SHOOTING COVERAGE

KAMAL HAASAN LAUNCHES ‘ABHAY’
All About The ‘Monkey’ Hiding Inside Us

7.30 p.m. 18th October, 2000. Nehru Indore Stadium, Madras.

The stage is set. Two big cut-outs of the superstar — one each of the two roles he plays in the film — on the left and right sides of the stage attract a lot of attention. Three huge video screens — one at the centre of the stage and one each at the further left and right of it — look set to come alive any moment. A crowd of thousands waits impatiently for the on-stage appearance of their favourite star. Invitees, seated in the foreground, and the fans, seated at the back on the multi-tiered balcony, animatedly note the arrival of every single VIP.

8.00 p.m. The lights go off. The crowds begin to roar in anticipation of the show’s beginning. They would go into a frenzy. Any moment. But not yet.

It is the launch function of the latest Kamal Haasan starrer, Abhay.

The invitee list seems to be the Who’s Who of Tamil filmdom. Among the more notable people present to wish the Abhay team luck at the start of the film are superstar Vijaykanth, filmmakers K. Vishwanath, Bharathiraja, Mani Ratnam, Priyadarshan and Malayalee filmmaker Shaji Kailash (who is now also making a film in Tamil). Representing the Hindi film industry are filmmakers Ramesh Sippy and Sanjay Leela Bhansali, apart from Raveena Tandon, Javed Akhtar, Shankar-Ehsan-Loy and art director Sameer Chanda, who are all involved with the film.

The extravaganza begins!

Huge speakers blare the theme song of the film. It has been recorded over a four-day schedule in Bombay which concluded just a day before the launch. The song is powerful, making the listener feel the tension that underlines the subject of the film. Dancers fill the stage. Soon after a superb performance, the formal function begins.

One by one, a guest and a member of the crew are invited on the stage in pairs. A memento is presented to each of the guests, and a bouquet is given to every unit member. Each arrival on the stage is accompanied by the person’s show-reel playing on the video screens. Some of the clips are from Kamal Haasan starrers. The fans bring the house down every time his face appears on the screens.

But where is the superstar hiding? The fans begin to grow restless, but manage to control their charged emotions till all the introductions are over.

They don’t have to wait too long. Even before the emcees finish introducing the legend of Tamil cinema, the crowds go into raptures. Then, he makes a grand appearance. Dressed in a light formal suit, Kamal Haasan looks suave as ever. The moment he steps onto the stage, all hell breaks loose. He has to wait several moments before he can speak as the crowds have not finished cheering him. He thanks his guests and fans and everyone present at the function. He calls each of the celebrity invitees on the stage. “This is my turn to ask for a photo opportunity with everyone,” says he amidst peals of laughter.

When everyone arrives on stage, Haasan breaks into singing the national anthem. The crowds hurriedly rise to their feet.

End of show.

Total expense: Rs. 54 lakh!

About The Film

Trust Kamal Haasan to do this. The front page of the brochure of Abhay shows Kamal Haasan, sitting crouched completely in the nude. ‘Shocker’ is the first word that comes to mind. “Ha! Ha! It all depends on what we are exposed to. Thanks for the compliment anyway!”, quips Kamal when told so.

The chat is taking place just a few hours before the launch of the film which stars Kamal Haasan in a double role. It is being directed by Suresh Krssna, the superhit director down South. He is rather well-known for making two Tamil Rajinikanth blockbusters — Annamalai and Baasha. However, he has not quite found success in Bollywood. Both the Hindi films — the Salman Khan-Revati starrer, Love, and the Salman-Karisma starrer, Jagruti — turned out to be box-office duds. Notwithstanding this, Kamal has reposed a lot of faith in the director and has saddled him with the responsibility of executing his latest.

Abhay is an ambitious project. Firstly, it is a double version film. (The Tamil version is titled Aala Vandaan — ‘Came To Conquer’.) Meaning, the film will be shot simultaneously in Hindi and Tamil. Pleads the director, “Please do not mistake this to be a dubbed film. Both versions are going to be shot separately, though in the same schedule. We have taken utmost care in deciding the cast of the film so that we achieve a balance therein. The film will have artistes from both, Hindi and Tamil films. Raveena Tandon plays the main lead opposite Kamal Haasan.” Among the other Hindi film artistes who will appear in the film are Manisha Koirala, Smita Jayakar and Vikram Gokhale. The director continues, “We have kept the tastes of both the audiences in mind while deciding on the costumes of the film, again, so that the film’s look doesn’t appear too one-sided.”

Abhay will be replete with special effects including computer graphics. It will include a total of about fifteen minutes of computer graphics sequences — featuring some of the kind never seen before in Indian films. The special effects and CG will be executed by a specialist Australian company, Cutting Edge. Its track record includes animation and other effects for Hollywood films like Beastmaster and Komodo. David Peers, the company’s visuals effects supervisor, will oversee the entire shooting stint of the film. He informs that Abhay will have countless special effects, including freezing time, realistic CGI and others. Both the characters played by Kamal Haasan in the film will actually appear as if they are two separate persons. The effects alone are likely to cost a whopping “Rs. 1.3 crore”.

To further lend the film international standards, there are the stunts which will be designed by Grant Page. The man’s past record includes blockbusters such as Mad Max (parts I and II) and Jackie Chan starrer Mr. Nice Guy.

All of this makes it the costliest project the film’s producer, Kalaippuli S. Thanu, has ever undertaken. He only recently made the Tabu-Aishwarya starring Tamil film, Kandukondain Kandukondain, at a cost of about Rs. 7 crore. He, however, prefers to duck answering if Abhay will be the costliest film ever made down South.

Kamal Haasan recently finished writing the screenplay and the Tamil dialogues of Abhay. The seed came from a novel he himself wrote nearly 17 years ago! At the time, he was shooting for a Hindi film — the name of which he has trouble recollecting — in Bombay. Flashback: “I had to report daily on the sets at 9 a.m., whether I was needed or not. I would generally have to wait around three hours every day before they called me for the shooting. One day, I got tired of just lousing around. Which is when I started writing this story. It was serialised in a Tamil newspaper and lasted 36 weeks!” Although Abhay is an adaptation of the novel, Kamal has taken due care in giving the film a fresh approach. He has worked hard at etching out both his characters — one, Major Vijay, who stands for the Good, and the other, Abhay, for Evil. Raveena plays an NDTV news reporter, Tejasvini Varma, who is also the fiancée of Vijay.

“I was fascinated by the two characters when Kamal first told me the story,” says Javed Akhtar who is writing the Hindi lyrics of the film. He adds, “Normally, a character in our films is shown feeling only one emotion at a time. But there’s not one sequence in the film where Kamal’s character (Abhay) is not experiencing at least two-three contrasting emotions — that too, at the same time! Naturally, this makes the character very unpredictable. Hence, my fascination with it.”

Kamal hastens to add, “The whole idea behind Abhay is to expose the hypocrisy behind the so-called fearlessness. Nobody is fearless. My character in the film starts out as one and realises the same truth about himself in time.” Another thing about the subject that attracted Kamal was the hidden evil “which is inside all of us”. He insists, “Of course, we generally manage not to act on our evil impulses… mainly due to societal pressure. But the fact still remains that there is a ‘monkey’ lurking inside all of us.” He adds jocularly, “….and I’m not being zoological here!”

Abhay is not about schizophrenia or anything as such, insists the legendary star who has won accolades for more films than he cares to remember. “Instead, it is a film that revolves around sibling rivalry. It is about two people with similar faces but dissimilar faiths. More than the technique, it will be interesting to learn whether we are able to peel the layers and get deep under the skin of the characters. That’s where the true challenge for me as a writer and as an actor lies,” he concludes.

The film is being shot in a single schedule — in Madras, Ooty and New Delhi. Shooting began on 19th October in Madras and will be over by 15th January, 2001. The makers hope to release the film in April 2001.

– RAJ VAIDYA

LATEST POSITION

Last week’s release has been written off. All eyes are now on the two mega films of Diwali.

Jis Desh Mein Ganga Rehta Hai is very bad almost everywhere. 1st week Bombay 70,27,064 (80.95%) from 16 cinemas (7 on F.H.); Jamnagar 91,642 (1 in matinee unrecd.); Pune 12,52,618 from 6 cinemas, Solapur 2,46,418 from 2 cinemas (1 in matinee), Satara 1,58,922; Delhi 33,23,160 (41.71%) from 12 cinemas (2 on F.H.); Kanpur 2,76,723 from 2 cinemas, Lucknow 3,88,913 from 2 cinemas, Agra 2,35,415, Varanasi 1,76,715, Allahabad 1,54,840, Bareilly (6 days) 90,320 (32.62%); Calcutta 8,99,826 from 5 cinemas (others undisclosed); Nagpur 4,83,290 from 4 cinemas, Jabalpur (6 days) 92,744, Akola 1,54,665, Raipur (6 days) 1,11,924, Yavatmal 81,056; Indore 1,80,000 (3 on F.H.), Bhopal 1,28,823 (1 unrecd.); Jaipur 6,05,226 (37.56%) from 3 cinemas, Ajmer (gross) 2,27,785, Bikaner 1,77,526; Hyderabad (gross) 23,36,455 from 12 cinemas.

X-Men (dubbed) 1st week Bombay 2,21,814 (21.86%) from 2 cinemas (2 unrecd., 3 on F.H.); Agra 1,20,000; Amravati 90,809, Jalgaon 83,382.

…………..

Shikari has crashed. 2nd week Bombay 10,29,811 (34.73%) from 6 cinemas (7 on F.H.); Jamnagar (matinee) 11,870 (1 in regular unrecd.); Pune 3,23,392 from 5 cinemas (1 in matinee), Solapur 1,13,100 from 2 cinemas (1 in matinee), Satara (matinee) 35,268; Delhi 4,35,825 from 4 cinemas; Kanpur (6 days) 1,01,419 from 2 cinemas, Lucknow 1,03,745, Agra 1,78,000, Varanasi 80,200, Allahabad 66,000, Hardwar 25,000; Calcutta 2,45,035 from 4 cinemas; Nagpur 1,42,566 from 3 cinemas, Jabalpur (6 days) 32,677, Amravati 83,872, Raipur 33,517, Jalgaon 74,898, 1st week Gondia (gross, 6 days) 61,948; 2nd week Jaipur 1,46,787 (17.31%) from 2 cinemas, Bikaner 68,204; Hyderabad (gross) 1,53,665 from 2 cinemas (1 in noon).

Aaghaaz nears its end in 2nd week! 2nd week Bombay 11,90,931 (46%) from 6 cinemas (7 on F.H.); Pune 2,60,217 from 3 cinemas, Solapur 1,02,000; Delhi 1,43,710 (1 unrecd., 2 on F.H.); Kanpur (6 days) 1,12,156 from 3 cinemas, Lucknow 79,352, Agra 84,398, Varanasi 70,615, Allahabad 58,731, Bareilly (6 days) 47,235 (16.47%); Calcutta 9,10,043 from 16 cinemas; Nagpur 94,061 from 2 cinemas, Jabalpur (6 days) 32,677, Amravati 95,190, Akola 53,037 (1st 1,46,000), Raipur (6 days) 88,716, Jalgaon 81,988 (1st 1,16,839); Bikaner 47,621; Hyderabad (gross) 4,02,691 from 3 cinemas.

…………..

Astitva is also dull. 2nd week Bombay 10,20,186 (44.94%) from 4 cinemas (3 on F.H.); Delhi 4,78,277 from 4 cinemas; Lucknow (7 shows) 29,453; Calcutta 1,17,152.

Dhaai Akshar Prem Ke 3rd week Bombay 4,99,089 (34.40%) from 4 cinemas (4 on F.H.); Pune 2,49,182 from 4 cinemas (1 in matinee, 1 unrecd.), Solapur 40,813; Delhi 4,88,384 from 4 cinemas (1 on F.H.); Kanpur (6 days) 46,966, Lucknow 1,29,461, Agra 55,000, Varanasi 60,520, Allahabad 53,632, Bareilly 37,891 (11.61%); Calcutta 3,53,457 from 3 cinemas; Nagpur 39,877, Jabalpur (6 days) 29,482, Amravati 92,060, Akola 38,600 (2nd 68,359), total 2,37,703, Raipur (6 days) 41,004, Bhilai (6 days, gross) 62,257, Jalgaon 56,722, total 2,87,409, Wardha 32,219, Chandrapur 67,097, total 3,40,617, Yavatmal 40,043; Bhopal 41,952; Jaipur 97,942 (13.55%); Hyderabad (gross) 2,22,954 from 2 cinemas (1 in noon); Mangalore 1,87,265; 1st week Guntur (5 days, gross) 39,866.

INDUSTRY STATUS FOR FILM BUSINESS NOTIFIED

The central government on 17th October notified that film business is an industry, thereby formally completing all formalities in according industry status to film trade.

Showbiz had been accorded industry status on 10th May, 1998 and a formal announcement to that effect had been made the same day at a conference organised by the Federation of Indian Chambers of Commerce and Industry (FICCI) on the entertainment industry, more specifically, on challenges before Indian Cinema.

The announcement of the notification was also made at a FICCI-organised interactive meet on 18th October at The Regent, Bandra, Bombay. Coincidentally, Sushma Swaraj made the declaration in 1998 and it was she again who declared about the notification this week. She was the I & B minister in 1998 too as she is now, having come in place of Arun Jaitley.

The interactive meeting of 18th October was also attended by Union finance minister Yashwant Sinha who delivered a well-meaning speech. He promised to look into the demand of the industry for uniform entertainment tax in all the states of the country.

After the interactive meeting, the two ministers were felicitated by the All India Film Producers’ Council.

DIWALI GIFT FOR DELHI-U.P. TRADE?

The Delhi-U.P. trade is likely to get a terrific Diwali gift from the Uttar Pradesh government.

Entertainment tax, which is currently 100%, is to be reduced to 60%. An announcement to this effect will be made very shortly, it is learnt.

The Motion Pictures Association (MPA), Delhi, has been in negotiations with the U.P. government to bring down the exorbitant rate of entertainment tax. Just recently, G.D. Mehta, G.S. Mayawala and others of the MPA called on U.P. minister Hukam Singh who promised them relief in entertainment tax, it is learnt.

The tax, which was 150%, was brought down to 125% and then to 100%. It is expected that it will now come down by a further 40%.

MPA SEEKS LAND ALLOTMENT IN NOIDA FOR FILM CITY, INSTITUTE

The Motion Pictures Association (MPA), Delhi, has written to Uttar Pradesh chief minister Ram Prakash Gupta, asking his government to help it acquire 50 acres of land in NOIDA from agriculturists. Explaining that the land would be used to set up a Film City and start a film training institute, the MPA has requested the U.P. government to notify and release land for the purpose.

The letter, dated 10th October, states that the MPA will pay the cost of the land and nominal development charges, if any, imposed by the state government. It is made clear that the MPA and its members were willing to invest Rs. 50 crore in the proposed project. The MPA intends to shift its administrative office in the vicinity of the proposed Film City. Distributors, too, would shift base there.

ASSAM DISTRIBUTORS TO DEDUCT 20% OF PRICE ON DELIVERY

The distributors section of the Assam branch of the EIMPA (Eastern Indian Motion Pictures Association), Calcutta, on 16th October passed a resolution which allows all members who acquire distribution rights of Hindi films for Assam, to deduct 20% of the price at the time of taking delivery of films from producers. The resolution, which was put into effect yesterday (20th October), comes in the wake of a ban on the exhibition of Hindi films in the state of Manipur. It was also resolved that once the screening of Hindi films in Manipur resumed, the distributors would pay the respective producers the deducted amount within 15 days.

Another resolution, passed the same day, asked the producers not to grant film distribution rights for 16mm prints till a period of 2 years from the release date of the film in Assam.

TWO-WAY REVISION OF ADMISSION RATES AT GAIETY-GALAXY

Many cinemas across the country will effect hikes in their admission rates next week to take advantage of the immense craze for Mohabbatein and Mission Kashmir, both scheduled for release on Diwali.

But Manoj Desai of Gaiety-Galaxy (G-7) cinema complex at Bandra, Bombay, will reduce admission rates partly and increase them partly.

At Gaiety and Galaxy, there will be an additional class created, besides the existing balcony and stalls. The admission rate in the new class — family circle, created in the stalls class — will be Rs. 5 more than the current rate of stalls. Simultaneously, the rate for stalls will be down by Rs. 5 and for balcony, up by Rs. 5. Therefore, as against the present Rs. 40 (stalls) and Rs. 50 (balcony) rates, the new rates will be:- stalls Rs. 35, family circle Rs. 45 and balcony Rs. 55.

Resultantly, the nett weekly capacity of Gaiety will increase by Rs. 47,000 and of Galaxy, by Rs. 38,000. Mohabbatein is due at Gaiety, and Mission Kashmir, at Galaxy.

In Gemini, the single-class cinema, there will now be two classes — executive class with an admission rate of Rs. 55, and economy class (Rs. 45). The current single rate is Rs. 50. The change will see the nett weekly capacity go up by Rs.10,000.

There will be a Rs. 5 increase in admission rate of Gossip. The new rate for the 105-seat cinema will be Rs. 55. Life Is Beautiful (E.) will open in daily 3 shows at the cinema. Kairee will be screened in matinee shows.

NEW ADMISSION RATES FOR ‘MOHABBATEIN’ IN NAGPUR

Admission rates are being hiked in Nagpur for Yash Chopra’s Mohabbatein, due next week. At Liberty, the balcony, reserve and first class rates will be Rs. 50, Rs. 30 and Rs. 15 respectively in place of the present Rs. 30, Rs. 20 and Rs. 10 respectively. The new nett capacity per show will be Rs. 18,090.90 (current: Rs. 11,342.50). Nett for 21 shows (only 3 shows will be conducted per day) will be Rs. 3,79,908.90. The current nett for 28 shows is Rs. 3,17,590.

At Jaswant 70mm, the rates in all classes will be hiked by Rs. 2. A balcony ticket will cost Rs. 22, dress circle Rs. 17 and reserve class Rs. 12. The new nett for 1 show will be Rs. 11,958.20 (present: Rs. 10,440). Nett for 21 shows: Rs. 2,51,122.20. The current nett capacity for 28 shows is Rs. 2,92,320.

The rates in the special box and in the box classes of Panchsheel cinema will be increased by Rs. 10 whereas in the balcony and reserve classes, by Rs. 5. No hike will be effected in the first class rate. The new rates will be Rs. 45 (special box), Rs. 42  (box), Rs. 35 (balcony), Rs. 20 (reserve) and Rs. 10 (first class; unchanged). The nett capacity per show and for 21 shows will be Rs. 14,528 and Rs. 3,05,088 respectively. The current nett for 28 shows is Rs. 3,30,500.80.

CINE PLANET TO OPEN ITS DOORS ON OCT. 27

Cine Planet, a two-screen state-of-the-art cinema, has come up at Sion, Bombay, where Rupam cinema once stood. The cinema is owned by Rasesh Kanakia who had earlier constructed the three stately cinemas — Cinemax, Cine Star and Cine Magic. The two cinemas at Sion are named Planet 1 and Planet 2. They are equipped with the latest and imported sound system, CP 615.

The cinema complex will have a special baby care unit to keep the toddlers amused with their share of entertainment while their parents enjoy a film. For the toddlers, there will be a lot of toys to play with. They will be treated to a number of cartoon films too.

The two cinemas will be inaugurated on 27th October. Planet 1, which will screen Hindi films, will open with Mohabbatein, and Planet 2 will project English films with Dinosaur as the opening attraction.

Planet 1 has 327 seats. The admission rates are: Rs. 50/- for special class comprising 216 seats; Rs. 60/- for executive class having 97 seats; and Rs. 80/- for VIP box, to seat 14.

Planet 2 has 216 seats with an admission rate of Rs. 50 each for 206 seats. The VIP box will have 10 seats for which the admission rate will be Rs. 80.

Kanakia Cine Line Cinemas will control Cine Planet. This newly-formed company of the Kanakias will also take control of their other three cinemas once their period of contracts with the present controllers concludes.

‘BETI NO. 1’ ‘RELEASED’ IN GONDIA!

The Gondia police seized a CD of Beti No. 1 (an unreleased film), a CD player, a large screen, an Entel video projector and other accessories — totally valued at Rs. 2.05 lakh — in a raid conducted on Vandana Video Cinema at Tiroda in district Gondia. The owner of the video cinema has been arrested. The raid was conducted at the instance of Deshpande, the representative of Vishnu Films, Amravati, who are the C.P. Berar distributors of Beti No. 1.

Since last year, about 100 video cinemas have mushroomed in Gondia, Bhandara and Nagpur district. These cinemas have been openly showing new films on big screens installed in their premises. The local police do not take any cognisance of the complaints. Deshpande, therefore, took the help of the police force from Gondia and conducted the raid on the said video cinema.

It is believed that the operators of video cinemas procure the VCDs and cassettes of new films from Raipur, much before the film’s theatrical release.

GRAND JAIPUR MULTIPLEX IN BOMBAY

The Suranas of Raj Mandir Cinema, Jaipur, Padam Sacheti (son-in-law of CCCA president Santosh Singh Jain) and diamond merchant Kothari have joined hands to build a multiplex in Bombay at Jogeshwari on S.V. Road. Bhoomi pujan of the multiplex was held on 18th October and was well-attended.

The multiplex, to be as lavish as Raj Mandir cinema of Jaipur, will have four screens and a total seating capacity of 1,800. There’ll be a banquet hall and a restaurant too. The basement will be used as car parking space and will be able to house 150 cars.

Construction work at the site will begin in a couple of days. The state-of-the-art multiplex will take about 15 months to complete. It will be called Jaipur Multiplex.

Santosh Singh Jain formally dug the first piece of land after the puja. Kamal Kumar Barjatya cracked the auspicious coconut. Bharat Shah lit the lamp. Santosh Singh Jain’s son, Jitendra Jain, specially flew from Indore to attend the bhoomi pujan. 

YOU ASKED IT

How many prints of an ‘A’ grade film are normally taken out by Overseas distributors?

– For an ‘A’ grade set-up, about 90 to 110 prints are generally taken for Overseas.

Do exhibitors share the tax-free service charge with distributors? If not, should distributors stake a claim for a part of the service charge?

– Generally, exhibitors don’t share the service charge with distributors.

How much of destiny, talent and looks make a star? Please answer in percentages.

– Talent 50%; destiny 30%; looks 20%.

3-E
Education-Entertainment-Enlightenment

Kaho Naa…Hum Saath-Saath Hain

Rajshri’s next may star Hrithik Roshan after all. Sooraj Barjatya will give a narration of the subject of his new film to Hrithik on 25th October. The film, it may be recalled, is a love story and will star two heroes and one heroine.

The Need To Feed

Nobody must have been as enthusiastic about ‘feeding’ cinemas as our dancing hero. He ‘tore’ tickets of his recent release in cinemas of Bombay in advance! That is to say, when he realised that the film (which had taken a dull start) was not showing any signs of picking up, he instructed several cinemas to ‘manage’ house-full shows from Monday onwards — of course, at his expense! That’s the game to keep intact one’s fame!! Or is it?!?

‘Love’ly Advance Booking

That Aditya Chopra’s Mohabbatein should open to bumper houses next Friday (October 27) can now safely be presumed. No, not because it has two superstars, Amitabh Bachchan and Shah Rukh Khan, together. Not even because its music is catching on in popularity.

It’s because the advance booking for the film has already opened. Not in Bombay, but in two centres of C.P. Berar viz. Raipur and Akola. Such was the craze for the film that when the plans opened on 15th October (Sunday) at Raj Talkies in Raipur and at Vasant Talkies in Akola (both cinemas of the Rathi group), tickets of each and every show of the first three days were sold out in just two days!

Considering that many in the film trade and among the public, too, had written off the film’s music and predicted doom for the film, Aditya and Yash Chopra must now be having the last laugh.

Ad-Mission Kashmir

Come Diwali and ticket rates at the main cinema halls in almost every city will be hiked. Heralding the price-rise are two big films which release in the Diwali week — Mohabbatein and Mission Kashmir. The ‘dubious’ distinction of the cinema with the highest admission rates in the country will be claimed by Bombay’s elite theatre, Metro. The cinema will screen Mission Kashmir with a revised rate of — hold your breath! — Rs. 150 for the Dress Circle class! Stalls tickets will cost Rs. 60, and Balcony, Rs. 100.

And would people still buy cinema tickets at such exorbitant rates? “Absolutely,” declares Nester D’Souza, the affable manager of Metro, his confidence being seconded by the constantly ringing phone line.

What Nester means is that for one, it is the festive season. Secondly, there is great hype around Mission Kashmir. The music, too, has caught on well and Hrithik, of course, commands a super-initial draw. All of this put together will translate into people flocking in large numbers to the cinema hall to see the film.

The price hike is not permanent though. Nester informs that the cinema management will bring down the ticket prices whenever the numbers start dwindling as the film’s run progresses.

Laloo’s ‘Mission’ary Zeal

N.D. (Laloo) Kabra (Vishwajyoti Films, Bhusawal), the C.P. Berar distributor, seems to have unbridled enthusiasm for Mission Kashmir. He is the first among the all-India distributors to have sent producer Vidhu Vinod Chopra the full delivery amount. He sent it 15 days in advance, which is something unprecedented. And what’s more, Laloo opened advance booking for the film (a rarity in C.P. Berar), that too, nine days in advance (on 19th October) in Nagpur, Bhilai, Durg, Wardha and Raipur, and on 20th October in Akola. At other centres of C.P., the booking will open on Sunday (22nd October). Mission Kashmir is being released in this territory with as many as 41 prints, a record for C.P.!

No Bit Roles, Please!

Ever wondered why the talented actor, Ashutosh Rana, is not seen much these days? The guy is intentionally out of circulation. So to say, he is turning over a new leaf!

New leaf? Well, Rana has been signed to play a hero in four films, including Pardesi Re (opposite a new girl) and Danger (opposite Tara Deshpande). Besides the above two, Rana will play the hero in Checkmate and Underworld, but his leading ladies in these films are under finalisation. The former is to be directed by Kalpana Lajmi. Then, there’s one more, Din Police Ka. To look the hero he is playing, Rana is into physical fitness exercises these days. The guy is pretty excited about the lead roles coming his way. No, Manoj Bajpayee’s non-success seems to have not deterred him at all. Says Ashutosh Rana, “Either it has to be the main villain or the main hero. If I have to beat up people, it must be me and me alone beating them up. Even if I have to get beaten up, it must be me and me alone.”

Incidentally, Rana lent his vocal chords yesterday (20th October) to the beats of new music director Sujeet. Ashutosh recorded a song at Audio Villa for Pardesi Re.

Mujhe Spelling Change Karna Hai

The name of Jeetendra’s son, Tushar Kapoor, will now be  spelt as Tusshar Kapoor (with a double ‘s’ in it). As for the boy’s screen name, it will be only Tusshar, minus the Kapoor.

Yes, you’ve guessed it right. The suggestion to change the spelling and drop the surname for the screen was made by a numerologist to Tushar’s — oops, Tusshar’s — mother, Shobha Kapoor. “Shobha also likes it that way,” informed Jeetendra, adding with a sense of pride, “I’m confident, Tusshar will make it. He is so hardworking, so sincere.”

Tusshar is being introduced by producer Vashu Bhagnani in his forthcoming film, Mujhe Kucch Kehna Hai, remake of Telugu blockbuster Tholi Prema. The young boy’s heroine is another Kapoor — Kareena.

It may be mentioned here that Tusshar’s dad, Jeetendra’s real name is Ravi Kapoor. He got his screen name not from any numerologist but from late V. Shantaram who introduced the actor in Geet Gaya Patharon Ne. “At that time,” recalled Jeetu, “Ravinder Kapoor used to be a big star of Punjabi and Hindi films. Shantaram-ji felt, my name was too similar to his and so he suggested a new name for me.”

Recreating The Old Magic?

Is the Padmalaya banner of the South trying to recreate the magic of the eighties? Seems so! For, G.A. Seshagiri Rao of Padmalaya has signed Jeetendra’s son, Tusshar, and Hema Malini’s daughter, Esha Deol, for the banner’s next. The film will be written and directed by Sanjay Chhel. Jeetendra and Hema had acted in Padmalaya’s Meri Awaz Suno, Qaidi, Mulzim and Justice Chaudhury.

JIS DESH MEIN GANGA REHTA HAI

Quest Films’ Jis Desh Mein Ganga Rehta Hai is an insipid drama that travels from a village to a city and back to the village. A village simpleton (Govinda) is the darling of his parents and the villagers. A fun-loving boy, he is the cynosure of the eyes of a pretty girl (Sonali Bendre) who wants to marry him. But the naive guy hardly understands what love means. All hell breaks loose in his life when he learns that the ones who’ve brought him up are not his real parents. The actual parents had put him — when he was a little child — in the care of his foster parents because he had a disease which could be cured only if he lived in a village atmosphere with a lot of sheep and goats around him. After more than 20 years, his real parents take him away to the city where he ends up feeling suffocated and finally returns to his foster parents.

The film, inspired by the Marathi film, Ekta Jeev Sadashiv, has been indifferently made. Not much thought or effort seems to have gone into the film’s scripting and making (screenplay writer and director: Mahesh Manjrekar). Several incidents are so childish that it is difficult to believe that one can incorporate such scenes in a film of the 21st century.

