SHIKARI
Kavita Pictures’ Shikari (A) is a murder drama. A young man (Govinda) flees from jail and flies from India to Cape Town in South Africa. Once there, he murders a rich industrialist (Nirmal Pandey) who is married to a pretty girl (Tabu). He then feigns romance with his dead victim’s younger sister (Karisma Kapoor). The latter also falls in love with him as he fools her into believing that he is helping her and the police in nabbing the killer. While escaping from the searching eyes of the police, the guy also kills a girl who gets to know that he is the murderer. His third victim is the Indian police officer (Kiran Kumar) who had given him a wild chase when he had escaped from jail in India. This police officer is the brother of the murdered industrialist and has come to Cape Town to ask after his sister-in-law and niece. He even pushes the industrialist’s sister in a well in a bid to kill her when she learns that he is her brother’s murderer. But the sister manages to escape.
The reason for the cold-blooded murders is revealed after all the killings and only towards the end of the drama. It had so happened that Govinda, a simple engineer in India, and Tabu had been in love, but the latter was married off to Nirmal Pandey. However, before the marriage, Nirmal Pandey had blamed Govinda’s father (an honest temple priest) of theft and had got his father and mother murdered and his sisters, raped.
Govinda murders Nirmal Pandey in an act of revenge, fuelled by his desire to get his love — Tabu — back. The other two killings are, of course, to save his skin and escape being caught by the police.
The biggest flaw of the film is a patchy screenplay. Showing the justification of Govinda for the killings, at the end of the drama, doesn’t appeal. The intention, obviously, is to create suspense, but the suspense irritates and tests the viewers’ patience rather than lending chills and thrills. Further, the audience find the whole drama rather unconvincing because the reasons for Govinda’s killing are revealed too late in the day and also because the romance between Govinda and Tabu is barely established. Since Govinda is playing a role completely off his image, utmost care should have been taken to first create a strong base to justify his killings.
Once the reasons are revealed, his romantic track with Karisma Kapoor also looks unnecessary and seems to have been incorporated only to infuse the script with an angle of romance. The film reminds of earlier films like Darr and Baazigar.
Although the proceedings are unconvincing and also uninteresting at many places, the three lead players have spared no efforts in giving the film their best shot. Govinda does a fine job as a killer and lives the role. He succeeds in terrifying the viewer at the right places. He acts with effortless ease, getting into the skin of the difficult character. However, it is not likely that the audience, who love to see him as an out-and-out entertainer, will accept him as a manic killer. Karisma Kapoor looks pretty and exudes a lot of energy in her performance. She is excellent in the pre-climax, when she confronts Govinda and Tabu in a car. Tabu, too, is superb — restrained and dignified. Her reaction to the news of her sister-in-law’s (Karisma’s) likely death is mind-blowing and so very different from performances in scenes of this kind. Nirmal Pandey is so-so. Johny Lever evokes laughter at a couple of places but, overall, his role is not one which affords hilarity. Razzak Khan complements Johny Lever ably. Kiran Kumar acts well. Shweta Menon, Sushma Seth, Rana Jung Bahadur, Vishnu Sharma, Beena, Deep Dhillon and the others provide fair support.
N. Chandra’s direction is slipshod. He is also handicapped by a weak script (Rajiv Kaul and Praful Parekh). Dialogues are okay. Action scenes and thrills are fairly good. Aadesh Shrivastava’s music is quite a letdown. Except for a couple of songs, the others are almost walk-out items. Even the good numbers are far from being hits. Song picturisations are routine. Foreign locations are wonderful. Camerawork (W.B. Rao) leaves something to be desired. A lot of scenes seem to have been shot in insufficient light. Editing should have been much crisper.
On the whole, Shikari does not manage to hold audience interest as it neither entertains nor thrills. This hunter will haunt its distributors with losses — at places, heavy!
Released on 6-10-2000 at Minerva and 16 other cinemas of Bombay thru Govinda Yashwardhan No. 1 Distributors. Publicity: good. Opening: fair. …….Also released all over. Opening was below the mark almost everywhere.
