FILM INFORMATION’S BESTS OF 2000

Best Film
KAHO NAA…PYAAR HAI

Best Producer
RAKESH ROSHAN
(KN…PH)

Best Director
RAKESH ROSHAN
(KN…PH)

Best Actor
SHAH RUKH KHAN
(Mohabbatein)

Best Actress
TABU
(Astitva)

Best Supporting Actor
AMITABH BACHCHAN
(Mohabbatein)

Best Supporting Actress
SONALI KULKARNI
(Mission Kashmir)

Best Villain
DANNY DENZONGPA
(Pukar)

Best Comedian
PARESH RAWAL
(Hera Pheri)

Best Story
HONEY IRANI
(Kya Kehna!)

Best Screenplay
HONEY IRANI & RAVI KAPOOR
(KN…PH)

Best Dialogues
O.P. DUTTA
(Refugee)

Best Music Director
RAJESH ROSHAN
(KN…PH)

Best Lyricist
JAVED AKHTAR
(Refugee – Panchhi nadiya)

Best Song
Ek pal ka jeena
(KN…PH)

Best Male Playback Singer
ABHIJEET
(Tum dil ki – Dhadkan)

Best Female Playback Singer
ALKA YAGNIK
(Na na karte – Dhadkan)

Best Background Score
SANDEEP CHOWTA
(Jungle)

Best Action Director
ABBAS ALI MOGHUL
(Aaghaaz)

Best Sound
DARAK WARRIER
(Jungle)

Best Cinematographer
KABIR LAAL
(KN…PH)

Best Choreographer
FARAH KHAN
(KN…PH)

Best Editor
CHANDAN ARORA
(Jungle)

Best Art Director
NITIN DESAI
(Dr. Babasaheb Ambedkar)

Best Male Newcomer
HRITHIK ROSHAN
(KN…PH)

Best Female Newcomer
KAREENA KAPOOR
(Refugee)

Best Special Effects
RAJU CHACHA

Best Make-Up
VIKRAM GAIKWAD
(Dr. Babasaheb Ambedkar)

Best Climax
KAHO NAA…PYAAR HAI

Best Promotion
VASHU BHAGNANI
(Tera Jadoo Chal Gayaa)

LATEST POSITION

Both the major releases of last week have turned turkeys at the turnstiles.

Raju Chacha has been rejected except to some extent by the kids. 1st week Bombay 62,47,828 (83.23%) from 12 cinemas (6 on F.H.); Ahmedabad 29,10,473 from 7 cinemas, Vapi 3,86,138, Rajkot 2,05,150, Jamnagar 1,22,570 from 2 cinemas (1 in matinee), Adipur 1,82,086, Bhuj (23 shows) 1,51,340; Solapur 1,68,556; Bijapur 1,13,409 from 2 cinemas (1 in noon); Delhi 58,23,695 (61.43%) from 13 cinemas (2 on F.H.); Kanpur 3,51,217 from 2 cinemas, Lucknow 4,89,956, Agra 3,28,000, Allahabad 1,66,872, Bareilly 1,15,000, Hardwar 50,000; Nagpur 4,71,406 from 3 cinemas, Jabalpur 1,60,092, Amravati 1,58,014, Akola 1,05,167, Raipur (gross) 2,29,564, Bhilai 1,05,315, Jalgaon 1,25,320, Wardha 72,126, Bilaspur 1,00,485; Indore 1,50,000 (2 unrecd., 1 on F.H.); Jaipur 10,08,670 (78.06%) from 2 cinemas, Ajmer (gross) 1,96,569, Bikaner 2,43,080; Hyderabad (gross) 23,94,181 from 8 cinemas; Guntur (gross) 88,239.

Khiladi 420 is also not up to the mark. 1st week Bombay 35,88,132 (59.52%) from 11 cinemas (11 on F.H.); Ahmedabad 3,76,715 from 3 cinemas, Baroda 1,61,923, Vapi 3,56,842 from 2 cinemas, Jamnagar 1,92,829 from 2 cinemas (1 in matinee), Bhuj 1,49,950, Anjar 79,365; Solapur 2,91,133 from 3 cinemas (1 in matinee), Miraj 67,164; Delhi 31,93,511 (38.93%) from 13 cinemas (3 on F.H.); Kanpur 3,53,393 from 2 cinemas, Lucknow 4,38,891, Agra 2,26,450, Allahabad 2,00,047, Bareilly 1,45,794, Hardwar 40,000; Nagpur 2,46,392 from 4 cinemas, Jabalpur 94,513, Amravati 1,62,565, Akola 1,07,870, Dhule 1,39,587, Raipur 1,20,039, Bhilai 57,419, Jalgaon 1,54,780, Bilapur 46,127; Jaipur 4,54,388 (40.70%) from 3 cinemas, Ajmer (gross) 2,34,895; Hyderabad (gross) 28,96,925 from 13 cinemas.

