Kabhie, Kala Patthar, Chandni and others.

NEW CINEMAS

Bhajan Rathore and Muniya Rathore’s new cinema, Shri Ram Chitra, will open in Bhopal on Dassera Day (26th October). Two more cinemas of the Rathores in Gwalior, viz. Muskan and Shri Ram Chitra Mandir are under construction.

SHARAD TALWALKAR DEAD

Well-known actor of Marathi films and drama, Sharad Talwalkar, passed away in Pune on 21st August, following a prolonged illness. In a career spanning six decades, Talwalkar portrayed many memorable roles, especially humorous ones.

KALYANJI REMEMBERED

Glowing tributes were paid to the genius of late Kalyanji on his first death anniversary at a musical function held on 24th August at Nehru Centre, Bombay. A well-attended affair, the soiree was further enriched with a performance of his golden melodies by Little Wonders, child entertainers so assiduously nurtured by the maestro.

SUNNY RULES IN AKOLA

Gadar Ek Prem Katha has created an unprecedented craze for Sunny Deol in Akola. The film has been enjoying a tremendous run for the last ten weeks at the local Vasant Talkies. Sunny’s popularity has led to the formation of the Akola Deol Fans Club. Club chief Rajabhau Gautam recently announced that it will distribute free food to the needy when the film enters 100th day of its run in the city.

A.V. Gawande, local representative, was in for a pleasant surprise recently. He had been sent 100 flags of the Sunny-starrer Maa Tujhe Salaam for publicity by Jyoti Pictures which is distributing the film in C.P. Berar. The craze for the flags was so much that Sunny’s fans, students, shop-owners and hotel proprietors rushed to Gawande, demanding that they be given the flags. Ultimately, Gawande had to call for a large number of extra flags from the distributor to appease the crowds!

ASHOK ROY BEREAVED

Rishi Roy, son of producer-director Ashok Roy, nephew of writer Rajiv Kaul and grandson of late writer Mohan Kaul, expired on the night of 23rd August suddenly at his residence at Andheri, Bombay, following heart failure. He was 27 years old.

Rishi was associated with the Moranis and used to be involved in the creative side of their stage shows.

He was cremated on 24th morning.

‘CCCC’ SILVER JUBILEE

Emaar Films International’s Chori Chori Chupke Chupke entered 25th combined week at Naaz, Bombay on 24th August. Directed by Abbas Mustan for producer Nazim Rizvi, the film stars Salman Khan, Rani Mukerji, Preity Zinta, Prem Chopra, Johny Lever and Amrish Puri. It has music by Anu Malik.

UPHAAR CINEMA TRAGEDY: SC REFUSES TO INTERFERE

In a significant development in the Uphaar Cinema fire case of Delhi, the Supreme Court this week refused to interfere with the Delhi high court’s decision to admit a writ petition filed by the Association of Victims of Uphaar Tragedy (AVUT). The petition seeks Rs. 120 crore as compensation for the lives lost during the fire tragedy that occurred at the cinema during a screening of Border in June 1997. The theatre owners had appealed to the Supreme Court after the high court admitted AVUT’s petition. They contended that the writ could not lie against a private non-government party.

It may be mentioned that a three-member committee, instituted by the Delhi HC to investigate into the matter, had last year held the theatre management and various government agencies responsible for the tragedy.

YOU ASKED IT

How much business will Gadar do in the whole of India?

– It should do over 60 crore!

Has Farhan Akhtar signed any film after Dil Chahta Hai?

– He is a hot favourite of producers and has offers galore!

Why are mythological films not made these days?

– Because a lot of mythological TV serials have been made. Besides, the young generation does not like to see big-screen mythological fares. 

Which forthcoming film’s music is a surefire hit?

– Unfortunately, no forthcoming film has hit music.

DO YOU KNOW?

* DIL CHAHTA HAI has created records in 2nd week at the following cinemas of Pune:- City Pride by collecting 8,01,343/- (cap. 8,46,853/-); Victory, 3,73,325/- (cap. 3,99,784/-); and Mangala, 7,00,809/- (100%).

* LAGAAN has created a record by collecting 37,63,628/- in 9 weeks at Starcity, Bombay. It drew all shows full in the first 5 weeks. The previous record was held by PUKAR which had collected 28,17,936/- in 9 weeks at the cinema. 

* LAGAAN has created a theatre record by fetching a share of over Rs. 6 lakh in 10 weeks from Shyam, Raipur. 10 weeks’ collection: 9,98,584/-.

* GADAR has created a Khandesh record by collecting 96,102/- in 10th week and a total of 21,00,289/- in 10 weeks at Chitra, Jalgaon.

* GADAR has created a city record by collecting a total of 9,57,538/- in 10 weeks’ run at Arati, Wardha.

* GADAR has created a theatre record by collecting 1,43,286/- in 10th week at Lily, Bhopal. Total: 24,36,007/-.

* The Kannada film KANASUGARA has created a record by yielding a share of 13,00,000/- in 3 weeks from Sujata, Hubli  and Mahalaxmi, Gadag. 

3-E
Education-Entertainment-Enlightenment

What Was Hot Is Not!

The declining Overseas, satellite and music markets spell bad news for producers in more ways than one. Firstly, it means lesser in their kitty which by no interpretation can be good news. Secondly, lesser recoveries from these three markets will reduce the comfort level of institutional lenders like the IDBI and, therefore, make them more cautious while lending money to producers. It may be recalled that the IDBI and banks embarked on the mission to finance films largely because of the spurt in the three aforesaid territories. For, larger the revenues of the producers, greater the comfort level for the lenders. Of course, all is not lost because what the bad market conditions translate into is a reduction in profits of producers, not a loss-making scenario. But yes, if producers don’t guard against going over-budget, the slump could result in their being in the red too.

‘Lajja’: Definitely On 31st

Talking of going over-budget, Rajkumar Santoshi and A.M. Ratnam have both exceeded their scheduled budgets in Lajja and Nayak respectively. With Lajja due for release next week, the office of Bharat Shah, who presents the film, has been trying hard to impress upon the film’s distributors to agree to a price hike to cover part of the extra expenditure. As word spread that a price hike was on the cards, panic spread among exhibitors about whether Lajja would or would not make it on 31st August. Information‘s office was inundated with telephone calls all through the week, asking for the release position of Lajja. Not just exhibitors, even distributors of the film double-checked the release plans. A slight hitch in the censorship of the film only added to the confusion. But the censorship drama ended on the afternoon of Thursday (23rd August) when Santoshi emerged happy from the CBFC office in Bombay, having cleared all the doubts in the minds of a couple of examining committee members vis-à-vis some scenes. The cuts, offered and agreed upon by Santoshi, were deposited on Friday (24th) and the censor certificate (UA) obtained soon after the cuts were verified by the CBFC authorities.

One Film, Five Title Songs

Trust Vashu Bhagnani to experiment! For his new film, Rehna Hai Tere Dil Mein, the ever-on-his-feet producer has recorded a total of — hold your breath! — five title songs. While one title song will form part of the film, the other four will be incorporated at the end of the film if the public likes them. That is to say, Vashu will hold a public opinion poll and include one or more of the four title songs, according to the public’s liking. Audio cassettes containing these four title songs will be distributed free alongwith every cassette of Rehna Hai Tere Dil Mein purchased. While the film’s music, including one title song, is composed by South’s Harris Jairaj, the other four title songs have been recorded by four different music directors. Vashu will release the music in the first week of September and the film will hit the screens on 12th October. His other under-production film, Deewanapan, will be released on 9th November. Two films within 30 days!

Blessing In Disguise

While the television promotional trailers of Shankar’s Nayak were not creating a buzz about the film among the public, the theatrical trailer has done the trick. People seem to be enjoying the trailer in cinemas across the nation. Considering that the theatrical trailer was released only last week, the postponement of the film’s release by two weeks should be counted by its distributors as a blessing in disguise. Incidentally, the sequences of the film, which had been sent abroad for special effects, have reached Madras and, in all probability, the first copy of Nayak should be out on 26th/27th August. Its release on 7th September is now confirmed.

‘Abhay’ Promises A Punch

Kamal Haasan has completed a double century in acting. His Hindi-Tamil bilingual Abhay (Aalavandan in Tamil) is the versatile actor’s 201st film! And, judging from the clippings one saw this week, Kamal’s performance in a double role in the film is brilliant, especially in the negative role.

The film, slated for release in September-end, has some fantastic special effects. Director Suresh Krissna informs that it took them 150 days to shoot this extravaganza. Magnasound has released the music of the Tamil version while Universal, on 24th August, released the audio cassettes of the Hindi version (Abhay) at The Regent in Bombay.

‘Nayak’: The Real Story (Of Postponement)

The postponement of the release of Shankar’s Nayak was received in the trade with disbelief. Scheduled for 24th August, it has been postponed by two weeks, to 7th September. Rumours are also rife that it may come on 31st August. But those subscribing to the theory that Nayak will hit the screens on 31st August believe that Rajkumar Santoshi’s Lajja will not come on that day. The reason advanced by such people, for the postponement of Lajja, is that it has gone grossly over-budget and things will take a while to be sorted out. Matters, they add, have only become more complicated since Bharat Shah, who presents and distributes Lajja in Bombay, is under arrest (incidentally, his bail application was again rejected by the Bombay high court on 17th August). Of course, people connected with Lajja dismiss these stories as totally untrue and insist that the film will make it on 31st.

Coming to Nayak, Shankar’s extravaganza itself has gone over-budget by several crores of rupees. While this is one reason for the postponement, there are several more. Its mixing is not yet complete. Some parts, sent abroad for special effects, have been delayed and will reach India only on 20th or 21st August. Distributors, who’ve paid a heavy price for the film, are in a mood to seek a price reduction in view of the tight financial position in the trade. If this happens, the problems of producer A.M. Rathnam will only be aggravated, not eased. Yet another theory has it that the Overseas distribution rights of Nayak are not fetching the price expected by the makers. While rights of part of the Overseas territory are with Chandrakant Mehta, another distributor for a major part of the circuit — USA and UK — is still to be identified, that too, at a price desired by the makers!