To expect the audience of today to digest a story in which a vaid, to save a dying child, prescribes that he should live amidst goats and sheep, is ridiculous! Worse still, the real parents don’t even bother about the child’s education and upbringing. The city atmosphere is hardly in evidence when the villager comes to his real home. What he is shown suffocating in, instead, is the atmosphere at home. There’s no base for the city-bred girl (Rinke Khanna) falling in love with the village bumpkin, except, perhaps, that he could make her laugh and get her into a good mood! Save for a couple of emotional scenes between Govinda and his foster parents, everything else looks superficial and orchestrated. Comedy of at least two characters — the P.A. of Govinda’s father, who keeps repeating what his boss says, and the father of Rinke Khanna, who is terribly cock-eyed — is extremely irritating. The interval point is shockingly abrupt. Dialogues are commonplace.

Govinda, who is generally a fantastic performer, fails to impress in this film. Rather than coming across as a naive and rustic village bumpkin, Govinda appears like an oversmart guy who is feigning innocence. Resultantly, almost everything he does looks fake. His dances, though, are good. Sonali Bendre looks pretty and does quite well, but she gets very little scope to act. Her dances are very graceful. Rinke Khanna lacks glamour and does an average job. Shivaji Satam acts very naturally. Reema does an extremely fine job. Shakti Kapoor looks tired. His wig is weird! His performance is ordinary. Himani Shivpuri is so-so. Milind Gunaji is expressionless and his performance is wooden. Supriya Karnik is artificial. Kishore Nandlaskar, Ankush Chaudhary and the others lend average support.

Mahesh Manjrekar’s direction is far from satisfactory. The film looks like a job hurriedly done with scant regard to viewers’ likes and dislikes. Quite honestly, direction and script are both childish. Anand Raaj Anand’s music is very good. The ‘Prem chhe’ song is excellently tuned and, together with its picturisation, it is about the only good thing in the film. The title song, ‘Meri shaadi karva do’ and ‘Prem jaal mein phans gayi main to’ are also well-tuned. Camerawork (Teja) is good. Other technical values are average. Production values are ordinary. Action is functional.

On the whole, Jis Desh Mein Ganga Rehta Hai has just one ‘Kaem chhe…. prem chhe’ number to talk about. Despite its reasonable price, the film will prove to be a burden on its distributors.

Released on 13-10-2000 at Novelty, Metro (matinee) and 21 other cinemas of Bombay thru Govinda Yashwardhan No. 1 Distributors. Publicity: very good. Opening: average. …….Also released all over. Opening was very dull at many places.

ILLEGAL SCREENING DISRUPTED

The Raisinghnagar (near Jaipur) police raided the local K.V. Palace Cinema where Fiza was being screened unauthorisedly on 9th October. The screening was stopped and the print was seized by the police. The raid was conducted at the behest of the CCCA’s vigilance inspector, Amarjeet Singh.

SURINDER KAPOOR ELECTED GUILD CHIEF FOR SIXTH TERM

Surinder Kapoor was re-elected president of The Film Producers Guild of India Ltd. at its 46th annual general meeting held on 30th September at The Club. Yash Chopra and Amit Khanna were re-elected vice presidents. Kiran Shantaram and Kamal Kumar Barjatya continue as hon. treasurers and B.K. Rau continues as the secretary.

The following members were elected to the council of management before the election of office-bearers: Surinder Kapoor, Yash Chopra, Amit Khanna, Kamal Kumar Barjatya, J. Om Prakash, T.C. Dewan, Harmesh Malhotra, Prakash Mehra, Sandeep Singh (Bobby) Bedi, B.R. Chopra, Raj Kumar Kohli, F.C. Mehra, Ram Dayal, A.G. Nadiadwala, Tilak Raj Magan, Yash Johar, Ramanand Sagar and Pramod Chakravorty. Kiran Shantaram and Randhir Kapoor are permanent members.

The annual meeting was followed by dinner hosted by Surinder Kapoor.

FICCI TO HOLD INTERACTIVE MEETING WITH SUSHMA SWARAJ

Union I & B minister Sushma Swaraj will have an interactive meeting with representatives of the entertainment industry on 19th October at Regent II, Hotel Regent, Bandra, Bombay. The minister will present her vision statement for the entertainment industry and invite suggestions from industry representatives on the future course of action. The meeting is being held under the aegis of the Federation of Indian Chamber of Commerce and Industry (FICCI).

Confirmations for participation at the interactive meeting can be sent to Siddharth Dasgupta or Mousumi Pal at FICCI, Federation House, Tansen Marg, New Delhi-110 001, or on tel. no. 011-3316527/011-3738760 (extn. 323). Fax: 011-3320714, 011-3721504 or at e-mail: ficcinat@vsnl.com.

YOU ASKED IT

How many cinemas in the country closed down in the last 12 months? How many new cinemas came up?

– Totally, 179 cinemas closed down in the year 1999-2000. A sizeable number of cinemas closed down in Tamil Nadu (54), Andhra Pradesh (42) and Kerala (20), which constitutes 65% of the total number of cinemas closed. The number of new cinemas which came up was just 18!

On what basis are the ratios of the territories fixed? On the basis of cinemas or population?

– On the basis of population, area and, above all, business.

A reputed astrologer has predicted happy times for the Hindi film industry from Diwali onwards. Your comment?

– That’s great news and I sincerely hope, the prediction comes true. By the way, I, too, predict what the astrologer predicted.

3-E
Education-Entertainment-Enlightenment

Record Number Of Prints

The M-M films hitting the screens this Diwali will translate into mega-shares for their distributors, given the tremendous craze for them and the large number of prints being taken out by distributors of both the films. Whatever the merits of the two films — Yash Chopra’s Mohabbatein and Vidhu Vinod Chopra’s Mission Kashmir — they are bound to take bumper openings. The Diwali festival and holidays will only add to the exciting opening of the films.

Adlabs is the common laboratory processing the two films. “As of today, there’s an order for 400 prints of each film,” revealed Adlabs owner Manmohan Shetty. The number is likely to increase as the release date comes closer. Beyond doubt, both the films will break all earlier records as far as the number of prints released in the first week goes.

The first print of Mission Kashmir came out yesterday (13th). The preparation of further prints will begin soon. In the meantime, the prints of Mohabbatein are under preparation at Adlabs. Manmohan Shetty has not seen either of the films but his preview theatre at Film City sure has been witness to three trial shows of Aditya Chopra’s second film. The only people who’ve seen it are the family members and close friends of the Chopras, technicians and the stars of the film. The stars’ trial was the third one.

Yash Johar Grappling With Rumours

Karan Johar’s second venture, Kabhi Khushi Kabhi Gham, is scheduled to go before the cameras on Monday (16th October). The hot-shot director zipped off to Shirdi on 10th October to seek the blessings of Sai Baba. In the first shooting schedule, the three heroes — Amitabh Bachchan, Shah Rukh Khan and Hrithik Roshan — will face the camera. KKKG will take exactly a year to complete and, like in the case of his first film, Kuch Kuch Hota Hai, Karan has decided on the release date of the film even before it has rolled. KKKG will hit the screens on Diwali 2001.

In the meantime, papa Yash Johar is grappling with rumours that he is richer by Rs. 35 to 40 crore, that being the price he has sold the music, Overseas and satellite rights of his film for. But, Johar Sr. denies all this talk as humbug. “I’ve not yet clinched the deal for a single territory,” clarified Yash Johar, and added, “How can I, when I’m not even sure of how much the film is going to cost to make?”

Obviously, Johar knows, projects like these come once in a lifetime.

Vidhu Vinod Chopra’s Passion

Whatever Vidhu Vinod Chopra does, he does in style. Whether it is his film or a promotional brochure, his indelible stamp has to be there. A look at his 28-page publicity brochure of Mission Kashmir convinces one of his inclination towards the classy and the glossy. Vidhu Vinod Chopra was born and brought up in Kashmir and he had always wanted to make a film on Kashmir. The brochure declares that his film is dedicated to “Kashmiriyat — the centuries-old Kashmiri tradition of religious tolerance and harmony”. This grand publicity brochure verily reflects Vidhu’s attachment to the land of his birth. Every page of the 28-page brochure has a black backdrop and, therefore, the colour and black-and-white photographs stand out prominently. The text is printed in white with the headings of the thumbnail sketches in red. All in all, a grand effort!

Free Show Versus No Show

Talk of giving anything free and there’ll never be a shortage of takers. Like it happened at Cinemax Theatre at Goregaon, Bombay on 6th October. Shringar Films, the Bombay distributors of Astitva, held a free ‘ladies special’ show of the film at 3 p.m. at the theatre alongwith three other cinemas of Bombay (Liberty, Gemini and Plaza). Well, women gate-crashed into Cinemax in spite of police security, and those who couldn’t get free tickets even staged a mini dharna. Against a seating capacity of 638, the cinema had to ultimately accommodate 1,000 ladies, many squatting on the floor in the aisles!

Of course, besides the film, the enthusiastic women got a chance to see Tabu and Sachin Khedekar in flesh and blood. The two accompanied director Mahesh Manjrekar and answered questions posed to them by the womenfolk. A sample of the questions and answers:

Q: Why is it that a woman has to use her husband’s surname after marriage?

A: (by Tabu): That need not be the case. Till today, I use my mother’s surname and not my father’s.

Now, this was about the free show. In one or two stations of U.P., Astitva had to be discontinued from the cinema due to lack of audience. And yes, you’ve guessed it right! There was no free show there!!

Kaem Chhe…. Prem Chhe, And Now…. Shame Chhe

Mahesh Manjrekar was taking pride in telling people that he had completed Jis Desh Mein Ganga Rehta Hai in barely 35 shooting days. But going by what he has offered in the film, it looks like he mustn’t have taken even 35 days to complete the shooting! With the poor initial reports of the film filtering in from all sides, Manjrekar must’ve realised that a good film is all that matters; completing a film in a record time is of no consequence if the reports are bad. Of course, he did ensure a good margin of profit for producer Jackie Shroff by completing the film so quickly.

Govinda, who can otherwise be relied upon to deliver a brilliant performance, whatever the role, is ill at ease in JDMGRH. Perhaps, the hurrying up took its toll on the talented actor. As for Mahesh Manjrekar, Jis Desh Mein…. becomes his third flop in a row. After Nidaan and Astitva, this week’s release has completed his hat-trick of disasters.

Of course, Nidaan and Astitva at least had sensitive topics ably handled by the director. But Jis Desh Mein Ganga Rehta Hai has just a song — Kaem chhe…. prem chhe — to talk about. Besides Kaem chhe…. prem chhe, the film — frankly speaking — is shame chhe for Mahesh Manjrekar.

Happy Birthday, Amitabh Bachchan!

So, the Big B who made his foray into television with a show the name of which must today easily be the most repeated words across the country, celebrated his 58th birthday on 11th October. And what are the gifts Bachchan received?

Well, most of the gifts were bouquets of flowers or bottles of champagne with birthday cards. While all flowers smell almost the same and all champagne tastes almost the same, the b’day cards presented plenty of variety (all a figment of the writer’s imagination).

Abhishek Bachchan’s card wished dad many happy returns of the day and had the following words written by the Small B in his own hand-writing:
Dear Dad,
Tera jadoo chal gayaa even on the small screen, mera kab chalega on the big screen?

– Your son who feels
like a Refugee
after a half-success
and dhaai flops!

Hrithik Roshan’s greeting card was accompanied by a Coke bottle instead of a bottle of champagne. The card said:
Respected Superstar,
Don’t you think, I deserve the crown now? Kaho naa….hum Superstar hai?
Regards,

– Hrithik

Rekha’s was a sexy, glamorous and colourful card which wished the ageing Bachchan a happy birthday and asked him a question but without four options like in his Kaun Banega Crorepati show.

Queried the card: Kaun banega mera pati?

Karan Johar didn’t need to convey his feelings through a birthday card because he attended the birthday party thrown by the star. Giving the birthday boy a warm hug, the under-30 director whispered into the nearly-60 actor’s ear:
“Congratulations on your super-success on the television screen…. and please don’t let the flopping of Abhishek’s films bother you. That’s the way life is! Kabhi khushi kabhi gham….!!”

Aditya Chopra’s birthday card was not traceable. As he admitted later, “Like I don’t see trials of others’ films and don’t show trials of my film to others, I neither celebrate my birthday nor attend others’ birthdays. Similarly, I neither accept gifts nor give gifts.”

Kerry Packer of Channel Nine Gold sent his greetings via e-mail. The message, sent obviously with a view to woo Bachchan to do a television show for Packer’s company, packed in a lot in a few words. It read:
Birthday greetings! Star (Plus) is not for superstars. Completing 58 and entering GOLDen jubilee plus NINE is just the right time to join hands with Channel Nine Gold.

The greetings from Doordarshan came with a terse verse:
Dear Amitabh-ji,

How do you do?
Some pay when it is due
Others, when overdue
Still others never do
How do you do?
And yes, happy birthday to you!

– Doordarshan

Madhuri Dixit called the superstar on telephone, from the US.

Madhuri: Many happy returns, Amit-ji.

AB: So, you’re also jumping onto the TV bandwagon, like me, huh?

Madhuri: (giggles) I’ve changed my mind since I’d rather be here with hubby. What to do (breaks into a song)

Hum to thehre pardesi
Saath kya nibhayenge….!

Siddharth Basu, the director of KBC, had this to say to birthday boy Amitabh: “Great news! I just phoned a friend to find out what the Zee Sawaal Dus Crore Ka show is going to be like. This friend had conducted a public opinion poll on the likely effect of Zee’s show on our TRPs. And, believe it or not, the chances of the Zee show reaching anywhere close to ours are not even 50-50. So, happy returns tomorrow — to the studio, of course, for the next episode.”

– Komal Nahta

YOUR EDITOR MEETS….

N.N. SIPPY

Producer-director N.N. Sippy is a self-made man in the real sense. Starting as a producer of stunt films (Rooplekha and Qatil), he is today one of the top producers and one of the leading distributors of Bombay, controlling Janata Film Distributors and Sapphire Movies. He is responsible for discovering and/or comeback of several directors, music directors and actors etc. Raj Khosla once again came into limelight with his Woh Kaun Thi. Manoj became popular with his Woh Kaun Thi and Gumnaam. Late Madan Mohan, Manmohan and Prem Chopra got name and fame in Woh Kaun Thi. C.P. Dixit was a forgotten name when he was entrusted with the direction of Paras. Raja Nawathe, too, staged a comeback in Gumnam. Mehmood became a craze in Gumnaam (Hum kaale hain to kay hua / Dil wale hain). Director Ashok Roy and music director Ravindra Jain had a terrific start from his Chor Machaye Shor only. Excerpts from my talk with him:-

When will your Kalicharan (it is a joint venture of Mr. Sippy, Mr. Malhotra and Dr. Shah) and Fakira be completed?

Last schedule of KALICHARAN will be concluded by October-end. Shooting of FAKIRA will be over by next month (November).

How is it that you have completed two star-studded films in one year when many can’t complete their one film in two years?

It’s mainly a matter of chance. Then, if the subject is good and your way of making the film is correct, stars also get interested in the early completion of the film; they give preference in the dates. And last but not the least, funds also should be at your disposal though money alone is not sufficient for early completion of films. 

What are the highlights of your two films?

KALICHARAN has good story value, good music and acting. FAKIRA is full of mass appeal and everybody associated with it is happy about the work and results. Climax of both the films are very good and expensive too. 

When will you release both the films?

KALICHARAN, which is in Fuji color, will be released in December, and FAKIRA may go upto February next year. 

What is the future of your new director, Subhash Ghai?

He will be in demand after KALICHARAN. He has already signed one film of Mr. Shyam Shivdasani. But Mr. Dixit, director of FAKIRA, will not take many films at a time. He is a matured person and has seen ups and downs. He knows that a director can’t do justice with so many films at a time.

What’s your future plan?

Being over-burdened with two pictures and continuous shootings, I have been unable to finalise the subjects, though Rajesh Khanna and Dharmendra are both signed with me for two different pictures…. I wonder if the audience would continue liking action films for some time more. Looking to the flood of so many films on similar subjects of action, violence, revenge etc., the audience is bound to be fed up with them in the near future.

Do you remember any film running for more than 2-3 weeks at local Kismat Talkies (Prabhadevi) where Jai Santoshi Maa is running in 20th week?

A few films have run there for a bit longer period also, but this may be the first to celebrate jubilee. JAI SANTOSHI MAA is not a fluke of the year or a fluke of the decade. I call it a fluke of the century.

How about your distribution office?

On a conservative estimate, my current release, SHRI RAM HANUMAN YUDDHA, should prove a commission earner. As you know, such films do well in the circuit and at small stations. 

Why don’t you go in for big films for distribution?

Big films invariably get delayed and one has to block the money for an indefinite time. Then, they also exceed the budget and delivery of prints can’t be had without increasing the price. What’s the use of going in for so much botheration?

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 heavy losses to its distributors.

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.

DHAAI AKSHAR PREM KE

Inderjeet Films Combine’s Dhaai Akshar Prem Ke is a superficial love story inspired by the English film, A Walk In The Clouds (which was also the base of the recently-released Kunwara). A rich girl is petrified of her strict father when he decides to get her married to the son of his friend, much against her wishes. Rather than oppose him, she runs away from home and attempts suicide but is saved by a young army officer. She narrates to him her tale of woes and the noble-hearted man that he is, he offers to help her out of her dilemma. To reason out with the girl’s father, he accompanies her home but is misunderstood by her entire family (a big joint family) to be the girl’s husband. This misunderstanding is born out of an earlier bit of misinterpretation by the girl’s paternal aunt who assumes that she has already married a boy of her choice. Rather than help the girl out of her problems, the boy himself gets into more and more problems, being unable to convey to the family that he is not her husband.

Circumstances force him to stay with the girl and her family for a fairly long time. Ultimately, however, he decides to run away from the family and tells the girl so. But, in the meantime, the girl has fallen head over heels in love with him. He, on the other hand, has another girl whom he loves madly. When he reaches home, he is shocked to learn that his girlfriend has already got married to another guy. Shattered, he returns to the joint family only to see that the girl is indeed being married off to the criminal son of her father’s friend. Ultimately, the criminality of the son and his father comes to light, and the army officer gets the rich girl’s hand in marriage — but after moments of tension, drama, suspense and action.

The story moves at an extremely slow pace and tests the audience’s patience. What irritates even more is that even routine things are sought to be conveyed in a round-and-about manner as if they were being shown on the screen for the first time! Writer-director Raj Kanwar seems to be under the impression that the audience has all the time in the world, when the fact is that today’s cinegoers want a fast-paced drama. One gets the feeling several times that something intense is coming but what ultimately emerges is shallow and superficial.

The very base of the film rests on a weak foundation. When the girl’s father is against her supposed love marriage, one wonders why she or the army officer can’t clear all misunderstandings by openly declaring that they aren’t married. What is there to be afraid of when the father himself refuses to accept the marriage? The girl is constantly shown prompting the guy to reveal his true identity to her father. But pray, why can’t she do it? With such a background then, the repeated pleas that the boy and the girl did not get the opportunity to break the news (that they were not man and wife), sound ludicrous. Besides, the whole drama moves ahead simply on the misunderstandings created by the paternal aunt and the household servant (!) — first, that the girl has got married; next, when she brings the hero home, the assumption that he is her husband; again, the incident when she feels giddy, the jumping to the conclusion that she is pregnant. The large family is shown as comprising absolutely brainless people who need no reason whatsoever to get excited.

Even the love from the girl’s angle is more in her mind and, as such, there’s no romance in the film. Philosophical dialogues, when the army officer gets drunk, are very boring. At several other places too, the dialogues (Jainendra Jain) are boring.

Abhishek Bachchan does fairly well; he is handicapped by a pathetic script (Raj Kanwar, Ratna Rajaiah and Viral Lakhia). Abhishek must take much, much more care of his costumes. Aishwarya Rai looks gorgeous at many places and if only she would learn to be more natural in her acting and far less stiff, she could create wonders. Her performance is not really convincing. Sonali Bendre (special appearance) looks pretty but has limited scope. Amrish Puri is okay. Anupam Kher, Shakti Kapoor and Harish Patel have been hopelessly wasted. Except for one scene of (some) substance which Anupam has, there’s nothing worthwhile for either him or the two others. Sushma Seth, in a weird wig, is fair. Neena Kulkarni, Tanvi Azmi and Himani Shivpuri lend average support. Supriya Karnik exhibits her clothes more than her acting talent. Dalip Tahhil, Inder Sudan, the child artistes and Salman Khan (wasted in a friendly appearance) are average.

Raj Kanwar, who has delivered a line of successful films in the past, seems to have been complexed by the runaway success of films of younger directors like Sooraj Barjatya, Aditya Chopra and Karan Johar. The film reminds of Hum Aapke Hain Koun..! and others, but can’t match them at all. Besides his scripting, even his otherwise generally unfailing direction is dull in this film. Music (Jatin Lalit) is a mixed bag. The title song, ‘O mere rabba’, ‘Hai deewana’, ‘Aaja aaja ve mahi aaja’ and ‘Tu mere dil ka raja’ are quite well-tuned but a few other songs are terribly boring. Some are ill-timed and pop up abruptly. Ishwar Bidri’s cinematography is inconsistent — good at places and not so good at others. Editing is loose. Action scenes are fair. Special visual effects (Rajtaru) are quite good.

On the whole, high-priced Dhaai Akshar Prem Ke is a poor show and will entail losses to its distributors. The dull start the film has taken at many places will aggravate matters.

Released on 29-9-2000 at Eros and 22 other cinemas of Bombay thru Ethnic. Publicity & opening: good. …….Also released all over. Opening was way below the mark in most of the other circuits!

LATEST POSITION

Another hope of a fruitful start was dashed to the grounds with the dull opening of DHAAI AKSHAR PREM KE this week.

Bhai No. 1 ran for 1 week with dull collections in Bombay.

Meri Jung Ka Elaan 1st week Bombay 91,200 (15.57%, 1 unrecd., 1 on F.H.); Ahmedabad 1,15,780 from 2 cinemas; Pune  1,41,685 from 2 cinemas; Delhi 67,472 (29.93%, 1 on F.H.); Varanasi 43,781, Bareilly 62,700; Jaipur 1,57,365 (42.26%).

………..

Fiza 3rd week Bombay 41,92,609 (64.13%) from 11 cinemas (6 on F.H.); Ahmedabad 1,62,176 from 2 cinemas (1 unrecd.), Rajkot 84,019, Jamnagar 50,103; Solapur 1,14,188; Delhi 32,86,401 from 13 cinemas (2 on F.H.); Kanpur 1,65,617 from 2 cinemas, Lucknow 2,42,309, Varanasi 1,11,280; Allahabad 1,14,000, Bareilly 49,712; Calcutta 7,13,592 from 3 cinemas; Nagpur 2,33,824 from 2 cinemas, Jabalpur (5 days) 62,011, Amravati 1,01,165, Raipur (6 days) 82,981, Jalgaon 56,800 (2nd 1,06,000), 1 week Gondia (gross) 1,03,944, 3rd week Bilaspur 67,964; Indore 95,000 (2 on F.H.); Jaipur 2,69,893 (25.19%) from 2 cinemas, Ajmer (gross) 1,01,585; Hyderabad (gross) 7,32,050 from 4 cinemas (1 in noon); 1st week Guntur (gross) 98,356.

Hamara Dil Aapke Paas Hai 5th week Bombay 13,88,486 (34.62%) from 7 cinemas (7 on F.H.); Ahmedabad 8,15,640 from 7 cinemas, Rajkot 95,680 (1 in matinee on F.H.); Pune 2,59,479 from 3 cinemas, Solapur 1,12,918 from 2 cinemas (1 in matinee); 4th week Hubli 1,09,847, Belgaum 68,439; 5th week Delhi 9,68,092 from 4 cinemas; Kanpur 1,14,252 from 2 cinemas, Lucknow 2,09,438, Varanasi 77,414, Allahabad 73,208, 2nd week Bareilly 80,211 (1st 1,39,048); 5th week Calcutta 1,48,957; Nagpur 59,769, Jabalpur (5 days) 49,929, Amravati 1,28,013, excellent, Raipur (6 days) 67,093, Jalgaon 79,237, Chandrapur 70,659, total 5,12,508, 3rd week Yavatmal 50,000; 5th week Indore 90,000, Bhopal 65,618; Jaipur 5,83,212 (74.34%), Ajmer 43,823; Hyderabad (gross) 3,30,192 from 2 cinemas (1 in noon).

Dhadkan is doing well in Maharashtra — Bombay and C.P. Berar — and Nizam.

GREENLAND DRIVE-IN INAUGURATED IN SURAT

Greenland Drive-In cinema, Surat, was inaugurated on 29th September. The cinema, located on the Meg-Dalla Sachin Highway, opened with Dhaai Akshar Prem Ke. This is the first cinema in the country to introduce futuristic technology of sound and screen.

Owned by Nilesh Hasmukhbhai Ahir and his family and partners, the cinema is controlled by D.Y. Pattani. It has a seating capacity of 500 and space for 500 cars. The tickets are priced at Rs. 50. Car owners are charged a rental of Rs. 50 per car.

This is the third drive-in cinema to have come up in Gujarat. The other two are in Ahmedabad and Rajkot. With two more drive-in cinemas being in operation — one in Bombay and the other in Bangalore — Greenland Drive-In becomes the country’s 5th drive-in theatre.

STAR TV, UTV TO CO-PRODUCE FILMS

UTV and Star TV will co-produce Hindi films. Negotiations between the two companies have almost reached an agreement and the modalities are being worked out. UTV will have the world theatrical rights, while Star TV will keep the satellite rights of the films produced by them jointly. 20th Century Fox will also be a part of the arrangement. It will distribute the films in the Overseas territory.

GUJARAT, THE HOTTEST TERRITORY TODAY

Film prices for Bombay territory are increasing day by day, thanks to the increasing volume of business in Gujarat over the past few months. The reason for such an encouraging trend in Gujarat can be attributed to the recent reduction in entertainment tax and the coming up of new state-of-the-art cinemas, including multiplexes (more such cinemas are coming up). Yet another factor, of course, is the third parties who are lured to the trade by its sheer glamour.

Gujarat sub-distributors are offering unheard of lucrative terms to the main (Bombay) distributors for the distribution rights of films for Gujarat. The terms offered for Yash Chopra’s MOHABBATEIN and Vinod Chopra’s MISSION KASHMIR are indeed amazing!

Before this, HAR DIL JO PYAR KAREGA was sold for Gujarat for a record price. HAMARA DIL AAPKE PAAS HAI, too, fetched a lucrative price for the sub-circuit. But these fancy prices, too, are fast appearing as low when one hears of the terms being offered for the entire Gujarat or even individual stations of Gujarat for forthcoming films.

No doubt, business has gone up. But it is also a fact that the sub-distributor of HAR DIL JO…. will lose. In the case of HAMARA DIL…., the sub-distributor will make money despite the high price he paid. Anyway, how long this euphoria will last, one doesn’t know!

JOHARILAL JHANJHARIA CELEBRATES JUBILEES OF TWO CINEMAS

Joharilal Jhanjharia, the noted cinema owner of Indore, celebrated the golden jubilee of his Alka cinema and silver jubilee of his Premsukh cinema on 29th September. CCCA president Santosh Singh Jain and the executive committee members of the CCCA, Indore mayor Gopikrishna Vijay, collector Manoj Shrivastava, minister for local self government, Sajjan Singh Verma, and other notable guests graced the occasion. Mementoes were presented at the function to various distributors on their ‘firsts’ at these two cinemas. In the list of honours are: Dinesh Salgia of Talkie Films, for supplying the print of his Raaj Mukut for the opening programme; S.M. Kothari, the film spectator for purchasing a ticket for the opening show; Laxminarayan and Dayanand Kapoor, whose Ajanabee was the opening attraction at Premsukh cinema.

Shawls and coconuts were presented. In the list of recipients are the following. V.K. Joshi of Famous Pictures, Bhusawal, on their Bobby celebrating silver jubilee at Alka; Anil Rathi of S.R. & Brothers on their Himmatwala celebrating silver jubilee and Ram Aur Shyam completing 100 days, both at Alka; Lalchand Janiani of Prem Films on Dushmun, Hero No. 1 and Mera Gaon Mera Desh celebrating 100 days at Alka; Govind Acharya, manager, Rajshri Pictures (Indore) on the 100 days of their Dosti and Chhoti Bahen at Alka; L.S. Acharya on Guide celebrating 100 days at Alka; Harish of Kamlesh Pictures on 100 days of Be-Imaan at Alka, and 100 days of Sanyasi at Premsukh; Jitendra Jain of Sanman Films for 100 days of Anari at Alka; Mrs. Jatinder Anand of Suchitra Pictures for 100 days of Dulhan at Alka; Vedprakash of Vaishnodevi Pictures Palace on Tulsi celebrating 100 days at Alka; Trilokinath Kapoor of Bharti Film Distributors for 100 days of Kati Patang at Alka; and Darshan Sabarwal of Shri Krishna Pictures on the silver jubilee of Muqaddar Ka Sikandar, and 100 days of Dostana, both at Premsukh.

MASSIVE I-T RAIDS ON INDUSTRY PEOPLE

The income-tax department swooped on several top names of the film industry on 26th September. Among those whose residences and offices were raided were Salman Khan, Aishwarya Rai, Urmila Matondkar, Rani Mukerji, Yash Chopra, Yash Johar and Amrish Puri. The Sekhris, who are chartered accountants of several top industry names, were also raided. Sushil Gupta, financier and leading raw film supplier, also had the unwelcome guests.

Several incriminating documents were seized in the raids that sent shivers down the industry people’s spines. Investigations are still on.

YOU ASKED IT

How many cinemas in India are equipped with DTS sound?