……….

Champion gets knocked out dramatically. 2nd week Bombay 18,92,828 (36.70%) from 11 cinemas (5 on F.H.); Ahmedabad 4,24,588 from 2 cinemas (1 unrecd.), Solapur 1,91,257; 1st week Bijapur (32 shows) 1,39,328 (nett); 2nd week Delhi 6,60,949 from 5 cinemas (3 on F.H.); Kanpur 2,29,739 from 3 cinemas, Lucknow 3,76,477 from 2 cinemas, Agra 1,70,000, Allahabad 1,42,500, Bareilly (6 days) 71,117, Hardwar 40,000; Nagpur 75,419, Jabalpur (6 days) 68,986, Amravati 1,25,359, Akola 49,522, Bhilai 27,213, Jalgaon about 70,000, Wardha 35,627; Indore 55,000 (1 unrecd.; 1 on F.H.), Bhopal 87,591; Bikaner 1,15,418 (1st 3,33,567); Hyderabad (gross) 6,39,770 from 2 cinemas.

Dr. Babasaheb Ambedkar (dubbed, TF) continues to do well in C.P. Berar but is not good elsewhere. 3rd week Bombay 3,73,234 (26%) from 3 cinemas (2 on F.H.); 1st week Ahmedabad 76,000; 3rd week Nagpur 2,63,635 from 2 cinemas, Akola 86,977, total 4,94,742, 2nd week Amravati 1,90,547, 1st week Wardha 78,881, 3rd week Chandrapur 86,620, total 3,75,977.

Mohabbatein gets the advantage of poor oppositions. Is steady and also picked up at places. 10th week Bombay 25,87,343 (81.20%) from 9 cinemas (8 on F.H.); Ahmedabad 3,79,406 from 3 cinemas (1 unrecd.), Jamnagar (noon) 12,277; Solapur (matinee) 62,513; Delhi 13,23,125 from 5 cinemas; Kanpur 3,85,531 from 3 cinemas, Lucknow 4,86,234 (9th 3,72,520), Agra 2,46,000, Allahabad 1,38,223, Meerut 2,08,740, total 15,45,147, Bareilly (6 days) 53,409; Nagpur 2,09,200 from 2 cinemas, Jabalpur (6 days) 1,20,884, 1st week Balaghat 94,983, 10th week Amravati 1,37,271, total 18,88,324, 2nd week Kamptee 62,659 (1st 61,993), 10th week Akola 98,535, total 12,70,225, Dhule 89,260, total 10,72,037, Raipur (6 days, gross) 1,04,039, Bhilai (6 days) 25,508, 5th week Durg 41,070, 10th week Chandrapur 44,198, total 10,68,244; Ajmer (21 shows) 57,217; Hyderabad (gross) 9,64,438 from 4 cinemas (1 in noon).

______

Dikri To Parki Thaapan Kahevay (Gujarati; TF) entered 2nd week at Bhavnagar and Rajkot with ordinary collections.

Mor Chhainha Bhuinya (Chhattisgarhi) 10th week Raipur (nett) 1,28,781, total 19,48,138, city record, 6th week Rajnandgaon 1,13,565, total 9,16,218, city record, 8th week Bhilai 57,480.

NEPAL LIFTS BAN ON HRITHIK-STARRERS

The government of Nepal has lifted the ban on Hrithik Roshan starrers in the country. The ban had to be imposed early last week, following Nepali students’ protest over the anti-Nepal and anti-Nepalese “utterances” alleged to have been made by the star in a recent TV interview.

The protestors, realising that Hrithik had not made any such statements, gave up their anti-Hrithik stance and agitation. Following this, the Nepal government on 4th January lifted the ban on the screening of Hrithik starrers in the country.