While the tentative date of release is being given as 7th September, the trade is not sure whether the film will, in fact, come on 7th. For, the inauspicious shraddh period begins on 3rd September and producers usually avoid releasing their films during the shraddh days.

Meanwhile, exhibitors across the country are again panicking as the postponement of Nayak has made them look out for alternative playing programmes where none exist. With recent releases having all fallen like nine pins, there’s nothing that is sustaining at the box-office. Lagaan has almost exhausted its run in the first chain, other than in Bombay and Delhi. Gadar is the only film which is steady at the box-office but even that will start being pulled out of cinemas in some weeks from now.

There has been no major release this week. Thanks to the postponement of Nayak, there won’t be any release next week too. All eyes are now, therefore, on Lajja and Nayak.

LATEST POSITION

Both the releases of last week failed to lift the pall of gloom in the industry. DIL CHAHTA HAI is good in Bombay and Mysore but that’s about all. In most of the other circuits, distributors stand to lose. Delhi was good but U.P. was bad. YEH RAASTE HAIN PYAR KE fared badly all over. The holidays of Independence Day and Janmashtami proved beneficial for the two films but not enough to help distributors tide over their tensions. 

Yeh Raaste Hain Pyar Ke has not been appreciated. Is somewhat better in small centres. 1st week Bombay 55,49,929 (70.83%) from 15 cinemas (7 on F.H.); Vapi 4,16,330, Rajkot 2,70,000, Jamnagar (matinee) 29,835; Pune 9,58,457 from 4 cinemas (1 in matinee), Solapur 2,16,364 from 2 cinemas (1 in matinee); Delhi 34,98,495 (55.52%) from 11 cinemas (2 on F.H.); Kanpur 4,32,333 from 3 cinemas, Lucknow 4,44,872, Agra (3 days) 1,70,000, Allahabad 1,95,903, Jaunpur 60,000; Calcutta 14,62,049 from 9 cinemas; Nagpur 3,95,517 from 3 cinemas, Jabalpur (6 days) 1,23,960, Amravati 2,06,678, Akola 1,74,400; Jaipur 7,28,368 (49.30%) from 3 cinemas; Hyderabad (gross) 24,09,641 from 11 cinemas; Davangere 1,57,814.

Dil Chahta Hai is good in big centres of Bombay circuit and in Delhi and Mysore. But in the rest of the country, collections are not encouraging. 1st week Bombay 67,52,026 (94.28%) from 12 cinemas (9 on F.H.), Vashi 8,16,201 (89.41%); Ahmedabad 11,38,660 (88.37%) from 2 cinemas, Rajkot 4,39,633 (97.53%), Jamnagar 1,32,191, Adipur 2,30,965; Pune 23,16,769 from 4 cinemas, Solapur 2,13,871 from 2 cinemas (1 in matinee); Delhi 99,83,604 (83.34%) from 13 cinemas; Kanpur 3,46,285 from 2 cinemas, Lucknow 5,30,794, Agra 4,12,000, Allahabad 2,03,000, Bareilly 76,498; Calcutta 19,18,362 from 6 cinemas; Nagpur 8,45,896 from 4 cinemas, Jabalpur (6 days) 1,71,129, Amravati 1,92,270, Akola 1,34,000, Jalgaon 1,60,751, Wardha (6 days) 81,325, Chandrapur 1,53,472; Bhopal 2,77,000 (1 unrecd.); Jaipur 6,42,084 (42%) from 3 cinemas, Ajmer (29 shows) 1,25,236; Hyderabad (gross) 44,53,570 from 14 cinemas (2 on F.H., 2 in noon).

…………

Pyaar Ishq Aur Mohabbat gasps for breath. 2nd week Bombay 3,89,076 (29.67%) from 2 cinemas (8 unrecd.); Rajkot 1,95,000 from 2 cinemas (1 in matinee), Jamnagar 58,841 from 2 cinemas (1 in matinee); Pune 2,22,616 from 2 cinemas, Solapur 42,727 from 2 cinemas (1 in matinee); Delhi 2,56,843; Kanpur 70,774 from 2 cinemas, Lucknow 67,729, Agra 1,40,000, Bareilly 32,042, Jaunpur 15,000; Calcutta 98,782; Amravati 37,084, Raipur (6 days) 26,162, Jalgaon 41,733; Hyderabad (gross) 1,75,215.

Yaadein… is on its way out. 3rd week Bombay 13,73,849 from 5 cinemas (4 on F.H.), total for 3 weeks 1,15,83,319; Rajkot 1,45,025, Jamnagar (noon) 35,700; Pune 2,04,744 from 3 cinemas (1 in matinee), Solapur 25,393; Delhi 6,29,668 from 3 cinemas; Kanpur 1,90,077 from 2 cinemas, Lucknow 3,18,674, Agra 1,11,000, Allahabad 77,000, Bareilly 35,728, Jaunpur 12,000; Calcutta 4,14,561 from 2 cinemas; Nagpur 1,01,843, Jabalpur (6 days) 94,862, Amravati 64,534, Dhule 18,000, Raipur (6 days, gross) 1,12,502, Jalgaon 60,626, Chandrapur 42,879, total 2,93,635, Yavatmal 33,551, total 2,06,553; Indore 75,000; Jaipur 4,52,211 (53.40%).

Lagaan (21 shows all over) 9th week Bombay 26,90,551 (78.06%) from 8 cinemas (7 on F.H.), total for 9 weeks 4,79,33,160; Pune 7,15,119 from 2 cinemas; Delhi (TF) 13,52,643 from 3 cinemas; Kanpur 40,519, Lucknow 2,13,146, Allahabad 42,795; Calcutta 6,23,188 from 4 cinemas; Nagpur 1,43,679, Amravati 78,222, Raipur (6 days) 54,434, 1st week Ballarpur 62,204; 9th week Indore 60,400, Bhopal 59,000; Jaipur 1,03,948 (16.26%); Hyderabad (gross) 5,06,731 from 2 cinemas (1 in noon); 1st week Mangalore 1,98,347.

Gadar Ek Prem Katha is better than all other running films put together. 9th week Bombay 39,24,800 (60.27%) from 15 cinemas (10 on F.H.), total for 9 weeks 5,33,14,638; Vapi 2,64,384, Jamnagar 1,57,395 from 2 cinemas; Pune 8,15,766 from 4 cinemas, Solapur 1,21,940 from 2 cinemas (1 in matinee); Delhi 23,98,133 from 8 cinemas (4 on F.H.); Kanpur 2,97,943 from 2 cinemas, Lucknow 2,95,134, Agra 3,00,000, Allahabad 1,10,273, Bareilly (6 days) 63,719; 8th week Calcutta 3,12,722 from 2 cinemas; 9th week Nagpur 1,71,611 from 2 cinemas, Jabalpur (6 days) 1,36,375, 7th week Balaghat 54,125, total 6,26,106, 9th week Amravati 1,23,867, Akola 1,09,639, total 16,55,615, share 13,34,550, Dhule 57,412, total 14,69,655, Raipur (6 days) 96,940, Jalgaon 1,31,626, total 20,04,187, 4th week Gondia 1,38,840, total 6,06,999, 9th week Wardha (6 days) 28,523, total 9,33,069, Yavatmal 43,935; Indore 1,41,576 (1 on F.H.), Bhopal 1,86,439; Jaipur 2,66,235 (45.50%), Ajmer (gross) 2,00,842; Hyderabad (gross) 3,60,735 (1 unrecd.).

PRAKASH MEHRA BEREAVED

Pratap Mehra (Babboo), brother of producer-director Prakash Mehra, expired on 5th August in Bombay following a heart attack. He was 56 and is survived by his wife, a son and a daughter.

Babboo Mehra had produced Himalaya Se Ooncha (1975) and Jwalamukhi (1980).

FIRST CINEMA AT RAISEN

Singhal, owner of Rambha cinema, Bhopal, has purchased land at Raisen, near Bhopal, for construction of a cinema. Raisen, with a population of more than 40,000, has no cinema currently.

BANGALORE CBFC OFFICIAL HELD

A senior officer of the Bangalore regional office of the Central Board of Film Certification was caught red-handled on 14th August while accepting a bribe to issue a censor certificate to a Kannada film, Narahanthaka. The film is produced and directed by B.R. Keshava, proprietor of BRKS Mega Production.

‘GADAR’ TAX-FREE IN DELHI

Zee Telefilms Limited’s Gadar Ek Prem Katha has been granted exemption from payment of entertainment tax in Delhi.

The tax exemption will give a further boost to the film’s collections which are already historic.

KISHAN KANT SETH PASSES AWAY

Kishan Kant Seth, partner in Nishat and Gulmarg cinemas of Meerut, passed away in Meerut on 12th August after a prolonged illness. He was 81 and is survived by his wife and two daughters.

The oldest exhibitor of Meerut, Seth was highly respected and was popularly referred to as Bade Bhaiyya by everyone. Both, Nishat and Gulmarg cinemas, remained closed for three days.

ANOTHER DEATH ON ‘DEVDAS’ SET

A lightman on the set of Sanjay Leela Bhansali’s Devdas fell to his death on 12th August at Filmistan Studios. Subhash Morkar (40) fell while he was handling the lights at about 8.45 p.m. He was rushed to Cooper Hospital where he was pronounced dead at 10 p.m.

This is the second freak accident on the sets of Devdas. In December last year, two unit members were injured in a freak accident. Of them, one died after his head got stuck in a huge storm fan and another unit worker, who tried to save him, sustained serious injuries.

SHABIR AHMAD DEAD

Shabir Ahmad of Sardar Talkies, Malegaon, expired on 10th August at Malegaon. He was not only one of the oldest exhibitors of Malegaon, but also a great social worker. He was the chairman of Sana Primary and High School of Malegaon, chairman of Nasik Zilla Haj committee and various such institutions.

‘LAGAAN’ WINS AUDIENCE AWARD AT LOCARNO

Aamir Khan’s Lagaan won the Prix du public (Audience award) at the Locarno film festival in Switzerland on 12th August. It was the first festival appearance of the period film directed by Ashutosh Gowariker. The award was collected by Gowariker. Lagaan now moves on to film festivals in Toronto, Chicago and Cairo.