– Over 535 cinemas have DTS sound. The rough state-wise break-up is: Andhra Pradesh 166; Tamil Nadu 86; Maharashtra 72; Karnataka 64; Kerala 59; Gujarat 33; Delhi 14; Madhya Pradesh 13; West Bengal 10; Uttar Pradesh 8; Rajasthan 6; and Punjab 5.

Can you call Hrithik Roshan the no. 1 star today?

– Do you want more proof even after the phenomenal opening of FIZA? You must be joking! Hrithik is no. 1 beyond doubt!

How profitable are the small-budget sex and horror films?

– The producer makes about a lakh of rupees on each such film if he is lucky. Distributors also manage to make money if the (illegal) ‘bits’ in them are good. The risk factor (financial) in such films is minimal. 

MIX MASALA

WANTED: PARENTS FOR ABHISHEK!

“The makers of the forthcoming Abhishek Bachchan starrers would do well if they showed him on the screen as a son of living parents.” Not our words. They have been uttered by someone believing in occult sciences. Come to think of it, Abhishek is indeed shown an orphan in all his three films released so far. Need one say more?!!

DO YOU KNOW?

* Madhusudan is the president of three film trade bodies — Indian Film Directors’ Association (IFDA), Federation of Western India Cine Employees (FWICE), and the All India Film Employees Confederation (AIFEC). He is also on the world executive board of Media Entertainment International (MEI).

* Jhamu Sughand and Mahesh Manjrekar’s ASTITVA, made in Hindi and Marathi with the same title, was completed in a record 18 days’ time. The film’s Marathi version has some notable firsts to its credit: Tabu, Mohnish Bahl and Namrata Shirodkar will be seen in a Marathi film for the first time; Sukhwindara Singh, who has composed the music with Rahul Ranade, has scored music for a Marathi film for the first time; it is the first Marathi film to be mixed in Dolby Digital sound. 

* SHOLAY is indeed “a joy forever” film. And this was proved once again, for the umpteenth time in the last 25 years, since the time it saw its first theatrical release. The film was revived at Regent, Patna last week. The cinema could conduct only 23 shows instead of the normal 28. Guess, how many times, the cinema had to put up the house-full boards? All the 23 times! And, needless to say, it has created a unique theatre record by collecting 1,09,831/- in 1st week. This, despite the film having been screened just six months back at Ashok, Patna!….. Suddenly, there is a demand from exhibitors all over to book the film at their cinemas. The film is being distributed in East Punjab, Eastern Circuit, C.P.C.I. Rajasthan and Nizam by Rajshri Pictures.

3-E
Education-Entertainment-Enlightenment

Saawan Ko Jaane Do!

Politics is a dirty game, whether at the national level or the micro level of film producers’ association — the IMPPA. Elections to the executive committee of the Indian Motion Picture Producers’ Association were held on 22nd September at the ISKCON, Juhu, Bombay and the group headed by producer Saawan Kumar Tak defeated the one headed by Shakti Samanta. Or so it seemed for about 15 hours. That is, till the following day when it was time to elect the new president of IMPPA, and Saawan Kumar lost to Shakti Samanta!

Actually, what had happened was that both the groups had common candidates. These as well as some candidates who belonged exclusively to the Saawan Kumar group, ditched their leader and, crossing floors, elected the retiring president, Shakti Samanta, back to head the august body. Saawan Kumar was so disgusted at being let down so badly by his ‘supporters’ that he instantly resigned from the committee.

Quite funnily, Saawan Kumar called his group the Sunrise Group. Sadly, the sun set on his political ambitions even before it could rise!

Incidentally, actress-producer Preeti Sapru was elected senior vice president, and Marathi film actress-producer Sushama Shiromanee, vice president of the IMPPA. So there’s some glamour, too, at the IMPPA this time.

INFORMATION MEETS

“That’s why I say that one more strike is the need of the hour to protest against illegal telecasts of films by cable networks….”

– PRANLAL DOSHI

GAJAA

For 20 years, the name Pranlal K. Doshi has been synonymous with these four letters: C.E.A.I., the Cinematograph Exhibitors’ Association of India. Having headed the Association as its president for 20 consecutive years, it is only this year that he has chosen to step down in favour of a new president. This septuagenarian, known for his razor-sharp memory, analytical mind, ever-helping nature and an unrelenting fighting spirit for the cause of his exhibitor-members, has a lot of steam left in him even now, before he hangs his boots. Now as an active member of the executive committee, he promises to maintain the same kind of interest in his Association’s work.

Pranbhai, as he is affectionately and respectfully addressed by his confreres, now plans to concentrate more on his philanthropic activities which he has been pursuing over the years without any pompous exhibition or fanfare.

Pranbhai is owner/co-owner of Central, Super, Palace, Sahakar and Anupam cinemas in Bombay; Krishna, Pune; Prince, Baroda; and Hemlata, Nasik.

It is indeed creditable that you have held the post of the president of CEAI for 20 years consecutively. Has anyone in the past been in the president’s chair for so long in the 44 years’ history of the Association?

– Nobody has held this post for so long. I was made the president for all the last 20 years because they found me to be fit for the post. Even this year, they wanted me to head the Association, but I pleaded inability to continue.

Why didn’t you wish to carry on?

– See, I should have time to discharge my duties. I am already tied up with a lot of social activities. You see, I am a trustee of 22 institutions which run schools, colleges and temples. I want to devote my services towards this end now. One institution — Mahavir Jain Vidyalaya — has eight branches and it funds 900 students every year. This social and charitable work will take a lot of my time and I would not be able to devote myself fully to our Association work. That’s why I decided to retire as president this year. I would now like to devote my time to other activities of life while also serving our Association in the capacity of an executive committee member. Mr. G.N. Desai, our new president, is an able man. Apart from being an exhibitor, he is also an advocate and thoroughly knows government rules and regulations. He was the treasurer of the CEAI for the last 20 years consecutively. He deserved this promotion.

What is the strength of CEAI as of date?

– We have 2,538 members.

And the TOA (Theatre Owners’ Association)?

– They have only 28 members.

Then, why are there two Associations?

– It was started by Kuka and his cinema-owner friends.

What are the prime concerns of the CEAI today?

– Cable TV is threatening film business. The second problem is the high entertainment tax. In Japan and England, entertainment tax is 5 to 10 per cent. Here, in Maharashtra, entertainment tax is 60%. Why?

But how are the exhibitors concerned with the high entertainment tax? Many are just concerned with their theatre rentals.

– Today, practically all cinemas are booking films on percentage basis. Main cinemas of Bombay have even reduced their rentals!

Entertainment tax in Maharashtra is the highest. In Delhi, it is 40%, and in Tamil Nadu and Kerala, tax is much more reasonable and, therefore, business is steady.

It is high time, we all united to plead for a reduction in entertainment tax and also for pressurising government into stopping illegal screening of films on cable TV.

There are 13 lakh cable connections in Bombay, but the government gets tax for only three lakh connections. If the state government levied entertainment tax on every cable TV operator, it would earn more revenue from the cable TV circuit than from cinemas. The cable operators are hand in glove with the police and, therefore, they go unpunished despite screening films illegally. Our Association will prevail upon the state government to levy tax on them.

It’s time, we protested against the state government’s attitude towards the cinema industry. It’s time, we showed our unity and gave an ultimatum to the government and registered our resentment towards its policies.

It was unity among all the ranks of the industry in 1986, which led to a month-long strike (from 10th October to 10th November). The government finally scaled down entertainment tax from 175% to 100% and abolished the surcharge of 10%. At that time, I remember the way your editor, Ramraj Nahta, had pleaded the industry’s case. He had meticulously furnished the statistics and fought the case very strongly.

Again, in 1992, our CEAI and other Associations proposed to down shutters of cinema halls from 9th October to protest against the state government’s continued apathy towards the problems of high taxation and mounting cinema-running expenses. Discussions were held with the government. However, the agitation (the proposed bandh) was postponed due to the riots in Bombay following the demolition of Babri Masjid in Ayodhya. The efforts, however, bore fruit when the government of Maharashtra granted cinemas the right to levy a tax-free service charge of 50 paise per ticket from 25th Dec., ’92. Later, however, from 16th Sept., ’94, the state government reduced entertainment tax from 100% to 50% — initially for a year, but subsequently continued till 31st Dec., ’96. The service charge of 50 paise was also raised to Re. 1 from 16th Sept., ’94.

The Maharashtra government declined to continue the 50% tax beyond 31st Dec., ’96 as the government found its funds dwindling. An action committee of the film industry was then formed, and all cinemas remained closed from 1st January, ’97 to 28th January, ’97. That did it! Seeing the industry’s unity and its strong case, the state government reduced entertainment tax by 40%.

That’s why I say that one more strike is the need of the hour to protest against illegal telecast of films by cable networks, besides entertainment tax and other problems.

What other problems need to be tackled on a war-footing?

– The municipal taxes and water charges are unreasonably high. For example, I will cite the instance of our Anupam cinema (Goregaon, Bombay). Ten years back, we were paying municipal tax amounting to Rs. 1 lakh per annum. Now, we have to pay Rs. 9 lakh per annum plus water charges amounting to Rs. 1.50 lakh.

And what is municipal tax? It should be the tax on one’s use of property. A shop-owner — may be, he sell diamonds or jewels — may be having a turnover of 20 lakh or 20 crore, he will be liable to a municipal tax depending on the floor area of his shop and not on his turnover. But the municipal tax on a cinema is based on the collections of six months in the last three years. Why should municipal tax be based on turnover? Isn’t it anomalous? With so much of outgoings, how can one maintain a cinema up to certain standards. Given a choice, more than half the cinemas would close down! Curiously enough, only the Maharashtra government levies municipal taxes on cinemas!!

And what’s more, salaries of cinema staff are increased periodically. Even the salaries are mounting. Maintaining a cinema has become a Herculean task. Even though we have modernised our Central cinema (Bombay) with sophisticated equipments and sound systems, it does not fetch us anything. We are just running it. Similar is the case with so many other cinemas.

Now, people are going to build multiplexes. Sterling cinema is proposed to be turned into a multiplex with five screens. There will be no entertainment tax for multiplexes for five years and there will also be no sales tax on the equipments imported for installation in the new cinemas. In such a situation, what will happen to the nearby New Empire cinema? The distributor will naturally go to Sterling because it will fetch him handsome shares. This is just by way of an example.

In the coming years, there might be many multiplexes coming up. But what will happen to the old cinemas in the vicinity? Either, they should be allowed to levy a tax-free service charge of Rs. 10 per ticket for maintenance or such cinemas should be allowed to close down without any condition of having at least a small-capacity cinema built on the premises. Look, what happened to Majestic! We are now going to pursue this matter with the state government.

PRODUCTION NEWS

Hrithik, Amisha Shoot For ‘Aap Mujhe Achche Lagne Lage’

Emkay Enterprises and Mohan Kumar’s Aap Mujhe Achche Lagne Lage is currently being shot in a 6-day stint on a terrace set at Film City. Director Vikram Bhatt is picturising scenes on Hrithik Roshan and Amisha Patel. The film is being produced by Rohit Kumar and presented by Gautam Kumar. It is based on a story-screenplay by Robin Bhatt and Sanjeev Duggal. Dialogues: Girish Dhamija. Lyrics: Ibrahim Ashq. Music: Rajesh Roshan. Cinematographer: Pravin Bhatt. Dances: Raju Khan. Art: Gappa Chakravorty. Sound: Murari Krishna. Editor: Amit Saxena.

LATEST POSITION

Last week’s KAROBAAR has fared miserably and is a total loss.

Karobaar 1st week Bombay 16,88,960 (28.72%) from 10 cinemas (8 on F.H.); Ahmedabad 4,24,344 from 4 cinemas, Jamnagar 56,022 from 2 cinemas (1 in matinee); Pune 3,17,032 from 4 cinemas (1 in matinee), Solapur 66,138; Delhi 3,49,377 (17.40%) from 3 cinemas; Kanpur 77,342, Varanasi 43,932; Calcutta 2,39,940 (other cinemas unrecd.); Nagpur 1,64,136 from 3 cinemas, Jabalpur (6 days) 29,673, Akola 58,486, Raipur (6 days) 35,771; Jaipur 1,03,532 (19.44%), Bikaner 80,000.

Kaali Topi Laal Rumaal is also poor. 1st week Bombay 9,77,315 (35.31%) from 6 cinemas (3 on F.H.); Pune 3,23,974 from 4 cinemas, Solapur 71,467; Delhi 4,67,189 (26.36%) from 4 cinemas (2 on F.H.); Agra 60,500, Bareilly 43,946; Nagpur 1,03,181 from 2 cinemas, Wardha 40,132; Jaipur 2,07,538 (26.32%) from 2 cinemas; Hyderabad (gross) 4,24,135 from 6 cinemas (2 in noon).

………….

Fiza crashed further in most of the places, but is better in parts of Maharashtra. 2nd week Bombay 55,14,232 (79%) from 12 cinemas (8 on F.H.); Ahmedabad 7,88,094 from 4 cinemas, Rajkot 1,36,000, Jamnagar 60,312; Pune 12,60,066 from 4 cinemas (1 in matinee), Solapur 1,74,970 (1st 2,51,860), Satara 1,45,004 from 2 cinemas (1 in matinee); Bijapur 71,674 (1st 1,58,485); Delhi 53,69,420 from 13 cinemas (2 on F.H.); Kanpur 2,44,996 from 2 cinemas, Lucknow 5,63,136 from 2 cinemas, Agra 2,03,000 from 2 cinemas, Varanasi 1,61,488, Bareilly 83,734, Saharanpur 65,000 (1st 1,42,000); Calcutta 11,52,327 from 4 cinemas; Nagpur 4,72,967 from 3 cinemas, Jabalpur (6 days) 1,25,399, Akola 88,932, total 3,00,415, Raipur (6 days) 1,10,627, Durg 61,906, Jalgaon 1,00,000 (1st 2,26,805), Wardha 40,628 (1st 1,11,981), Chandrapur 1,25,576, total 3,79,202, Yavatmal 62,233 (1st 1,41,086), Bilaspur 86,362 (1st 2,03,700); Indore 1,41,000 (3 on F.H.), Bhopal 1,22,206 (1st 2,10,250, 1 unrecd.); Jaipur 3,65,866 (32.75%) from 2 cinemas, Bikaner 82,145; Hyderabad (gross) 9,28,266 from 4 cinemas (1 in noon).

Hamara Dil Aapke Paas Hai is steady at places. 4th week Bombay 15,31,955 (48.67%) from 6 cinemas (8 on F.H.); Ahmedabad 6,83,432 from 4 cinemas, Rajkot 1,35,790, Jamnagar 55,457; Pune 5,43,798 from 3 cinemas (1 in matinee), Solapur 1,37,736 from 2 cinemas (1 in matinee), Satara 67,063; 3rd week Hubli 1,23,856, Belgaum 79,483, Dharwad 45,649; 4th week Delhi 11,19,486 from 5 cinemas (1 on F.H.); Kanpur 1,54,941 from 2 cinemas, Lucknow 2,70,811 (3rd 3,08,392), Agra 2,25,000 (3rd 2,45,000), Varanasi 85,876, Bareilly 1,39,048, Dehradun 96,000 (3rd 1,24,000), Saharanpur 48,000, total 2,94,956; Calcutta 3,82,503 from 3 cinemas; Nagpur 86,000, Jabalpur (6 days) 69,227, Amravati 1,40,000 (3rd 1,29,733), very good, Akola 94,689 (3rd 84,677), total 4,56,167, Raipur (6 days) 76,727, Jalgaon 1,03,182 (3rd 1,12,512), Wardha 33,821, Chandrapur 83,699, total 4,41,848, 2nd week Yavatmal (6 days) 65,820; 4th week Indore 1,62,000 from 2 cinemas, Bhopal 80,975; Jaipur 6,13,738 (78.24%); Hyderabad (gross) 3,50,764 from 2 cinemas (1 in noon).

Tera Jadoo Chal Gayaa has touched 2.5 in Bombay. 5th week Bombay 2,45,358 from 2 cinemas (5 on F.H.); Ahmedabad (mg. shows) 13,000; Pune 1,22,550 from 3 cinemas, Solapur 49,000; Delhi 1,82,195 from 2 cinemas (1 on F.H.); Lucknow 1,52,819, Agra 45,000, Bareilly 21,535; Calcutta 78,046; Jaipur 98,185 (14.18%).

WRITER C.L. KAVISH DEAD

Well-known film writer C.L. Kavish breathed his last on September 17. He died of old age. He was 82 and had written more than 70 films, three novels and over 150 short stories. He is survived by his wife, four sons and two daughters. Kavish was a founder-member of the Film Writers Association (FWA). He was closely associated with Ramanand Sagar and the story department of Sagar Arts for more than 30 years during the making of super-hit films like Arzoo, Ankhen, Baghawat etc. Some of Kavish’s films include Badal, Nanabhai Bhatt’s Poornima and Khyber, Wadia’s Son Of Sindbad, S.U. Sunny’s Palki as well as Meri Soorat Teri Ankhen, Deewana, Sapnon Ka Saudagar and Batwara.

Kavish had also acted in many films including as a villain in Muqaddar Ka Sikandar.

‘AASHIQUI’ BASH

Super Cassettes Industries Ltd. hosted a party on 14th September at King’s International, Bombay to celebrate the success of its private album, ‘Aashiqui’. Singer Abhijeet, music directors Nikhil Vinay and the album’s lyricist, Faaiz Anwaar, were present on the occasion. The videos of two songs of the album were screened on the occasion.

Ramesh Rao Of Gemini Lab Arrested

Ramesh Rao, the Bombay representative of Gemini Lab, Madras, was arrested by the Bombay police on 22nd September and remanded to police custody by the 3rd court of the metropolitan magistrate, Esplanade. He will be produced in the 1st Class judicial magistrate’s court at Mungher (Bihar) on 26th September. Ramesh Rao’s bail application was moved on the night of 22nd in the sessions court but his plea for bail was rejected.

Shyam Bahadur Singh of Mungher was to receive an amount of Rs. 3.12 lakh from Gemini Industries & Imaging Ltd. but when the latter refused to fulfil its obligation for a year, Singh took the ultimate step of having a non-bailable warrant issued and executed against Ramesh Rao of Gemini.

The story relates to Hote Hote Pyar Ho Gaya, released on 2nd July, 1999. Jackie Shroff had a lab letter of Gemini towards part remuneration of his. Shyam Bahadur Singh paid of Jackie partly, for which Gemini agreed to repay Shyam Bahadur Singh. Towards this, a letter of Gemini Industries & Imaging Ltd., dated 4th September, 1999, confirmed that the company owed Shyam Bahadur Singh Rs. 3,00,000 as well as “a compensation of Rs. 12,000”, to be paid totally “on or before 12th of September, 1999 without fail”.

Shyam Bahadur Singh sent several reminders to Gemini for his payment but they all fell on deaf ears for months together. In sheer exasperation, he knocked the doors of court for justice. A wind-up petition was filed in the Madras high court. The matter is still pending in the court.

In Mungher, Singh filed a criminal case under sections 406 and 420 IPC against Gemini’s directors and officers around six months back. Summons in the case were served on Gemini directors Manohar Prasad, A. Ravi Shankar Prasad, manager Ram Mohan Rao and Bombay branch manager Ramesh Rao. But all the four, ignoring the summons, refused to attend court. Bailable warrants were then issued in their names but still, they continued to avoid attending court. On 19th June, 2000, non-bailable warrants were issued by Shri Murlidhar, 1st Class judicial magistrate, Mungher. When even that warrant, sent to the Bombay police for execution, was not executed, non-bailable warrants were issued for the second time on 4th August, 2000. On 20th July, 2000, in the meantime, Singh, thru his advocate Nagesh S. Joshi, wrote a letter to the Bombay commissioner of police, drawing the latter’s attention to the earlier arrest warrant. Finally, on 22nd September, the Bandra police arrested Ramesh Rao from his residence at 5.30 a.m. He was produced before Justice Usha Iyer of the 3rd court of the metropolitan magistrate, Esplanade, Bombay the same day.

After hearing the arguments of the public prosecutor and Ramesh Rao’s advocate, Justice Usha Iyer ordered the arrest of Ramesh Rao and remanded him to police custody. Rao will be produced before the 1st Class judicial magistrate of Mungher on 26th September.

Ramesh Rao tried to obtain bail by appealing on the night of 22nd September but his bail application was rejected by the sessions court.

While the courts will finally decide in the matter, a pertinent question which arises is: what is the value of a lab letter these days? In Shyam Bahadur Singh’s hand, the lab letter of Gemini was like a worthless piece of paper for several months.

3-E
Education-Entertainment-Enlightenment

Kiski Hogi Murad Puri?

Amrish Puri and Raza Murad may have been pitted against many heroes in their long acting careers. They may even have played leaders of rival gangs on screen (eg. Tridev where they turned allies for a brief time). But the two screen baddies will be fighting a battle in real life soon.

Both the screen villains will contest elections to the executive committee of the Cine & TV Artistes’ Association (CINTAA), to be held on 2nd October at Holiday Inn, Juhu, Bombay after its 42nd annual general meeting. While elections to the committee is no big deal, both the screen meanies have their eyes on the president’s chair — and that’s going to, perhaps, result in a lot of pre-election fireworks. Raza Murad, it may be mentioned here, is currently CINTAA president and has been doing yeoman services for the Association. Amrish Puri, in 1998, was co-opted to the executive committee after elections.

This type of a direct fight between two known actors for the chief’s chair is not the norm in CINTAA elections.

Inside reports reveal that Amrish Puri’s supporters want him to head the Association this time. Towards this end, they’ve formed their group. Not to be left behind, Raza Murad’s followers have formed another group. And boy! the two groups are working tirelessly, each group waiting to see its leader lodged in the coveted chair.

If Amrish Puri gets the chair, he’ll, perhaps, say, “Mogambo khush hua!” And if Razabhai is elected president, he’ll, perhaps, have this to say, “Meri murad puri huyee.”

In the meantime, await more exciting details on Mogambo versus Mr. Murad.

High Hopes!

While the interactive meeting between ministers and the film industry, held on 16th September at the government guest house in Bombay, was a good move, it seems very unlikely that anything fruitful is going to emerge out of either this meeting or the recent amendments made to the Cable Network Regulation Rules, 1994.

Under the amended law, cable TV operators cannot telecast any film on their network unauthorisedly. Otherwise, they are liable to be punished, the minimum punishment being imprisonment upto 2 years.

But right on the day the meeting was held in Bombay, cable TV operators in the city were screening new films, perhaps, unaware of the new law. And so was the scene all over the country.

Union I & B minister Arun Jaitley informed at the said interactive meeting that the cable operators had shown eagerness to go by the law. Nobody expected cable operators to say that they would not go by the law. Then, why assume that they will do what they promise? Jaitley also informed that cable operators had confessed that they used to telecast films illegally because of competition between cable operators, and subscribers’ demands. The very act of confession is a slap on the government’s face. No reason can ever be good enough for an illegal act. So the confession should not be lauded; rather, the subject matter of the confession (act of piracy) should have been punished long back. But we Indians have got a way to make martyrs out of thieves also!

D. Sivanandan, the joint commissioner of police of Bombay, at the same meeting, asked the film industry to set up a monitoring agency for tracking down erring cable operators. Thank you! Now the industry will do what the police should be doing. Sivanandan also assured that immediate action would be taken against the culprits. Come on, haven’t we heard that one umpteen times earlier? And how immediate is ‘immediate’? Six days have elapsed since Sivanandan’s assurance but no cable operator has even been threatened, leave alone action being taken. Is the police unaware of the new films being openly telecast by cable operators all over?

But then, does the industry have a choice? We just don’t sell dreams. We also see dreams — beautiful dreams — and assume that some day, they will wipe out all our nightmares. Didn’t someone say, this industry survives on HOPE?

Hopeless!

– Komal Nahta

KAROBAAR

TVM International’s Karobaar is a story of a young middle-class man and a young girl who is the daughter of a tawaif. The two fall in love, but a rich business tycoon sets his eyes on the young girl. Although not intending to marry her, he does want to have a good time with her and tries to woo her with all the wealth and power at his command. Of course, the girl spurns the businessman’s monetary offer to sleep with her. This agitates the businessman so much that he gets down to creating a rift between the two lovers. He achieves his goal to an extent, more so because he is the friend of the middle-class man. Anyway, the two lovers get married and begin to lead a happy life but even then, the tycoon tries to woo his friend’s wife to boost his bruised ego on being rejected. Ultimately, one day, the lady is forced to offer herself to the guy for his price. But her selflessness and undying love for her husband brings about a change of heart of the businessman. He helps her monetarily but gives up the very thought of having a relationship with her. Misunderstandings, however, arise between the husband and wife and the latter is forced to leave her house, pregnant with her husband’s child. The business tycoon gives her shelter and also gives her and her child, his name. After a long-drawn courtroom drama involving a crime, the husband realises his folly in having assumed that his wife had had an affair with the businessman.

Inspired from the English film, Indecent Proposal, the film has taken many years to complete. The time lag is all too obvious in the look of the artistes, their costumes and in the continuity of the drama. All the three lead artistes are middle-aged now, and the middle-class youth (Rishi Kapoor) romancing the young girl (Juhi Chawla) looks ridiculous, to say the least! Coincidences are aplenty in the film, a lot looks unbelievable, and the pace is rather slow. In fact, the whole angle of the businessman (Anil Kapoor) wanting to have an affair with the girl looks unbelievable, largely due to the age factor of the cast and the time lapse in the film’s making! Sachin Bhaumick and Ravi Kapoor’s screenplay is dull, but Sagar Sarhadi’s dialogues are very good, at places.

Rishi Kapoor acts well but a hero half his real age (!) was the demand of the character. He looks very stocky in several scenes. Anil Kapoor also does well as the lusty playboy businessman. Juhi Chawla has her moments of inspired acting, especially in emotional scenes. The supporting cast is just about average. Tinnu Anand, Aasif Sheikh, Himani Shivpuri, Suresh Chatwal, Asrani, Sulbha Deshpande, Navin Nischol (guest), Ram Mohan, Raj Tilak, Devyani Bedi and Inder Khosla pass muster. Priya Arora and Dinesh Hingoo are somewhat better.

Rakesh Roshan’s direction is good but, obviously, even he has not been able to lift the drama to any appreciable level, thanks to the insipid screenplay. The computer-generated image of a young Rishi Kapoor in the climax looks like a joke, though unintended. Music (Rajesh Roshan) is reasonably good but not of the kind which appeals to the audience today. Song picturisations are ordinary. Foreign locations are beautiful and camerawork (Sameer Arya) is fair. Action is functional. Editing is so-so.

On the whole, Karobaar is a poor show largely because of the delay in its making.

Released on 15-9-2000 at Liberty and 18 other cinemas of Bombay thru Dilsa Distributors. Publicity: fair. Opening: dull. …….Also released all over. Opening was weak everywhere.

KAALI TOPI LAAL RUMAAL

Tridev Films Associates’ Kaali Topi Laal Rumaal is the story of a patriotic military commando officer. The commando is being targeted by the terrorists as he thwarts the terrorists’ attempts to smuggle in arms and carry out subversive activities in the country. While the commando’s mission continues, the story thereafter brings in the track of the commando’s long-lost brother who is a small-time criminal. And then, there is an angle of twin sisters. One sister is the commando’s wife. Her look-alike is planted by the terrorists to fish out the military secrets from the commando’s closet (reminds of Raakhee’s double role in Sharmilee). The subject could have been shaped into an inspiring patriotic film, but the screenplay bogs it down due to predictable goings-on throughout, except in the concluding reels. Some dialogues are patriotic. Most of the confrontation scenes are too verbose and hardly action-oriented.

Mithun Chakraborty has done well. Kamal Sadanah, as Mithun’s long-lost younger brother, is fair. Rituparna Sengupta, in a double role, is average. Newcomer Zeenat shows promise. Mohan Joshi’s villainy is routine. Johny Lever’s comedy is feeble. Ranjeet, Tej Sapru, Ram  Mohan, Satyen Kappu and Farida Jalal provide average support. Alok Nath is so-so.

Direction is poor. Musically, quite good. Cinematography and other technical aspects are okay.

On the whole, Kaali Topi Laal Rumaal has very little appeal and its box-office prospects are, therefore, extremely bleak.

Released on 15-9-2000 at Dreamland and 8 other cinemas of Bombay thru Regal Films Enterprises. Publicity: fair. Opening: dull. …….Also released in Delhi-U.P., East Punjab, C.P.C.I., Rajasthan and Nizam.

LATEST POSITION

FIZA has done extraordinary in Bombay, Delhi and Hyderabad. At most other places, where it managed a great start only due to the popularity of Hrithik Roshan, collections dropped down from fourth day onwards, after the initial fizz died down. In circuits like East Punjab, parts of U.P., Bengal, Bihar, C.I. and Rajasthan, the drop was very pronounced.