FILM CITY TO ISSUE RS. 20 CRORE BONDS

The Maharashtra Film, Stage & Cultural Development Corporation (Film City) will approach the debt market shortly with an issue of non-convertible bonds worth Rs. 20 crore. The issue is being lead-managed by Allianz Securities. It has been unconditionally and irrevocably guaranteed by the Maharashtra government. The rating for the 10-year bonds programme is based on a structured payment mechanism. Interest will be paid at 13% p.a. The repayment of principal amount of the bonds and the interest thereon have been secured by the guarantee enforced through a tripartite agreement signed between the state government, Film City and the trustees.

RS. 7 LAKH STOLEN FROM SHAKTI KAPOOR

Shakti Kapoor’s briefcase, containing Rs. 7 lakh, was stolen from his car on 3rd January in Bombay. Police are on the lookout for the culprit.

HARISH SUGHAND’S PREMISES RAIDED

Officers of the Criminal Intelligence Unit of Andheri, Bombay, raided the office and residential premises of Harish Sughand on 5th January. Harish was not present at the time of the raid but some important documents and a diary were seized by the raiding unit. Deputy commissioner of police (detection) Pradip Sawant said that Harish Sughand was being summoned for inquiry in connection with financing of a recent film. The raid comes close on the heels of the arrest of producer Nazim Rizvi and subsequent seizure of the negative of Chori Chori Chupke Chukpe.

ANUPAM KHER DRAGGED TO COURT IN CHEQUE DISHONOUR CASE

Anupam Kher appeared in an Indore court on 2nd January in a cheque bouncing case. Film financier Parmanand Tharani had filed a case against the actor under section 138 of the Negotiable Instruments Act. Anupam had allegedly taken a loan of Rs. 5 lakh from Tharani for his media entertainment company about two years back. He returned Rs. 2 lakh by a cheque which was dishonoured by the bank.

The next hearing has been fixed for 3rd February.

RUCKUS AT INDORE CINE CLUB MEETING

An extraordinary general meeting of the Cine Club of Indore was held on 2nd January in Indore to decide on the matter of buying new premises for the Club. The meeting took an unsavoury turn when some members started using unparliamentary language. The club’s president, Vedprakash Mendiratta, became so agitated that he withdrew the proposal of acquisition of new premises and declared the meeting as concluded. He subsequently also resigned in disgust from the Club’s presidentship.

Later, on 4th January, at the executive committee meeting of the Club, it was, however, unanimously decided to not accept the president’s resignation.

YOU ASKED IT

For a script to be known as a ‘bound script’, is a detailed screenplay enough or must the dialogues also be a part of it?

– Dialogues are necessarily part of a bound script. Without them, the script is incomplete.

Why do most mainstream filmmakers in India ignore the international film festivals?

– Because festivals have more academic value than business value. And mainstream filmmakers are hardcore businessmen too!

What should the new year resolution of the film industry be?

– For producers and directors: Make films with stories, not merely proposals with stars. For distributors: Don’t buy films merely on the ‘strength’ of star-names. For exhibitors: Give better service to patrons. For stars: Treat producers as annadaatas.

DO YOU KNOW?

* DDLJ (tax-free) finally equalled SHOLAY by entering into combined 269th week at Maratha Mandir, Bombay in matinee shows on 5th January. SHOLAY, in its first run at Minerva, Bombay, had run for a total of 269 combined (regular and matinee shows) weeks. Thus, DDLJ, which continues in matinee shows at Maratha Mandir, will prove to be the longest running film in the history of Indian cinema. DDLJ has, in 268 weeks, collected in Bombay city and suburbs (excluding Thane district and FH cinemas) an astounding 10,26,33,275/-! Just next to HUM AAPKE HAIN KOUN..! which had collected over 12 crore!!

* A print of an English film, MODEL GIRL, reportedly supplied by Daylight Films, Jabalpur was seized at Shree Talkies, Gondia. The print, it is learnt, has been sent to the CBFC for verification. According to the CBFC, the film was never viewed by it! In another case, a print of BHOOT KA DAR was seized, alongwith interpolations, at New Radha Krishna Talkies, Sirajgaon (Amravati district). The print, allegedly supplied by Harnam Films, Amravati, has been sent for verification of the CBFC. Also, a print of RAAT KA DARINDA, alongwith ‘bits’ was seized at Jai Hind, Balaghat. It was supplied by Aabha Raj Films, Amravati, it is learnt. 

* Monica, who is being introduced as the leading lady in Balvinder Sandhu’s KAMA SUNDARI, is being ‘introduced’ as Devi Sri in Tahir Husain’s DIL DHOONDTA HAI.