The Locarno festival, in its 54th year, is the second-oldest film festival in the world (Venice is the oldest). Lagaan was screened at the fete on 5th August to an audience, numbering 6,300, which clapped and cheered. They applauded its dialogues and songs and even danced to its tunes in the aisles. Because of its running time of over three-and-a-half hours, the festival authorities waived its rule of two films per night. It screened Lagaan as a single film for that one night. Two additional shows of the film were held at the fete. It was also sold to eight countries including Germany, Switzerland, Austria and Finland.

MRTPC HOLDS FMC GUILTY

The Monopolies and Restrictive Trade Practices Commission has held the Film Makers Combine guilty of adopting restrictive trade practices within the purview of the MRTP Act, 1969. The Commission recently passed an ex parte order to the effect on a complaint filed by Vidhu Vinod Chopra.

It may be recalled that Vinod Chopra had carried on with the shooting of his 1942 – A Love Story in November 1993 despite a call for an indefinite strike given by the FMC. In retaliation, the FMC had written to distributors’ Associations, asking them not to register Chopra’s film. The FMC had also asked Film City authorities and members of the film’s cast to stop co-operating with Chopra. However, when he still continued with the shooting, the FMC slapped a fine of Rs. 5 lakh, following which the producer-director took the matter to the MRTPC.

YOU ASKED IT

You had a while ago mentioned that film negative exposed abroad (foreign shootings) was subjected to customs duty when the producers returned to India. Is customs duty still charged on such exposed film negative?

– The I & B ministry has informed the Film Federation of India that the finance ministry is issuing a directive to the effect that customs duty will not be levied on such exposed negative.

You keep writing in your reviews that the audience wants something new. When someone makes a fresh film like Dil Chahta Hai, you write that it will not run outside Bombay. Then what?

– Not only have I written so, but DIL CHAHTA HAI has indeed not run in most of the circuits. You’ve got to give the audience novelty but while remaining within the parameters of commercial cinema. DIL CHAHTA HAI came like a cultural shock to viewers in most circuits.

Besides D. Rama Naidu, has the IDBI financed any other producer?

– Rajshri has been financed for its films — one, being made by Sooraj Barjatya, and the other, to be directed by Mohan Singh Rathod.

MULTIPLEX POLICY OF MAHARASHTRA GOVT.

Single-Screen Cinema Owners To Move Court

The ire against the multiplex policy of the Maharashtra government is rising among single-screen cinemas owners. Not satisfied with a day’s token closure in Bombay last week to protest against what they term a “discriminatory policy” adopted by the state government, owners of single-screen cinemas in the state are now threatening to move the Bombay high court against the policy.

The Maharashtra government last week announced the decision to grant entertainment tax exemption to multiplexes for three years and a further 25% relief for two years thereafter. However, the entertainment tax rate for existing cinemas will remain the same.

Representatives of single-screen cinemas from all over the state met in Bombay on 14th August to decide on the future course of action. Among the Associations which met were the Cinematograph Exhibitors Association of India (CEAI), the Theatre Owners’ Association (TOA), the Pune Exhibitors’ Association, the Central Circuit Cine Association (CCCA) and the Marathwada Cinema Exhibitors’ Association. Earlier, on 12th August, exhibitors of Maharashtra (of C.P. Berar circuit) met in Nagpur to chalk out the plan of action (read report elsewhere in this issue).

Although the government resolution (GR) on the multiplex policy is not out so far, it is a mere formality now since the decision has already been taken. The meeting on 14th drafted a joint representation which will be submitted to the state government soon. The memorandum terms the government’s move as unfair and explains how it will ultimately affect the government’s earnings.

The fear in the minds of owners of single-screen cinemas is that they will be thrown out of business as distributors will want to release their films at the multiplexes because of the sops given to them by the government. According to single-screen cinema owners, the government will ultimately lose because it will not get any entertainment tax from the patrons visiting multiplexes.

The agitated cinema owners are pleading with the government to provide a level playing field. Instead of offering incentives to just one kind of cinemas, it would be better if the government laid down the technological upgradations it expects in cinemas and gave incentives to those cinemas which got themselves upgraded, feel the single-screen cinema owners.

Rajshri: The Empire That Experiments

It is no coincidence that Tarachand Barjatya commenced the operations of Rajshri Pictures (P.) Ltd. on 15th August, 1947 — the day India became free. For, the banner that was born on that auspicious day was to hold Indian values and traditions, more than anything else, at the centre of things. Fifty-four years later, having grown into an empire, Rajshri continues to propagate the same Indian values — whether in its style of doing business or through the films it makes — that Tarachand Barjatya had instilled in the company at the beginning. His three worthy sons, Kamal Kumar, Rajkumar and Ajit Kumar, alongwith grandsons Sooraj and Rajat, have kept the Rajshri flag flying high on the firmament.

The first fifteen years of Rajshri were spent distributing a number of films, both, in Hindi as well as regional languages. By the time Rajshri diversified into film production in 1962, it had cemented its status as the largest film distributor in the country. Today, Rajshri’s distribution operates through a network of 24 offices, spanning the length and breadth of India. No other film distributor in the country can even dream of getting anywhere close to Rajshri’s infrastructure, not for several years at least.

Rajshri Productions (P.) Ltd. has an enviable record of having produced 47 films in 39 years. The 48th, Main Prem Ki Diwani Hoon, starring Hrithik Roshan, Kareena Kapoor and Abhishek Bachchan, is currently being made. The 49th film, to be directed by Mohan Singh Rathod, will start later this month. What is remarkable about Rajshri’s track-record is that the banner has never, even in the worst of circumstances, succumbed to the lure of taking the easy route to the box-office — that of churning out titillating stuff. Be it Aarti (1962), Dosti (1964), Saudagar (1973), Geet Gaata Chal (1975) or the more recent Maine Pyar Kiya (1989), Hum Aapke Hain Koun..! (1994) or Hum Saath-Saath Hain (1999) — every film bears the stamp of Rajshri’s unique brand of Indian values. So much so that even the action films made by Rajshri, like Agent Vinod (1977) in which Mahendra Sandhu played a Bond-like spy, did not rely on sex to sell. For Rajshri, the primary target audience has always remained the family.

Perhaps, this insistence on making only clean, family entertainers is what pushed Rajshri to major financial losses in the late seventies and eighties, a period when violence ruled in films. As many as twenty-one Rajshri films flopped at the box-office between 1979 and 1984, while only three emerged successful.

The banner rose like a phoenix with the arrival of Sooraj Barjatya on the scene with Maine Pyar Kiya in 1989. Sooraj followed it up with India’s biggest blockbuster of all times, Hum Aapke Hain Koun..! and the rest, as they say, is history. Incidentally, it was the pragmatic Tarachand Barjatya, respectfully called Sethji, who had been the first to spot potential in Sooraj and place on his young shoulders — he was only 24 then — the immense responsibility of pulling the prestigious banner out of its worst crisis.

To say that Rajshri is the most prestigious banner in the film industry would be stating the obvious. Over the years, it has given to the industry as much as it got from it, be it in terms of introducing new talent and technology, or new ideas in production and distribution of films. Many of Rajshri’s experiments proved successful while some didn’t. But the fact is that others in the industry benefitted a great deal from them. Given below are some of Rajshri’s major experiments down the years and how they turned out:

Jeevan Mrityu (1970): Rajshri tried something that had never been done in the history of Hindi cinema — that of releasing a star cast film in only matinee shows. The Dharmendra starrer, Jeevan Mrityu, opened in matinee shows at Bombay’s Alankar Cinema. The experiment proved successful as the film went on to run for 100 consecutive weeks there.

Chitchor (1976): While a few Hindi films had already been made in the Cinemascope format before it, Chitchor was the first that was duly promoted as one. The film’s success resulted in more and more films being made in the format. The release of Chitchor was another experiment. To prove his dictum ‘People would travel miles to see a film which has merits’, Tarachand Barjatya released it in only one cinema in a Bombay suburb — and not, as is customary, in any main cinema in the city. Tarachandji’s belief proved right as Chitchor enjoyed an unbroken run of 36 weeks at Amber Cinema in the Bombay suburb of Andheri.

Agent Vinod (1977): The film was released at a time when the government had revised excise duty on cinema prints. As things stood after the revision, eleven prints of a film were exempted from excise duty, after which duty had to be paid on every additional print taken out for a period of one year from the date of premiere release. After one year, every new print was exempted from duty. As if in protest against the levy, Rajshri took out only eleven prints of Agent Vinod — an out-and-out commercial entertainer which deserved a much, much wider release. Only after exploiting the film with eleven prints for a year were more prints made of the film. The end result was that not only did Rajshri save on excise duty but the film also went on to prove a hit.

Dulhan Wahi Jo Piya Man Bhaaye (1977): Tarachand Barjatya firmly believed that mouth publicity was the best publicity. To prove this, he took an unusual step with the release of Dulhan Wahi Jo Piya Man Bhaaye. As incredible as it may sound today, the film was released without any street and print publicity! The film, which expectedly took a dismal opening due to lack of promotion, indeed picked up by favourable word of mouth. It ultimately proved one of the biggest blockbusters of that year.

Coolie (1983): There was a lot of hype around the time of the release of this Amitabh Bachchan starrer, thanks to the near-fatal injury that the superstar suffered on the sets during its making. The film was produced and directed by Manmohan Desai and distributed by Rajshri in Bombay and a few other territories. It was on the insistence of Gopal Babu, then general manager of Rajshri, that the shot where Amitabh got hurt was frozen for a few seconds in all the prints. His reasoning was simple: going by the mass hysteria during Amitabh’s battle with death post-injury, people were extremely sentimental about the episode and very curious to know how he had got hurt. Needless to add, Gopal Babu was 100% correct in his assessment.

Maine Pyar Kiya (1989): Reeling under heavy financial losses due to the string of flops, Tarachand Barjatya placed his hope and trust on his 24-year-old grandson, Sooraj, to turn things around. The young director lived up to the expectations and delivered a blockbuster on debut. Rajshri introduced 4-track Optical Stereophonic sound for the first time in India with Maine Pyar Kiya. The sound systems at a number of cinemas across the country were upgraded following its success.