AAGHAAZ
Suresh Productions’ Aaghaaz is an action film in the mould of good versus evil. Remake of the Telugu hit, Sivaiah, it is about a one-man army against the local goons whose very existence is threatened by this noble man from Punjab. Sensing danger to the gang culture, rival gang leaders join forces and come to the aid of the endangered local gangsters. They all rape the man’s sister in full view of hundreds of people who simply watch in silence, like timid spectators. The gangsters also beat him up, injuring him grievously. Rather than avenging his sister’s rape single-handedly, the guy tries to stir the timid people out of their fear and prepares them to fight evil forces. He succeeds in bringing about a mini revolution.
In this action track, there’s also another track of the hero’s romantic life. He loves a girl but is forced, by circumstances, to get married to another girl who has been impregnated by her lecherous lover. Ultimately, the path is cleared for him to marry his beloved.
The film moves at an extremely fast pace in the first half. The emphasis is on action, and what the viewers get is some exciting scenes of action and drama. The only question which arises here is: where is the police when there is so much violence on the streets every now and then? Secondly, despite a good pre-interval portion, there is no novelty in the subject. The pace slackens after interval. There is plenty of verbiage in the second half and the philosophising and sermonising by the hero irritate no end. The slight newness in the hero’s approach to avenging the atrocities perpetrated on him and his sister is more than offset by the slow pace in the post-interval portion. In short, the second half is bad.
Sunil Shetty is brilliant as the noble lad from Punjab, who becomes a one-man army against gangsters in Bombay. Not only does he impress marvellously in action scenes but he also acts wonderfully. Sushmita Sen has a minuscule role and gets precious little scope for anything. Namrata Shirodkar looks good and acts with conviction. Anupam Kher does a nice job as a large-hearted man from Punjab. Johny Lever is not in his element; yet, he does evoke laughter at places. Sharat Saxena, Gulshan Grover, Mukesh Tiwari and Govind Namdev are good as the gang-leaders. Alok Nath is effective. Asrani is cute. Shraddha Nigam leaves a mark with a natural performance. Padmini Kapila, Noopur, Rakesh Bedi and Akshay Anand lend good support. Sharad Kapoor is effective in a special appearance. Suman Ranganathan is so-so. Asha Sachdev, Viju Khote, Rajesh Puri, Anjan Srivastava, Shiva, Yunus Parwaiz, Rajendra Mehra, Achyut Potdar and the other artistes are alright.
Yogesh Ishwar’s debut direction is good. He has an understanding of the medium, but his sense of editing needs polish. Screenplay (Nikhil Saini) has some weaknesses. Dialogues (Kamlesh Pandey) are fine. Anu Malik’s music is a little above average. Songs are just about hummable although the film could’ve done with much better music.
Action scenes (Abbas Ali Moghul) are fantastic. Background music lends credence to the tension-ridden scenes. Foreign locations in song picturisations are absolutely eye-filling. Shyam K. Naidu’s cinematography is very good. Production values are of standard. Technically, appropriate.
On the whole, Aaghaaz has a good beginning but becomes too routine and boring after the mid-point. Given the poor opening all over, it will find the going tough as it now has some chance in ‘B’ and ‘C’ class centres only.
Released on 6-10-2000 at Maratha Mandir and 17 other cinemas of Bombay by Suresh Productions thru Shringar Films. Publicity: good. Opening: fair. …….Also released all over. Opening was disastrous at many places.
DIL PE MAT LE YAAR
Talking Pictures’ Dil Pe Mat Le Yaar (A) gives an insight into the selfish side of all human beings. It professes that humans will do anything and go to any extent if it serves their purpose. All talk of friendship, brotherhood and the like is humbug is yet another conclusion the film tries to arrive at.
A young, honest and principled motor mechanic becomes the subject matter of a lady-journalist’s writings because she finds that genuine people like him are a rare species. She becomes so friendly with him that the simpleton mechanic misinterprets it as her reciprocation of his silent love. He is shocked to learn one day that she does not love him one bit. Learning that she is of easy virtues, only shocks him further. Dejected, the same principled guy plans to use unfair means to make fast money. For this, he even accepts a contract to kill somebody. His best friend tricks him into the game and captures on camera his act of killing so that the footage can be sold to a satellite channel for lakhs of rupees.
The story is quite abstract. Screenplay comprises realistic incidents which usually don’t go down well with the audience. In short, Saurabh Shukla’s script has very very little appeal for the masses and would make fractionally better sense to the class audience. Actually, there’s not much that’s conveyed through the depressing plot which reveals one by one that every human is a fraud, a cheat, a crook…. Not a very good feeling to see such a thing on screen!