Fiza 1st week Bombay 67,30,958 (96.43%) from 12 cinemas (7 on F.H.), Vasai (gross) 4,87,127 (90%); Ahmedabad 26,65,054 from 6 cinemas, Rajkot 3,13,609, Jamnagar 1,57,534, Adipur 1,51,201 (69.01%), Bhuj 1,35,883 (58.80%); Pune 17,45,978 from 4 cinemas (1 in matinee), Solapur 2,51,860, Satara 2,87,370 from 2 cinemas (1 in  matinee); Delhi 90,24,277 (85.10%) from 14 cinemas (2 on F.H.); Kanpur 5,38,377 from 2 cinemas, Lucknow 8,99,248 from 2 cinemas, Agra 2,62,000, Varanasi 2,90,670, Allahabad 3,10,800, Bareilly 2,20,530; Calcutta 24,22,707 from 10 cinemas; Nagpur 7,96,385 from 3 cinemas, Jabalpur (6 days) 2,46,739, Amravati 2,57,056, Akola 2,11,483, Raipur (6 days) 2,15,849, Durg 1,14,210, Wardha 1,11,989, Rajnandgaon (gross) 1,01,079, Chandrapur 2,53,626, Yavatmal (gross) 1,41,086, Bilaspur 2,03,647; Indore 4,13,000 from 2 cinemas (3 on F.H.), Bhopal 1,20,250 (2 unrecd.); Jaipur 10,10,657 (62.71%) from 3 cinemas, Ajmer (29 shows, gross) 3,09,023, Bikaner 2,09,126 (1 on F.H.); Hyderabad (gross) 49,00,021 from 14 cinemas (12 on F.H.), share about 33 lakh.

………..

Hamara Dil Aapke Paas Hai 3rd week Bombay 24,62,492 (61.62%) from 9 cinemas (9 on F.H.); Ahmedabad 11,47,063 from 5 cinemas, Rajkot 1,56,660 (1 in matinee on F.H.), Jamnagar 83,735; Pune 11,02,917 from 5 cinemas, Solapur 1,71,376 from 2 cinemas (1 in matinee), Satara 92,446; 2nd week Hubli 1,67,954 (1st 2,38,967), Belgaum 87,265 (1st 1,37,819), Dharwad 64,387 (1st 94,606); 3rd week Delhi 22,53,924 from 10 cinemas; Kanpur 1,99,834 from 2 cinemas, Lucknow 3,08,392 (2nd 4,16,592), Agra 2,45,000, Varanasi 1,19,600, Allahabad 1,05,602; Calcutta 4,60,642 from 3 cinemas; Nagpur 1,56,627 from 2 cinemas, Jabalpur (6 days) 63,930, Amravati 1,29,733, Akola 84,677, total 3,61,477, Raipur (5 days) 76,629 (2nd week 1,33,201), 3rd week Jalgaon 1,12,512 (2nd 1,57,172), Wardha 43,154, Chandrapur 88,390, total 3,58,149, 1st week Yavatmal (4 days) 67,045; 3rd week Indore 1,89,351 from 2 cinemas, Bhopal 82,143; Jaipur 6,31,335, Ajmer (28 shows) 58,218, Bikaner (19 shows) 43,530; Hyderabad (gross) 3,80,159 from 2 cinemas.

Tera Jadoo Chal Gayaa 4th week Bombay 3,62,917 (40.55%; 4 unrecd., 5 on F.H.); Pune 2,78,476 from 3 cinemas, Solapur 83,937; Delhi 3,36,705 from 3 cinemas (1 on F.H.); Kanpur 24,496, Lucknow 1,86,763 (3rd 2,86,006), Agra 59,485, Allahabad 45,000, Bareilly 37,786 (3rd 50,152); Calcutta 1,22,195; Nagpur 52,707 from 2 cinemas, Jabalpur 16,253, total 2,30,499, 4th week Amravati (6 days) 35,377, 3rd week Akola 46,123, total 2,80,400; 4th week Bhopal 29,995; Jaipur 1,07,907; Hyderabad (gross) 1,66,937; 1st week Guntur (gross) 83,673.

‘MOHABBATEIN’: IN 3 SHOWS ONLY

Yash Chopra’s Mohabbatein will have a running time of 3 hours and 38 minutes. Its length is 5,968.92 metres in 20 reels.

Since it is such a lengthy film, it will be screened in only 3 shows daily in cinemas across the country. The film is due for release on Diwali (27th October).

Yash Chopra has informed all his distributors of this fact. His all-India distributors were in Bombay earlier this week. They were also treated to a screening of two songs of the film.

As regards Aishwarya Rai, she will feature in the film’s publicities later. Currently, director Aditya Chopra is giving prominence to Amitabh Bachchan, Shah Rukh Khan and the six young artistes in the film’s promotional trailers.

VIDHU VINOD CHOPRA ACCUSED OF COPYRIGHT INFRINGEMENT

Producer-director Vidhu Vinodh Chopra has been accused of copyright infringement by Shantiveer Kaul, son of famous Kashmiri poet Dina Nath Nadim, for allegedly lifting a song of Mission Kashmir, from his father’s famous work, Bumboor Yamborzal. Kaul has asked the filmmaker to delete the song Bumbro Bumbro from Mission Kashmir immediately. On failure to do so, action for both, civil and criminal liabilities, would be initiated against him (Vidhu Vinod Chopra), said Shantiveer Kaul in a legal notice sent to the filmmaker. Kaul has also claimed his right in the sale proceeds of the music of the song Bumbro Bumbro in the film.

BENGAL TECHNICIANS ON INDEFINITE STRIKE

Technicians of the Bengal film industry struck work from 8th September, demanding a hike in wages. According to the chairman of the producers’ wing of the Eastern India Motion Picture Association (EIMPA), Krishna Narayan Daga, “While the technicians want a 30% hike in wages for TV serials, their demand for films is a hike of 50%.” He complained, “The technicians demand a hike, but do not observe the code of conduct which was formulated by us some time back and was also approved by them, causing loss of lakhs of rupees to the producers.”

A joint action committee has been formed by the EIMPA and local bodies, Association of Television Affiliates (ATA) and Artistes’ Forum, to tackle the problem and formulate another code of conduct for the technicians.

In the meantime, all production activity has come to a halt in West Bengal following the indefinite strike.

YOU ASKED IT

Why is filmmaking considered such a risky business? Is it because of lack of discipline and order or is it because of some other reasons?

– First and foremost, because equations in the industry change every Friday. Nothing is stable!

Why are multi-star cast films not being produced as frequently as in the mid-’70s and ’80s? Is it because of non-availability of subjects or because of the high-risk factor?

– Obviously, because of the high-risk factor. Even solo starrers cost a bomb today to produce!

Did the first talkie film, Alam Ara, have any songs? On which date was it released in Bombay?

– Yes, it had 12 songs. It was released on March 14, 1931 at Bombay’s Majestic cinema. 

DO YOU KNOW?

* A new company — Yash Raj P.P. Associates — has been formed to release Yash Chopra’s MOHABBATEIN in Delhi-U.P. Obviously, Yash Chopra is a partner in the company.

MIX MASALA

FANATICISM

Fiza has been banned in Malayasia. Reason: “A Muslim cannot be a terrorist.” That’s the notion among the Malayasian officials, that led to the ban on the film! No need to explain that Hrithik plays a Muslim terrorist in the film.

CENSOR NEWS

Yash Raj Films’ Mohabbatein (length 5968.92 metres in 20 reels) was applied on 12th.

Inderjit Films Combine’s Dhaai Akshar Prem Ke (length 4537.29 metres in 18 reels), applied on 13th, was seen on 15th.

Tridev Films Associates’ Kaali Topi Laal Rumaal (social) was given C.C. No. CIL/2/31/2000 (UA) dt. 8-9-2000; length 3732.43 metres in 17 reels (cuts: 59.20 metres).

REGIONAL FILMS

Pooran Entertainment’s Mor Chhainha Bhuinya (Chhattisgarhi; social) was given C.C. No. CIL/1/52/2000 (U) dt. 8-9-2000; length 2975.18 metres in 14 reels (no cut).

Kosta Films’ Dulhin Bani Mor Bahiniyan (Bhojpuri; social) was given C.C. No. CIL/2/32/2000 (UA) dt. 8-9-2000; length 4297.14 metres in 15 reels (cuts: 61.39 metres).

Paramount Films’ Mission Impossible 2 (Tamil; dubbed; action thriller) was given C.C. No. CFL/3/131/2000 (A) dt. 13-9-2000; length 3415.80 metres in 13 reels (no cut); Mission Impossible 2 (Telugu; dubbed) was given C.C. No. CFL/3/132/2000 (A) dt. 13-9-2000; length 3415.80 metres in 13 reels (no cut).

BMPA Gets Tough
Upper Limit Of Price For Bihar-Nepal Locked At 50 Lakh

At an extraordinary general meeting of the Bihar Motion Picture Association (BMPA), held on 9th September in Patna, it was resolved that no distributor would henceforth pay more than Rs. 50 lakh for any film’s distribution rights for Bihar-Nepal. If a distributor was found violating this decision, it was decided to take disciplinary action against him at the Association level.

The move comes in the wake of failing films which have been putting distributors of Bihar and Nepal to losses. There is also a growing resentment among distributors of the circuit against the tendency of some top producers and directors to make films which hold appeal mainly for the Overseas territory and the city audience. Such films generally don’t do well in circuits like Bihar-Nepal. While distributors don’t mind producers and directors making films of their choice since it is their prerogative to decide what should or shouldn’t be made, their only grouse is that prices of films should not be fixed in the old and established ratios if the appeal of the films is not universal.

The BMPA had, a couple of years ago, passed a similar resolution to check the high prices, distributors were offering for films. The implementation of the resolution was found to be difficult. It would now have to be seen how seriously a similar resolution is given effect to.

Some utterances of West Bengal and Bihar distributor Pritam Jalan were also the subject matter of the extraordinary general meeting. Some exhibitors complained that Jalan had tried to destroy the unity of the Association. The BMPA unilaterally put a ban on Pritam Jalan. If carried out, the ban could mean that no exhibitor would screen Pritam Jalan’s films in Bihar. Jalan’s first release in Bihar would be Mohabbatein.

‘Tera Mera Saath Rahen’

Babloo Pachisia Tries His Hand At Something Different… But Commercial

Shooting on a spacious office set, erected by art director R. Varman on the lawns of Horizon Hotel at Juhu, Bombay, for Babloo Pachisia’s Tera Mera Saath Rahen is progressing at a leisurely pace. It is just the third day of shooting, the film having been launched on 11th September on the very set. Ajay Devgan is the only guy working in his office, while other staffers are making fun of his conscientiousness “Sharmaji, woh petty cash voucher kahan gayaa?”, bellows Ajay who has, in real life, lost a lot of weight.

Mahesh Manjrekar is directing the film which is based on his own story. Ajay Devgan plays the male lead in it, and Sonali Bendre will be playing his heroine. Namrata Shirodkar also plays a leading role.

Tera Mera Saath Rahen is the story of two brothers, the younger of who is physically handicapped and mentally retarded. The film deals with the relationship between the two brothers and their love for each other. Ajay Devgan plays the elder brother. An 11-year old boy is yet to be finalised to play the handicapped younger brother. Mahesh Manjrekar is keen that as soon as the boy is pencilled to enact the difficult role, he be sent to a school for the mentally challenged children so that he can observe them.

Producer Babloo Pachisia informs that Mahesh Manjrekar had narrated him four or five subjects of which he liked two, one being Tera Mera Saath Rahen. “Mahesh’s personal favourite was this particular one,” continued Babloo, “and, therefore, I opted for it. After all, the director’s conviction is what ultimately counts.”

For Babloo, Tera Mera Saath Rahen is quite a departure from his brand of action films (Ziddi, Haqeeqat, Arjun Pandit). This one is an emotional tale. Continues the producer, “Ajay Devgan plays a middle-class working boy who lives with his younger brother. He dotes on the kid. Comes a stage in his life when he has to choose between his girlfriend and his kid-brother. He thinks of a via media — he puts his brother in a home for the mentally challenged.” The kid-brother takes his brother’s girlfriend to be the vamp in his life and the cause for all his sorrows. The mental trauma of the two brothers that follows their separation should have the audience weeping in the cinema halls.

In a brief chat, Mahesh explodes the myth that he has umpteen number of films on hand for direction. “Astitva and Jis Desh Mein Ganga Rehta Hai are complete,” he says. “Kurukshetra is nearly over. Sony’s film, Pyar Kiya Nahin Jata, is also nearing completion. So, the only two films currently on the sets are this one and Time’s new film.” The muhurts of both the films were held on 11th September. Manjrekar explains this thus: “Actually, only Tera Mera Saath Rahen was to be launched on 11th, Time’s film was to follow in a few days. But because of the shraddh period, we decided to perform that muhurt also on 11th and we did it right here.”

Mahesh talks very fondly of his Jis Desh Mein Ganga Rehta Hai. “That film is my pyaara bachcha,” he says, love oozing out of his voice. “It is like that kid of the parents who, without much effort on him, will ensure that he gets distinction marks in the examinations.” Manjrekar has completed Jis Desh Mein… in just 35 days!

Even though Tera Mera Saath Rahen is a film of middle-class people and their values, Pachisia will not compromise on the making of the film. “Yes, the songs will be picturised on beautiful foreign locations,” he announces. “How the director achieves to balance this is his headache,” jokes Pachisia.

Babloo has already clinched the deals for the distribution rights of his film for Bombay, Delhi-U.P. and East Punjab. Audio rights, too, have been sold, he informs. The film, he reveals, will be distributed in Bombay territory by Ajay Devgan’s office, but “Ajay has paid us a price just as we have paid him his price,” adds Pachisia.

3-E
Education-Entertainment-Enlightenment

Tit For Tat!

This one is a true story. The Delhi-U.P. distributor of a forthcoming film spread the news in his circuit that another film, scheduled for release simultaneously with his film, had been postponed. The Delhi-U.P. distributor of the other film, obviously, did not approve of the former’s stories which had spread like wild fire and thereby created panic. Not the one to take things lying down, the distributor of the other film played a smarter trick. He despatched telegrams to about 10 cinemas of U.P., where the first distributor’s film was booked, announcing that the booking needed to be cancelled as the film’s release was postponed. Of course, nothing serious happened. Only thing, panic buttons were pressed and the first distributor’s office was flooded with calls to verify the veracity of the telegrams. Cute game, some would say! Tit for tat, others would say. Very nasty, some would insist!!

This Karobaar Of Distribution!

Gava’s Karobaar almost did not release in Delhi-U.P. yesterday. Distributor Muni Raj pleaded inability to arrange the delivery amount and sought a rebate in it. Even the reduced amount could not be arranged by him as he did not get any MGs or FHs from the cinemas of Delhi and U.P. In fact, till Thursday, barely one or two cinemas of Delhi had been booked by the distributor. Seeing red, producer Gava asked friend Tolu Bajaj to come to his rescue and release the film through his Mukta-Shakti Combines. The release in Delhi-U.P. is, therefore, haphazard. The C.I. distributor, too, pleaded inability to take delivery at the contracted price and had, therefore, to be given delivery for a pittance. On the other hand, Bombay distributor Dilip Dhanwani had, long ago, relinquished the rights in the film and he re-acquired them after a while.

Title Tattle

Talk of coincidences and you can’t ignore the Hindi film industry. Every now and then, there occur things that baffle one’s imagination. How else do you explain Rakesh Roshan’s much-delayed Karobaar and another of Mithun’s conveyor-belt product, Kaali Topi Laal Rumaal, releasing on the same day (15th September)? Didn’t get it? Years ago, when Karobaar was launched, guess what it was called? Yes, it was originally titled Kaali Topi Laal Rumaal!

INFORMATION MEETS

“As a producer, you can give ideas and can get them implemented. There’s immense job satisfaction one can experience by producing a good film.”

– B.L. SABOO

KOMAL NAHTA

It is the glamour of the film industry that attracts many a newcomer to this world of making and selling dreams. So when a businessman makes a calculated business decision to enter the domain of filmmaking and, in this decision, is not lured by the glitz and the glamour, it means, he is a serious player. One such entrant in the world of movie production is industrialist B.L. Saboo who has partnered Rahul Rawail in the latter’s under-production film, Kuch Khatti Kuch Meethi.

Excerpts from a conversation — baatein, kuch business ki, kuch aise hi:

What prompted you to venture into the territory of film production?

– We are in the ICE age. While I’ve already started an information technology business and hope to some day get into Communications too, the ‘E’ of the ICE, viz. Entertainment lured me because I saw a lot of potential in the entertainment business. Two out of three is good enough, you would agree.

What potential did you see?

– Hindi films are popular the world over. People living abroad feel connected to India only through films. Business of Hindi films abroad is only going to grow in the days to come. Besides, the film industry is not at all a bad place to be in. We outsiders did not have the right picture of the industry. But once in it, I can say from my personal experience that, if treated like any other profession, filmmaking, too, is a good business with a big potential. Media is going to play a big role in communications and connectivity.

Which means, your entry into the industry is a calculated move?

– I won’t say, ‘calculated’. But you’ve got to update yourself and move ahead with the times.

Is it also for the glamour associated with films?

– In media, you have the popularity which is the glamour aspect. Films is the fastest route to get popular.

So, you are looking for that quick popularity?

– Not exactly. In Punjab and Chandigarh, I’m known as an industrialist. By virtue of my LPG cylinder business, Saboo is a household name in Northern India. We are the largest LPG cylinder manufacturers in Asia and the third largest in the world. In the LPG faculty, I’m known the world over. Last October, I had organised an LPG conference in Delhi and it was a very successful event. It was for the first time that an international forum of this kind took place in India. A similar forum will be held in the USA this year.

Having decided to come into films, how did you make the choice to partner Rahul Rawail?

– Rahul is a good friend of mine. We’ve known each other since 20-25 years. It is always better to enter a new field with a known person or friend than with somebody else. Rahul is an established director in the industry.

About our film, Kuch Khatti Kuch Meethi, I can tell you, it will be quite different from other films you see these days. I say this not because I am the joint producer with Mrs. Rahul Rawail but because I am a cinegoer and I know what kind of films are being made nowadays. All said and done, our film will be a great entertainer.

So you have been a keen cinegoer, have you?

– I love films and I watch a lot of them. My childhood ambition was to become an industrialist and I realised that dream years ago. Film business is also an industry. It is a creative industry.

But creativity is restricted to writing and direction…

– No, I don’t agree with you. As a producer, you can give ideas and can get them implemented. There’s immense job satisfaction one can experience by producing a good film.

Have you been creatively involved in the making of this film?

– I did partake in the discussions but this being my first film, I’ve not poked my nose — so to say — too much. But I could see that things were going in the right way.

Give us one instance of your creative input in the project.

– I believe in quality of life. From day one, I told Rahul, the quality of the film should not be allowed to suffer under any cost. And this suggestion of mine is being followed sincerely.

Tell us something about your other business enterprises.

– When I was a child, we had coal mines in Bihar. I helped my dad in coal trading but my heart was not in that business. As I said earlier, I always wanted to be an industrialist and so, I quit my dad’s business and moved from Jharia and Asansol to Delhi. I tried setting up an industry in Himachal Pradesh, Rajasthan and Haryana and it was only because I got the first clearance from Himachal Pradesh for manufacturing gas cylinders that I started out there. My Saboo Cylinders Ltd. is now 18 years old. Besides this, I have other companies like Saboo Itech.com Ltd., Saboo Lime & Cement Ltd., Saboo Alloys (P.) Ltd., etc. My group employs 3,500 people and the turnover in 2000 is expected to be Rs. 250 crore. My cement plant is in Punjab. My IT business is based in Delhi, and I’ll soon be going global with it.

Will you be making your future films with Rahul only, or will you be looking elsewhere too?

– So long as it is smooth sailing with Rahul, it will be only with Rahul. (Laughs) I don’t want to have too many trials and tribulations.

What do you find lacking in the film industry as against other industries?

– According to FICCI, India’s earnings from just IT exports by 2005 will be Rs. 15 billion. Why can’t there be a sizeable earning from film exports? See Hollywood! People in Bollywood need to be trained in professionalism. There must be seminars organised to inform film people of the advantages of professionalism, of discipline, of organisation. In other industries, we have seminars and international fora for educating people. This is what is required in the film industry too. If you do things professionally, the industry is a lovely place to be in. And I tell you, the day we strive to make this business a veritable industry, it will be a money-spinner…

FIZA

The Culture Company (I) Pvt. Ltd. and UTV Motion Pictures’ Fiza (UA) is the story of a homely boy who gets sucked into the world of terrorism, leaving behind his widowed mother and unmarried elder sister to fend for themselves. The film, set amidst the 1993 riots of Bombay, reminds of Mani Ratnam’s Bombay but minus its intensity, emotions, finesse and class.

Fiza and Amaan are two grown-up children living in Bombay and being brought up by their mother. Amaan, during the 1993 riots, one night accompanies his friends to a place near his house where a communal riot has broken out. Before he knows it, he, too, has become a part of the rioters. To save his life and the lives of other helpless people, he finds himself resorting to cold-blooded murder. Having committed such heinous crimes, he does not return home but instead joins a group of youth whose aim is to prevent such riots from erupting in the future. This group does not believe in communalism of any sort but it is always on the run from the police. After several years, the boy’s sister sets out in search of him and succeeds in pulling him out of the terrorist group. She brings him home but the restless boy rejoins the group he had left, as he feels that service through that group and only that group is his mission in life. In the end, after more barbaric killings, he himself is killed at the hands of his sister.

The film, besides being too grim, tragic and depressing, suffers on many other fronts. The screenplay has flaws and the narrative and techniques adopted to convey the story, too, are not without mistakes. For one, why does Amaan get sucked into terrorism? There’s no real instigation for the lad to leave his family and become a criminal overnight. This is, perhaps, the biggest minus point of the story because the audience, in the absence of a solid motivating factor for Amaan to turn a terrorist, is not ready to sympathise with a hero who picks up the gun so meaninglessly. Secondly, once he returns with his sister, why does he go back to the terrorists? This is sought to be explained through dialogues to the effect that he is being rejected by society and hence his return. But there are no scenes of his rejection! Yet another weak point is the time lag of about six years before the sister sets out in search of her brother. The impact of the tragedy of loss of a brother is diluted completely in the intervening period of so many years. A better way out would have been to avoid the use of so many flashbacks and to instead have kept a straight narrative — perhaps, the first half could have been devoted to the family life and romantic lives of the brother and of the sister, and the post-interval portion could’ve dealt with the sister’s search for her brother. As it is, romance is almost missing in the film and comedy is feeble. Emotions lack impact.

The first half is somewhat interesting but, after interval, the film becomes boring and often meanders directionlessly. The pace also becomes unbearably slow.

On the positive side, the film boasts of an excellent music score (Anu Malik and one song by A.R. Rahman), peppy song picturisations and excellent camerawork by Santosh Sivan, besides a fabulous performance by Fiza (Karisma Kapoor). But where the musical score is fantastic, song situations look contrived and, therefore, reduce the impact of the hit music. Karisma Kapoor’s dance in the discotheque can be easily deleted. The song picturised on Asha Sachdev, too, can be edited. The ‘Aaja Mahiya’, ‘Mujhe mast mahaul mein’ and title song are superbly tuned.

Jaya Bachchan does a good job as the widowed mother of Amaan (Hrithik Roshan) and Fiza (Karisma). But the suicide committed by such a strong lady is difficult to digest. Karisma Kapoor is first-rate as the suffering sister in search of her brother. She goes through her character with a rare understanding and with such aplomb that the audience’s hearts go out to her. Hrithik Roshan looks very charming and acts ably. His dance on the ‘Mere watan’ song and his muscles shown therein are a pleasure to watch. His fans, however, will feel a bit let down due to the limited scope he gets. Manoj Bajpai does well in a small role but his talent has been wasted. Bikram Saluja looks handsome but has no worthwhile role as Karisma’s boyfriend. Similarly, Neha, too, has no significant role and is average as Hrithik’s girlfriend. Sushmita Sen mesmerises with her sexy dance. Anoop Soni and Sabir Masani are impressive. Isha Koppikar is okay. Asha Sachdev does a fair job. Johny Lever raises laughter even though his entry looks contrived. Shivaji Satam, Sanjay Narvekar, Dinesh Thakur, Ravi Jhankal and the others lend fair support.

Khalid Mohamed’s debut as a director is confused. Along the way, he seems to have forgotten what he wanted to say and also how he wanted to say it. His over-dependence on tight close-ups gets too monotonous after a while. Just an example of how tight close-ups can mar the effect of a sequence is the climax where Hrithik is pleading with his sister to kill him even as the police force is charging towards him. Since Hrithik and Karisma are shown in close-ups, and the police’s movement is also shown in close-ups, the tension of the approaching police force is never felt — since all the characters are never shown in one frame! Dialogues (Javed Siddiqi) are very natural and appealing too. Action scenes are alright. Ranjit Barot’s background score is effective.

On the whole, Fiza is a disappointment as far as its plot and narration go. It is too depressing to be liked by the audience. The Hrithik mania and the hit music have resulted in a bumper opening for the film but, given its slow pace and dull, dry and drab content, the appreciation will be forthcoming only from the class audience in ‘A’ class centres. Exhibitors, who’ve booked the film at crazy and fancy terms to cash in on the craze, will face losses. Business in Bombay and Maharashtra will definitely be better.

Released on 8-9-2000 at New Excelsior and 19 other cinemas of Bombay by Culture Company in association with UTV thru Shringar Films. Publicity: extraordinary. Opening: bumper. …….Also released all over. Opening was mind-blowing almost everywhere.

LATEST POSITION

It was a normal week…. The opening of FIZA this week is bumper.

……….

Hamara Dil Aapke Paas Hai is very strong in Gujarat and Saurashtra and steady in good cinemas of Delhi and in U.P., parts of C.P. Berar and Nizam. 2nd week Bombay 45,80,840 (68.87%) from 12 cinemas (8 on F.H.); Ahmedabad 24,61,542 from 7 cinemas, Surat 5,87,000, Anand 1,89,000, Baroda 4,01,000, Mehsana 84,493, Navsari 2,79,411, Ankleshwar 1,24,000, Bharuch 1,39,000, Palanpur 1,67,069, Vapi 3,16,666, Valsad 1,66,556, Rajkot 2,83,220 from 2 cinemas (1 in matinee), Jamnagar 1,36,925, Bhavnagar 1,77,608 from 2 cinemas (1 in matinee), Junagadh 1,02,980, Adipur 95,811, Porbandar 86,195, Bhuj 1,04,000, Morbi 46,176; Pune 8,74,005 from 3 cinemas, Solapur 2,08,503 from 2 cinemas (1 in matinee); Delhi 34,29,084 from 8 cinemas; Kanpur 2,84,016 from 2 cinemas, Lucknow 4,19,484, Agra 3,55,000, Varanasi 1,35,859, Allahabad 1,38,134, Meerut 1,71,407, Dehradun 1,42,715, Gorakhpur 1,09,582, Aligarh 1,60,000, Moradabad 1,13,598, Jhansi 99,799; Calcutta 12,66,366 from 15 cinemas; Nagpur 3,70,116 from 3 cinemas, Jabalpur 1,13,784, Amravati 1,76,410, Akola 1,20,961, Raipur 1,33,201, Bhilai 1,09,646 from 2 cinemas, Jalgaon 1,57,172 (1st 2,27,213), Chandrapur 1,17,996 (heavy rains), total 2,69,758, Bilaspur 72,948; Indore 2,39,278 from 2 cinemas (1 on F.H.), Bhopal 2,38,225 from 2 cinemas; Jaipur 7,03,741 (89.71%); Hyderabad (gross) 6,87,382 from 3 cinemas (1 in noon).

Tera Jadoo Chal Gayaa 3rd week Bombay 9,43,815 (59.38%) from 3 cinemas (11 on F.H.); Pune 4,23,438 from 3 cinemas (1 in matinee), Solapur 1,06,444; Delhi 4,72,477 from 2 cinemas (2 on F.H.); Muzaffarnagar 25,000 (2nd 35,000); Calcutta 1,86,389; Nagpur 1,19,803 from 2 cinemas, Jalgaon 47,786, total 2,80,762, Chandrapur 67,607, total 4,10,201; Indore 69,462, Bhopal 50,000; Jaipur 1,80,891 (26.03%); Hyderabad (gross) 2,94,515.

Dhadkan entered 5th week in Bombay at Eros and 10 other cinemas; 4th week Baroda (21 shows) 1,88,886 (3rd 1,99,632); Pune 3,60,175 from 4 cinemas (1 in matinee), Solapur 89,528 from 2 cinemas (1 in matinee); Delhi 18,77,615 from 10 cinemas (1 on F.H.); Muzaffarnagar 45,000, total 3,06,463; Calcutta 1,79,020; Nagpur 3,13,616 from 3 cinemas, 1st week Balaghat 90,233, 4th week Jalgaon 92,984 (3rd 1,05,058), Sagar 30,289, total 2,45,614; Jaipur 1,40,207 (27.27%); Hyderabad (gross) 7,52,449 from 3 cinemas (1 in noon, 1 on F.H.).

Deewane 4th week Bombay 5,82,492 from 5 cinemas (4 on F.H.); Pune 2,30,304 from 3 cinemas, Solapur (matinee) 15,631; Delhi 73,356; Bilaspur 35,890; Jaipur 79,395 (16.52%).

10-MINUTE JUDICIAL CUSTODY FOR DILIP KUMAR

Veteran star Dilip Kumar, who is a director in Mohan Meakins Ltd., Lucknow, which was charged with violating pollution control laws, was held in judicial custody for 10 minutes on 4th September, on charge of being the director of a polluting industrial unit. He was released on bail by special judicial magistrate, pollution, Vidushi Singh. The actor furnished a personal bond of Rs. 30,000 and two sureties of like amount. He remained in judicial custody for ten minutes after he surrendered in the special court. The court had warned him to appear before the court on the date fixed, either in person or through his counsel, failing which the surety amount would be forfeited.

The charge against the actor came up following U.P. Pollution Control Board’s allegations levelled in 1983 against Mohan Meakins Ltd. and its directors at Ghaziabad and Lucknow for violation of pollution laws.