Hum Aapke Hain Koun..! (1994): It became a landmark film not only for Rajshri, but also for Indian cinema. Remade from Rajshri’s 1982 film, Nadiya Ke Paar, HAHK..! showed the courageous side of Rajshri. Nadiya Ke Paar had been a success only in U.P. and Bihar while proving a disaster everywhere else. Yet, Rajshri decided to remake the film on a much grander scale simply because of strong belief in its subject. Research had shown that Nadiya Ke Paar had failed in other territories because of a very strong Bhojpuri flavour — a flaw rectified in HAHK..!.

Rajshri had such confidence in the box-office potential of HAHK..! that it released the film all-India with only 29 prints in the first week. New prints were added as its run progressed so that ultimately, over 400 prints of the film were in circulation in India alone, in addition to more than 100 abroad. This was because of the supreme confidence in the film. Even otherwise, initially, very few exhibitors would have paid the astronomical terms that Rajshri had in mind for the film.

Rajshri was so sure of the film’s success that if chalked out a year-long contract with Bombay’s Liberty cinema! The contract had to be renewed twice as the film’s run outlived it each time. Rajshri also had the cinema renovated at its own cost, complete with special lighting fitted around the screen. The colourful lights came on during some of the wedding songs and gave the audience a feeling of being at a shaadi ka mandap! The film is said to have earned a share of Rs. 2.75 crore from Liberty alone!

For the same film, it was Rajshri which, alongwith Liberty cinema of Bombay, filed a writ petition in the Bombay high court, demanding the right to increase admission rates without prior permission of the collector/licensing authority. The Maharashtra government fought tooth and nail against the plea for enhanced rates without permission, but the high court ruled in favour of Rajshri and Liberty cinema. It is because of this landmark ruling that we now see cinemas in Maharashtra changing admission rates according to the film screened and also for the same film on different days of the week.

Hum Saath-Saath Hain (1999): In contrast to the limited print release of HAHK..!, Rajshri flooded the market with an exceptionally large number of prints of Hum Saath-Saath Hain. The film opened in a record 416 cinema halls across India. This was also clever strategy, considering that pirated VCDs of the film surfaced in the first week itself. Also, the wide release proved a boon because the film turned out somewhat below the usual expectations of a Sooraj Barjatya film. A large number of prints on release meant that the film was able to cover more than its cost in the initial few weeks alone, before the collections began dropping.

The one experiment that failed….: By the late seventies, Rajshri had developed a vast network of distribution offices across the country. Rajshri then expanded its production activities in a big way. The banner produced as many as seven films in ’79, and six films in ’80, a total of 13, of which only Taraana and Saawan Ko Aane Do proved successful. Resultantly, Rajshri slowed down its production activities in the subsequent years. It made only one film in ’81, four in ’82, three each in ’83 and ’84, and only one each in ’85 and ’86. When the drought of hits continued, Rajshri didn’t produce a single film in ’87 and ’88. Its next production was Maine Pyar Kiya in 1989. If anything, Rajshri’s failed experiment proved the fact that an assembly-line approach can never work in a highly creative field as filmmaking. Not till one can give enough time to all the projects.

– GAUTAM MUTHA & RAJ VAIDYA

Producers’ Party Over!

Is the producers’ party over? Seems so!

Producers had never had it as good as in the last three years. Their margins of profit had hit the ceiling, thanks to the boom in the Overseas territory and the music industry and due to cut-throat competition between satellite channels which, therefore, offered them the moon for their star-studded films. All this translated into enhanced revenues for the producers of ‘A’ grade films. 

Recoveries from sale of Overseas, music and satellite rights were often enough to make an entire film, the revenues from sale of all-India theatrical rights translating into net profits for the producers. But the scene has changed today.

The music industry is facing its worst recession in recent years. With the boom in music piracy via the internet and with FM radio and a number of satellite channels playing Hindi film songs, sale of music cassettes has dropped alarmingly. Resultantly, music companies have stopped offering unrealistic prices to producers. Heavy losses suffered by music companies have also made them wary of paying through their nose. 

Satellite channels, of course, have realised their folly of paying unrealistic prices for telecast rights. All the channels are now fighting shy of buying films. Compare this to the scene till a few months back when channels were falling over one another to bag telecasting rights of films, old and new.

The recent debacles of films in Overseas have had their impact on the territory price too. What used to easily sell for Rs. 6 to 8 crore a year or two back is today finding it difficult to attract a buyer for 75% or even 50% of that price!

Where producers made table profits of several crores on the day of release of their films not too long ago, they are finding it difficult to make both ends meet today. The abnormally high rate of failure of films in the past two years has also shaken the confidence of distributors of the various circuits in India. There’s often nothing like a fixed ratio for a film today. Prices for the different territories are fixed according to demand (low) and supply (high).

Not just this, distributors, who had earlier acquired films which are now due for release, are having a change of heart now. Many of them are, if not all. They are looking for price rebates, deferred payment facilities, relinquishment of their rights, anything to reduce their risks. Exhibitors are clamouring to get their unrecouped advances back from distributors who have no money to pay. Distributors are rather looking up to exhibitors to bail them out of the crisis, but the exhibitors have also burnt their fingers so badly that they’d rather wait and watch.

And so while distributors brood over dismal times, and exhibitors exhibit their pauper state, it is producers who are getting a taste of things to come. Their party seems to be over. Now only the best will survive. Proposals will not work, films will. The frivolous among the community of producers will find it more and more difficult to survive, the serious ones will have to become even more serious.

– Komal Nahta

YEH RAASTE HAIN PYAR KE

Yashish Enterprises’ Yeh Raaste Hain Pyar Ke is about a big-time car thief, his girlfriend, his look-alike and the look-alike’s wife. The thief and his girlfriend make fast money by stealing cars, gambling and doing all things illegal. In the course of their activities, they get into a brawl with the local goonda‘s brother and the latter gets killed accidentally. In a fit of rage, the goonda swears vengeance and sets out to kill the thief but, due to a case of mistaken identity, kills the look-alike instead. The deceased’s newly-wed wife sees her husband being killed but refuses to believe it because the mental shock takes her into partial amnesia. Her doting father-in-law sees a ray of hope in the car thief who accidentally reaches their palatial house, because of his striking resemblance to his deceased son. He pleads with the thief to stay with them and pose as his son so that his daughter-in-law can, at a convenient time, be made to realise that she is a widow. The guy agrees for a fat sum of money in return. His girlfriend is happy at first, then suffers due to his absence and ultimately even revolts. Circumstances, in the meantime, bring the widow back to her senses.

The story (Deepak Shivdasani) offers no novelty whatsoever and looks heavily inspired by old films like Khilona. Screenplay (Robin Bhatt and Akash Khurana) is poor and haphazard. How a father-in-law would trust an unknown person living and sleeping in the same room as his daughter-in-law is not explained. Why the father-in-law does not inform his daughter-in-law’s family about the death of his son is not known. How the widow suffers from partial amnesia even when she sees her husband’s dead body in the morgue is not known. Servants of the dead guy also seem to be oblivious to their boss’ death and so also the people of the town in which he lives although they (people) adored him when he was alive. Is death so trivial that nobody is informed about it? Slips and blunders like the above are aplenty. The family doctor’s characterisation is weird. He keeps giving suggestions which can never befit a doctor. And in the climax, it is this same silly doctor who announces that the lady has regained her lost memory. Dialogues (Kaden Khan, Robin Bhatt and Shankar Iyer) are ordinary.

The action climax is half-heartedly done. In the climax, the villain, who has been pursuing the thief’s girlfriend to get her married to his younger brother, even if by force, himself comes and hands her over to her beloved. Why didn’t he get his brother married to her when he had a golden chance?

Ajay Devgan is average as the thief. He looks disinterested or just too casual in some scenes. As the look-alike rich guy, he has a brief role. Ajay looks too thin in some scenes. He dances rather awkwardly. Madhuri Dixit acts naturally and leaves a mark in the morgue scene. She lacks freshness in her looks, though. Her dances are pretty graceful. Preity Zinta gets limited scope and acts quite well. Vikram Gokhale gives a sincere performance. Deep Dhillon has an effective voice but gets no scope to show his talent. Kiran Kumar fills the bill. Smita Jayakar is natural. Shammi, Mayur, Brij Gopal and Jayshree T. pass muster. Sunny Deol has been hopelessly wasted in a special appearance. Although he acts ably, the audience will be sorely disappointed with his inconsequential role.

Deepak Shivdasani’s direction is rather dull. He has cared little for logic or continuity, and the entire drama suggests that he has taken the viewer too much for granted. Sanjeev Darshan’s music is fair. The title song, ‘Jo pyar karta hai’, ‘Balle balle’ and ‘Aaja aaja’ are quite good. Picturisation of the last named song is enchanting for Madhuri’s dance.

Rajan Kinagi’s camerawork is eye-filling. Foreign locations are pretty. Background score leaves something to be desired. Action scenes are functional. Production and other technical values are fair.

On the whole, Yeh Raaste Hain Pyar Ke is a weak film with bleak chances in most circuits. It should, however, do well in Bihar.

Released on 10-8-2001 at Minerva and 22 other cinemas of Bombay thru Devgan Entertainment & Software Ltd. Publicity: good. Opening: fair. …….Also released all over. Opening was good in Bihar but below the mark in most of the other circuits.

LATEST POSITION

The debacles of YAADEIN… and both of last week’s releases, PYAAR ISHQ AUR MOHABBAT and HUM HO GAYE AAP KE, have given a further boost to GADAR which, in any case, was going great guns. 