Manoj Bajpai enacts the role of the motor mechanic with sincerity. But the audience accepting Manoj as a hero is a far cry. He does not possess the requisites of the conventional hero. Manoj goes overboard in the scenes following his act of killing. Tabu is likeable and natural to the core. She is the best thing in the film and lends some elegance to the drama. Saurabh Shukla plays Manoj’s best friend ably. He breezes through his role with consummate ease. His wife (in the film) acts wonderfully. His Dubai-returned friend is quite good. Harsh Chhaya leaves a mark. The rest of the cast provides perfect support. Kashmira Shah exudes sex appeal in a dance number.
Hansal Mehta’s direction is dull. A drab story is complemented by inane narration and the outcome is a boring film. Music would appeal to few. The title song and ‘Chal padi’ are two such numbers which may be liked by a section of the audience. Camerawork is alright. Action scenes are fairly well-composed. Comedy, which is so important in earthy films of this kind, is weak.
On the whole, Dil Pe Mat Le Yaar is too realistic to really appeal to viewers. With its dismal initial value and unexciting face value, it can be expected to entail is distributors to heavy losses.
Released on 6-10-2000 at Metro and 14 other cinemas of Bombay thru Ahuja Films. Publicity: good. Opening: so-so. …….Also released all over. Opening was poor in all the other circuits.
ASTITVA
Friends India and Satyashwami Entertainment Pvt. Ltd.’s Astitva (A) is a bold film with an unusual story about adultery. An ambitious male chauvinist and his loving wife are happily married but the guy is not able to devote much time to her as his desire to make it big in this world is of paramount importance to him. His work keeps him away from home for days together, making the wife feel lonely. In one such lonely moment, the wife succumbs to her urges and indulges in a physical relationship with her music teacher, which results in her becoming pregnant. She tries to confess about her lapse to her husband but he is so excited about her pregnancy and his consequent becoming a father that he is in no mood to listen to her sob story. Twenty-five years later, however, circumstances force the suspicious husband’s mind to work overtime and he confronts his wife with facts and figures which prove that he had not had physical relations with her for more than nine months before her child’s birth. Then whose child is it? The wife is bold enough to admit her mistake and asks for his forgiveness, but the husband is not in a mood to forgive her ‘sin’. Even after it is proved that he, too, has cheated on his wife, the husband is unrelenting. Finally, the two are divorced, but the wife gives the husband a piece of her mind on equality between the two sexes.
The theme is too bold to be digested by the masses. The Indian psyche is such that the audience will not be able to accept that a married woman has had an extra-marital relationship and, thereby, cheated on her husband. In fact, the majority of the audience will endorse the very view which the director in this film tries to prove is wrong — that a married man can have his share of extra-marital flings but an Indian wife cannot! The treatment of the subject is of the kind which would appeal to the class audience and mainly, the ladies.
An important question which remains unanswered and, therefore, points the needle of suspicion against the wife is: why did she not confess some days later if she couldn’t confess on the day she learnt of the pregnancy? How could she have hidden from her husband, something so serious, for so many years?
The film has an easy pace. It is devoid of the usual ingredients of a commercial fare.
Tabu does a brilliant job. She deserves distinction marks for a performance that’s so wonderful that she could pick up awards for it. Her expressions and body language are extraordinary. In emotional scenes, she is simply mesmerising. Sachin Khedekar is also first-rate. He plays the male chauvinist exceptionally well. Namrata Shirodkar is okay. Her performance in the last scene is weak. Sunil Barve is fair. Mohnish Bahl is superb as the music teacher. Smita Jayakar gives a lovely account of herself and leaves a mark. Ravindra Mankani is also very natural. The rest lend adequate support.
Mahesh Manjrekar’s direction is extraordinary, given that the subject and narration are aimed at the class audience only. Music is not of the popular variety. Yet, two songs do appeal. Emotions touch the heart. Dialogues are lovely. Camerawork is of a good standard. Background score is very effective.
On the whole, Astitva will win a lot of critical acclaim but that’s about all. Business in major cities and good and small cinemas will be fair, but elsewhere, the film stands bleak chances.
Released on 6-10-2000 at Liberty and 4 other cinemas of Bombay by Friends India thru Shringar Films. Publicity: very good. Opening: average. …….Also released all over.