DADASAHEB PHALKE AWARD FOR HRISHIKESH MUKHERJEE

Veteran director Hrishikesh Mukherjee will be the recipient of this year’s Dadasaheb Phalke award. The 79-year-old director has been conferred with the honour in the 55th year of his career in cinema. Reacting to the news, the director expressed, “I am happy and even surprised that this honour has come to me in the 55th year of my career in cinema. It’s nice to know that people still remember me. ….But I no longer feel like making films.”

Hrishikesh Mukherjee had his own distinctive style of providing entertainment on the big screen. He always narrated simple tales of simple people, like in Anuradha, Anupama, Abhimaan, Anari, Asli Naqli, Guddi, Satyakam, Anand, Chupke Chupke, Mili, Namak Haraam, Bawarchi and Khubsoorat.

Hrishi-da’s maiden film, Musafir, had won the President’s silver medal in 1958. His last released film was Jhoot Bole Kauwa Kaate, starring Anil Kapoor and Juhi Chawla.

Many top stars of the last five decades have worked under Hrishikesh Mukherjee — right from Ashok Kumar, Dilip Kumar, Raj Kaproor, Dev Anand, Dharmendra, Rajesh Khanna and Amitabh Bachchan to Anil Kapoor and Juhi.

KETAN ANAND, VIVEK RELEASED ON BAIL

Ketan and Vivek, sons of late filmmaker Chetan Anand, were released on bail on 7th September by a court in Bombay. Additional sessions judge H.S. Deshpande enlarged them on bail of Rs. 20,000 in addition to one surety each. The judge directed them not to leave Bombay without leave of the court and also not to contact witnesses. The judge was of the opinion that there were two possibilities in the case — the accused could have been either present or absent at the scene of the crime and, therefore, it would be too harsh to refuse them bail.

Ketan and Vivek, alongwith their servant, Mala Choudhary, and her relative, Ashok Chinnaswamy, were arrested on 4th April for their alleged involvement in the murder of former actress Priya Rajvansh who was a life-long companion of Chetan Anand.

RANDHIR KAPOOR HOSPITALISED

Randhir Kapoor was hospitalised at Breach Candy a few days back for severe infection in both his legs. While his infected right leg was responding favourably to the treatment, the infection in his left leg was slow in recovery.

Reportedly, the actor-producer-director will be discharged from hospital after some days.

MUKRI NO MORE

One of the finest comedians of Indian screen, Mukri, passed away on 4th September at Lilavati Hospital, Bandra, Bombay. He had been battling for life for over a month, suffering from respiratory problems and renal failure. He had been moved to the intensive care unit two weeks before the end came. Mukri was 78 and is survived by his wife, three sons and a daughter (Naseem Mukri who had co-written Dhadkan). He was buried the same day at the Yari Road crematorium, according to Muslim rites, in the presence of many film personalities. Dilip Kumar, a childhood friend who was his classmate at the Anjuman Islam School, was present by his bedside when Mukri breathed his last.

The pint-sized comedian, who made his debut in films six decades ago with Nadan (1943), rose to fame in Devika Rani’s Pratima, a Dilip Kumar starrer made in 1945 under the banner of Bombay Talkies and directed by Jairaj, who, incidentally, passed away last month (11th August).

Mohammed Umar Mukri, born on January 5, 1922, was a constant companion of Dilip Kumar in films like Pratima, Kohinoor, Aan, Ram Aur Shyam, Leader and his latest, Qila. He starred with Amitabh Bachchan in films like Amar Akbar Anthony (the song Taiyab Ali jaan ka dushman was picturised on Rishi Kapoor and, among others, Mukri who played Taiyab Ali), Sharaabi (Amitabh’s patent dialogue in the film  — Moochhe ho toh Nathuram jaisi — referred to Mukri’s moustache), Coolie, Naseeb and Bombay To Goa. Some other notable films of Mukri, who worked in nearly 600 films in his 60-year-long film career, are Padosan, Mother India, Amar, Kala Pani, Mera Saaya, Milan and Himalay Ki Godmein. In the early fifties, the Shaikh Mukhtar-Mukri pair of Lambu and Chhotu proved a hit in films like Ustad Pedro, Dada, Qaidi No. 1, Barood and Dara.

In his condolence message, Dilip Kumar has expressed the following sentiments: “Our friendship was well over five decades old. Mukri was a man of crystal quality, loyal, outspoken and most affectionate at heart, with a wide circle of caring friends who held Mukri in astonishing admiration to his very end. As an actor, he had his own era and his global fans who never failed to greet him wherever they saw him. May God receive him in His abiding grace and eternal favour.

Comedian Johny Walker, who worked with Mukri in about a dozen films, paid tributes to him, saying, “Mukri had his own unique style, no one could copy him. He was a good worker and a good human being.” Another comedian, Jagdeep, who also worked with Mukri in about 18 films, said, “He gave a lot to India in a funny way. He was a wonderful person. I will always remember him as a jovial person even on the sets.”

MAMTA KULKARNI’S ALLEGATIONS AGAINST MAGISTRATE

Mamta Kulkarni’s allegations against additional metropolitan magistrate, Bombay, K.H. Holambe Patil has made the Bombay high court take serious note of them.

A division bench of the high court on 7th September directed the court registrar to place before Chief Justice B.P. Singh, certain averments made by Mamta Kulkarni, for appropriate administrative action, if he deemed fit.

The high court also quashed Mr. Patil’s order passed on July 19, 2000, levying a penalty of Rs. 15,000 on the actress in an obscenity case, regarding a cover page photograph in Stardust in 1993. The court was hearing a petition filed by the actress, seeking to quash the magistrate’s order. Significantly, the bench comprising Justices G.D. Patil and R.M. Lodha directed the state to refund to Mamta Kulkarni the fine paid by her as they observed, the magistrate did not have any legal jurisdiction to levy such a penalty.

The magistrate had charged her Rs. 15,000 as penalty when she requested him to cancel a non-bailable warrant issued against her. According to the petition, the magistrate had issued summons against her even though her name was not mentioned as an accused in the First Information Report. She was acquitted in the obscenity charge on August 25 by Mr. Patil.

Senior advocate Ramrao Adik and advocate Peter Lobo said, no court can levy a fine or penalty for cancellation of a non-bailable warrant. Additional advocate general P. Janardhanan conceded that there was no such provision under law.

The contentions made by Mamta Kulkarni in her petition included that the magistrate, while hearing an application made by her, allegedly “conducted himself in a manner unbecoming of a presiding officer of the court”. She alleged that the magistrate seized the opportunity of “insulting” her in the most “derogatory” manner. She said in her petition that when she begged to be pardoned by the magistrate for not being present once on a previous date, he allegedly said, “There are many beggars on the street near Gateway of India but alms are given to deserving beggars only.”

Mamta Kulkarni said the magistrate even questioned her motive behind wearing a black burkha to court. He allegedly said, she wore the black burkha to “deceive the police and evade arrest”. He allegedly said that the actress “did not care about the kind of clothes she wore on screen and while posing for photographs”.

Mamta Kulkarni further contended in her petition that when her lawyer submitted that her non-bailable warrant may be cancelled for a Rs. 500 fine, the magistrate allegedly replied saying that, taking into account her “attitude and status” even a Rs. 5,000 fine was “too little” and that even the peons and clerks attached to his court made more money by way of bakshish.

‘DULHAN HUM LE JAYENGE’ JUBILEE

Producer Gordhan Tanwani’s Dulhan Hum Le Jayenge, directed by David Dhawan, has entered combined 25th week at Naaz (matinee), Bombay. It stars Salman Khan, Karisma Kapoor, Anupam Kher, Paresh Rawal and Om Puri. Music: Himesh Reshammiya.

B.S. GROVER NO MORE

Producer B.S. Grover passed away on 2nd September at a hospital in Bombay following multiple organ failure. He was 60 and is survived by his wife, a son and a daughter. B.S. Grover was a noted industrialist and was the chairman of the All India Manufacturers’ Organisation (AIMO) for two consecutive years (1987 and 1988). As a producer, he made Bahu Ki Awaaz (1985).

‘KUCH KUCH HOTA HAI’ 100 WEEKS!

Yash Johar’s Kuch Kuch Hota Hai, which marked the triumphant debut of its director, Karan Johar, and which won the National Award for the best film providing wholesome entertainment, entered 100th combined week at Imperial (matinee), Bombay, on 8th September. It stars Shah Rukh Khan, Kajol, Rani Mukerji, Salman Khan (guest appearance), Farida Jalal, Anupam Kher, Archna Pooran Singh and Johny Lever. Music: Jatin Lalit.

YOU ASKED IT

Can you recall any art or class film which created such a craze in advance booking as Fiza did?

– Not really. FIZA had two trump-cards to create a pre-release hysteria — Hrithik Roshan and hit music! No other art or class film had such major highlights or plus points.

What percentage of a film production cost constitutes artistes’ remuneration in a big-budget project?

– About 20%-25%.

Which film trade association’s AGM and elections are expected to generate much heat this year?

– None at all!

DO YOU KNOW?

* MISSION KASHMIR has been booked for Surat at an unheard of price. The deadly combination of Sanjay Dutt, Jackie Shroff and Hrithik Roshan alongwith the impressive promotional trailer currently on air seem to have done the trick for the film directed by Vidhu Vinod Chopra.

* As many as 9 prints of HAMARA DIL AAPKE PAAS HAI have been added in the 2nd and 3rd weeks — 4 in Delhi-U.P., 2 in Bihar, 2 in C.P. Berar and 1 in Nizam.

* GALIYON KA BADSHAH may be among the very few small-budget films of which music rights have been picked up by a music company. Tarana Music Company acquired the audio rights of the film, directed by Kanti Shah, earlier this week. Music is scored by Jitin Shyam and lyrics are penned by Jalil Ahmed.

* C.P. Berar distributor Laloo Kabra (of Vishwajyoti Films, Bhusawal), who had distributed KN…PH in his territory, has 3 Hrithik Roshan starrers for distribution in C.P. Berar — MISSION KASHMIR, which is slated for release on Diwali; NA TUM JAANO NA HUM, early next year; and AAP MUJHE ACHCHE LAGNE LAGE, in mid-2001.

‘Hamara Dil Aapke Paas Hai’ Event In Baroda

The whole of Baroda was in a spin on the evening of 2nd September. And not without reason! Stars no less than Anil Kapoor, Sridevi, Boney Kapoor and Satish Kaushik had descended on the cultural city of Gujarat and, notwithstanding the almost 2-hour delay of the flight, the enthusiastic and joyous crowds waited with bated breath at the airport to welcome their favourites.

The Holiday Inn Convention Centre, Baroda, had planned an event around Boney Kapoor’s Hamara Dil Aapke Paas Hai on the night of 2nd September. It was for this event that producer Boney Kapoor had graciously consented to take his film’s unit to Baroda. Bombay distributor Ashok Ahuja, too, was a special guest (Vimal Agarwal and Nandu Ahuja could not make it to Baroda). The film’s runaway success not only in Baroda, but all over Gujarat and Saurashtra only added to the excitement in the air. The event was a dinner with the Hamara Dil Aapke Paas Hai unit. And boy! the response from the Baroda inhabitants was stunning, to say the least.

The Holiday Inn Convention Centre and Indian Express also put up a Hamara Dil Aapke Paas Hai contest. Participants have to, among other things, answer a series of questions relating to the film, in the contest running currently. The contest, open to people staying in Gujarat, has exciting prizes — the first being gold jewellery worth Rs. 75,000, sponsored by Baroda’s leading jewellers, C.H. Jewellers, and the second, a home theatre and a 21-inch colour TV by Crown TV. Other prizes include stays in BASS Hotels & Resorts, a hundred gift hampers from Coca-Cola and a host of stays from Holiday Inn Hotels in India. All these expensive gifts would, of course, be the winners’ for free. No statements like hamara bill aapke paas hai by the sponsors!

The unit zipped off in waiting cars to C.H. Jewellers before the members checked in at Holiday Inn. Paresh Soni of the jewellery showroom was only too glad to present a shining gold bracelet to Anil Kapoor. Hamara jewel aapke paas hai!

In the hotel, guests on the sprawling lawns accorded a thunderous and warm welcome to the unit as Boney, Sridevi, director Satish Kaushik and Anil Kapoor occupied their seats on the dais. Still photographers clicked merrily as the stars posed gamely for them, flashing their million-dollar smiles as myriad flash-guns brightened the night. Hamara still aapke paas hai!

Snehal Kulshreshtha, the young and dynamic general manager of Holiday Inn, made the most of the stars’ presence and hosted a live quiz show before dinner. Questions about Hamara Dil Aapke Paas Hai as also about the careers of Anil Kapoor, Sridevi, Satish Kaushik and Boney Kapoor were thrown to the distinguished guests of Baroda. The audience participation was both, heartening and enlightening. That the people of Baroda are so well-informed about films and their favourite stars was quite a revelation! The lucky winners of the on-the-spot quiz contest were given CDs and audio cassettes of HDAPH, specially autographed by either of Anil Kapoor, Boney Kapoor, Sridevi or Satish Kaushik. Gift vouchers of Holiday Inn were also handed over as prizes. Enthusiastic winners — girls and guys, men and women — personally received their prizes at the hands of the celebrities. An over-enthusiastic young girl, unable to control her emotions, even planted a kiss on Anil Kapoor’s cheek. Hamara kiss aapke paas hai!

The question-and-answer session went on for a good 45 minutes to an hour and the people of Baroda were zapped at the enthusiastic way in which the stars participated in it. Before the spot quiz, Boney Kapoor formally launched the Holiday Inn – Indian Express contest revolving around his film. The series of questions about the film are being published in the Indian Express all over Gujarat every alternate day for one month. Slogans regarding Holiday Inn and Indian Express would be required to be filled in by the participants. The lucky winners will get their prizes at the time of 100 days’ celebration of the film in Baroda, declared Snehal before dinner. Hamara 100 days aapke saath hai!

Kanak Ghosh, general manager, Gujarat, and Vipin Pubby, editor, Gujarat, both of Indian Express, were present at the celebrations. Sanket Jhaveri of Crown TV also welcomed the Bombay guests with bouquets of flowers.

Before dinner could be served, Anil Kapoor, Satish Kaushik and Ashok Ahuja visited Apsara Theatre, Baroda, where HDAPH was being screened to a packed house. The guests at Holiday Inn waited for them to return for dinner. After all, hamara meal aapke saath hai! Anyway, the audience at Apsara and the crowds outside Apsara went wild with joy on seeing Anil and Satish in flesh and blood. Nimesh, the owner of Apsara, presented trophies to Anil, Satish and Ashok Ahuja and handed over trophies to Boney Kapoor and Sridevi later in the hotel. The excited crowds would not let Anil Kapoor and Satish Kaushik leave the dais before they obliged them by mouthing dialogues from their films or singing songs from their earlier hits.

After a very late dinner, the Bombay guests retired to their rooms as they had to board the early morning flight to Bombay. Boney Kapoor and Sridevi stayed back for the day and returned only in the evening. For, Boney had a stiff and painful neck that didn’t permit him to sleep all night. The doctor was summoned the next morning and Boney had to pop pills to get relief. Hamara pill aapke paas hai!

But the love and affection of the Baroda people in general and the Holiday Inn folks in particular was so much that all the pain in the neck (for Boney) must have vanished into thin air in no time.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

A Dream Come True!

Aatish Kapadia, the writer of the popular Gujarati serial, Sapnana Vavetar, and its Hindi version, Ek Mahal Ho Sapno Ka, and noted writer-director of Gujarati plays, Vipul Shah, always dreamt of one particular hit Gujarati play of theirs being made into a film. At long last, the film will be made by producer Gaurang Doshi (son of producer Vinod Doshi who had made Sachaa Jhutha, Blackmail and Nastik). But this was only half the battle won for Aatish and Vipul. The two had all along wished that Amitabh Bachchan would play the central role in the film. But the role was villainish. Would the Big B, a legend in his own lifetime, agree to do a negative role after having played the good and virtuous man all these years?, they wondered. Mustering enough courage, they did approach AB. Amitabh received them warmly, put them at ease and, after giving a patient hearing, said that he had liked the subject and gave his consent to do the negative role. However, Amitabh offered a suggestion, in fact, a premise for the negative character. It was “a great suggestion”, felt Aatish and Vipul. So, Amitabh Bachchan will be doing a bad man’s role after nearly three decades — that is, after Parwana (1972) and Gehri Chaal (1973).

When Good Is Not Good Enough

It is now hero Rajat Bedi’s turn to turn bad. Bad on the screen, that is! This six-footer has decided to do villain roles too, henceforth. Just recently, Puru Raaj Kumar, whose debut as hero in Bal Bramhachari did not do anything for his career, turned negative in Boney Kapoor’s Hamara Dil Aapke Paas Hai and played Mukesh Rishi’s evil brother. His villainy has come in for a lot of praise. Before that, Sharad Kapoor, too, found favour for his negative role in Josh. Jackie Shroff and Sanjay Kapoor are two more heroes who’ll be seen in negative light in two forthcoming films — Mission Kashmir and Koi Mere Dil Se Poochhe respectively.

Corporates Eyeing Filmworld

Some time ago, the Pantaloon people hopped onto the entertainment bandwagon by announcing that the company will produce a Hindi feature film, Na Tum Jaano Na Hum, under the banner of PFH Entertainment Ltd. The film, directed by Arjun Sablok and starring Saif Ali Khan, Hrithik Roshan and Esha Deol, is currently at an advanced stage of production (ready in 14 reels).

Now comes the news that another Indian corporate honcho, B.L. Saboo, a Delhi-based industrialist whose main business is manufacturing LPG cylinders, has also plunged into filmdom. He is jointly producing — with Mrs. Rahul Rawail — the Indianised version of Parent Trap, titled Kuch Khatti Kuch Meethi, being directed by Rahul Rawail. The film stars Rishi Kapoor, Rati Agnihotri, Kajol, Sunil Shetty and Pooja Batra in stellar roles.

It may be recalled that a while ago, corporate giant, Reliance, had also announced plans of investing in the entertainment industry. Even though the company has no plans of getting into film production, it is certainly eyeing the entertainment sector. Its immediate plan is to create infrastructure for broadband transmission.

The total revenue generation of the film industry in India is expected to grow from Rs. 6,215 crore in 1999 to Rs. 33,984 crore by 2005. The export earnings from film software are expected to grow from Rs. 665 crore in 1995 to Rs. 14,700 crore in 2005. Little wonder then that corporates, too, are bidding for their share of the pie.

A Festival Of Three Patis

Whose statues are the hot favourites in the Ganesh pandals erected for the Ganpati festival in Karnataka? Giving company to one pati (Ganpati) are two other patis! Occupying a pride of place in many Ganpati pandals are Amitabh Bachchan as seen in Kaun Banega Crorepati and jungle pati Veerappan.

INFORMATION MEETS

“My tunes are born out of warmth, passion and love. That’s all I need to make good music!”

– ANU MALIK

GAJAA

Anu Malik seems to have turned over a new leaf in the present-day scenario of music. His common refrain these days is, “I am updating myself to survive amidst competition.” But then, he is also back-aging himself when he says, “Even though I am touching forty, I feel like I am only 30 years old.” Anu came on the music scene in 1981 with Harmesh Malhotra’s Poonam. Despite good music in his first film, Anu’s quality work could not get much recognition and he got just a few assignments till he finally came up with some distinctive melodies in F.C. Mehra’s Sohni Mahiwal. He was thereafter backed by F.C. Mehra in films like Ek Jaan Hain Hum, Jaal, Mujrim, Chamatkar and Ram-Jaane as well as by Manmohan Desai in Mard, Allah-Rakha and Toofan. After a brief lull in his career, he hit back with Phir Teri Kahani Yaad Aayee (a telefilm), Baazigar, Maa and Sir, which heralded Anu Malik of a musically different kind. He slowly but surely became a seasoned music director and has been going steady since then. In recent times, Anu has hit really big time with films like Border and Soldier. And this year, it is Badal, Josh, Refugee, Har Dil Jo Pyar Karega and, of course, Fiza.

With Subhash Ghai selecting him for the music of Yaadein and Badhai Ho Badhai, Anu Malik is surely on a roll and can well afford to declare to the world the sentiments expressed by Vivian Y. Laramore:

“I’ve shut the door on yesterday
And thrown the key away —
Tomorrow holds no fears for me,
Since I have found today.”   

Excerpts from a conversation with the hotshot music director:

With so much of competition among music directors, how do you manage to keep yourself in the front ranks?

– I keep updating myself. I don’t rest on my past laurels. If you keep on harping on your glorious past, you will not be able to break new grounds. If I have to survive, I have to be different. And how can I be different? By being melodic. Every composer today sticks to a single form or pattern. But as against those days, when there were just four or five music directors in the reckoning, today, there are fifty-five to hundred so-called music makers because everyone has access to various sounds, CD-ROMs and downloaded music. One day, when I was surfing the various television channels, I realised that all the music was sounding the same. I felt, we are all sound factories. In this kind of a scenario, I thought to myself, ‘How will Anu Malik survive’? The answer I got was: ‘By giving original music which is sheer melody’! Fomerly, there were fewer music critics. Today, there are a lot of them. So, how do I make original music to impress the critics and the people alike? I kept thinking about it and I thought of drastically updating my work. That resulted in Josh, Refugee, Har Dil Jo Pyar Karega and now, Fiza. All these are entirely different musical scores from one another.

I remember the fabled Pied Piper story in which the rats of the town followed the Pied Piper who played a tune. With due respect to all other music directors, I felt, we were all behaving like rats. I was one of the rats who left the pack! I refused to follow a certain set pattern. Today, everyone seems to know how to make music, almost anybody pops out an album!

You said a while ago that you now make original music. But one recently got to know that the Aaja mahiya song from FIZA has been lifted by you from an album already released in the UK about six months back. 

– That’s balderdash! Some of my friends heard that music album and they found the two songs to be poles apart. The word Aaja is the only common word in both the songs. I had this word even in a song in Sohni Mahiwal. Does that mean, every song with Aaja is plagiarised from my Sohni Mahiwal number?

It’s now that you are claiming to be original and updated. But at one time, you were being accused of lifting tunes. What would you say to that?

– In those days, I did it in majboori because I had to survive. But none of the lifted tunes worked as much as my original tunes did, and that’s why, I would not advocate lifting of tunes. From now on, I have decided not to work with any director or producer, howsoever big or small, who comes to me with suggestions to flick tunes for their songs from here and there. I have decided to give my own kind of music.

There’s another resolve which I have made. And that is to not work for films which would need me for just two-three tunes. I did not accept Vidhu Vinod Chopra’s Mission Kashmir for this very reason. He needed me for only two songs while the other songs were to be composed by other music directors. So, I told Vinod a polite ‘no’. However, in Fiza, there is only one song of A.R. Rahman. It is a naath devoted to Haji Ali Baba of whom I am an ardent devotee. This devotional naath was recorded long back, even before I was signed. Why, in my success too, I believe there’s definitely some divine intervention.

What would you call this change in your attitude to go original? Rennaisance or reformation?

– No rennaisance, no reformation. It’s simply an exercise in updating — to survive in a competitive world.

What inspires you to update?

– There is an English quote: ‘Either you have it or you don’t.’ I know, I don’t have it without God’s will. It is God who guides me and steers me to my goal. Music comes to me in a flash. I am able to update myself because I believe in feeling young. Even though I am touching forty, I feel as if I am 30. I feel romantic at heart and that keeps me going.

Romantic? Have you been having affairs lately?

– By ‘romantic’, I mean that I am romancing my career. I am not having a fling with anybody.

Today, I am recording for Gulzar Saab’s film, Filhaal, which is to be directed by his daughter, Meghna. I am also scoring the music for Shah Rukh Khan’s Asoka, Abbas-Mustan’s next, Rakeysh Mehra’s Aks and Subhash Ghai’s Yaadein, as also the one being presented by him, Badhai Ho Badhai, and one more film of his, to be directed by Prakash Jha. So, you see, this is what I mean by ‘romancing my career’. In any case, I have seen the pitfalls in having flings. More the harmony at home, more the pleasantness in life.

Now that you are scoring music for Subhash Ghai in YAADEIN, do you think, you have reached the crescendo of your career? How has your experience working with Ghai been?

– It’s been a refreshingly different experience! With due respect to my other director-friends, Subhash-ji gives me the complete due respect where money and name are concerned. He knows so much about music that he makes me feel like a beginner. I feel blessed to be working under him. I am learning a lot of things from him. One great quality of his is that he encourages his technicians a great deal and puts them at ease. In this way, he extracts the best out of them.

Here, I will narrate you an incident. Once, after we had had a sitting with Anand Bakshi-ji at his (Anand Bakshi’s) house, we finalised a tune. Then, while we were leaving, Subhash-ji said that he would accompany me till my home. He told his driver to trail my car. While I was driving, I noticed from Subhash-ji’s body language that he was not at peace with himself. I told him, “Subhash-ji, I think you have not liked the song.” He agreed. I had left my home far behind and we almost reached his Audeus. At Audeus, Subhash-ji, restless as he was, hit his finger on the synthesiser just for the heck of it. That set off the sound of a rhythm patterm. It had an inspiring beat. That got me into the mood and I began singing a line with it. I had altered a word here and there. That did it! Subhash-ji was ecstatic! Inspired as he was, Subhash-ji and I went straight back to Bakshi-ji’s place. He explained the change of words to Bakshi-ji who also liked it. And a song was finalised.

It is said that music can make or mar a film. In that case, do you think, music directors are paid much less than what they deserve?

– Yes, they are. But there are two sides to a coin. If a certain music director has fifty films, he cannot demand what he desires or deserves. But the one who opts for fewer films and, more importantly, the one who gives quality music can ask his price. In future, I plan to cut down further on my assignments and ask the price my music deserves.

Supposing you work hard on a tune and the good tune gets rejected, how do you feel?

– I get upset. At such times, I feel that the director or producer rejecting the tune does not know what good music is all about. Once, a hero — I won’t name him — butted in after I had recorded a song, to say that the song should have been like this and like that. I told the director that if his hero knew so much about music, he should let him only compose the songs. The hero then came and apologised. He added that he would not make any unnecessary comments. After that, it was all okay.

But don’t you believe in that Rig Vedic thought, ‘Let noble thoughts flow from all sides’?

– Of course, I do believe in such a noble thought. I would love to have good ideas coming, but only when the tune is being made, that is, during the sittings. But certainly not after the song is recorded!

What do you need to set a good tune? A good imported CD, a good mood, an inspiring situation or a good night’s sleep?

– None of these! I need to have an inspiring director. And peace of mind, which is very important. There should be someone who almost says, ‘Look, Anu, I have come to you because I believe that you will come up with something really good’. That’s enough to inspire me. After all, my tunes are born out of warmth, passion and love. That’s all I need to make good music!

‘Beti No. 1’ Refuses To Leave Maika

RELEASE CANCELLED AT ELEVENTH HOUR

After high-tension drama that lasted for a few hours on Wednesday, August 30, the release of Rajeev Kumar’s Beti No. 1 on 1st September was cancelled. The tension and drama were sparked off by a shortfall of funds because of which some financiers refused to let go off a part of their money. The shortfall arose due to two reasons — lack of coverage by the producer due to the film not finding buyers to cover its cost, and secondly, some distributors going back on the committed price.

One distributor, whom the producer claims to have sold the film for Rs. 1.11 crore, refused to pay a rupee more than Rs. 85 lakh. According to the distributor, the price at which he had struck the deal was 85 lakh and not 1.11 crore. In the absence of a written agreement between the producer and the distributor, it was a case of believe-at-your-own-risk.

Reportedly, the shortfall was to the tune of Rs. 75 lakh. Finding himself in a helpless situation, producer Rajeev Kumar landed in the ICU of a city hospital. The aggrieved financiers claimed that Rajeev had feigned illness and intentionally got himself hospitalised to avoid embarrassment to himself. AMPTPP president Pahlaj Nihalani was trying his best to bring about a settlement between the producer, his distributors, financiers and the laboratory owner (Girdharilal Seksaria, Ramnord Lab). The lab owner, too, had reported sick and did not come to office on 30th. Pahlaj and the others, who had intervened, were trying to prevail upon financiers to forgo part of their money and upon distributors, to pay more than the contracted price.

With no solution in sight, a couple of distributors announced on Wednesday night itself that the film would not be released on Friday in their circuits. The more hopeful ones kept the release issue hanging fire till Thursday afternoon. Some cinemas in Bombay did not know till as late as 1 p.m. on Thursday whether Beti No. 1 would be screened at theirs from the following day.

Even though the film has not been released this week, efforts to bring about a settlement were on even on Thursday afternoon and evening.

Finally, as a quip remarked, “Beti (producer ke) ghar se, bina dahej, nahin jaayegi!”

In the meantime, exhibitors who had booked Beti No. 1 were panic personified. Running programmes had to be continued in many cinemas due to the cancellation of Beti No. 1. Other cinemas desperately hunted for alternative programmes. Among the film’s distributors, it was probably the C.P. Berar distributor (Suresh Rathi, Vishnu Films) who proved to be the most gullible. Unaware of the impending tension, he paid the entire delivery amount to one of the financiers but had to suffer due to the release cancellation.

The new release date of the film is still not known.

LATEST POSITION

The pre-Ganpati festival has affected and the Ganpati festival continues to affect the box-office, adversely at many places and favourably at some.