CLASSIFICATION: 2000
(Total 217 films, including 74 dubbed films)

AAA (Super-Duper Hit)

KAHO NAA…PYAAR HAI

AA (Super-Hit)

–

A 1 (Hit)

–

A (Semi-Hit)

MOHABBATEIN (‘B1’ in Delhi-U.P., C.I., ‘B’ in Bihar)

BB (Overflow)

BADAL (‘A’ in Delhi-U.P. & East Punjab)

KYA KEHNA! (‘A’ in Bombay, ‘B1’ in East Punjab, Eastern Circuit, C.I. & Rajasthan)

SAALI POORI GHARWALI

MERI JUNG KA ELAAN

KAMESHWARI (dubbed)

B1 to BB (Commission-Earner to Overflow)

DHADKAN (‘A1’ in Bihar, losing/average in some circuits)

JUNGLE (losing in Delhi-U.P., ‘B’ in East Punjab & Bengal)

KURUKSHETRA

THE WORLD IS NOT ENOUGH (dubbed)

CHOTE MIYAN (dubbed)

DASI (dubbed)

B1 (Commission-Earner)

MISSION KASHMIR (‘BB’ in Bombay & West Bengal, losing in a couple of circuits)

FIZA (‘BB’ in Bombay, losing in a couple of circuits)

B to B1 (Coverage to Commission-Earner)

HAMARA DIL AAPKE PAAS HAI (‘A’ in Bombay, ‘BB’ in C.P. Berar, & losing in a couple of circuits)

KUNWARA (losing in a couple of circuits)

REFUGEE (‘BB’ in Bombay)

HADH KAR DI AAPNE (losing in a couple of circuits)

BICHHOO (‘BB’ in East Punjab & Rajasthan, losing in some circuits)

JIS DESH MEIN GANGA REHTA HAI (losing in a couple of circuits)

VIJETA THE GLADIATOR (dubbed)

X-MEN (dubbed)

ANHONEE (dubbed)

TRISHAKTI (dubbed)

JAI MAA DURGA (dubbed)

MISSION: IMPOSSIBLE-2 (dubbed)

B (Coverage)

KAALI NAGIN (dubbed)

DEVI (dubbed)

YEH KAISA PYAR (dubbed)

THE REST

…………..

3-E
Education-Entertainment-Enlightenment

Happy New Calendar

Director Rajiv Rai, whose Pyaar Ishq Aur Mohabbat, is complete, has brought out a 12-month calendar embellished with the pictures of the film’s artistes — Sunil Shetty, Aftab Shivdasani, Arjun Rampal, Kirti Reddy, Monica Bedi and Isha Koppikar — all caught in romantic moments. The calendar informs, ‘Coming to cinemas June 29, 2001’.

Another calendar, which is a table calendar of one month (January 2001), has, on its flip side, a sepia-toned reproduction of the still of the very first cinematographed film, made by Lumiere Brothers. The accompanying text informs that Lumiere Brothers held the first public show of their 2-minute feature film on 28th December, 1895. And that cinematography first came to India on 7th July, 1896 at Waton’s Hotel in Bombay. “The Lumiere brothers rightly called their invention, ‘The Marvel Of The Century’,” says the text. This unique uni-monthly calendar has been sent by Satyashwami Entertainment (P.) Ltd. But whose company is this? Mahesh Manjrekar’s!

2000: Nightmare For Most Stars

STAR POWER

The year 2000 belonged to Hrithik Roshan. It started with his debut in dad Rakesh Roshan’s Kaho Naa…Pyaar Hai that catapulted him to superstardom overnight. The attempt on Rakesh Roshan’s life just a week after the film’s release, his hospitalisation and consequent bypass surgery of the heart kept the Roshans in general and Hrithik in particular in news. Every story about the Roshans was pegged around the new star on the horizon, Hrithik. His subsequent two films, Fiza and Mission Kashmir, whipped up more excitement because of Hrithik’s presence than for any other reason. Even their mediocre business was thanks only to Hrithik without whom they would’ve had to bite the dust. The star’s marriage to Sanjay Khan’s daughter, Sussane Khan, was grist for the media for a couple of months as the two families refused to divulge any information — the date, the venue, the honeymoon location, everything was speculation till the wedding happened on 20th December in Bangalore.