The Marathi version (tax-free) of the film has also been released this week at Plaza, Bombay. Its opening was better (only one cinema).
LATEST POSITION
Dhaai Akshar Prem Ke has not been appreciated. 1st week Bombay 53,48,272 (66.53%) from 14 cinemas (7 on F.H.); Ahmedabad 16,62,146 from 6 cinemas; Rajkot 1,72,785; Pune 10,62,341 from 4 cinemas, Solapur 2,57,813 from 2 cinemas; Delhi 53,69,513 (60.91%) from 12 cinemas (1 on F.H.); Lucknow 6,31,367 from 2 cinemas, Bareilly 1,73,172; Nagpur 4,75,832 from 3 cinemas, Jabalpur (6 days) 1,24,889, Raipur (6 days) 1,41,104, Bhilai (gross) 2,19,637, Jalgaon 1,69,170, Chandrapur 1,92,185; Indore 2,41,000 from 2 cinemas (2 on F.H.), Bhopal 1,99,428; Hyderabad (gross) 25,63,820 from 10 cinemas (3 on F.H.), share 14,87,779; Guntur (gross) 80,530.
………..
Mission: Impossible-2 (dubbed) is fair. 1st week Bombay 9,00,843 (40.67%) from 4 cinemas (3 unrecd., 3 on F.H.); Pune 3,75,847 from 2 cinemas; Delhi 10,97,234 (56.64%) from 3 cinemas; Lucknow 3,61,323, Varanasi 1,67,468; Raipur 1,81,038, Chandrapur 86,200; Bhopal 1,95,685; Hyderabad (gross) 10,49,912 from 4 cinemas.
………..
M:I-2 (English) 1st week Bombay 10,98,072 from 4 cinemas; Belgaum 2,22,184 from 2 cinemas; Delhi 21,15,301 (67.54%) from 3 cinemas; Nagpur 3,94,418 from 2 cinemas.
BABUBHAI MISTRY, SHIRKE HONOURED AT WIFPA AGM
The 32nd annual general meeting of the Western India Film Producers’ Association (WIFPA) was held on 20th September at Hotel City Point, Dadar, Bombay. A special function was held on the occasion, in which two eminent film personalities, late G.P. Shirke (posthumously) and Babubhai Mistry, were given the J.P. Tiwari award for their lifetime achievements. Pramod Navalkar, former cultural affairs minister of Maharashtra, gave away the awards.
WIFPA also launched the group insurance personal accident policy scheme for its members. Pahlaj Nihalani formally inaugurated the policy by presenting it to five WIFPA members.
In the latter part of the AGM, after the president’s address and presentation of the audited accounts, WIFPA vice president Sangram Shirke announced, on behalf of Shahir Dada Kondke Pratishthan, a 40 per cent discount to WIFPA members who would be shooting at Dada Kondke’s studio at Ingavali, Pune. Equipments and lights supplied by the studio would also be made available at 40% discount. Producer Suresh Bohra, who is a WIFPA member, also announced a 40% discount to producers who would be shooting their films or serials at Bohra International Studios, Gandhinagar.
PRINT OF ‘KHAJURAHO’ SEIZED IN HYDERABAD
The Hyderabad regional board of the CBFC seized a print of Love In Khajuraho from Odeon cinema, Hyderabad on the night of 3rd October. The film had been granted an ‘A’ certificate recently. The producer was warned by the censors to not interpolate any portions which were not shown to the censors, but he allegedly did not heed the censors’ warning. According to the Hyderabad board’s regional officer, Shyama Prasad, the producer had violated the Cinematograph Act due to interpolation.
FREE SHOWS OF ‘ASTITVA’ FOR LADIES
Free screenings of Mahesh Manjrekar’s Astitva were held for the ladies on the day of its release (6th October) at Liberty, Plaza, Gemini and Cinemax cinemas of Bombay. Two tickets were issued to each lady patron on a first-come-first-served basis. The cast and crew attended a Q & A session with the audience at Cinemax. The free screenings were held in the first shows at the four cinemas. All the free shows were house-full.
RIFT BETWEEN VERMA BROTHERS
Veteran horse supplier Badri Prasad Verma and his son, Jitu Verma, have lodged a complaint with the Dindoshi (Bombay) police alleging severe assault on Jitu Verma on 29th September at his (Jitu’s) Malad (East) residence by his brothers, action masters Pappu Verma and Tinnu Verma. Jitu is the step-brother of Pappu and Tinnu. The Vermas have been on inimical terms over the ownership of property at Malad (East) where Jitu has been staying for the last 13 years. The matter related to this property is in court.