Pyaar Ishq Aur Mohabbat is a washout. 1st week Bombay 19,71,023 (64.96%) from 9 cinemas (10 on F.H.); Ahmedabad 12,42,450 from 5 cinemas (1 unrecd.), Jamnagar 56,025 from 2 cinemas (1 in matinee); Pune 7,10,010 from 5 cinemas, Solapur 1,44,957 from 2 cinemas (1 in matinee); Bijapur 1,00,651 from 2 cinemas (1 in noon); Delhi 19,46,556 (39.49%) from 9 cinemas (1 on F.H.); Kanpur 3,15,687 from 2 cinemas, Lucknow 2,35,879, Agra 3,05,000, Varanasi 1,16,735, Bareilly (6 days) 79,631, Jaunpur 60,000; Calcutta 2,97,096 (other cinemas poor); Nagpur 2,66,354 from 3 cinemas, Amravati 1,43,248, Akola 70,309, Raipur (6 days) 55,199, Bhilai (6 days) 65,790, Jalgaon 87,842, Yavatmal (6 days) 53,159; Jaipur 2,60,308 (20.57%) from 2 cinemas; Hyderabad (gross) 19,86,261 from 13 cinemas; Vijayawada (gross) 2,07,233, Visakhapatnam (gross) 1,52,197.

Hum Ho Gaye Aap Ke is a total loss. 1st week Bombay 25,35,894 (49%) from 13 cinemas (7 on F.H.); Ahmedabad 3,75,070 from 4 cinemas, Jamnagar 42,430; Pune 3,92,384 from 4 cinemas (1 in matinee), Solapur 84,328 from 2 cinemas (1 in matinee); Delhi 21,41,969 (33.46%) from 11 cinemas; Kanpur 2,74,167 from 2 cinemas, Lucknow 3,16,746, Agra 1,76,000, Varanasi 1,31,490, Bareilly (6 days) 33,860; Calcutta 2,23,865 (other cinemas poor); Nagpur 1,71,697 from 2 cinemas, Jabalpur (6 days) 48,846, Amravati 74,912, Akola 91,860, Bhilai (6 days) 49,400, Jalgaon 48,188; Bhopal 61,016 (1 unrecd.); Jaipur 2,24,143 (22.29%) from 2 cinemas, Ajmer (29 shows) 70,739; Hyderabad (gross) 14,65,892 from 5 cinemas (1 on F.H.).

…………..

Yaadein… drops dramatically. 2nd week Bombay 29,14,409 (64%) from 9 cinemas (14 on F.H.), total for 2 weeks 1,02,09,470; Ahmedabad 1,85,284 from 2 cinemas, Jamnagar (9 shows) 28,707; Pune 11,15,673 from 5 cinemas, Solapur 90,120; Bijapur 41,997 (25%); Delhi 46,02,325 from 12 cinemas (1 on F.H.); Kanpur 3,91,682 from 2 cinemas, Lucknow 6,39,728 from 2 cinemas, Agra 2,44,000, Varanasi 1,68,065, Bareilly (6 days) 67,159, Jaunpur 30,000; Calcutta 7,92,726 from 4 cinemas; Nagpur 1,58,217 from 2 cinemas, Jabalpur (6 days) 1,68,974, Amravati 1,05,022, Akola 80,400, Raipur (6 days) 1,76,973, Bhilai (6 days) 65,904, Durg 60,231 (1st week 1,11,003), Jalgaon 89,006 (1st week 2,68,324), Wardha 37,716, Chandrapur 64,223, total 2,50,755, Yavatmal 51,650, total 1,73,002, Sagar 43,572 (1st week 52,568); Indore 1,90,000, Bhopal 90,000; Jaipur 6,32,839 (74.73%), Ajmer (gross) 1,19,508; Hyderabad (gross) 4,35,286 from 2 cinemas (1 in noon, 1 unrecd.); 1st week Davangere 1,87,814; 2nd week Vijayawada (gross) 2,45,435, total 6,63,693, Viskhapatnam (gross) 1,71,738, total 4,86,045.

Lagaan (21 shows all over) 8th week Bombay 32,12,572 (67.55%) from 10 cinemas (5 on F.H.), total for 8 weeks 4,52,42,609; Ahmedabad 86,814 from 2 cinemas (1 unrecd.); Pune 6,40,572 from 2 cinemas; Delhi 15,78,108 from 4 cinemas (2 on F.H.); Kanpur 76,558, Lucknow 2,31,206, Agra 1,50,000; Calcutta 3,50,852 from 3 cinemas; Nagpur 1,36,425, 7th week Jabalpur (6 days) 46,721, 8th week Amravati 67,357, Raipur (6 days) 56,390, Bhilai (6 days) 19,229; Indore 60,000; Jaipur 3,32,162 (34.90%) from 2 cinemas; Hyderabad (gross) 12,05,953 from 5 cinemas (2 in noon); Vijayawada 3 weeks’ total 12,40,886 (gross), Visakhapatnam 3 weeks’ total 12,60,320 (gross).

Gadar Ek Prem Katha continues to roar and score. 8th week Bombay 28,21,590 (54.23%) from 13 cinemas (10 on F.H.), total for 8 weeks 4,93,89,838; Ahmedabad 4,46,774 from 4 cinemas (2 unrecd.), 1st week Idar 1,01,083, 2nd week Balasinor 2,91,482 from 2 cinemas, Himmatnagar 1,80,693, 8th week Jamnagar 52,666 from 2 cinemas (1 in matinee); Pune 9,18,213 from 5 cinemas (1 in matinee), Solapur 1,55,110 from 2 cinemas (1 in matinee); 2nd week Shimoga 95,865; 8th week Delhi 36,85,323 from 13 cinemas (2 on F.H.); Kanpur 4,41,356 from 2 cinemas, Lucknow 5,34,665 from 2 cinemas, Agra 3,75,000, Varanasi 2,56,271, Bareilly (6 days) 95,183, Jaunpur 20,000; 7th week Calcutta 3,02,470 from 2 cinemas; 8th week Nagpur 3,60,231 from 3 cinemas, Jabalpur (6 days) 2,09,238, Amravati 1,33,193, Akola 1,44,235, total 15,45,976, share 12,59,545, Raipur (6 days) 1,18,066, Bhilai (6 days) 76,751, Jalgaon 1,52,228, 4th week Gondia (6 days, gross) 1,26,334, Wardha 43,779, total 9,04,546, Yavatmal 56,826, total 9,73,417, share 7,73,417, Sagar 61,045; Indore 1,77,049 (1 on F.H.), Bhopal 2,40,403; Jaipur 3,39,267 (57.98%), Ajmer (gross) 2,64,773; Hyderabad (gross) 3,76,344 (1 unrecd.).

WIFPA DEMANDS REDUCTION IN WELFARE CESS

The Western India Film Producers’ Association has urged the parliamentary standing committee for labour welfare to reduce the cine workers welfare cess, currently Rs. 20,000 per film, to the minimum possible. The WIFPA has, in a letter dated 19th July, 2001, sought clarifications from the committee with regard to (i) the accumulated amount collected as cess till date; (ii) the constituted criteria for availing of the fund; (iii) the average amount of cess collected from film producers every year; (iv) the average annual amount of cess being spent under various schemes for the benefit of the workers; (v) the total number of cine workers registered under the scheme and the number of beneficiary cards issued till date; (vi) average number of beneficiary cards issued annually; and (vii) the average annual number of feature films on which cess is applicable.

Surprisingly, beneficiary cards are issued to cine workers who earn below Rs. 1,600 per month. In today’s times, such low remuneration (which, incidentally, was last revised in 1987) is hardly earned by anybody. Therefore, most of the workers are not able to avail of the benefit of the cess.

The letter suggests that the cess be also made applicable to producers of TV serials and ad films so as to substantially reduce the burden of cess on film producers. The WIFPA has also asked for a representation of the producers on the Welfare Cess Committee. A suggestion is also made about shifting of the office of the Welfare and Cess Commissioner to Bombay as it is the hub of all Hindi film activities.

The issues were discussed by a WIFPA representation, led by O.L. Sharma, convenor of the WIFPA’s government committee, with the under secretary, labour and welfare department, on 20th July in New Delhi.

SURINDER KAPOOR HOSPITALISED

Producer Surinder Kapoor suddenly took ill on 10th August and had to be hospitalised. He is under observation at Nanavati Hospital in Bombay. His condition is stable.

Boney Kapoor, who was shooting in Jodhpur for his Nana Patekar starrer, rushed to Bombay on getting the news of his father’s ill-health.

ANNUAL PRIZE MONEY FOR MARATHI FILMS HIKED

The Maharashtra government has hiked the annual prize money allotted for Marathi films. Ramkrishna More, the state cultural affairs minister, announced a raise of Rs. 1.61 lakh, taking the total amount of award money to Rs. 5.76 lakh. The prize money for the best film will now be Rs. 85,000. The hike will be effective from the 39th Marathi film festival next year.

DALCHAND JAIN NO MORE

Producer-exhibitor Dalchand Jain (Gayatri Cinema, Ratlam) passed away in Indore on 9th August due to renal failure. He had been admitted to a hospital in Indore on 6th. A member of the Ratlam Cinema Association, he had also produced Veer Chatrasal. He is survived by daughter Shashi and son Mohit. All Ratlam cinemas suspended one show on 9th.

‘VEER SAVARKAR’ CENSORED

Savarkar Darshan Pratishthan’s Veer Savarkar has been cleared by the CBFC for universal viewing. Written and directed by Ved Rahi, the film stars newfind Shailendra Gaur in the lead role alongwith Navni Parihar, Mrinal Kulkarni, Pankaj Berry, Tom Alter, Bob Christo and Rohitashva Gaur. Music: Sudhir Phadke. Cinematographer: Sameer Athalye. Editor: Vijay Kochikar. Art: Sharad Pole. The film is being readied for an early release. It has been shot extensively on locales of UK, France and in India on the Andaman and Nicobar islands.

YOU ASKED IT

How much business did Mother India do in its first run in Bombay?

– In the first 18 months alone, the business crossed 35 lakh. The cost of 8 technicolor prints to the distributor at that time was an astronomical 15 lakh.

When is it advisable to take a top star in a special appearance in a film?

– Only when you have a role to suit his/her status.

What is important in this industry — to make a good film or to make a successful film?

– It is more important to make a successful film because one is judged by the yardstick of success here. 