Even before the cute couple could fly off for their honeymoon and just before the curtains were drawn on the year 2000, Hrithik made headlines once again — this time without doing anything! That’s star power. The kingdom of Nepal was rocked by anti-Nepal and anti-Nepalese statements alleged to have been mouthed by Hrithik on a television interview. Innocent students, misled by vested interests (as yet, it is not known who the vested interests were), died in police firing, many were injured, the Koirala government was asked to step down for not being able to control the law and order situation and all this even though Hirithik had never uttered any statement concerning Nepal or the Nepalese — anti or pro! Thankfully, it’s all over now.

STAR-KIDS

Abhishek Bachchan and Kareena Kapoor were the two other new faces of 2000 who attracted media and audience attention. Although their first film, Refugee, was an average fare at the box-office, it did bring the two debutants in the limelight. In fact, it wouldn’t be wrong to say that but for Amitabh’s son and Raj Kapoor’s grand-daughter, J.P. Dutta’s Refugee would not even have reached the average mark.

While Kareena Kapoor went on to sign big-banner films like Subhash Ghai’s Yaadein and Karan Johar’s Kabhi Khushi Kabhie Gham, Abhishek delivered two duds in Tera Jadoo Chal Gayaa and Dhaai Akshar Prem Ke. The audience tore Bachchan Jr. apart, the media was even more inconsiderate. The silver lining came when Abhishek was signed by Sooraj Barjatya for his new film, Main Prem Ki Deewani Hoon, never mind if Hrithik Roshan has a presumably meatier role in it. Kareena Kapoor is the common love angle of the two star-sons in the film that will launch in May 2001 and see release only in 2003.

TALE OF TWO BEAUTIES

Amisha Patel debuted in KN…PH but the Jaaneman jaaneman girl made up for the low media hype she got here in Bombay by following her ship song from KN…PH — Palat teri nazar. She looked Southwards and acted in a couple of Telugu films which did pretty well. The other debutante on the Hindi screen moved up from Andhra to Bombay, but Kirti Reddy, the heroine of the Telugu hit Tholi Prema, fared so badly in Tera Jadoo Chal Gayaa that she had to pack her bags and rush back to Hyderabad. Well, almost.

PHIR BHI SHAH RUKH….

Shah Rukh Khan started the year as the producer of a flop, Phir Bhi Dil Hai Hindustani. Hrithik’s emergence had SRK’s critics swearing that it was curtains down for the Khan superstar. Phir bhi, Shah Rukh kept going until Happy Diwali brought happier tidings for SRK. Not only did the Shah Rukh starrer Mohabbatein outscore Hrithik’s Mission Kashmir at the ticket-windows, it also brought in accolades for Shah Rukh’s performance as a music professor. The debacles of Gaja Gamini and Hey! Ram hardly made a difference to SRK’s star status as he played guest roles in both the films. Har Dil Jo Pyar Karega also saw Shah Rukh in a tiny guest appearance. His only other release, Josh, didn’t really shake the box-office anywhere, doing well only in major cities.

AB, KB, YEH BHI, WOH BHI

The most remarkable comeback of recent times was that of Amitabh Bachchan. The Big B, with his charisma and star power, made the small screen big enough to pose a serious threat to the big screen. His hosting of the game show, Kaun Banega Crorepati, on Star Plus, resulted in the following:

* Box-office collections on the days the game was aired took a beating in the first two months at least.

* TRPs of the game show soared to unbelievable heights.

* Film stars, who had all along thought, they were too big for television, found themselves signing contracts to host game shows, chat shows or to act in TV serials.

* Rival television channels launched game shows, at least one of which — Zee’s Sawaal Dus Crore Ka — fell flat on its face. Knockout was knocked out by DD when it was about to go on air. The reason, according to Doordarshan, was that it abetted gambling. So what did DD think all along — that host Kabir Bedi would sing bhajans on the game show or what?!

If television treated Amitabh so well, the big screen couldn’t be far behind. His solo release in 2000, Mohabbatein, won more praise for Bachchan (and Shah Rukh) than for the faces it launched/re-launched or for its director, Aditya Chopra.

BAD SCORE

For Salman Khan, the year 2000 was the worst as far as the box-office fate of his starrers was concerned. His last release — Kahin Pyaar Na Ho Jaaye — was also his biggest disaster of the year. David Dhawan’s Chal Mere Bhai was pretty bad and the director’s other Salman starrer, Dulhan Hum Le Jayenge, barely trudged along to the average mark in a couple of territories. Har Dil Jo Pyar Karega took the best start among all Salman starrers released in 2000 but even despite the extraordinary initial, all distributors didn’t make money on the expensive love triangle. Some of those who did make money, did it at the cost of exhibitors who stood to lose a part of their hefty MGs and FHs. Salman made a small guest appearance in the damp squib, Dhaai Akshar Prem Ke. He now needs to pull up his socks and not pull out his shirt. His crazy mannerisms in front of the camera have not only become repetitive but also extremely stale and irritating.