B.P. Verma (father) and Jitu Verma (son), at a hurriedly-called press conference on 4th October in Bombay, alleged that Pappu and Tinnu Verma had called on Jitu on 25th September and threatened him with dire consequences if he did not withdraw the property case from the court. The following day, Jitu and his lawyer went to the court and made a statement to this effect. This probably agitated Pappu and Tinnu so much that they reportedly went to Jitu’s residence at 00.30 a.m. on 29th September and forcibly entered the sitting room, abused him and even assaulted him. The two angry brothers are then alleged to have called their other brother, Bhiku, who is also an action director. Bhiku is alleged to have told Jitu not to go to the police.
Jitu is now taking treatment at a private nursing Home at Borivli.
Bhiku, Pappu, Tinnu and Narendra Verma (who is in politics) are children of the same mother while Manohar, Jitu and Mahendra are their step-brothers. Interestingly, Narendra Verma is said to be supporting his step-brothers as, earlier, Narendra had had a tiff with Pappu Verma over the ownership of the school which is in the name of the wife of B.P. Verma.
CHANDRASHEKHAR’S APPEAL TO VEERAPPAN
Veteran Hindi film actor and filmmaker Chandrashekhar has written a letter to forest bandit Veerappan to “rewrite the modern history of Valmiki”. Starting his letter with Dassera greetings, the veteran has appealed to Veerappan to make use of his “God-given qualities of daredevilry and guerrilla tactics to safeguard our great country”. In general, the letter appeals to Veerappan to give up his evil ways and turn over a new leaf by reforming himself enough to rewrite the modern history of Valmiki, the sage who wrote Ramayan.
Strangely, the letter does not appeal for Rajkumar’s release, in particular.
AMRISH PURI ELECTED CINTAA PRESIDENT
Amrish Puri was elected president of the Cine & TV Artistes’ Association (CINTAA) for the years 2000 and 2001 at the first meeting of the newly elected executive committee held on 4th October. Dara Singh was elected vice president, and Dharmesh Tiwari, general secretary. Satyen Kappu and Deep Dhillon were elected treasurer and assistant secretary respectively.
It was decided to co-opt S.S. Randhawa and Johny Lever on the executive committee.
Earlier, on 2nd October, the 42nd annual general meeting and election to elect the new executive committee for the years 2000 and 2001 were held at Holiday Inn.
A total of 39 artistes contested for 13 seats on the executive committee. Of the 265 votes cast, Amrish Puri polled the highest number (181), followed by Dara Singh (178) and Raza Murad (172). The others elected were Dharmesh Tiwari (164), Kiran Kumar (150), Satyen Kappu (145), Gajendra Chauhan (144), Chandrashekhar (141), Deep Dhillon (133), Javed Khan (Tingu) (124), Goga Kapoor (113), Avtar Gill (112) and Arun Bali (108).
The AGM was presided over by outgoing president Raza Murad. Raj Babbar was the chief guest. The guests of honour were Sunil Dutt, B.M. Vyas, Rakesh Roshan, Hema Malini, Kamini Kaushal, Dara Singh and Baldev Khosa. Sunil Dutt, who arrived a little late at the function due to previous engagements, was accorded a standing ovation.
A two-minute silence was observed as a mark of respect to the artistes who left for their heavenly abodes after the last AGM of the CINTAA.
There was thunderous applause when CINTAA hon. general secretary Dharmesh Tiwari announced the allotment of a 13,000 square feet plot by the Maharashtra government to Cine Artistes Welfare Fund. He acknowledged the efforts made by Amrish Puri in this regard. Talking of CINTAA’s achievements, Tiwari informed the house that the Association had helped recover as much as Rs. 49,43,420 which were due to the artistes from various producers. He also underlined the need for artistes to enlist themselves in the group insurance scheme of the Association. Only 400 members had so far opted for the group insurance and this despite the fact that it was the Association which paid the insurance money, he said.