Hamara Dil Aapke Paas Hai, as predicted last week, has met with mixed responses in the various circuits. Except in Gujarat and Saurashtra, where it is extraordinary, and in Bombay and Maharashtra (including some stations of C.P. Berar), where it is good, it could not pick up to appreciable levels in many of the centres of other circuits. Is particularly poor in Rajasthan, generally ordinary in Delhi-U.P. and Bihar, dull in East Punjab, West Bengal and C.I., and fair in Nizam. 1st week Bombay 52,35,525 (81.12%) from 12 cinemas (12 on F.H.); Ahmedabad 33,14,746  from 7 cinemas, Rajkot 2,45,660 (1 in matinee on F.H.), Jamnagar 2,04,637, Adipur 1,54,568 (70.55%); Solapur 2,45,873 from 2 cinemas (1 in matinee); Delhi 60,27,276 (74.25%) from 12 cinemas; Lucknow 4,70,262, Agra 4,36,407, Varanasi 1,90,505, Allahabad 2,03,305, Meerut 2,07,630, Aligarh 2,23,948, Dehradun 1,86,017, Gorakhpur 1,79,837, Moradabad 1,55,617, Saharanpur 1,96,991, Jhansi (8 days) 1,37,293; Calcutta 25,19,055 from 23 cinemas; Nagpur 6,52,094 from 3 cinemas, Jabalpur (6 days) 1,18,614, Amravati 1,96,355, Akola 1,55,838, Raipur (6 days) 1,11,990, Jalgaon (6 days) 2,06,920, Wardha 90,002, Chandrapur 1,51,762; Indore 3,32,611 from 2 cinemas (2 on F.H.), Bhopal 3,32,989 from 2 cinemas; Jaipur 11,01,757 (58.47%) from 3 cinemas, Bikaner 2,02,024; Hyderabad (gross) 19,57,027 from 9 cinemas (1 in noon); Ongole (gross) 91,367.

…………..

Tera Jadoo Chal Gayaa crashes further. Will entail heavy losses to exhibitors (like those of Allahabad, Aligarh, Kanpur, stations of East Punjab and other circuits) who had booked the film at fantastic terms. 2nd week Bombay 23,43,830 (62.58%) from 7 cinemas (9 on F.H.); Ahmedabad 2,88,448 from 2 cinemas, Rajkot 1,98,000, Jamnagar (matinee) 16,247; Solapur 1,54,926 from 2 cinemas (1 in matinee); Delhi 24,63,652 from 6 cinemas (4 on F.H.); Lucknow 3,86,582, Varanasi 98,341, Allahabad 1,32,500, Bareilly 57,868, Shamli about 30,000; Calcutta 2,86,739; Nagpur 2,07,679 from 2 cinemas, Jabalpur (6 days) 40,139, Amravati 1,06,557 (1st 2,28,576), 1st week Akola 1,50,595, 2nd week Raipur (6 days) 66,515, Jalgaon (6 days) 60,351, Chandrapur 97,998, total 3,42,594; Indore 1,15,000 (1 uncrecd., 1 on F.H.), Bhopal 70,000; Jaipur 3,25,652 (31.01%) from 2 cinemas, Bikaner 75,242; Hyderabad (gross) 4,04,582 from 3 cinemas (2 in noon).

Dhadkan 3rd week Bombay 5,81,591 (7 cinemas unrecd., 7 on F.H.); Ahmedabad 7,54,454 from 6 cinemas, Jamnagar 63,369; Solapur 1,09,122 from 2 cinemas (1 in matinee); Delhi 12,57,395 from 6 cinemas (1 on F.H.); Lucknow 2,52,558, Varanasi 1,24,250, Allahabad 77,029, Bareilly (6 days) 87,544, Shamli about 25,000; Calcutta 4,38,968 from 3 cinemas; Nagpur 3,35,304 from 3 cinemas, 2nd week Jabalpur 1,71,569, total 4,35,159, 3rd week Amravati 1,14,977 (2nd 1,65,181), Akola 96,103, total 4,74,603, Raipur (6 days) 70,101, Bhilai (6 days, gross) 91,886, Durg 32,535, Jalgaon (6 days) 94,928, Sagar 48,225 (2nd 77,801); Jaipur 1,59,420 (31.01%), Bikaner 66,899; Hyderabad (gross) 7,37,624 from 3 cinemas (1 in noon, 1 on F.H.).

Deewane 3rd week Bombay 6,81,214 (39.59%) from 6 cinemas (7 on F.H.); Ahmedabad 4,54,062 from 5 cinemas, Jamnagar 43,398; Solapur (matinee) 20,813; Delhi 1,54,040 from 2 cinemas (1 on F.H.); 2nd week Lucknow 2,25,133, 3rd Varanasi 75,750, Allahabad 57,336, Bareilly (6 days) 48,963, Shamli about 10,000; Calcutta 1,06,066; Jabalpur (6 days) 34,831, Amravati 68,237 (2nd 1,25,470), Akola 48,218, total 3,48,418, Raipur (6 days) 72,054, 1st week Sagar (5 days) 52,193; 3rd week Jaipur 34,644 (12.78%).

Har Dil Jo Pyar Karega 4th week Bombay 11,56,325 (50.72%) from 5 cinemas (10 on F.H.); Ahmedabad 53,803; Solapur 82,747; 3rd week Bijapur 54,013, total 2,24,103; 4th week Delhi 86,587; Lucknow 1,32,788, Varanasi 55,550, Allahabad 56,000, Bareilly (6 days) 28,471, 3rd week Shamli about 11,000; 4th Calcutta 1,05,591; Nagpur 80,560, Jabalpur (6 days) 39,946, Amravati 87,346 (3rd 1,32,718), Raipur (5 days) 27,477; Jaipur 80,165 (16.35%); Hyderabad (gross) 4,93,446 from 4 cinemas (1 in noon).

VASHU, ABHISHEK VISIT LUCKNOW, KANPUR

Producer Vashu Bhagnani and hero Abhishek Bachchan last Friday (25th August) went on a whirlwind tour of two cities of U.P. to promote their film, Tera Jadoo Chal Gayaa. The duo made an appearance at a screening of the film at Nishat, Kanpur. Both received a tumultuous welcome from filmgoers. Later, they visited Novelty, Lucknow, where another grand reception was planned for them. The duo was accompanied by MP Amar Singh at both the places.

AUSTRALIAN DIGNITARY VISITS IMPPA

Ms. Gayle O’Brien, senior trade officer — emerging markets — trade division, Queensland, Australia, visited the IMPPA House at Bandra, Bombay on 25th August. She invited Indian filmmakers to explore the virgin locales of Queensland for their films’ shootings. O’Brien assured the producers of all possible help including concessional rates for hotels, transportation, availability of local technicians, equipments etc. A detailed brochure and video cassettes of some of the locations were handed over to the IMPPA.

Gayle O’Brien later also met Film Information editor Komal Nahta to know more about the functioning of the film industry in Bombay.

‘ANOKHA MOTI’ FOR IRAN FILM FESTIVAL

Gaurang Films’ Anokha Moti has been selected for the 15th Isfahan International Festival of Films & Video for Children & Young Adults of Iran. The festival will be held in Iran from October 14 to 20. The film is directed by Tapan Sinha, and produced by R.A. Jalan.

B.N. TIWARI ELECTED WIMPTSEA PRESIDENT

B.N. Tiwari was elected president of the Western India Motion Picture & Television Sound Engineers Association for 2000-2001 at its annual general meeting held on 13th August at Empire Audio Centre. The other officer-bearers and executive committee members elected are: S.C. Bhambri, hon. general secretary; Dinesh Chaturvedi, vice president; Madan Prakash and J.C.V. Rao, joint secretaries; E. Rudra, treasurer; A.K.Biswas, Tahir Khambati, Ramanand Prasad, J.P. Sehgal, Dilip Sawant, Buta Singh, Vinod Potdar, Ashat Kapoor and M.G. Dalal.

CINEMAS REOPEN IN KARNATAKA

Cinemas in Bangalore and all over Karnataka state reopened on 1st September. They had downed shutters before more than four weeks following the kidnapping of Kannada film matinee idol Dr. Rajkumar by forest brigand Veerappan on 30th July. The entire film industry of Karnataka had, in a show of solidarity, remained closed for a month.

CBFC, BOMBAY GETS NEW R.O.

Virendra Kumar Singla has been appointed the regional officer of the Central Board of Film Certification, Bombay. Singla, who was with the All India Radio, Jabalpur, took charge as the R.O. on 14th August.

IMPPA AGM ON SEPT. 22

The 61st annual general meeting of the Indian Motion Picture Producers’ Association (IMPPA) will be held on Friday, 22nd September at 3 p.m. at ISKCON Auditorium, Juhu, Bombay.

As is customary, five veterans of the industry will be felicitated at the annual meet, for their contributions to the Indian film industry. The veterans chosen for the honour this year are Amjad Khan (posthumously), Rajesh Khanna, J. Om Prakash, Gaffarbhai Nadiadwala and Hema Malini.

MAHAVIR SHAH DIES IN ROAD ACCIDENT

Actor Mahavir Shah died following a road accident in the USA on the night of 31st August. He was 48 and is survived by his wife, a daughter and a son.

Mahavir had gone to the US to stage his Gujarati play, Saathi, in different countries. He was the producer of and was also playing the male lead in the play which is the adaptation of the famous Hindi play, Salgirah (Anupam Kher and Kiron Kher). Sarita Joshi was Mahavir’s co-star.

The small unit of the play was travelling in a van from New York to Chicago where the play was to be staged, when the van collided with a truck. While all the others travelling in the van, including the driver, escaped with minor injuries, Mahavir sustained grievous injuries. He was rushed to hospital in a helicopter but succumbed to his injuries in a short while after admission. He passed away following haemmorhage.

Mahavir Shah had acted in many Hindi and Gujarati films, besides some television serials too. Among his better-known Hindi films are Tezaab, Tirangaa, Krantiveer, Ankush and Hum Dono. He generally played villainous roles. On the small screen, he shone in serials like Dastaan. He had been active on Gujarati stage for the last 28 years. He had turned a drama director last year.

VED PRAKASH MEDIRATTA ELECTED CINE CLUB PRESIDENT

Ved Prakash Mediratta was elected president of the Cine Club of Indore at the first meeting of its new executive committee, held after its elections recently. He bagged 63 votes at the election. Sandeep Jain, who bagged the highest number of votes (74), was elected secretary; Sunil Choudhary was elected vice president (66 votes); Chandulal Goyal, treasurer (67 votes); Ashish Goel, joint secretary (53 votes); and Harish Janiani, games secretary (37 votes). Shyam Rajpal, Ashok Choudhary, Hemant Vyas, Girdharilal Agarwal and Raj Kumar Kapoor were the other members who were elected to the executive committee.

Pulkit Narsaria, Sunil Udani and Rajesh Agarwal were co-opted to the committee.

Ninety members, out of the total 120, cast their votes in the election which was keenly contested by two groups — one led by Ved Prakash Mediratta, and the other, by Ashok Choudhary. While nine members of Mediratta’s group were declared elected, only two of the second group found a place on the committee.

Those vanquished were Ratanlal Garg (35 votes), Jagdish Advani (34), Manoj Jain (34), S.N. Gupta (32), Anwar Khan (31), Arun Patel (27), Jagdish Sharma (23), Rajesh Tharani (21), Bharat Jain (19) and Kamal Agarwal (13).

YOU ASKED IT

For how many years are the satellite rights acquired by buyers?

– It varies. Sometimes, it is for five years, sometimes two to three years, sometimes for more years. There is also often a restriction on the number of telecasts within that time period.

Is there any written rule under which a producer cannot announce his film’s release date in public until he gets the censor certificate?

– Not at all! But producers fear announcing the release date prior to getting the censor certificate lest the censors act tough.

Just a few years back, you used to give a ‘post-mortem’ of unsuccessful films. Why don’t you do it now?

– What our filmmakers require today is not post-mortems of films but pre-release corrective measures for their films because today, stakes are very high and the debacle of just one film is enough to destroy a person. Once a film is complete, everybody is in a hurry to release it. If green trials are held, corrective steps could be taken or changes effected before the film comes in front of the public and gets rejected.

SIGNED

Raj Kumar Kohli Signs Technicians

Producer-director Raj Kumar Kohli has signed Tinnu Verma to execute action scenes, and Thomas A. Xavier to cinematograph Shankar Movies’ Prod. No. 25. He has also signed story writer Aatish, art  director Sunil Singh, editors Kuku and Cuckoo, and sound recordist J.P. Saigal. The film stars Sunny Deol, Akshay Kumar, Sunil Shetty, Manisha Koirala, Rambha, Aftab Shivdasani, Aditya Pancholi, Mohini Sharma, Arshad Warsi, Rajat Bedi and Munish Kohli. Lyrics: Sameer. Music: Anand Milind. The film is presented by Nishi.

PRODUCTION NEWS

‘Nayak – The Real Hero’ 25-Day Spell Complete

The 25-day initial shooting schedule of Sri Surya Movies’ Nayak – The Real Hero in Bombay, Mysore, Madras and Ladakh was completed this week. Written and being directed by Shankar, and produced by A.M. Ratnam, the film stars Anil Kapoor, Rani Mukerji, Amrish Puri, Pooja Batra, Johny Lever, Paresh Rawal, Shivaji Satam, Saurabh Shukla and Sushmita Sen in a special appearance. Music: A.R. Rahman. Lyrics: Anand Bakshi. Dialogues: Anurag Kashyap. Editors: B. Lenin and V.T. Vijayan. Cinematographer: K.V. Anand. Art: Thotta Tharani. Action: Kanal Kannan.

‘Deewangee’: Fifth Song Recorded

Music director Ismail Darbar recorded the fifth song of Neha Arts’ Deewangee at Octavius Recording Studio on Aug. 27. Penned by Salim Bijnori, it was rendered by Sunidhi Chauhan. The film is being produced by Nitin Manmohan, and written and directed by Anees Bazmee. It stars Sanjay Dutt, Ajay Devgan, Karisma Kapoor and Raveena Tandon. Cinematographer: Piyush Shah. Action: Bhiku Verma. Art: R. Varman.

‘Chandni Bar’ 20-Day Spell In Hyderabad Complete

Shlok Films’ Chandni Bar was shot in a 20-day schedule, till Aug. 29, in Hyderabad. The film stars Tabu and Atul Kulkarni in the lead with Shrivallabh Vyas, Rajpal Yadav, Vinay Apte, Abhay Bhargav, Preeti Kar, Vaarun Vaardaan, Ananya and Suhas Palshikar in supporting roles. Being produced by Mrs. R. Mohan, and directed by Madhur Bhandarkar from his own story, it has screenplay by Mohan Azad, and dialogues by Masood Mirza. Cinematography: Rajeev Rai. Choreography: Kishore Oreskar. Art: Prasanna and Yashwant Patil.

Tips Industries To Go Public: Bid Opens 5th September
Floor Price Rs. 325

Tips Industries Limited, one of the leading music companies with a consistent growth in turnover and profitability for the last 10 years, will enter the capital market with an initial public issue of 30,00,000 equity shares of the face value of Rs. 10 each at premium of Rs. 315 (floor price is Rs. 325). The issue includes book-building portion of 27,00,000 equity shares (90% of the issue) and fixed price portion of 3,00,000 equity shares (10% of the issue). The bid opens on 5th September and closes on 12th September. The fixed price portion opens on 26th September. The issue is to part-finance the company’s expansion plans — to set up a studio for recording music, a plant to manufacture CDs, expand the existing cassette manufacturing capacity, acquire audio rights, augment long-term working capital, and to meet issue expenses.

The audio-visual of Tips’ growth over the years, screened at its press conference on 30th August at The Taj, to brief the media about its future plans, was pretty impressive.

Tips has a vast repertoire of film and non-film albums (totalling over 8,000) and has a number of super-hits to its credit. Tips has also acquired the entire music catalogues of Time Audio, Weston, Oriental, Swaran Sudha and Rajshri (Gujarati). Besides, the company has already acquired audio rights of 57 forthcoming films which are under different stages of production, for which the company has already paid around Rs. 31 crore. Almost all the audio rights are outright purchases.

Tips manufactures and markets pre-recorded audio cassettes, blank audio cassettes and replicated CDs. It has a capacity to manufacture 744 lakh audio cassettes per annum at its plants at Silvassa and Palghar.

Tips plans to increase its market share through acquisitions of more audio rights and forging alliance with overseas companies for distribution of its music in international markets.

For the year ended 31st March, 2000, Tips Industries recorded a profit after tax of Rs. 23.32 crore on sales of Rs. 115.82 crore. It expects to end the current year with a net profit of around Rs. 35 crore on a total sales of around Rs. 159 crore. The company has had an average return on net worth (RONW) of over 50% in the last 5 years. The estimated EPS for the year ending 31st March, 2001 on a post-issue capital of Rs. 12 crore works out to Rs. 29.36 as against Rs. 25.91 for the year ended March 31, 2000 on an equity of Rs. 9 crore. The company has a conservative accounting policy where payments for purchase of all audio rights and marketing expenses are written off fully in the year of release of music.

Promoted by the Taurani family, its chairman and managing director is Kumar Taurani. Prominent names on the Board of Directors are Shiv Abhichandani, Boney Kapoor, David Dhawan and Shyam Lakhani. Anand Rathi Securities Pvt. Ltd. is the book-running lead manager to the issue. The shares are proposed to be listed on the Bombay Stock Exchange and the National Stock Exchange.

DO YOU KNOW?

* Now that both, Yash Chopra’s MOHABBATEIN and Vidhu Vinod Chopra’s MISSION KASHMIR, are definitely scheduled for Diwali release, Babloo Pachisia will postpone his FARZ by two to three weeks thereafter. He had always maintained that he would bring his film to the sound of fire-crackers only if one of the two films would be postponed. So finally, it would be Chopras ki Diwali this year!

* Encouraged by their partnership which resulted in the completion of their FIZA in 10 months, Culture Company (I) Pvt. Ltd. and UTV Motion Pictures have decided to continue their association with two mega film projects shortly. The cast and credits of the two big films are being finalised.

3-E
Education-Entertainment-Enlightenment

What A Craze!

The eagerly-awaited music album of Yash Chopra’s Mohabbatein finally arrived in the market on 30th August. HMV, sensing the craze for it, released a whopping 15 lakh units on day one. And if you think 15 lakh is too big a number, think again. For, there were repeat orders on the first day itself! Needless to add, HMV welcomed the new orders with joy. As for young director Aditya Chopra and music directors Jatin Lalit, they are smiling from ear to ear.

Mission Panorama!

Though Vidhu Vinod Chopra’s Mission Kashmir is scheduled for release in Diwali, it has already been seen by the censors. That is, seen nearly two months before its release date! The censors saw the film in its video format. But then, why so much in advance? Well, there is a ‘mission’ behind it. The producer-director wants the film to be entered in the Indian Panorama section of the International Film Festival of India (IFFI) 2001. And since only films certified on or before 31st August, 2000 are eligible for entering the Panorama section, Chopra, without losing any time, encapsulated the film in the video format and applied to the CBFC for certification, on 29th August. The CBFC saw the film on 31st August.

Record Number Of Prints?

Mission Kashmir might set a new record where the number of release prints is concerned. In C.P. Berar alone, the film will be released with a record number of 40 prints! Har Dil Jo Pyar Karega so far holds the record in C.P. for the maximum number of prints (33) released on premiere. When asked whether his film would open with about 450 prints all over India, producer-director Vinod Chopra revealed, “The number of prints, including Overseas, might even go up to 500!”

Aiming For The World Record

Well-known Telugu and Hindi filmmaker Dasari Narayana Rao has staked a claim for an entry into the Guinness Book of World Records as the person with the most multi-faceted jobs done in the cinema industry. Dasari, who is also a member of the Rajya Sabha, has already dispatched a detailed account of his exploits in a career spanning nearly three decades. He has already directed 144 films since starting out in 1973! This, in addition to acting in 54 films and producing 24! As if these many jobs weren’t enough, Dasari has penned the dialogues, lyrics and stories of every film he has made. A record-breaking feat, indeed! If Dasari gets a mention in the Guinness Book of World Records, he may well become the second South Indian film man to be given the honour, after D. Rama Naidu.

Among the many Hindi films directed by Dasari are Swarag Narak (1978), Jyoti Bane Jwala (1980), Pyaasa Sawan (1981) and Aaj Ka MLA Ramavtar (1984).

Udaipur From Ghai’s Eyes

The unit of Subhash Ghai’s Yaadein returned from Udaipur last week after the hotshot director picturised a song and scenes at the panoramic locales. One has heard the song and is sure of it becoming a major hit and highlight of the film. This number has Hrithik Roshan and Kareena Kapoor dancing atop a sailing boat in the middle of the famous Pichola Lake of Udaipur. In order to make the song a visual treat, Ghai even transported, all the way from Bombay, his brand new remote-operated crane (jig) that can make the camera rotate at 360 degrees and which does not need the cameraman to be perched on the crane. Perhaps, Bina Kak, the Rajasthan tourism, art and culture minister, who was in Bombay a few weeks ago to exhort film producers to shoot in Rajasthan, could begin granting the promised tax-exemption to films shot in the state, with Yaadein itself. For, Udaipur must’ve never looked as beautiful on screen as it will look in Yaadein. The song, penned by Anand Bakshi and tuned by Anu Malik, has been set to a catchy rhythm by percussionist Sivamani. Choreography was by Saroj Khan.

Musical Prelude To ‘Fiza’

Shringar Films, which is handling the distribution of Fiza in Bombay territory, has hit upon two musical ideas for the film’s promotion. The first one is a medley of four songs of the film, mixed in 6-track Stereophonic sound. This 10-minute musical medley will be played at all cinemas where Fiza will be released next week. The second idea is an edited version of the taandav music of the film, which will be played before the start of the film in every show. The edited version is of 2½ minutes (it lasts for 4½ minutes on the screen).

HAMARA DIL AAPKE PAAS HAI

S.K. Films Enterprises’ Hamara Dil Aapke Paas Hai (UA) is the story of a principled man (hero) and a conscientious girl, who happen to meet in a crowded street where a professor is sought to be killed by a gang of villains. The girl reports the crime to the police, for which she has to pay a heavy price — she is raped by the brother of the chief of the villains; disowned by her family and friends; and she loses her job. The principled guy gives her a place in his house and she soon occupies a pride of place in his heart too. However, his proposal for marriage is turned down by her as she finds herself unfit for the position of his wife. The man’s childhood friend comes on the scene and claims his love. In the meantime, the rape victim also starts loving the guy. The complex triangle and tangle are simplified in the climax by one girl sacrificing her love. The film is inspired by the Telugu hit, Pelli Cheskundam.

There is another track too in the story — that of the hero’s step-siblings, whom his father refuses to acknowledge as being products of his lust, but who are reared by the hero.

The story is quite interesting, and the screenplay has been written to accommodate a lot of incidents and happenings which keep the audience interest alive. However, a few drawbacks in the scripting and treatment of the drama rob the film of its merited business. For one, the rape victim is shunned by her father as if she were a girl of loose character; the right reaction of the father would be to sympathise with his daughter while pleading helplessness due to his poverty. Secondly, the girl’s suffering and humiliation are shown minimally after her rape — she, in fact, leads a far more comfortable life post-rape. Thirdly, there’s no romance between the hero and the rape victim and also between the hero and his childhood friend. This makes the film more appealing for the classes than the masses. The comedy tracks would meet with mixed reactions — while some would find them hilarious, others may find them boring or even repulsive. The comedy track has no relevance to the main story. In fact, while the comedy holds more appeal for front-benchers, the story is for the gentry. Therefore, the two are mismatched. Climax is fairly good but the pre-climax sermonising is lengthy and repetitive.

On the positive side, the novelty of the subject would appeal to the ladies especially. Secondly, the drama moves at a really fast pace and does not give the audience time to think. The first half is better.

Anil Kapoor plays the man of principles, with utmost conviction and delivers a fine performance. Aishwarya Rai looks pretty at places and not so pretty at others. Although she acts well, she is stiff at times. Sonali Bendre comes as a whiff of fresh air and impresses a great deal with her free acting. Puru Raaj Kumar is very natural in a negative role. Mukesh Rishi is good. Tanaaz Currim is extremely likeable as Aishwarya’s friend. Anupam Kher’s comedy is loud and will be enjoyed by some. Himani Shivpuri is also unrestrained. Johny Lever’s comedy has some appeal even though it is not hilarious. Jaspal Bhatti and Abid are very good. Upasna Singh, Rana Jung Bahadur, Shashi Sharma, master Yash Shah, baby Kirti Bhardwaj and the artistes playing Aishwarya’s family members lend fair support. Satish Kaushik has no worthwhile role to match his brilliant acting talent. Razzak Khan is alright. Smita Jayakar is effective. Anang Desai does an average job.

Satish Kaushik’s direction is good but his handling of some dramatic scenes leaves something to be desired. For instance, while the confrontation between Aishwarya and Smita Jayakar is very fine, the reaction of Aishwarya thereafter (in front of Anil Kapoor) is incomprehensible — she almost fights with him in frustration rather than breaking down emotionally. Music (Sanjeev Darshan) is good but needed to be much better. The title song and ‘Shukriya shukriya’ number are good. ‘Gham hai kyon’ is also well-tuned and lyrically (Javed Akhtar) rich, but its dull picturisation is a major drawback, making it a walkout item! Since the romantic songs are dream sequences, the impact on the viewer is lesser. Dialogues are effective. Action is ordinary. Kabir Lal’s camerawork is not as good as his earlier works. Foreign locations, however, are extraordinary and they’ve also been captured beautifully. Production values are rich. Other technical aspects are of standard.

On the whole, Hamara Dil Aapke Paas Hai will meet with varying responses from different circuits. It should prove a good earner in Bombay, Gujarat and Maharashtra (C.P. Berar too), where it has taken a great start. In other circuits, its opening is lukewarm and, although the film will pick up by word of mouth, the jump will not be enough to shout home about. It would not be able to even cover its cost in some circuits. The appreciation will come more from the ladies and gentry audience and less from youngsters.

Released on 25-8-2000 at Novelty, New Excelsior and 22 other cinemas of Bombay thru Vimal Agarwal (Aarushi Investments) and R.M. Ahuja & Co. Publicity & opening: excellent. …….Also released all over. Opening was extraordinary in Gujarat and very good in Maharashtra but average in Delhi-U.P., East Punjab and Nizam (also affected due to heavy rains in Nizam) and poor in C.I. and Rajasthan.

LATEST POSITION

The opening of this week’s release, HAMARA DIL AAPKE PAAS HAI, is mixed. While it is fantastic in Gujarat and parts of Maharashtra, it is rather dull in C.I. and Rajasthan. …The festival period (Saatam-Aatham) in Gujarat has been responsible for all-round fantastic collections in the state. 

Tera Jadoo Chal Gayaa 1st week Bombay 50,90,495 (91.37%) from 9 cinemas (11 on F.H.); Ahmedabad 19,49,599 from 4 cinemas, Baroda 100%, Padra 3,36,716, Vapi 6,21,540, Rajkot 3,53,300, Jamnagar (matinee) 39,274 (1 in regular unrecd.); Solapur 2,74,846 from 2 cinemas; Delhi 62,64,179 (65.32%) from 13 cinemas; Kanpur 3,86,986 from 2 cinemas, Lucknow 8,17,045 from 2 cinemas, Agra 5,03,000 from 2 cinemas, Allahabad 2,75,500, Bareilly 1,20,468; did ordinary in Calcutta; Nagpur 8,86,370 from 4 cinemas, Amravati 2,28,576, Raipur 1,94,618, Bhilai 3,73,034 from 2 cinemas (1 gross), Jalgaon 1,66,763, Jabalpur 1,38,502, Wardha 86,906, Chandrapur 2,44,596; Indore 3,43,545 from 2 cinemas (2 on F.H.), Bhopal 2,04,386 (1 unrecd.); Jaipur 8,74,574 (54.02%) from 3 cinemas, Bikaner 1,92,318; Hyderabad (gross) 29,64,353 from 10 cinemas (1 in noon).

……….

Dhadkan 2nd week Bombay 30,89,802 (63.41%) from 10 cinemas (7 on F.H.); Ahmedabad 16,59,966 from 6 cinemas, Baroda 3,09,314, Jamnagar 1,22,850; Solapur 1,87,465 from 2 cinemas; Delhi 26,19,007 from 8 cinemas (1 on F.H.); Kanpur 3,23,993 from 2 cinemas, Lucknow 3,43,995, Agra 3,75,000, Allahabad 1,19,500, Bareilly (6 days) 98,063; Calcutta 8,47,224 from 5 cinemas; Nagpur 3,94,174 from 3 cinemas, Akola 1,61,350, total 3,78,500, Durg 55,136 (1st 1,11,041), Rajnandgaon 70,414 (1st 1,16,433), Chandrapur 1,03,711 (1st 2,21,764); Jaipur 2,95,312 (33.87%) from 2 cinemas, Ajmer (gross) 2,11,542, Bikaner 1,09,735 (1st 2,29,378); Hyderabad (gross) 10,17,450 from 3 cinemas (1 in noon).

Deewane 2nd week Bombay 16,10,823 (54.45%) from 7 cinemas (13 on F.H.); Ahmedabad 9,99,251 from 7 cinemas, Rajkor 2,15,355, Jamnagar 1,69,757; Solapur 35,771; 1st week Hubli (6 days) 2,37,856, Dharwad (6 days) 93,897; 2nd week Delhi 12,02,117 from 9 cinemas (3 on F.H.); Kanpur 1,49,334 from 2 cinemas, Agra 1,52,000, Allahabad 1,05,034, Bareilly (6 days) 62,136; Calcutta 1,82,786; Hajipur 57,939 (1st 88,000); Nagpur 99,843 from 2 cinemas, Akola 1,10,796, total 3,00,200, Jalgaon 84,500, Wardha 36,753; Jaipur 1,66,316 from 2 cinemas.