MULTIPLEXES IN MAHARASHTRA

Tax Exemption Policy Announced
Existing Cinemas Protest

While those planning multiplexes in Maharashtra rejoiced at chief minister Vilasrao Deshmukh’s announcement of tax holidays to new multiplexes in the state, on 7th August, existing cinemas across the state pressed panic buttons. At a hurriedly-called meeting of the Theatre Owners’ Association and the Cinematograph Exhibitors’ Association of India on 8th, it was decided to shut single-screen cinemas in Bombay on 9th to protest against the state government’s decision to waive entertainment tax on multiplexes under what was described as a discriminatory scheme.

The call for closure of cinemas was so sudden that the bandh on 9th remained partial. Another reason for the closure not being completely successful is that several single-screen cinemas do not either think, there is anything wrong with the multiplex policy or that anything will come out of the bandh.

The chief minister of Maharashtra announced 100% entertainment tax exemption on multiplexes for the next three years, and a 25% exemption for the subsequent two years. The exemption scheme, it is believed, will be applicable to multiplexes with at least four screens and a seating capacity of over 1,200. The announcement was made by the chief minister at the Enter Media 2001 conference organised by the Confederation of Indian Industries (CII) on the entertainment industry.

While Bombay cinemas registered their protest, albeit half-hearted, cinemas in other parts of Maharashtra are gearing up for action. Exhibitors of Nagpur, Akola, Amravati, Jalgaon, Dhule, Wardha, Khamgaon, Chandrapur (all centres of C.P. Berar) have lodged individual protests with the chief minister and home minister of Maharashtra by sending them telegrams reading: ‘We strongly protest and condemn discriminative and unjust announcement of tax holiday for multiplex theatres by the chief minister’.

A meeting of exhibitors of the Maharashtra belt of C.P. Berar will be held on Sunday, 12th August in Nagpur at Hotel Tuli International to chalk out the future course of action to be taken by the existing cinemas against the tax exemption policy for multiplexes. A memorandum is expected to be prepared at the meeting for handing over to the chief minister.

Meanwhile, distributors of Bombay circuit have condemned the abrupt closure of cinemas in the city on 9th August. The IMPDA is asking its members to claim their shares for the day from the closed cinemas as the closure was decided without taking them (IMPDA members) into confidence. Leading Bombay distributor Balkrishna Shroff said, “It is ridiculous to be protesting against something which the government is giving to the industry. Nobody is stopping the existing single-screen cinemas from converting themselves into multiplexes and availing of the tax exemption. How can anybody prevent progress?”

The IMPDA also lodged a strong protest against the CEAI and TOA’s unilateral decision to close down cinemas. Welcoming the government’s move, the IMPDA called the grant of tax-holiday to multiplexes an encouraging move which “would bail out the theatres, most of which are in the red on account of slackness of business and the difficulties in maintaining high overheads”. The IMPDA has also urged the government to favourably consider the cinema owners’ demand for an increase in the tax-free service charge from the present Re. 1 to Rs. 2. FICCI, like IMPDA, has also praised the Maharashtra government for what it termed a “pragmatic step”.

‘DDLJ’: 300 And Still Going Strong!

8th September, 1994. Bombay’s Filmistan Studios. A young director is calling the first shot of his career. His father and the film’s producer, himself a living legend of Indian cinema, beams with pride. Little do they know, the film that they are about to make will turn out to be much bigger than they could ever imagine.

Diwali, a year later. The film releases to bumper response all over India and the Overseas and is instantly declared a blockbuster. The shy, first-time director finds himself catapulted into the big league overnight.

10th August, 2001. The film enters the 300th week of its run at Bombay’s Maratha Mandir cinema in matinee. The show on 10th is house-full!

During the course of its run, umpteen box-office records have been shattered all over India and the world. Even now, in the sixth year of its run at Maratha Mandir, it draws full houses on weekends. It became the longest-running film in history thirty weeks ago when it surpassed the record of Sholay (it had a 269-week continued run at Bombay’s Minerva cinema).

No mean feat, this. One’s film — that too, one’s debut effort — going so strong in its 300th week! But director Aditya Chopra is too shy, as usual, to comment. Producer Yash Chopra is more forthcoming when asked for his reactions to the 300-week run of Dilwale Dulhania Le Jayenge. “It is one of the most important occasions in the lives of all of us who are connected with the film,” he says. He is obviously proud of the fact that the film, released during the silver jubilee year of Yash Raj Films, has brought unprecedented laurels to the company.

But did Yash-ji have any inkling, prior to the release of DDLJ, of the kind of success the film was going to achieve? “No way!”, he says, adding, “At the time of its release, we had thought, yeh picture 50 weeks kar le to achchha hai! We didn’t even think in our wildest of dreams that the film will go on to run for so long. It is a rare event.”

Dilwale Dulhania Le Jayenge premiered on 20th October, 1995 at New Excelsior and other cinemas of Bombay. After running for 50 weeks at New Excelsior, it was shifted to Sachinam for three weeks, after which it moved on to Maratha Mandir in matinee shows where it is running till date. It won the National Award for the best film providing wholesome entertainment for the year 1995 and has been exempted from payment of entertainment tax in Maharashtra. Even at the low admission rates of Rs. 9, 11 and 13, the film has collected a total of Rs. 1,19,80,274 in 246 weeks’ run at Maratha Mandir against a capacity of Rs. 1,84,04,736 (65.09%)! Its 299 weeks’ run in Bombay city & suburbs (excluding Thane district and F.H. cinemas) has yielded a total collection of Rs. 10,41,27,753!

One of the major contributing factors to the film’s sustained run, apart from its tremendous repeat-value, is the fact that the admission rates are very low. Yash Chopra agrees, “No doubt, the low ticket prices have helped the film. The condition that one cannot increase admission rates in the case of tax-exempted films has actually proved a boon to us!” Like the admission rates, the theatre rental at Maratha Mandir for this film has also remained unchanged over the five years of the film’s run there. That could be a sore point for any exhibitor. But not for Manoj Desai who manages Maratha Mandir, besides the G-7 multiplex at Bandra, Bombay. He says, ever-so-smilingly, “I do not regret not being able to increase the theatre rent for five years, simply because we are becoming a part of history due to the unprecedented long run of the film. Also, it is not possible to increase the admission rates in the first place. Moreover, I don’t think, the film would have been able to sustain for long if the rates were increased. The film has been released elsewhere with higher rates and has not enjoyed a long run there. As far as we are concerned, it is a matter of pride that a record — probably, a world record, I am not aware — has been created at our cinema!”

At Maratha Mandir, the long run has entailed changing three prints in 300 weeks. A fourth print — a digital one at that — has been employed from this week.

The collections of DDLJ are rock-steady even today. Manoj Desai reveals that the film has not suffered deficit in a single week at his cinema so far. He says, “Even now, the house is 70-80% on weekdays, and full on holidays. So, the film is going to keep running.” The sentiment is shared by Yash-ji who says, “The film is very well set. Every now and then, there’s a holiday and the collections go up. It has run for so many years. I feel, yeh picture to saalon-saal chalti rahegi.”

The entire patronage of DDLJ at Maratha Mandir cinema is repeat-audience. Different people repeat the movie to see their favourite portions in the film. Most people know by now at which point their favourite song or scene comes and they come to the cinema just about that time and many leave the cinema soon thereafter. The current booking window is kept open for a longer time in order to accommodate all these people. Situated very close to the state transport (ST) bus terminus as well as Western Railway’s Bombay Central mail train terminus, a large part of Maratha Mandir’s patronage comprises people from outside Bombay. According to Manoj Desai, nearly 30-40% of DDLJ‘s audience is tourists.

Blockbusters have come and gone at Maratha Mandir, but none has come anywhere close to DDLJ. Mughal-E-Azam is the only film that comes close, if only by a long shot. Manoj Desai informs, “Mughal-E-Azam ran for three years at Maratha Mandir in regular shows. I was just about born around that time, but I have learnt this from old staffers at the cinema. That was the golden era of Hindi films. At a time when cinema tickets used to be sold for eight annas and twelve annas, Mughal-E-Azam‘s tickets sold for an incredible Rs. 150 (black rate)! It was something out of this world.”

Yash Chopra is planning to celebrate the 300 weeks of DDLJ with the airing of a special capsule, highlighting the film’s success story on Sony TV tomorrow (12th August). The capsule will feature the film’s lead pair, Shah Rukh Khan and Kajol, among others. HMV has released a double-cassette album to commemorate the occasion. The album tells the story of the film through dialogues and songs. Yash Raj Films is also planning to give the album as a souvenir to all the patrons of DDLJ in its 300th week. Later, Yash Raj Films will release a 2-set DVD of the film which will also contain footage not included in the theatrical version.

Manoj Desai, meanwhile, is awaiting DDLJ‘s trophy with bated breath. There is a trace of emotion in his voice when he says, “Hum ne DDLJ ko teen-sau weeks nau, gyarah aur terah ke rates mein itne pyar se chalakar diya hai…. Yash-ji se ummeed aur kuchh nahin hai, bas ek achchhi-si trophy woh humein dein. I respect Yash-ji a lot and sincerely believe that we will not find a maker like him. I only want to say this — and I hope, you will pass on this message — ki trophy to hamara haq hai aur woh toh unko humein dena chahiye.” Obviously, the trophy means a lot to him — it is something that he will cherish for years to come. Just like the film itself, which people will cherish for years to come.

– GAUTAM MUTHA &
RAJ VAIDYA

Horrific Tale Of Terrible Losses

It is not for no reason that the film industry is called the most speculative and unpredictable industry in the world. Just two months back when Gadar and Lagaan hit the screens and were declared hits, distributors panicked as exhibitors celebrated. Distributors were scared because they could see an imminent shortage of cinemas for their forthcoming films. But exhibitors, who had been going abegging for playing programmes before June 15 (the date on which Gadar and Lagaan were released), understood that it was now their turn to relax.

The tables have turned in just 60 days. The shortage of cinemas was expected to last till September but debacles like Yaadein…, Pyaar Ishq Aur Mohabbat, Hum Ho Gaye Aap Ke etc. have made cinemas free faster than expected. No longer is there a tight position of cinemas except in a handful of stations. 