The AGM was followed by a felicitation function. Among the living veteran celebrities honoured were Jeetendra, Ramesh Deo, Manoj Kumar, Prem Chopra, Sanjay Khan, Asrani, Dharmendra, Bindu, Aroona Irani, Kumkum, Arun Govil, Shekhar Suman, Satish Shah, Farouque Shaikh and Reema. Of these 15, only seven were present to receive their mementoes. Among those posthumously honoured were Sapru, Mohan Choti, O.P. Ralhan, Prem Adib, Chand Usmani, Smita Patil and Dilip Dhawan. Dilip Dhawan’s mother broke down as she collected her son’s memento. She was escorted to the stage and consoled by Amrish Puri, and later by Sunil Dutt while she was leaving the hall.
The non-actor veterans honoured with mementoes were Ramanand Sagar, Anand Bakshi, Mahendra Kapoor, late music director Roshan and late writer Dr. Rahi Masoom Reza. Among the dignitaries felicitated were B.R. Chopra for winning the Dadasaheb Phalke award; Hema Malini for being conferred the Padma Shri; Hrishikesh Mukherjee for being honoured with the Dadasaheb Phalke award; and Mohan Joshi for wining the National award for Gharabaher (Marathi).
The AGM concluded with short speeches by the guests. Raj Babbar, on his presence there as chief guest, dramatically wondered how he could be considered a guest or an outsider when he was a part of the fraternity! Hema Malini said that even though she had won many awards and honours in the past, she “would always cherish this honour”.
Raza Murad, the outgoing president, exhorted members to promptly demand their TDS certificates from producers, to mention in their vouchers the amounts received in words along with figures, and to pay their income-tax promptly. Raza Murad hailed the secular spirit among people in the industry. He cited the example of Sanjay Khan (Abbas Khan) successfully making a serial like Jai Hanuman! He exhorted members to vehemently refuse to do any vulgar or obscene scenes for any film, as they were illegally used as ‘bits’ in a number of sleazy films made these days. The Association would deal with such producers if any artiste was forced to do such filthy scenes, he added. Raza Murad then exhorted members to take advantage of the group insurance scheme and also suggested the setting up of a ‘care committee’ in order to take care of the needs of the aged artistes. A care committee was later constituted.
Sunil Dutt, while addressing the house, hailed the industry’s spirit of national integration and wished CINTAA a great going. The meeting was followed by lunch which was sponsored by Rakesh Roshan and Hrithik Roshan.
Dharmesh Tiwari, Chandrashekhar and Javed Khan will represent the CINTAA in the General Council of the FWICE. Javed Khan will be the CINTAA representative in the FWICE executive committee.
In the Co-ordination Committee of the CINTAA and the AIFPC, the following will be the representatives of the CINTAA: Chandrashekhar, Raza Murad, Deep Dhillon, Gajendra Chauhan and Goga Kapoor.
The following sub-committees were also formed at the first meeting of the newly elected executive committee:
Scrutiny Sub-Committee: S.S. Randhawa will chair the sub-committee which comprises Avtar Gill, Raza Murad, Arun Bali, Satyen Kappu and Deep Dhillon.
Disputes Settlement Committee: It consists of five persons viz. Chandrashekhar (chairman), Raza Murad, Deep Dhillon, Gajendra Chauhan and Goga Kapoor.
Public Relation Committee: Gajendra Chauhan and Deep Dhillon are its two members.
Vigilance Committee: Raza Murad, Goga Kapoor, Gajendra Chauhan, Avtar Gill, Arun Bali, Deep Dhillon and Kiran Kumar constitute this committee.
Care Committee: It comprises Raza Murad, Avtar Gill, Kiran Kumar and Deep Dhillon.
YOU ASKED IT
Why do our films fare differently in different territories these days?
– Because our makers are not putting in all the ingredients in their films, which are necessary to make a universally appealing hit.
What should the reasonable percentage of entertainment tax be?
– 25%. This, if there must be entertainment tax on films. Otherwise, I’d say, there should be no entertainment tax at all!
When the income-tax policy is the same in all the states of the country, why should there be different levels of entertainment tax in different states?
– Because income-tax is a Union subject whereas entertainment tax is a state subject. There is a need to bring entertainment tax in the concurrent list.