Har Dil Jo Par Karega 3rd week Bombay 38,11,326 (75.24%) from 9 cinemas (7 on F.H.); Ahmedabad 1,55,628, Vapi 95,810; Solapur 1,44,627; Delhi 10,47,440 from 4 cinemas (1 on F.H.); Kanpur 1,82,216 from 2 cinemas, Lucknow 2,10,008, Agra 1,80,000, Allahabad 80,000, Bareilly (6 days) 38,520; Calcutta 1,92,525; Nagpur 1,67,282 from 2 cinemas, Akola 64,146, total 3,80,754, Durg (6 days) 25,169, Jalgaon 46,692, Wardha 30,825; Jaipur 1,17,070 (23.88%), Ajmer (gross) 1,18,010, Bikaner 70,000; Hyderabad (gross) 8,41,757 from 4 cinemas (1 in noon).

‘KYA KEHNA!’ SCORES A TON

Tips Films P. Ltd.’s Kya Kehna! is completing 100 days of its run today (26th August) at Plaza, Bombay in matinee shows. Directed by Kundan Shah, the film is based on a script by Honey Irani. It has dialogues by Ranjit Kapoor, and stars Preity Zinta, Saif Ali Khan, Chandrachur Singh, Farida Jalal and Anupam Kher in principal roles. The film, produced by Kumar S. Taurani and Ramesh S. Taurani, has music by Rajesh Roshan and lyrics by late Majrooh Sultanpuri.

IFDA AGM ON 10TH SEPTEMBER

The annual general meeting of the Indian Film Directors’ Association will be held on Sunday, 10th September, at 10.30 a.m. at Hotel City Point, Imperial Mahal, Khodadad Circle, Dadar T.T., Bombay.

SHAH RUKH TO PRODUCE TWO SERIALS FOR B4U

Shah Rukh Khan has tied up with B4U to produce two exclusive entertainment shows for the network. These shows will be produced by Dreamz Unlimited, a company floated jointly by Juhi Chawla, Aziz Mirza and Shah Rukh Khan.

‘BARIWALI’ INVITED TO LONDON FILM FESTIVAL

Producer Anupam Kher’s Bariwali has been invited to the 44th London Film Festival, to be held from November 1 to 16. The film has already won the NETPAC award for the most outstanding Asian film at the Berlin International Film Festival (in February this year) and the best narrative film award in the 43rd San Francisco International Film Festival. It also fetched for Kiron Kher, who plays the female lead in the film, the National Award for the best actress, and for Sudipta Chakraborty, the National Award for the best supporting actress.

‘DDLJ’ COMPLETES 250 WEEKS

Yash Chopra’s Dilwale Dulhania Le Jayenge, with which Aditya Chopra made his debut as director, entered combined 250th week in matinee shows at Maratha Mandir, Bombay. The film is still going strong and has broken the longest run record of all first-run films except that of Sholay which had completed 265 weeks at Minerva, Bombay in regular and matinee shows combined.

MUKTA ARTS’ PRE-LISTING PRESENTATION TO BSE MEMBERS

Subhash Ghai, chairman and managing director of Mukta Arts, made a presentation to the members of the Bombay Stock Exchange at the pre-listing ceremony held at the Convention Centre of the BSE on 25th August. It was a rare honour accorded by the BSE to the company. Mukta Arts was only the second company to be invited for such an address.

The presentation by Ghai was attended by the movers and shakers of the Bombay broking community. Prominent members of the BSE governing board including Anand Rathi (president), Deena Mehta (vice president), A.N. Joshi (executive) and J.J. Bhatt (director, investor services & listing) graced the occasion.

The total revenue generation of the film industry is expected to grow from Rs. 6,215 crore in 1999 to Rs. 33,984 crore by 2005, and export earnings from film software are expected to increase from Rs. 665 crore to Rs. 14,700 crore by 2005. In this positive scenario, Mukta Arts has planned a leadership position. Outlining the company’s current projects and its future plan, Subhash Ghai invited BSE members and the general public to benefit from the entertainment boom by participating in it.

Mukta Arts, it may be added here, made a successful Initial Public Offering (IPO) of Rs. 100 crore in July this year. Its book-built portion was built 5.80 times in the institutional category and 3.51 times in the non-institutional category. This was at a price of Rs. 170 per share. In spite of such a good demand, the issue price was fixed at an investor-friendly Rs. 165 per share. The retail portion received an encouraging response from the market.

Mukta Arts proposes to set up an integrated studio complex-cum-research and training centre in order to be in line with the technological advancements in the world in the area of film production and to create a pool of new talent in filmmaking. The company is also expanding its existing studio facilities of Audeus from the present 13,000 sq. ft. to 26,000 sq. ft. and adding a music recording studio, a mixing theatre and editing suites. Mukta Arts also intends to acquire rights (viz. theatrical, television, satellite, cable, overseas, music, CD, DVD, internet etc.) of quality movies of other production houses and consolidate its library. It will also venture into production of television serials and production and marketing of music albums. It is setting up a portal for web broadcasting, covering various aspects of the film industry. The company is also in the process of setting up its own distribution centres and overseas offices in the US, the UK and the Middle East in order to optimise its overseas earnings.

PRANLAL MEHTA DEPARTS

Well-known producer and distributor Pranal Mehta breathed his last on the morning of 20th August at Lilavati Hospital, Bandra, Bombay, following a heart attack. It was the second attack that claimed his life. He had suffered the first attack just a little before the second one. Pranlal Mehta had been under great mental stress and was not keeping good health since a month. He was first admitted to the Arogya Nidhi Hospital, Juhu, Bombay and later shifted to Lilavati Hospital. He was shited to the hospital’s ICU last week.

Pranlal Mehta started as a distributor of Mysore with his father, Veljibhai’s concern in Bangalore. He shifted to Bombay in 1976 and entered film production with Gulzar as his partner. They (Pranlal Mehta and Gulzar) made Kitaab and Kinara. Both the films did not fare well at the box-office. Yet, Pranlal Mehta pursued film production with grit and determination. He set up his own banner, Prathima Films, named after his wife, Prathima. The first film under this banner was Hum Se Badhkar Kaun which was a success.

In the last 23 years, he had produced 24 films, including some successful films like Bezubaan (directed by Bapu), Marte Dam Tak (Mehul Kumar), 100 Days (with which director Parto Ghosh made a foray into the big league), Love 86, Police Public and Suryaa (all directed by Esmayeel Shroff), a Gujarati film, Garvi Naar Gujaratni, and a Kannada film. Among the other films he had produced were Dharm Aur Qanoon, Main Balwaan, Saatwan Aasmaan, Jawani Zindabad, Woh Phir Aayegi, Muskurahat, Zid, Mafia, Jiyo Shaan Se, Betaaj Badshah, Jungbaaz, Yugpurush and Tarkieb. His Chalo Ishq Ladaaye, starring Govindia, is nearly complete.

Pranlal Mehta endeared himself to his friends for his affable nature. He suffered financial setbacks in the early nineties. His Chalo Ishq Ladaaye has been long in the making.

Pranlal Mehta is the only producer to have made five films with Raaj Kumar — Marte Dam Tak, Jungbaaz, Suryaa, Police Public and Betaaj Badshah.

He was 62 and is survived by his wife and two sons, Vijay and Jay, who are also producers. Jay Mehta had been introduced as a hero in Muskurahat and also played the lead man in Zid.

A prayer meeting to condole his demise was held on 21st August at Arya Vidya Mandir at JVPD Scheme, Bombay.

SUJIT KUMAR HONOURED BY UTTAR PRADESH GOVT.

Actor-producer Sujit Kumar was honoured by the government of Uttar Pradesh on 14th August for his contribution to Bhojpuri films, Bhojpuri language and culture. He was felicitated along with other prominent personalities from various walks of life.

Sujit Kumar started his career as an actor and later produced and directed Bhojpuri films. As a lead man, his first Bhojpuri film, Bidesiya, released in the early ’60s, had proved a super-hit. His last Bhojpuri film was Paan Khaye Saiyyan Hamaar, which had also proved a big hit. He acted in 25 Hindi films as lead man before he switched over to playing character roles beginning with Aradhana. The Hindi films he has produced are Anubhav, Aasman Se Ooncha, Khel and Daraar. He is currently producing Champion, starring Sunny Deol and Manisha Koirala.

MAMTA KULKARNI ACQUITTED

Additional chief metropolitan magistrate (Bombay) K.H. Holambe-Patil on 25th August acquitted Mamta Kulkarni in the obscenity case filed against her for posing semi-nude in a glossy.

While passing the judgement, Mr. Holambe-Patil said, as the facts in the case against Mamta Kulkarni in the Andheri (Bombay) court and the present one were the same and as she had already pleaded guilty and been convicted by the Andheri court, Bombay, the present prosecution as far as Mamta Kulkarni was concerned was barred.

A case was registered by the city police in 1995 against the actress, the then editor of Stardust and photographer Jayesh Seth for publishing obscene pictures of Mamta in the September 1993 issue of Stardust. Proceedings will continue against the said editor and the photographer.

Advocate Peter Lobo, who appeared for the actress, had filed for a dismissal of the complaint under section 300 of the Criminal Procedure Code. According to this section, no person can be tried for the same offence twice.

YOU ASKED IT

With big films tumbling one after the other at the box-office in recent months, what corrective measures need to be adopted by the filmmakers?

– Just one, dear. Let the filmmakers devote time to writing scripts, and everything else will automatically fall in place. Our filmmakers are not being honest with the scripts and, therefore, the high casualty rate.

Which old comedy film can be remade successfully in keeping with today’s times?

– CHALTI KA NAAM GAADI, PADOSAN, PYAR KIYE JAA, to name some. They will have to be adapted to today’s times. 

Where is one’s investment the safest — in building a cinema hall or investing in production or in distribution?

– It’s not so simple to guess where one’s investment will be the safest. But investing in a tasteful cinema hall can be profitable today. 

CENSOR NEWS

The Culture Co. (India) P. Ltd.’s Fiza (social) was given C.C. No. CIL/2/28/2000 (UA) dt. 24-8-2000; length 4665.38 metres in 17 reels (cuts: 16.69 metres).

Bhushan Film Production’s Khooni Saaya (horror) was given C.C. No. CIL/3/80/2000 (A) dt. 16-8-2000; length 3033.98 metres in 16 reels (cuts: 58.71 metres).

R.D. Films’ Rani Mera Naam (revised; social) was given C.C. No. CIL/3/82/2000 (A) dt. 18-8-2000; length 3089.11 metres in 16 reels (cuts: 32.93 metres).

5001 Films’ Daku Ganga Jamuna (social) was given C.C. No. CIL/2/27/2000 (UA) dt. 23-8-2000; length 2548.72 metres in 14 reels (cuts: 2.36 metres).

Paramount Films’ Gladiator (Vijeta) (dubbed; historical) was given C.C. No. CFL/2/22/2000 (UA) dt. 22-8-2000; length 4251.96 metres in 16 reels (no cut).

SPE Films’ Jaanbaaz Jodi (dubbed; action), seen on 18th, has been issued C.C. No. CFL/2/23/2000 (UA) dt. 22-8-2000; length 3044 metres in 6 reels (no cut).

Promise Pictures 1997’s The Revenge Of Geeta Mera Naam has been passed for adults, with cuts.

R.N. Films’ Geeta Mera Naam (revised) has been passed for adults, with cuts.

NFDC Ltd.’s Kuchh Dil Ne Kaha (length 4091.07 metres in 15 reels), applied on 21st, was seen on 22nd.

Ajitabh Corporation’s Lal Haveli (3rd revised version; length 2271.32 metres) in 12 reels, applied on 23rd, was seen on 24th.

PRODUCTION NEWS

‘Aap Mujhe Achche Lagne Lage’ 14-Day Stint

Mohan Kumar and Emkay Films Pvt. Ltd.’s Aap Mujhe Achche Lagne Lage is currently being shot in a 14-day spell on a set of a bungalow at Filmalaya Studios. Hrithik Roshan, Amisha Patel, Kiran Kumar, Mukesh Tiwari, Nishigandha Wad, Sheikh Shamim, Moses Lever, Robin Bhatt and junior artistes are participating. The film is being produced by Rohit Kumar and directed by Vikram Bhatt. Story & screenplay: Robin Bhatt and Sanjeev Duggal. Dialogues: Girish Dhamija. Cinematographer: Pravin Bhatt. Lyrics: Ibrahim Ashq. Music: Rajesh Roshan. Dances: Raju Khan. Art: Gappa Chakraborty. Sound: Murari Krishna. Editor: Amit Saxena. The film is presented by Gautam Kumar.

Raj Kumar Kohli’s Film Launched With Recording

Shankar Movies’ Prod. No. 5 was launched with the recording of a song on Aug. 21 at Sunny Super Sounds. Penned by Sameer, the song was set to tune by Anand Milind and rendered by Sonu Nigam, Jaspinder Narula and chorus. The film is being produced and directed by Raj Kumar Kohli. It stars Sunny Deol, Akshay Kumar, Sunil Shetty, Manisha Koirala, Rambha, Aftab Shivdasani, Aditya Pancholi, Mohini Sharma, Arshad Warsi, Rajat Bedi and Monish Kohli. Nishi presents it

Rama Naidu Announces Two Films

Producer Dr. D. Rama Naidu has announced two films to be made under the banner of Suresh Productions. Venkatesh and Karisma Kapoor will play the lead roles in one of the films, which will go on the floors in October. The second will be a remake of the Telugu film, Kalasivundham Raa, made by the same producer. The film will be directed by K. Ravi Shankar. It has dialogues by Jainendra Jain. It will go on the floors in December.

IN & OUT OF BOMBAY

Producer Vashu Bhagnani and Abhishek Bachchan went on a whirlwind tour of Agra, Kanpur and Lucknow on 25th August, making appearances in cinemas screening TERA JADOO CHAL GAYAA.

Producer Boney Kapoor is in Delhi.

Producer-director Subhash Ghai returned from Delhi on 25th and is due to fly to London in a couple of days.

“Hum Chhod Chale Hain Mehfil Ko, Yaad Aaye Kabhi To Mat Rona”

KALYANJI BIDS ADIEU

GAJAA

Kalyanji Virji Sha of the popular Kalyanji-Anandji music duo breathed his last on 24th August at Breach Candy Hospital, Bombay at 5 p.m. following lung failure. The music director, who was a chronic asthma patient, was admitted to the hospital a fortnight back. Incidentally, a day before his demise, the evergreen Kalyanji-Anandji tune, Govinda aala re, from Bluff Master, dominated the air waves throughout the day as 23rd August happened to be the Gokul Ashtami day. Kalyanji was 73 and is survived by his wife and five sons including music director Viju Sha. He was cremated the same evening at Chandanwadi.

Kalyanjibhai, as he was referred to affectionately by everybody in the industry, was known for his good humour, good nature and good tunes which were mostly based on folk or classical music. Kalyanji-Anandji created their own kind of music which comprised uncomplicated tunes garnished with unobtrusive orchestration. Kalyanji had once said, “Simpler the tunes, more popular the songs. But it is difficult to make a simple tune.”

Born in a Kutchi business family, Kalyanji ‘strayed’ into the world of film music on his own. He began his career as a musician in 1952. The been music, innovated by Kalyanji on his clavioline for the famous song of Nagin, Man dole mera tan dole re, which was tuned by Hemant Kumar, brought Kalyanji into the limelight.

He began his career as a solo music director with Babubhai Mistry’s Samrat Chandragupta, released in 1958. In the same year came Post Box 999. The songs of both the films were a rage. These films were followed by Delhi Junction, Tera Kya Kehna and Chandrasena. Kalyanji formed a team with his brother, Anandji, in 1958 and their debut film once again was a Babuhai Mistry-directed film, Bedard Zamana Kya Jaane (1959), produced by Subhash Desai who repeated them in his next, Chhalia, which was the debut-making film of director Manmohan Desai. Kalyanji Anandji stood their own musical ground in their initial days despite competition of quality music from formidable veterans of the day like Shanker Jaikishen, Naushad, O.P. Nayyar, Roshan, Madan Mohan, N. Dutta, Chitragupt, Ravi, Salil Choudhry and Hemant Kumar.

Kalyanji-Anandji then hit big time with Himalay Ki Godmein and Johar Mehmood In Goa (1965), and Upkar (1967). In 1968, the duo won the National Award for its mellifluous score in Saraswatichandra. 1970 saw Kalyanji Anandji at the peak with Geet, Gopi, Johny Mera Naam, Ghar Ghar Ki Kahani, Vishwas, Holi Aayee Re, Kab? Kyon? Kahan?, Sachaa Jhutha, Purab Aur Pachhim, Priya, Safar and Yaadgaar. Twelve films — with all hit songs of that year, when they had stiff competition from Laxmikant-Pyarelal who were their musicians and assistants for six years, from 1959 to 1965 (from Homi Wadia’s Chandrasena to Vijay Bhatt’s Himalay Ki Godmein)!

The duo remained very active for two decades till the fag end of the ’70s. Thereafter, Kalyanji Anandji scored music only for films made by a few maker-friends like Arjun Hingorani, Prakash Mehra and Rajiv Rai. Their last film was B.R. Chopra’s Pratigyabadh (1991).

Kalyanji Anandji were conferred the Padma Shri in 1994, the Lata Mangeshkar award in 1996, and also the Sur Singar Samsad award in 1985. Besides the National Award for Saraswatichandra, they were presented the Filmfare award for Kora Kagaz.

The duo scored music for over 250 films which included three Gujarati films, Mehndi Rang Lagyo, Kasumbi No Rang and Akhand Saubhagyavati. All these Gujarati films had evergreen melodies which have become part of the Gujarati folklore. Among their 250-plus films, 40 had celebrated silver jubilees and 12 were golden jubilee hits. They were the first music directors to win the platinum discs — for their work in Muqaddar Ka Sikandar and Qurbani.

Kalyanji-Anandji were content with their musical contributions. They never displayed aggressiveness for adding to their assignments. Unlike the present-day music directors, they did not believe in going to a producer’s or director’s house and performing an ‘orchestra’ of their tunes! They preferred working in their own music room. In the eighties, with a majority of filmmakers having shifted to the suburbs, they found it too inconvenient to have music sittings at Kalyanji-Anandji’s music room at Peddar Road, which is in the hub of Bombay city. But that did not unnerve the duo. As Kalyanjibhai once joked, “We may not give songs, but we will give singers.” Kalyanjibhai imparted training to many budding singers. Among those who have been groomed by Kalyanji-Anandji are Sadhana Sargam, Sonali Bajpai, Manhar Udhas, Alka Yagnik, Sapna Mukerji, Hemlata and Aditya Narayan (son of Udit Narayan), besides many musicians who are all busy.

Kalyanji then launched a troupe — ‘Little Wonders’ — in 1993 to showcase the singing and music talents of prodigious kids aged between three and twelve. More than 200 shows of ‘Little Wonders’ have been performed so far. Sunidhi Chauhan, who came into limelight with Ruki ruki si zindagi (Mast) song, is a product of ‘Little Wonders’.

Kalyanji loved cracking jokes which had relevance to the topic of the day. He used to create humorous anecdotes himself, just to make people laugh. His wife, Sakarben, or he himself used to be the butt end of many of his jokes.

Kalyanji-Anandji always believed in holding musical shows for charitable causes, whether for their community or for the nation. In 1978, there was a severe drought in the Kutch district (Gujarat). Kalyanji-Anandji raised funds through a series of their stage shows and rehabilitated the inhabitants of the drought-stricken village. The people of the village, as a token of thanksgiving gesture, offered to rename the place as Kalyanji-Anandji Nagar. But the duo requested the villagers to retain the old name of the village as helping the villagers, they said, was “a part of the duty towards a humanitarian cause”.

Kalyanji’s contribution to film music (alongwith Anandji) will remain immortal in the minds of music lovers. Here are some of the gems of the genius duo: Chandan sa badan and Main toh bhool chali babul ka desh (Saraswatichandra), Tumhein yaad hoga kabhi hum mile thhe (Post Box 999), Chahe paas ho chahe door ho (Samrat Chandragupta), Mere toote huwe dil se (Chhalia), Kankariya maar ke jagaaya and Chand si mehbooba ho meri kab (Himalay Ki Godmein), Govinda aala re (Bluff Master), Kasme vaade pyar wafa and Mere desh ki dharti (Upkar), Waqt karta jo wafa (Dil Ne Pukara), Jis path pe chala and Ek tara bole (Yaadgaar), Ye do deewane dil ke (Johar Mehmood In Goa), Aaja tujhko pukare mere geet (Geet), Sukh ke sab saathi and He Ramchandra kahe gaye (Gopi), O babul pyare (Johny Mera Naam), Sama hai suhana (Ghar Ghar Ki Kahani), Dil ko dekho chehra na dekho (Sachaa Jhutha), Koi jab tumhara hriday tod de (Purab Aur Pachhim), Jo tumko ho pasand wohi baat karenge, Hum thhe jinke sahare and Zindagi ka safar (Safar), Do bechare bina sahare (Victoria No. 203), Khaike paan Banaraswala (Don), Peenewalon ko peene ka bahana chahiye (Haath Ki Safai), Ek batta do (Kalicharan), Pal pal dil ke paas (Blackmail), Samjhauta ghamon se kar lo (Samjhauta), Yaari hai imaan mera yaar meri zindagi (Zanjeer), Zubaan pe dard bhari daastan chali aayi (Maryada), Mera jeevan kora kagaz and Mera padhne mein nahin laage dil (Kora Kagaz), Humka aisa waisa na samjho (Adalat), Tumko mere dil ne (Rafoo Chakkar), Rote huwe aate hain sab (Muqaddar Ka Sikandar), Mere angne mein (Laawaris), Laila main Laila (Qurbani), Kya khoob lagti (Dharmatma)… the list can go on and on.

Kalyanji Anandji were the first music directors to perform shows abroad, with Amitabh Bachchan as the star attraction, and thereby setting off a trend of staging star-shows in foreign countries.

Pyarelal (of Laxmikant Pyarelal) paid homage to Kalyanjibhai thus: “We have been family friends. Whenever we used to have any music function or ceremony at our house, Kalyanjibhai and Sakar bhabhi‘s presence was a must. We shared a lot of affection for each other’s families. Kalyanjibhai was a self-made man. No one fully knows the sterling contributions these brothers have made to film music and to the society in general. They groomed the maximum number of leading playback singers of today. When we were their assistants, they used to insist upon the producers to give our names as ‘chief assistant music directors’ along with their names on the same card, in the film titles. May there be more people like Kalyanji and Anandji.”

Anandji was emotionally choked while expressing his sorrow, but managed to say, “I feel as if a roof has been blown off from our house. He was a father-figure to all of us in the family. I am feeling incomplete…” Anandji could not complete his sentence as he broke down mid-way.

Viju Sha, Kalyanji’s music director-son, was also overcome with grief as he said, “What can I say? He played a great innings. I was fortunate to have my father as my guru.”

While Kalyanji was being taken on his final journey, the hasta-hua-jo-jayega muqaddar-ka-Sikandar seemed like bidding adieu to his fans, with a faint smile which seemed to convey,

“Hum chhood chale hain mehfil ko,
Yaad aaye kabhi to mat rona”.

VEERAPPAN STICKS TO HIS GUNS:
IMPASSE OVER RAJKUMAR’S RELEASE

Uncertainty still looms large over the release of Kannada superstar Dr. Rajkumar who is being held hostage since July 30 by forest brigand Veerappan. All hopes of Rajkumar’s release “in a day or two” have thus been quashed once again. There is general despondency among the star’s fans. The disappointment is more palpable among cine workers in Karnataka who have been affected the most due to the Karnataka film industry’s ‘solidarity strike’. The Karnataka Film Chamber of Commerce (KFCC), in a compensatory gesture, has disbursed Rs. 1,000 to the most needy among the cine employees.

Some shootings, in the meantime, resumed on 23rd August on outdoor locations in Karnataka but not in the studios.

Veerappan has reportedly conveyed through Tamil Nadu CM Karunanidhi’s emissary, newspaper editor R.R. Gopal, that he (Veerappan) was in no mood to relent until all his demands were conceded to by the chief ministers of Tamil Nadu and Karnataka.

Veerappan has now also made fresh demands. Meanwhile, R.R. Gopal will be leaving on his third mission to Veerappan’s hideout on August 28. The bandit has set August 29 as the deadline for getting a response from the Tamil Nadu and Karnataka chief ministers.

SALE OF SATELLITE RIGHTS OF FILMS

FDC Refuses To Toe The CCCA Line

A meeting between representatives of the Film Makers Combine (FMC) and those of the Film Distributors Council (FDC) was held in the office of the Motion Picture Association (MPA) in New Delhi on 21st August to discuss the implication of the sale of satellite, video and cable TV rights by producers.

It may be recalled here that a meeting was held on 19th June in Bombay between the distributor-members of the CCCA (an affiliate of the FDC) and the producers (FMC). The meeting was chaired by CCCA president Santosh Singh Jain. At the meeting, it was agreed between the producers and the CCCA distributor-members of C.P., C.I. and Rajasthan that the producers can sell satellite rights within one year of the film’s theatrical release. This was a major shift from the earlier joint policy of the FDC and the FMC, under which producers were restrained from selling satellite rights for 5 years from the date of premiere theatrical release.

At the meeting held on 21st August in Delhi, the FDC made it clear that it would not toe the line of the CCCA as the all-India distributors were not taken into confidence before the CCCA signed the agreement with the FMC in Bombay in June. Tension prevailed throughout the deliberations and no consensus could be arrived at. Another meeting to discuss the same issue will now be held on 20th October.

In order not to ruffle more feathers, the FMC suggested that the members of the AIFPC also be invited (along with the FMC) to thrash out the issue in a cordial manner. The FMC also suggested that the IMPDA office-bearers be invited to participate in the proceedings to arrive at “an appropriate, mutually beneficial decision on this subject”.

The FDC was represented by Munnabhai, president of the EIMPA, Calcutta; Santosh Singh Jain, president of the CCCA, Bhusawal; Prabhat Bhushan, president of the BMPA, Patna; G.D. Mehta, president, and G.S. Mayawala, hon. general secretary of the MPA, Delhi; and Dharam Paul, president, and Yash Paul Mittal, hon. general secretary of the NIMPA, Jalandhar. The FMC was represented by its chairman, Shakti Samanta, hon. general secretary, Surjit Aujla, K.D. Shorey and vice presidents of the WIFPA, Sangram Shirke and Naresh Mohnot.

3-E
Education-Entertainment-Enlightenment

Fear Over ‘Fiza’

A statement by Hrithik Roshan in an interview of the hero, carried by a national daily recently, has had distributors of his forthcoming starrer, Fiza, panicking. In panic are also exhibitors who’ve paid hefty MGs and FHs for Fiza. Those exhibitors, who were on the verge of finalising the film on fancy terms, have stopped to reconsider their decisions. The statement which set off a trail of fear in the minds of the trade people was Hrithik’s declaration that he appears in Fiza only after the interval. The hype surrounding Fiza is, obviously, due to Hrithik and, of course, the hit music too. But with Hrithik hinting that Fiza is more Karisma Kapoor’s film (Fiza is her name in the film) than his, distributors and exhibitors of the film are now getting nervous. The nervousness will remain till September 8 when Fiza hits the screens.

Braveheart Bhagnani

One can’t help but admire the guts of producer Vashu Bhagnani. Like Biwi No. 1, he released his Tera Jadoo Chal Gayaa, too, himself in most of the circuits. East Punjab, Bihar and Nizam are the only three circuits which are not in his account in the case of Tera Jadoo Chal Gayaa. And although the magic hasn’t really worked, is Bhagnani unhappy? Not really, because, as Vashu puts it, “I’ve recovered my entire cost from only the sale of satellite, music and Overseas rights of the film.”

Hello, Brother Hrithik!

While the publicity blurbs of Fiza describe the film’s subject as “in search of her brother” (brother played by Hrithik Roshan), Raksha Bandhan this year saw girls of all age-groups in search of the brother in Fiza — that is, hero Hrishik Roshan! The proof of this was the record number of raakhis Hrithik received from his self-proclaimed sisters from various parts of the country. They totalled more than 3,500! Would he have received these many tokens of sisterly love had Hrithik not announced his marriage next year, to his girlfriend, Suzanne?

The Right And The Wrong

While some in the distribution trade would swear by good cinemas for their films, there are others who couldn’t care less for the quality of cinemas. Shares are what matter to them. One such distributor is P.P. Associates of Delhi-U.P. The concern was recently criticised for booking a poor chain of cinemas for its Bichhoo in Delhi. But Paul and Puri are quick to retaliate, “What is the sense of running after good cinemas when even they cannot guarantee a decent opening of a film? It is better to get good MGs and FHs even if it means screening your film in lesser cinemas because that way, you are at least safeguarding your interest as well as the interest of your producer. People, who are critical of our choice of cinemas in Delhi for Bichhoo, do not, perhaps, know that the share of Bichhoo from Delhi is barely 5 lakh less than the share of a hit film like Soldier from Delhi. This would never have been possible had we gone in for a chain of the so-called good cinemas. We can confidently say that we will give overflow to Guddu Dhanoa for Bichhoo. Now, will anybody fault us for ‘wrong’ selection of cinemas?” Point noted!

A 100 Marks To Mahesh Bhatt!

Though director Mahesh Bhatt seems to be content after having bid ‘bye to direction, he is very much concerned about the content — that is, content in today’s films. Commenting on today’s dazzling publicities and forceful marketing strategies of so many big star-cast films, several of which sadly have no worthwhile stories, he made a comment that should make filmmakers sit up and think. Likening publicity to handwriting, he said, “Merely good handwriting never guaranteed any student 100% marks!” A hundred marks to you, Mahesh. This thought has content in good measure!