But even though cinemas are available, distributors of forthcoming films are scared stiff even now. For, so heavily have exhibitors lost in the aforesaid disasters that they are fighting shy of offering MGs, FHs and advances to distributors. They can’t afford to pay because their losses are astronomical. 

Distributors can now be expected to plead for price reductions in the case of forthcoming films. They always do so when their monies don’t come from exhibitors. Both the releases of this week had to tackle this problem. While the East Punjab distributor almost halved his MG royalty for Dil Chahta Hai, the C.I. distributor of Yeh Raaste Hain Pyaar Ke forced the producer to give him facility for deferred payment of Rs. 6 lakh.

Is this an emerging trend? If so, it is scary. But then, the losses of exhibitors and distributors in the last few weeks have been even more scary — nay, terrifying!

– Komal Nahta

PYAAR ISHQ AUR MOHABBAT

Trimurti Films Pvt. Ltd.’s Pyaar Ishq Aur Mohabbat, inspired by the English film There’s Something About Mary, is an insipid drama right from the word ‘go’. The sensitivity of a love story is totally missing. The story is about a rich industrialist who loves a girl and wants to get married to her. She, however, spurns his offer because she wants to pursue her medical studies and, therefore, does not want to be tied down by marriage. The rich guy then hires the services of a model-cum-actor to get the girl interested in him (industrialist) and for this, he pays him Rs. 10 crore! The model follows the girl to Scotland where she goes for further studies. He woos the girl and uses all his charm to make her fall head over heels in love with him. After ensuring that the girl is madly in love with him (model), he breaks her heart with the aim of making her turn to the industrialist for solace. The girl does return to the man whose proposal for marriage she had turned down. But then, the model realises that he had, while wooing her for the industrialist, also fallen in love with her. Simultaneously, a young and handsome Indian, settled in Scotland, falls in love with the girl. So, there’s one girl and three guys in love with her. Ultimately, she marries the model whom she, too, had loved.

The story is quite ridiculous for Indian sensibilities and the treatment is very shabby. Several questions remain unanswered, perhaps, because the writers (Rajiv Rai and Shabbir Boxwala), and director (Rajiv Rai) didn’t themselves have any answers. For instance, why would any guy pay Rs. 10 crore to just get the girl in his arms when he should actually have sought a guarantee from the hired model that the girl would marry him (industrialist)? The deal between the model and the businessman is that the former will ensure that the girl gets interested in the latter and, in return, he will be paid Rs. 10 crore! What if the girl still does not agree to get married to the businessman? Further, why would anybody, in the first place, resort to such a ridiculous, preposterous and far-fetched way to win a girl’s heart is just not explained. The lack of explanation, needless to add, is jarring!

One would expect the girl to be extremely beautiful or terrific by nature for her to be desired by three eligible bachelors. But neither Keerti Reddy’s looks nor her characterisation fits the bill, thereby making the whole drama look unbelievable and contrived.

The film proceeds at a snail’s pace and becomes boring at many places. The boredom also creeps in because the incidents have no novelty whatsoever. The proceedings become quite tedious after a while. The youthfulness of a love story is missing.

If the story and screenplay are weak, the dialogues (by Naeem Sha) are too ordinary to be true. Climax is very silly, with the girl almost reduced to being a purchasable commodity.

Sunil Shetty’s characterisation of a sober businessman leaves him little scope to act. His slow and soft speaking style gets irritating after a point. Aftab Shivdasani is natural. Arjun Rampal makes an impressive debut. He has a fantastic physique and a superb voice. He acts quite well but he does not look very young for a newcomer. Keerti Reddy is a total loss. She acts very badly. Monica Bedi is also dull. All the four — Aftab, Arjun, Keerti and Monica — show no grace in dances. Isha Koppikar is so-so. Dalip Tahhil does an average job. His being referred to as ‘Lord’ makes no sense. Raza Murad, Harish Patel, Smita Jayakar, Anita Kanwal and Dinesh Anand pass muster. Priya Tendulkar looks horrendous in a wig that doesn’t suit her at all. Rest fill the bill.

Rajiv Rai’s direction is uninspired and it is difficult to decide what is worse — his scripting or his narration. Viju Sha’s music is good but the absence of even one hit song is sorely felt. The title song, ‘Apni yaadon ko’, ‘Chand ho ya na ho’, ‘Jab tujhe maine dekha’ and ‘Dono taraf’ are good. Song picturisations are unexciting if only because of the poor dancing by the lead stars. Camerawork is good; foreign locations are breathtaking. Background score is ordinary. Editing is weak.

On the whole, Pyaar Ishq Aur Mohabbat is a dull and boring film with an uninteresting story. At the box-office, it will keep its distributors sad, bewildered aur poorer by lakhs.

Released on 3-8-2001 at Liberty and 18 other cinemas of Bombay thru Modern Movies. Publicity: good. Opening: average. …….Also released all over. Opening in other circuits was alarmingly low!

HUM HO GAYE AAP KE

Venus Records & Tapes Ltd.’s Hum Ho Gaye Aap Ke (UA), remade from a Tamil film, is a love triangle. A handsome guy, son of a billionaire, does not believe in the concept of love and the institution of marriage. According to him, money can buy anything and everything. His friend, who works in his company, hails from a middle-class family. He believes in love but has his own insecurities. A girl comes in the lives of the two guys. She is young, sensible and traditional. She decides to get married to the middle-class boy but the latter, despite being madly in love with her, cannot convince his parents to let him marry her. Disgusted by his behaviour and disillusioned, she turns to the billionaire’s son although he is an alcoholic and a womaniser. Her entry in his life makes him realise the importance of love. He turns over a new leaf and decides to get married to her but there’s a hitch. She spurns his offer but he finally manages to get her approval.

The story (Ahathian) is too old-fashioned and the screenplay (Ahathian, again) is very poor. The romance between the girl and the rich guy is half-baked. The common problem about dowry, in the life of the girl as also the middle-class boy, has been very childishly and crudely handled so that the scenes are unintentionally hilarious when they should’ve been emotional. They are also overtly regressive in thought. Showing the rich boy permanently in an inebriated state is more irritating than impactful. The transformation of the billionaire boy looks contrived. Climax is terribly slow and stretched and tests the audience’s patience. Emotions are conspicuous by their absence. Comedy, too, is totally missing. Romance does not appeal. Dialogues (Sunil Kumar Agarwal) are too commonplace to be true.

Fardeen Khan fails to make a mark as the billionaire guy. His performances is unbelievably shoddy. His constant laughter before he utters any dialogue, in several scenes, is irritating. His dialogue delivery continues to be lifeless. The only silver lining is that he looks very handsome. Reema Sen makes a dull debut. She looks ordinary and acts routinely. Apoorva Agnihotri is bad. He needs to change his hair-style, besides his acting style. Suresh Oberoi does a fair job. Suman Ranganath gets no scope. Sadashiv Amarapurkar has been wasted. Neena Kulkarni, Achyut Potdar and Suhas Joshi, with outlandish characterisations in today’s times, are average. Mahesh Thakur, Ghanshyam, Shammi and the rest pass muster.

Ahathian’s direction is rather dull. He has failed to bring out any emotions of the story whatsoever. The subject needed sensitive handling but his narration is shockingly mechanical. Nadeem Shravan’s music is quite good. The title song (picturised on two junior artistes, unfortunately!), ‘Dekho ye deewana’, ‘Pehli baar’, ‘Der se hua’ and ‘Ishq hai kya’ are tuneful numbers. Camerawork (Ravi Yadav) is alright. Production values are appropriate.

On the whole, Hum Ho Gaye Aap Ke is a non-starter and a weak fare.

Released on 3-8-2001 at Novelty, Metro (matinee) and 18 other cinemas of Bombay thru Venus Records & Tapes Ltd. Publicity: good. Opening: dull. …….Also released all over. Opening was unimaginably poor everywhere.

LATEST POSITION

The disastrous opening of PYAAR ISHQ AUR MOHABBAT has only added to the miseries of the trade after the debacle of YAADEIN….

Yaadein… has bombed. Collections nose-dived everywhere from the second day onwards. Had to be discontinued mid-week from some cinemas due to lack of audience. It did well during weekends in UK (no. 7 with a gross of 133,000 pounds) and US ($646,880) but dropped thereafter. 1st week Bombay 72,95,061 (88.65%) from 15 cinemas (8 on F.H.); Ahmedabad 8,72,986 from 4 cinemas, Rajkot 1,13,780 (1 unrecd.), Jamnagar 1,82,541 from 2 cinemas (1 in matinee); Pune 23,70,952 from 6 cinemas (1 in matinee), Solapur 2,96,263 from 2 cinemas (1 in matinee), Sangli 2,10,327 from 2 cinemas (1 in matinee); Bijapur (6 days) 1,74,477 from 2 cinemas (1 cinema 3 days); Delhi 99,57,390 (67.42%) from 16 cinemas (1 on F.H.); Kanpur (6 days) 5,15,200 from 2 cinemas, Lucknow 8,63,955 from 2 cinemas, Agra 2,97,265, Bareilly (6 days) 1,76,439, Jaunpur 65,000; Calcutta 24,52,098 from 6 cinemas (other cinemas undisclosed); Nagpur 8,51,139 from 4 cinemas, Jabalpur (6 days) 2,59,498, Amravati 2,70,827, Akola 2,17,050, Raipur (gross, 6 days) 2,98,635, Wardha 93,312, Rajnandgaon (6 days) 63,185, Chandrapur 1,86,532, Yavatmal 1,21,352; Indore 2,40,000 (3 on F.H.), Bhopal 1,91,214 (2 unrecd.); Jaipur 13,30,768 (50.55%) from 4 cinemas, Jodhpur 2,24,868, Ajmer (gross) 2,59,854; Hyderabad (gross) 53,05,738 from 19 cinemas (1 in noon, 5 on F.H.). Total 3,57,57,706 from 102 cinemas.