ANNOUNCEMENT & LAUNCHING
Ravi Dewan Turns Producer: Launches ‘Annarth’
Action master and director Ravi Dewan has turned a producer and announced Suryoday Productions’ Annarth (Disaster). Cast: Sunil Shetty, Raveena Tandon, Ashutosh Rana, Mukesh Rishi, Ashish Vidyarthi, Ishrat Ali and Vishwajeet Pradhan. The film, being written, produced and directed by Ravi Dewan, who will also compose the fights, was launched on his birthday, October 5. Screenplay & dialogues: Girish Dhamija. Cinematographer: Nirmal Jani. Music: Anand Raaj Anand. Dances: Saroj Khan and Ganesh Acharya. Art: Nitin Desai. Sound: Jitendra Chowdhary.
3-E
Education-Entertainment-Enlightenment
Low Rates, High Attendance
What magic low admission rates can do is borne out by the following:
Since producer D. Rama Naidu calculated 8.41 a.m. as the auspicious time for release of his Aaghaaz on Friday, October 6, Bombay distributor Balkrishna Shroff decided barely two days before Friday, to hold a special public show at the appointed time on 6th October at Bombay’s main cinema, Maratha Mandir. Since the show-timing was too odd and too early in the day, the admission rates were reduced to barely 25-35% of the usual rates. As against the normal ticket rates of Rs. 40, 50 and 60, the rates for the 8.30 a.m. show were kept at the extremely cheap Rs. 10, 15 and 20. Thanks to the heavy discount, this show became full in advance (collection: Rs. 9,069). As against this, tickets for the 3 p.m. show on Friday at Maratha Mandir — at the normal (high) rates — were available in current booking!
Yet another pointer to our distributors and exhibitors to price admission tickets at more reasonable levels!
One Cinema Too Many
Ginni Arts, the Delhi-U.P. distributors of Aaghaaz, must’ve either had too much faith in the film or must’ve simply decided to act irrationally. For, no other reason can explain their release of the Sunil Shetty starrer this week in not one or two but three cinemas of Kanpur, viz. Manjushri, Vivek and Deoki. The film was earlier booked at two cinemas but the third cinema, perhaps, offered an MG to the distributor who get tempted by it. It doesn’t need to be added that while the opening of the film was quite poor everywhere, the initial in Kanpur was even worse!
A Record Of Sorts
For the first time ever in the history of Hindi films, as many as four films of a heroine have been released simultaneously. Yes, Tabu achieved the feat yesterday (6th October) when her Shikari, Dil Pe Mat Le Yaar and the Hindi and Marathi versions of Mahesh Manjrekar’s Astitva began to be screened all over. Surely, a record! In Bombay, as many as 38 cinemas are screening her 4 films! The break-up reads: Shikari on 17 screens, Dil Pe Mat Le Yaar on 15 screens, Astitva on 5 screens, and its Marathi version on a solitary screen.
An Ad-ditional Role For Rakesh Roshan
Rakesh Roshan is in a state of boundless elation once again this year. Yes, once again. The first time Roshan was on Cloud Nine was when KN…PH was declared a super-hit and, with it, his debut-making son, Hrithik Roshan, achieved superstardom. This was in January 2000. Now, nine months later, Roshan is inundated with congratulatory phone calls for his second baby. The baby in question is the one-and-a-half minute ad film that Roshan made for Coke last month. It was the first time that Roshan had tried his hand at making an ad short. There is such a strong and good buzz on the ad film in corporate circles that Roshan has already been approached by four companies to make ad shorts for their products. And if you’re thinking, Roshan got these offers only because Hrithik comes as a package deal, perish the thought. Each of the offers comes without strings attached. Roshan is free to shoot these ads with or without sonny Hrithik.
So, here’s to Rakesh Roshan, the ad filmmaker….. Jo chahe banaaye and enjoy!
Tabu’s Hat Ke Roles
Looks like no role is taboo for Tabu!
In each of her this week’s releases, Tabu plays a woman quite different from stereotypical Hindi film heroines.
In Hansal Mehta’s Dil Pe Mat Le Yaar, she plays a liberated young woman who doesn’t mind having sexual relations with her boss (played by Harsh Chhaya) although she is not married.
In Mahesh Manjrekar’s Astitva, she plays a woman who has extra-marital sex with a man (Mohnish Bahl) and bears his child while still married to her husband (Sachin Khedekar).
Only Shikari comes close to the stereotype. In the film, she has an affair with Govinda, but ultimately gets married to Nirmal Pandey.
Curiously, in each of Astitva and Shikari, Tabu is shown as yearning for physical relationship with her husband! Thus, in both the films, her characters pine for intimacy within marriage.