TERA JADOO CHAL GAYAA

Puja Entertainment Ltd.’s Tera Jadoo Chal Gayaa is a love story of a simpleton guy from U.P. and an ambitious girl of Bombay. It is love at first sight for the boy, but the girl has bigger dreams. Her dream-boy, rich and suave, comes into her life and she falls head over heels in love with him, thereby breaking the simpleton’s heart. Not only that, she also tells the simpleton to do things to lower himself in the eyes of her boss as he (the boss) thinks very highly of him (the simple boy) and is under the wrong impression that the two of them are engaged to be married. Despite his best efforts to obey his beloved’s command, the simpleton every time ends up winning the boss’ affection more and more instead of falling low in the esteem in his eyes. Ultimately, the girl realises that it is the guy from U.P. whom she, too, loves and the two unite in matrimony.

The film, inspired from the English film, Picture Perfect, is a love story alright, but the strange part is that there’s hardly any romance in it. The reason for this is that while the guy from U.P. loves the girl, she doesn’t reciprocate his love; likewise, while the girl loves the rich boy, he is not even aware of her love for him for quite some time! In other words, it is a tale of romance with mostly one-sided love. A weak link in the story is the girl asking the boy to do things which would make him look foolish in front of her boss because she wants a solid reason to break off her supposed engagement with the boy. This demand of the girl looks too contrived because umpteen simpler ways immediately come to one’s mind to get out of the presumed engagement. Besides, the guy’s several attempts at losing the boss’ confidence but instead winning his love more than before have no punch or comic flavour at all. In fact, the film, especially the second half, moves at a slow pace and gets very boring at times. There’s hardly any novelty in the drama and whatever novelty there is (one-sided romance), it is a weak point rather than an asset.

Abhishek Bachchan is average as the simple guy from U.P. He impresses in emotional and dramatic scenes but is weak in most of the comedy scenes. His costumes leave a lot to be desired. Even his characterisation is sketchy — his introduction song gives the impression that he is as famous as the Taj Mahal in Agra, but the director and writer have simply not shown how or why he is so famous! Kirti Reddy looks okay and makes a lacklustre debut. Sanjay Suri looks handsome and does well in a brief role. Kader Khan performs ably in the role of Kirti’s boss. The best show in the film is put up by Paresh Rawal. His Aa reeya hai ki jaa reeya hai punch-line is excellent. Himani Shivpuri entertains. Johny Lever is not at his hilarious best, maybe because of the limited scope he gets. Farida Jalal and the others lend average support.

A. Muthu makes a dull debut as director. His narration is dry and his selection of subject, characterisations of artistes and treatment leave a lot to be desired. Ismail Darbar’s music is melodious but, considering that it’s a love story with a new girl and an almost new boy, the need was for a super-hit score. ‘Mujhe pyar karo’, the title song, ‘Ae chand’, the Agra song, ‘Ishq ka matlab’ and ‘Qayamat’ numbers are good. Song picturisations strike for their richness and the beautiful foreign and Indian locations on which they’ve been shot, but the choreography should have been much, much better. Santosh Thundiyil’s camerawork is effective but not consistently so. Action (Bhiku Verma) is of a good standard. Production values are rich.

On the whole, Tera Jadoo Chal Gayaa cannot hope to cast the magical spell it set out to weave on the viewers and will prove an expensive proposition for distributors and exhibitors.

Released on 18-8-2000 at Minerva and 19 other cinemas of Bombay by Puja Films thru Shringar Films. Publicity: bumper. Opening: very good. …….Also released all over. Opening was excellent in U.P. (except some stations), C.P. Bear (except small centres) and C.I.

LATEST POSITION

Both the releases of last week reaped the benefit of holidays. DEEWANE has not found appreciation and will entail heavy losses to all its distributors and those exhibitors who paid fancy terms. DHADKAN, too, will result in losses for its distributors and the few exhibitors who booked the film on huge MGs and FHs.

Dhadkan 1st week Bombay 53,55,652 (84%) from 10 cinemas (9 on F.H.); Ahmedabad 18,45,966 from 5 cinemas, Jamnagar (28 shows) 1,30,642; Pune 11,39,340 from 5 cinemas (1 in matinee), Solapur 2,61,167 from 2 cinemas (1 in matinee); Delhi 54,64,317 (72.07%) from 12 cinemas; Kanpur 5,03,864 from 2 cinemas, Lucknow 6,91,410 from 2 cinemas, Agra 5,07,000, Varanasi 2,99,755, Allahabad 2,13,128, Bareilly 1,75,864; ran for a week in Jalandhar, shifted, Amritsar 47,154; Calcutta 18,92,117 from 13 cinemas; Nagpur 6,40,737 from 3 cinemas, Akola 2,17,134, Raipur (6 days) 1,64,595, Bhilai (gross, 6 days) 2,03,733, Jalgaon 2,25,156, Rajnandgaon (6 days) about 1,00,000, Chandrapur 2,21,764, Sagar 89,299; Indore 2,43,100 from 2 cinemas (3 on F.H.); Jaipur 6,68,856 (51.02%) from 3 cinemas, Ajmer (gross, 29 shows) 2,78,443, Bikaner 2,29,378, poor in Bharatpur; Hyderabad (gross) 25,63,121 from 8 cinemas (1 on F.H.), share 15,63,949.

Deewane 1st week Bombay 33,73,086 (70%) from 11 cinemas (11 on F.H.); Ahmedabad 20,63,351 from 10 cinemas, Rajkot (28 shows) 2,45,771, Jamnagar 1,03,113; Pune 9,34,177 from 5 cinemas (1 in matinee), Solapur 3,55,814 from 3 cinemas (1 in matinee); Delhi 45,46,323 (58.50%) from 13 cinemas (1 on F.H.); Kanpur 4,04,992 from 2 cinemas, Lucknow 4,21,067, Agra 2,65,000, Varanasi 2,64,866, Allahabad 2,00,343, Bareilly 1,60,549, Pilakhwa 70,000; Amritsar 52,230; Calcutta 15,47,721 from 11 cinemas; Nagpur 4,74,937 from 4 cinemas, Jabalpur 2,11,944, Akola 1,89,397, Raipur (gross, 6 days) 2,96,123, Jalgaon 1,90,050, Wardha 1,08,374; Bhopal 1,40,500 (2 cinemas unrecd.); Jaipur 6,36,001 (42.83%) from 3 cinemas, Bikaner 1,72,804; Hyderabad (gross) 21,01,472 from 8 cinemas (5 on F.H.).

………….

Har Dil Jo Pyar Karega faces a steep decline in collections, but is better in Bombay city. 2nd week Bombay 64,09,202 (74.85%) from 14 cinemas (7 on F.H.); Ahmedabd 8,92,214 from 6 cinemas, Jamnagar 84,014; Pune 13,63,310 from 5 cinemas (1 in matinee), Solapur 1,94,215; Delhi 31,31,552 from 9 cinemas (1 on F.H.); Kanpur 3,75,526 from 2 cinemas, Lucknow 3,27,612 (1st 4,61,887), Varanasi 1,76,230, Allahabad 1,57,800, Bareilly (6 days) 91,436; Calcutta 11,51,576 from 7 cinemas; Nagpur 5,10,806 from 3 cinemas, Jabalpur 2,01,828 (1st 2,75,495), Amravati 1,99,577, total 4,98,545, Akola 98,192, total 3,01,330, Raipur (5 days) 1,12,662, Jalgaon 76,548 (1st 2,00,946), Gondia (gross) 77,558, Wardha 65,391, Rajnandgaon (6 days) about 45,000; Indore 1,64,000 (2 on F.H.); Jaipur 2,45,817 (50.15%), Ajmer (gross) 1,63,876, Bikaner 1,20,042; Hyderabad (gross) 13,14,967 from 5 cinemas; Vijayawada 2 weeks’ total (gross) 5,07,879, 2nd week Guntur (gross) 96,822, total 1,93,357.

Woh Bewafa Thi 1st week Bombay 1,53,369 (34.43%) from 2 cinemas.

Refugee is steady in Maharashtra (Bombay and C.P. Berar) due to tax exemption. 7th week Bombay 88,739; Solapur 27,834; Delhi 1,15,982 (1 on F.H.); Kanpur 29,765, Lucknow 90,613, Agra 2,81,000, Varanasi 64,662, Allahabad 42,500; Calcutta 1,11,625; 5th week Jabalpur (TF) 99,407, total 6,95,125, 7th week Raipur (TF, 6 days) 55,147, Sagar (TF, 3 days) 10,022; Jaipur 4,08,381 (43.11%).

_____

Aai Thor Tujhe Upkar (Marathi; TF) 1st week Bombay 2,09,490 (70%) from 2 cinemas, Vasai 50,000, Kalyan 55,000, Alibag 60,000.

NEW CINEMA OPENS

A new cinema — Sharda — opened on 12th August at Bhind (C.P. Berar) with Har Dil Jo Pyar Karega. The film collected excellent in 1st week.

NAZIA HASSAN DEAD

Playback singer Nazia Hassan expired on 13th August in London. She had been suffering from cancer since 1994. Even after she was detected for cancer, her fiancé got married to her. Just a few days before her death, her marriage was reportedly declared null and void following a divorce. Her body had not been handed over to her family even five days after her death as it was being claimed by both, her ex-husband as well as by her parents.

Nazia, who had playbacked in Feroz Khan’s Qurbani, shot to fame with her very first song in films, Aap jaisa koi meri zindagi mein aaye, which had become a veritable anthem then. She also lent her voice to songs of Star and cut a couple of albums like ‘Disco Deewane’ with her brother, Zoheb Hassan. Most of her songs were composed by Biddu. A Pakistani living in London, she had carved a niche for herself in the field of pop songs in her short career.

RENU SALUJA DEAD

Leading film editor Renu Saluja passed away on 16th August at Bombay Hospital in Bombay. She had been undergoing treatment for cancer of the stomach since more than three months. Her condition had deteriorated in the last couple of days and she breathed her last on 16th night. She was cremated on 17th. She was 48.

Renu was the ex-wife of producer-director Vinod Chopra. She had edited films like Pardes, Godmother, Bandit Queen, Ardh Satya, Sar Ankhon Par, Parinda, Dharavi, Sardar, 1942 A Love Story, Kareeb, Janam, Papa Kehte Hain, Hey! Ram and Nagesh Kukunoor’s due-for-release Bollywood Calling. She won National Awards for her slick editing in Godmother, Parinda, Dharavi and Sardar.

KHAJANCHIS BEREAVED

Padmabai R. Khajanchi, wife of late R.R. Khajanchi and mother of leading C.P. Berar distributors Bharat and Vijay Khajanchi of Khajanchi Film Exchange, Amravati, passed away on 1st August at Bhilwara (in Rajasthan). The 12th day ceremony was held on 12th in Amravati.

MINERVA REDONE!

With the release of Tera Jadoo Chal Gayaa, Minerva Cinema, Bombay presents a fresh new look. The walls and ceilings have been given a fresh coat of paint, the decor and designs changed, seats firmed up and everything redone. The admission rates have consequently been revised. The new admission rates are: stall Rs. 45, dress circle and balcony Rs. 65. The rates for matinee shows, however, have not been hiked.

T. RAMA RAO’S SON TO WED

Wedding of director T. Rama Rao’s son, Ajay Kumar, with Ragha Shyama will be solemnised on 24th August in Secunderabad at Jewel Gardens.

MAHARASHTRA CM’S PAT FOR SUBHASH GHAI’S IPO

A personality no less eminent than the chief minister of Maharashtra, Vilasrao Deshmukh, unveiled the production banner, Kapoor & Kaushik Entertainment P. Ltd., promoted jointly by Anil Kapoor and Satish Kaushik, at the party hosted by Mukta Arts Ltd. on 10th August at The Regent, Bombay. The production house was launched a day earlier with a song recording for its maiden film, Badhaai Ho Badhaai, at Sahara. The song, penned by Javed Akhtar, was composed by Anu Malik. The party on 10th was in celebration of the launch.

Mukta Arts Ltd. are the presenters, business promoters and world rights controllers of the film which stars Anil Kapoor, Karisma Kapoor and Amisha Patel. Satish Kaushik directs the venture.

Speaking at the launch party, Vilasrao Deshmukh congratulated Subhash Ghai and his Mukta Arts Ltd. on the success of their IPO. He added, “Mukta Arts has brought the film industry on the capital market map for the first time and has also brought a lot of respectability to and faith in this much misunderstood industry.” He felicitated Ghai and his stars on the occasion of the golden jubilee of Taal. Golden jubilee trophies were presented to the film’s cast and technicians at the hands of celebrities.

Speaking on the occasion, Subhash Ghai said, “This is the first deal done by Mukta Arts after going public. We’ve entered into a very important agreement signifying a tie-up for movie-making in future.” Badhaai Ho Badhaai, which is being jointly produced by Mansoor Ahmed Siddiqui of Anas Films, is the remake of a Tamil hit. The guests who attended the party were a mix of names from various walks of life — Surinder Kapoor, Jeetendra, Jackie Shroff, David Dhawan, Vimal Agarwal, Hrithik Roshan, Govinda, Akshaye Khanna, Kareena Kapoor, Gulshan Grover, Gava, Ashok Thakeria, Tutu Sharma, Prakash Jha, Joy Augustine, John Mathew Matthan, Srichand Hinduja, Yukta Mookhey, Yash Johar, Karan Johar, Tolu Bajaj, Adi and Parmeshwar Godrej, Sridevi and Boney Kapoor, Ketan Parikh, Vallabh Bhansali, Vinay Maloo, Vijay Choraria, Manmohan Shetty, Amit Khanna, Udit Narayan, Kiron Kher, Alka Yagnik, Anu Malik and Ravi Gupta.

JAIRAJ BIDS ADIEU

P. Jairaj, the popular ‘he-man’ of the silent era and talkie films, passed away on 11th August at Lilavati Hospital, Bandra, Bombay following kidney failure. He had been hospitalised on 4th. He was 91 and is survived by two sons and three daughters.

A recipient of the Dadasaheb Phalke award, P. Jairaj had not been keeping good health since the last one year, after he was admitted to Jaslok Hospital following a heart ailment.

Born on 28th September, 1909 in Hyderabad, Jairaj came to Bombay in 1928 to make a career in films. He got his break in 1929 in Indulal Yagnik’s silent film, Sparkilng Youth (Jagmagati Jawani) opposite Madhuri. P. Jairaj had played the lead man opposite Devika Rani, Durga Khote, Nargis, Suraiya, Nimmi and Madhuri. He had acted in about 200 films as hero and later in character roles. He had enacted many historical legends such as Maharana Pratap, Tipu Sultan, Chandrashekhar Azad, Prithviraj Chauhan and also the fabled Hatimtai. Among his films are Hamari Baat, Anjuman, Amar Kahani, Chhoti Si Duniya, Magroor, Noorjehan, Humjoli, Raj Mukut, Garibi, Amarsingh Rathod, Pardesi (Indo-Soviet co-production), MGM’s Maya and 20th Century Fox’s Nine Hours To Rama.

He had directed five films — Rajghar, Mala, Pratima, Mohar and his own production, Sagar.

Jairaj was also associated in a number of social activities in the film industry. He was an avid participant in the fund-raising drives for national causes. While many of his confreres had retired and led secluded lives, Jairaj remained active in social work. He was last seen in an important character role in Khoon Bhari Maang.

Paying tribute to Jairaj, O.L. Sharma, founder-member of the Dadasaheb Phalke Trust of India, said, “At the function to celebrate the 131st birth anniversary of Dadasabeh Phalke on 30th April, 2000 in Bombay, Jairaj was the highlight.” He had been awarded a lifetime achievement award of the millennium by the film industry at the function.

Grand Music Release Function Of ‘Dhaai Akshar Prem Ke’

Compact discs and music cassettes of producer-director Raj Kanwar’s Dhaai Akshar Prem Ke were released at the hands of Amitabh Bachchan at a glittering function in New Delhi, hosted by Super Cassettes on 10th August. Amitabh and Jaya Bachchan specially flew to New Delhi to offer blessings and good wishes to their son, Abhishek Bachchan, who plays the lead role in the film, and to Aishwarya Rai, Raj Kanwar, executive producer K. Pappu and the unit of Inderjeet Films Combine. Super Cassettes Industries were represented by Bhushan Kumar, Krishan Kumar and Chandrabhan Dua, managing director of Super Cassettes Industries Ltd. and father of late Gulshan Kumar.

Amrish Puri, Shakti Kapoor, music directors Jatin Lalit, lyricist Sameer and singers Anuradha Paudwal and Babul Supriyo were also present on the occasion. Jaya Bachchan lit the traditional lamp. There were song and dance performances by Saroj Khan’s troupe of dancers.

DO YOU KNOW?

* Special colourful tickets of TERA JADOO CHAL GAYAA have been made for Novelty Cinema, Lucknow. The reverse of the tickets has utility value as important telephone numbers (railways, airlines, emergency services, 24-hour petrol pumps in the city, blood banks and medical shops) are printed there. Time difference around the globe is also printed with reference to IST. That’s not all! Looking to the popularity of the KAUN BANEGA CROREPATI show on television, the telephone numbers, which intending participants need to dial in Bombay, Delhi, Calcutta or Bangalore, have also been given!

* BACHELORS (Telugu), made at a cost of Rs. 40 lakh and which has entered 50th day at 25 centres of Andhra this week, has already grossed 2 crore so far and is expected to do a business of 3.50 crore. The film has been made (not dubbed) in English too and it will be released all over next month along with its dubbed Hindi version, with the same title. 

* Actor Mahesh Raaj must have felt like a true police officer by the end of the day on 17th August. For, he faced the cameras in the role of a DCP for not one or two but three films that day at Esel Studios. The films in the shootings of which he participated were DAAKU BHAIRAV SINGH, CHEHRA MAUT KA and DAMAN CHAKRA.

* Shyam Talkies, Yavatmal is probably the only cinema in the whole of C.P. Berar circuit where DEEWANE drew all 28 shows full in 1st week. 

YOU ASKED IT

I am a school student who wants to know whether watching films and TV programmes during or before examinations affects our minds?

– Of course, it does! Films remain in the mind, whether they are good or bad.

Despite a majority of films proving flops, why do cinegoers hanker for watching films in cinemas in the first three days?

– Because cinema is the cheapest form of entertainment in our country. And everybody wants to be entertained.

For a long time now, no film on a historical or legendary character has been made. If a film were to be made on such a subject, encompassing romance, emotions, action, valour, comedy etc., on whose character can it be made?

– Bajirao Mastani is one such subject. Attempts were made to make a film on this subject by some makers including Manmohan Desai. BAJIRAO MASTANI was made only once, in 1925, during the silent era.

COMMENTS

G.D. MEHTA (Delhi-U.P. distributor and exhibitor)

Prices continue to rage like a never-ending inferno. But distributors are hardly cautious. Rather than retreating from the fire, they continue to surge ahead and play with fire. No wonder, many have burnt their fingers.

3-E
Education-Entertainment-Enlightenment

In Search Of The Yaadgaar Beat

Subhash Ghai last week employed the services of famed percussionist Sivamani for three songs of his Yaadein. Sivamani has been the head of the rhythm department in A.R. Rahman’s group, besides being a drumming genius. The flamboyant musician, who uses a large number of unusual percussion instruments, has featured in a number of programmes organised for national causes and, as such, has got a lot of prominence the world over for his esoteric and acrobatic styles while he is engaged in displaying his rhythmic skills. Some of his work in films include hits like Humma Humma from Bombay, and Chhaiyyan Chhaiyyan from Dil Se... What sort of memorable beat he creates for Yaadein remains to be seen… or heard, should we say?

Uttar Pradesh Calling

A 20-page booklet, titled ‘Uttar Pradesh Film Policy 1999’ has an appearance of a tourism promotional booklet. It carries about 20 colourful pictures of landscapes, landmarks and tourism sites of U.P. along with the U.P. government’s seemingly filmmaker-friendly assurances. This booklet was handed over to those who attended the luncheon organised by FICCI president K.K. Modi in honour of Uttar Pradesh chief minister Ram Prakash Gupta in Bombay at The Regent on 12th August. The chief minister invited filmmakers to come to his state to shoot their feature films. He urged filmmakers to spell out their various needs and demands when they came to his state to shoot their films. Among those who met the U.P. chief minister were Yash Chopra, Ramanand Sagar, Shakti Samanta, Amit Khanna (co-chairman, FICCI) and G.S. Mayawala of the Motion Picture Association, Delhi.

Those present at the meeting were highly critical of the high (100%) entertainment tax in U.P. This seems to have had an effect on the CM’s mind. For, back home, he ordered the entertainment tax department to consider reduction in tax. But knowing the U.P. CM’s habit of forgetting things, even this point of tax reduction just might slip out of his mind. Who knows?!?

Hospitality In Style!

Distributors generally never have a good word for their producers. Either the film price is too high for their (distributors’) liking or the product is bad or the producer is not found worth his word… But distributors of Har Dil Jo Pyar Karega are singing a different tune as far as the film’s producer, Sajid Nadiadwala, is concerned. They are all praise for the 32-year-old producer and not without reason. To celebrate the grand sale of the film’s music, Sajid not only invited his all-India distributors for the party he and Super Cassettes hosted on 17th August in Bombay, but also played the perfect host by arranging for their stay for three days in a 5-star hotel — Centaur — all at his cost. What’s more, the large-hearted Sajid plans to take all his distributors to Mauritius for a brief holiday soon. All this, because — to quote Sajid — “they are my distributors and they’ve stood by me through thick and thin.”

A ‘Shaan’dar Bash?!

The party to celebrate the 25th anniversary of Sholay, held on 12th August at The Regent, Bandra, Bombay, was as lacklustre as G.P. Sippy’s next film, Shaan. Everyone thought that the event would set off sparks of nostalgia of those happy days 25 years ago when Sholay created box-office history. But none of the living protagonists of the film — Dharmendra, Amitabh Bachchan, Hema Malini, Jaya Bachchan and director Ramesh Sippy — turned up. The only ones who cared to be present were Mac Mohan and Jagdeep, the ‘Sambha’ and ‘Soorma Bhopali’ of Sholay, and writer Salim. Among the guests who came to greet G.P. Sippy were Dilip Kumar, Anil Kapoor, Randhir Kapoor, Prem Chopra, Milind Gunaji, Nadira, Shyama and Shakila. The big set of Gabbar’s den, which had been specially erected, was the best thing of the ‘nostalgic’ evening!

The Naked Truth

After Jis Desh Mein Ganga Rehta Hai, an enterprising producer is planning to announce a film with a similar though shocking title. He has signed Salman Khan for the film. It is titled Jis Desh Mein Nanga Rehta Hai. Who better than Salman to play the lead role, what with his penchant for taking off his clothes on screen at the drop of a hat, to flaunt his body!

INFORMATION MEETS

“The National Award meant a lot, not so much in terms of reward for the good work done but in regard to renewing my confidence and boosting my morale.”

– ISMAIL DARBAR

GAJAA

Unpredictable are the ways of Destiny. Which is why you never know when it will pitchfork a musician to an eminent position of a music director just as it did with Ismail Darbar. Not many years ago, while Jatin-Lalit were recording a song for Sanjay Leela Bhansali’s Khamoshi, this self-effacing musician was playing violin among the rows of violinists. At that point of time, little did Sanjay Leela Bhansali know that this unassuming musician would make his debut as music director in his next film — and for that, also be conferred with National honours! As for Ismail, he must not even have dreamt of this incredible prospect! From violin to an exclaim of voila!

To Ismail Darbar goes the unique distinction of bagging the prestigious National Award for the best music of 1999, with his very first film — Hum Dil De Chuke Sanam.

Here, Ismail talks about his early days, his music and his feelings:-

From a musician to a music director of eminence. What do you feel about this transition?

– Well, it is like a mission accomplished. To tell you what my mission was, I will have to rewind my life’s tape to those days in 1985 when I started out as a violinist under Laxmikant Pyarelal. After some time, when I left them, I thought that I must become like them. This thought kept growing in me. In the meanwhile, I worked under Pancham-Da. Thereafter, I worked under Bappi-Da’s music direction. I did the maximum work under Bappi-Da. Those days, I hardly used to get time for rest and recreation.

Much before that, when I started learning violin, I thought of making it big in the realm of music — whether as a musician or as a music director, I was not sure.

I got my first lessons in violin from Maira Teacher and then from Babaji (Ram Prasad Sharma, who has been a guru to many of the present-day musicians and who was the father of music directors Pyarelal and Ganesh). Then, Ganesh uncle took me under his tutelage. I used to be with him from morning till night. Ganeshji not only taught me music but also gave me an insight into the world of film music: how tunes are made and what music directors do to make their place here, and all those things. I was his only student then. He was my real guru, guide and philosopher.

…And one day, the big break happened. Before meeting Sanjay Bhansali for HUM DIL DE CHUKE SANAM, did you have to go through a great deal of struggle. How many producers’ doors did you knock?

– I did not have to knock anyone’s doors. It was ittefaq! There was a TV serial called Ittefaq, directed by Hanif Chhipa. I did a song for it, in which I introduced a new singer, Kunal. Now, this guy, Kunal was struggling to become a playback singer in films. During his rounds of struggle, he one day met Sanjay Bhansali. Sanjay told him that he was on the lookout for a new music director and not a singer. Kunal suggested to Sanjay to try me out. Kunal came to me with Sanjay Bhansali’s message and told me to contact him. When I went to Sanjay’s house, he himself was at the door. He was a bit surprised on seeing me because he knew me by my face since I used to play violin during the recordings of his Khamoshi. I had nothing ready with me to make Sanjay aware of my ability, except an album of Zee Music, in which I had provided the tunes. Then I hummed out a tune which he liked. That tune became the title song of Hum Dil De….

Although the songs of HDDCS became hits, the songs of TERA JADOO CHAL GAYAA, despite good sales of its music albums, are not on everybody’s lips except for the title song. 

– My music is not easy to sing for the man in the street. Why, even the playback singers found my compositions a tad difficult to sing in the beginning.

Why so?

– Because I make songs from my heart. Whether easy or difficult, dil se nikli hui cheez kabhi fail nahin hoti. Every man’s soul is beautiful, it depends on how one uses it.

People say that the credit for the big success of the music of HDDCS goes to Sanjay Bhansali.

– Yes, they are absolutely right! It was due to Sanjay’s encouragement that I could deliver the goods. He has a sharp ear for music. If he likes anything, he will immediately say, “Yes, this is it”. He is quite easy and cordial when we discuss the tunes. We have already recorded five songs for Devdas and they have all come out very well.

You have acknowledged Kunal for your meeting with Sanjay Bhansali. Will you not make him sing your songs?

– No, it’s not that way. To Kunal, I will always remain thankful for suggesting my name to Sanjay who gave me the big break. But the day Kunal develops his talents fully well, I will definitely use his singing talents. Even my elder brother, Yasin, has a very good voice, and I can easily give him a chance but… You see, singing for films is a different ball game.

You have another brother who is also a music director in Gujarati films.

– He is my cousin, Iqbal Darbar.

Anyone else in your family who is into music?

– My father, Hussain Darbar, was a musician, but not in films. He used to play saxophone. In films, he played it for only one film, Kashmir Ki Kali, for the song, Ye duniya usee ki, zamana usee ka. Thereafter, he did not carry on because he was too self-respecting a person to plead with people for work. He was associated with band groups.

When the music of HDDCS became such a big hit, why were you not so much in demand?

– After HDDCS, there was no dearth of offers, but I took up only four films — Tera Jadoo Chal Gayaa, Mehbooba, Deewangi and one more. But then came Sanjay’s offer of Devdas. And do you know, I spurned 28 offers — only due to Sanjay and Devdas. If Sanjay Bhansali were to ask me whether I had the time to devote for Devdas, could I have afforded to say, ‘No, I’m busy’? After all, he is my mentor. I will always remain indebted to him.

How did the industry react to your bagging the National Award for your very first film?

– See, I don’t roam about much in the industry. My work keeps me engaged enough. About the National Award, I was first informed by Sanjay Bhansali but he was in a doubt. Later, Amitabh Bachchan congratulated me on the phone, and it was then that I became sure of having bagged the Award. Vashu Bhagnani reacted happily by throwing a party the day after the announcement of the Awards.

What did the National Award mean to you?

– It meant a lot, not so much in terms of reward for the good work done but in regard to renewing my confidence and boosting my morale. I was damn confident about getting all the awards for HDDCS, but none came my way. I was, therefore, simmering from inside. It was like I was suffering under the scorching sun in the hot desert region. But this National Award came as Godsent welcome showers!

Which music directors do you admire?

– I have been a fan of Laxmi-ji and Pyare-ji. It was God’s will and my good fortune that I got to learn violin from this family — Laxmi-Pyare and Ganesh uncle.

Then, I was also very fascinated with the notes of Salil-Da (Salil Choudhary), the feel of Naushad Saab, the undiluted sweetness of Madan Mohan’s melodies, and Pancham-Da’s (R.D. Burman’s) brilliance. And, of course, among the current ones, I admire A.R. Rahman.

With such competition among music directors today, how can you afford to remain content with just a few films?

– See, if I do good work, I will be sought-after. It’s better to do few films and produce quality work. As it is, while working for three films — Mehbooba, Deewangi and Devdas — I get a feeling of working in a hundred films.

As of now, Ismail Darbar seems to be following that famous saying: ‘One year of joy, another of comfort, and all the rest of content.”