…………

Lagaan (21 shows all over) 7th week Bombay 36,53,023 (68%) from 10 cinemas (9 on F.H.), total for 7 weeks 4,20,30,037; Ahmedabad 1,60,767 from 2 cinemas; Pune 8,27,133 from 4 cinemas; Delhi (TF) 21,35,611 from 7 cinemas; Kanpur (6 days) 64,367, Lucknow 2,24,949, Agra 80,000, Bareilly 28,743; Calcutta 5,63,507 from 3 cinemas; Nagpur 1,97,243 from 2 cinemas, 6th week Jabalpur (6 days) 32,875, 7th week Amravati 79,716, Akola 7 weeks’ total 5,54,295, 7th Raipur (6 days) 45,825, Jalgaon 47,094, 5th week Yavatmal 22,245; 7th Indore 58,000; Jaipur 1,98,606 (33.44%); Hyderabad (gross) 5,81,129 from 3 cinemas (2 in noon, 2 on F.H.). Total 95,55,128 from 43 cinemas.

Gadar Ek Prem Katha continues to rule even in 7th week. 7th week Bombay 38,00,096 (59%) from 13 cinemas (8 on F.H.), total for 7 weeks 4,65,68,248; Ahmedabad 6,03,972 from 7 cinemas, 1st week Himmatnagar 3,64,422 from 2 cinemas, Godhra 1,97,625, 7th week Jamnagar 58,982 from 2 cinemas (1 in matinee); Pune 12,51,788 from 7 cinemas (1 in matinee), Solapur 1,51,918 from 2 cinemas (1 in matinee); Delhi 40,25,137 from 14 cinemas (3 on F.H.); Kanpur 3,26,240 from 2 cinemas, Lucknow 4,57,275 from 2 cinemas, Agra 3,08,000, Bareilly (6 days) 62,043, Jaunpur 35,000; Calcutta 5,37,938 from 3 cinemas; Nagpur 3,49,165 from 3 cinemas, Jabalpur 1,28,111, total 8,99,066, city record, 5th Balaghat 76,106, 7th week Amravati 1,55,110, Akola 1,32,820, Dhule 81,416, total 13,16,893, Raipur (6 days) 96,057, Jalgaon 1,60,772 (6th 1,95,441), Wardha 42,450, Rajnandgaon (6 days) 38,703, Yavatmal 63,952; Indore 1,44,547 (1 on F.H.), Bhopal 1,71,060; Jaipur 2,89,355 (49.45%), Ajmer (gross) 1,96,420, Bikaner 1,68,214; Hyderabad (gross) 4,70,810 from 2 cinemas. Total 1,49,32,393 from 78 cinemas.

BRAHMACHARI DEAD

Well-known character actor Brahmachari expired on 1st August in New Delhi. He was 62. He had started his career in Devendra Goel’s Dus Lakh.

Brahmachari had acted in more than 75 Hindi films. He is survived by his wife, two sons and two daughters.

‘NAYAK’ PASSED WITH ‘U’ CERTIFICATE

Sri Surya Movies’ Nayak, seen by the CBFC’s examining committee in Madras on 2nd August, has been passed with a U certificate. Written and directed by Shankar for producer A.M. Ratnam, the film stars Anil Kapoor, Rani Mukerji, Pooja Batra, Amrish Puri, Johny Lever, Paresh Rawal, Shivaji Satam, Saurabh Shukla and, in a special appearance, Sushmita Sen. It has music by A.R. Rahman and lyrics by Anand Bakshi.

Nayak is slated for release on 24th August all over.

RAJASTHAN GOVERNMENT’S INCENTIVES FOR FILM INDUSTRY

The Jaipur Development Authority will develop a Film City on land admeasuring 1,300 bighas, situated about 15 kms. away from Jaipur. The site development work will start by 15th of this month. Land in the Film City will be allotted to film people for establishing studios, film processing laboratories, sound recording studios, residential blocks, hotels, restaurants etc. A committee, chaired by minister for urban development, will be in charge of the allotment. The minister for tourism, art and culture (presently, Bina Kak), secretary, urban development, and secretary, tourism, art and culture will be the members of the committee. The commissioner, Jaipur Development Authority, will be its member secretary.

To boost film activities in Rajasthan, the state government has also decided to grant 100% exemption from payment of entertainment tax for one year to those films which are shot at least 75% in the state. The period of 1 year will run from the date of first release of the film. Such exemption will be available to films with ‘U’ certificate.

New multiplexes, drive-in cinemas and water sports-based tourism units will be exempted from entertainment tax to the extent of 75% in the first year, 50% in the second year, and 25% in the third year.

Land upto 2,000 sq. yards in rural Rajasthan will be allowed to be automatically converted if it is to be used for construction of tourism units, cinemas, hotels or institutes.

ANOTHER HONOUR FOR ‘BAWANDAR’

Jagmohan Mundhra’s Bawandar (Sandstorm) was screened as the inaugural film of the 6th International Trivandrum Film Festival on 27th July. This year’s fete marks the silver jubilee of Chalachitra Society which was founded by filmmakers Shaji Karun and Adoor Gopalakrishnan.

VED GOSWAMI NO MORE

Punjabi and Hindi film, television and dubbing artiste Ved Goswami expired on 29th July at his residence in Bombay. He was 62. He had started his career in the seventies as the main villain in Maa Da Laadla. His serials currently on air are Jamane Ko Dikhana Hai, Nikinu, Fite Mooh, Dupatta and Badda Kaun.

Ved Goswami is survived by his wife, two sons and two daughters.

SHAH RUKH KHAN VISITS DALAI LAMA

Shah Rukh Khan recently visited the Bylakuppe Tibetan Settlement near Mysore and called on the Dalai Lama to seek blessings for his under-production film, Asoka, made under his home banner. The Tibetan spiritual leader blessed the producer-actor and offered him a traditional shawl. Shah Rukh Khan also said that he wanted the Dalai Lama to see Asoka as it included the teachings of Buddha. Shah Rukh later announced plans of dubbing the film in Tamil. He said, the Tamil version would be released simultaneously with the Hindi version.

ZEE’S MULTIPLEX IN AHMEDABAD

A 6-screen multiplex, owned by Zee group, opened on 27th July in Ahmedabad on Satellite Road. The inauguration was attended by Subhash Chandra of Zee, Gujarat chief minister Keshubhai Patel and governor Sundar Singh Bhandari, all three of who lit the auspicious lamp to mark the opening. Yaadein… (in two screens), Aks, Gadar and Lagaan were the opening attractions. The multiplex with a shopping mall, food courts etc. is called Fun Republic.

An entertainment programme by Falguni Pathak preceded the extravagant dinner at the inauguration.

NCB FILES CASE AGAINST FARDEEN KHAN

Fardeen Khan and two others were charged under section 28 read with section 21 and 8(c) of the Narcotic Drugs and Psychotropic Substances Act (possessing, buying or selling drugs) in a complaint filed by the Narcotics Control Bureau in a special court in Bombay on 2nd August. If convicted, the actor could face a minimum of ten years’ rigorous imprisonment. If, however, Fardeen can prove that he was buying the drug (when he was nabbed by the police on 5th May) for his personal consumption, he can escape with lesser punishment, ranging from one day to one year in jail.

NEW MULTIPLEX IN DELHI

A new 3-screen multiplex was inaugurated on 26th July in Delhi at Naraina. Called PVR Naraina, it is owned by Priya Village Roadshow. A premiere of Yaadein… was held on the inauguration day. The multiplex has not yet been thrown open to the public.

PRODUCTION NEWS

‘All The Best’ Is Now ‘Aankhen’

The title of V.R. Pictures’ All The Best has been changed to Aankhen. Being produced by Gaurang Doshi and directed by Vipul Shah, the film stars Amitabh Bachchan, Akshay Kumar, Sushmita Sen, Arjun Rampal, Paresh Rawal, Bipasha Basu and Aditya Pancholi. Writer: Aatish Kapadia. Cinematographer: Ashok Mehta. Action: Abbas Ali. Editor: Shirish. Art: Jayant Deshmukh. Vinod Doshi presents the film.

DO YOU KNOW?

* Beginning this week, there will be a lucky draw in each and every show of LAGAAN at Regal, Indore. A lucky ticket counterfoil will be drawn and the holder of the corresponding foil will be presented a cricket bat, signed by an artiste of the film. 

* Home Minister L.K. Advani saw DIL CHAHTA HAI in Delhi on 2nd August. 

* Udit Narayan was so impressed with the 12-minute song which he sang for B.S. Shaad’s Punjabi film, KHALSE DI SIRJINA, recently that he volunteered to lend his voice over again to the song because he felt, it needed to be sung with more emotions. This, after music director Vidya Sagar had okayed the song.  

* YAADEIN… has created a record by collecting 8,85,419/- in 1st week at Metro, Calcutta (at increased admission rates for part of the week). It has also created a record by collecting 6,28,528/- in 1st week at Priya, Calcutta. 

* GADAR has created a theatre record by collecting 1,97,625/- in 1st week at Moonlight, Godhra (Gujarat).

* GADAR has created a theatre record by collecting 1,89,422/- in 1st week at Himmat, Himmatnagar (Gujarat). It has also created a theatre record by collecting 1,75,000/- in 1st week at Neelam, Himmatnagar.

* GADAR has created a record by collecting 4,03,614/- in 7th week at Hans, Delhi.

* GADAR has created yet another record by collecting 1,32,880/- in 7th week at Payal, Dehradun. Total: 20,09,682/-. 

* GADAR has created another record at Panchsheel, Amravati by collecting 1,55,110/- in 7th week.

* GADAR has created city records by collecting 1,69,850/- in 6th week and 1,32,820/- in 7th week at Vasant, Akola. Total for 7 weeks: 14,01,741/-, record.

* GADAR has created a city record by collecting a total of 8,60,767/- in 7 weeks at Arati, Wardha. 7th week’s collection: 42,450/-.

* GADAR has created yet another record by collecting a total of 4,97,490/- in 5 weeks at Shyam, Balaghat. 5th week’s collection: 76,106/-.

* MUJHE KUCCH KEHNA HAI has created a theatre record by collecting 12,22,743/- in 10 weeks at Uday, Akola. Share: 8,51,405/-.

* THE MUMMY RETURNS has created a record for dubbed films by collecting 5,05,797/- in 3 weeks at Manek, Akola.