DOUBLE TROUBLE

Like Shah Rukh Khan, Ajay Devgan, too, played a double role in 2000. But unlike Shah Rukh, he was plain unlucky in both the roles. As a producer, his ultra-expensive Raju Chacha, starring himself and wife Kajol, failed to excite the audiences despite the huge sets and slick computer graphics. Even the kids, at whom the film was targetted, seemed to want a more cohesive script! As a hero, Ajay Devgan’s Deewane bombed miserably. In this film too, Ajay played a double role — not of actor and producer, but of actor and actor.

TOTAL FAILURE, PARTIAL SUCCESS

Bulandi and Karobaar, the first and last release of Anil Kapoor during the year, were among the biggest disasters of 2000. The two films between the two debacles were his home productions. Pukar managed to remain afloat in some territories only, because of the tax exemption it got. Hamara Dil Aapke Paas Hai did very well in Bombay and Gujarat-Saurashtra but the response in other circuits was not as encouraging.

SO MUCH FOR THE NO. 1!

Hero no. 1 Govinda had six releases but none hit a sixer. Hadh Kar Di Aapne, Jis Desh Mein Ganga Rehta Hai and Kunwara were among his best starrers of 2000 but even they couldn’t do uniformly plus business in all the circuits. The poor ones were Beti No. 1, Shikari and Joru Ka Ghulam. His game show on Sony TV was the happiest news for him and his fans in 2000.

DUTT TERE KI!

Khauff, Baaghi, Chal Mere Bhai and Jung did nothing to further Sanjay Dutt’s career. Nidaan had a small guest appearance by the actor and so did Raju Chacha. Kurukshetra was a commission earner but what brought praise for the Dutt was his superlative performance in Mission Kashmir. Although the film wasn’t an all-round winner, Sanjay Dutt made his mark in it.

UNLUCKY KHILADI

For Akshay Kumar, the collections of last year’s last release — Jaanwar — was the most heartening news this year. It was this year that Jaanwar became the biggest ever blockbuster of Bihar. But Akshay didn’t deliver any hit in 2000. Hera Pheri scored in Bombay and Maharashtra but in most of the other circuits, it bombed. Dhadkan took a dull start outside of Bombay but its super-hit music saw the film do exciting business in Bombay, Bihar, C.P. Berar and C.I. In some circuits, it lost money. The year-end gave Akshay the biggest jhatka with the bombing of Khiladi 420 — even in Bihar.

MIXED FEELINGS

Sunil Shetty shared his fate with Akshay Kumar in Hera Pheri and Dhadkan. But he was luckier than the Khiladi Kumar as his character roles in Refugee and Jungle won him praises, and the films also did reasonable business. His solo starrer, Aaghaaz, didn’t do well in the cities but at smaller centres in Maharashtra and Bengal, the film managed decent shares. Elsewhere, it bombed. Sunil’s Krodh was a damp squib.

‘B’ FOR YOU

‘B’ for Bobby Deol. And ‘B’ for Badal and Bichhoo. Badal did wonders in Delhi-U.P., East Punjab, Rajasthan and the Eastern circuit. Bichhoo was an average fare (losing at places) but one which managed better in North, thanks only to its action. Bobby’s only other release, Hum To Mohabbat Karega, proved a highly forgettable disaster. That was B for you!

BREATHLESS IN BOLLYWOOD

Aamir Khan and Sunny Deol had just one release each. While Aamir’s Mela did badly in Bombay, it managed to scrape through in circuits like Delhi-U.P. Sunny’s Champion is just about average in circuits like U.P. and Rajasthan but elsewhere, its exciting start was followed by a steep drop in collections. The champion ran out of breath!

RAI — NO PAHAD — OF SUCCESS

Aishwarya Rai had three releases in 2000 and two more — one in which she made a ‘ghost’ appearance (Mohabbatein) and another in which she made a very tiny guest appearance (Mela). Mohabbatein clicked, Mela didn’t. Her Hamara Dil Aapke Paas Hai was a partial success. Josh was even lesser. Dhaai Akshar Prem Ke was a total failure.

JUST SOME FIZZ

Like for Aish, the year 2000 wasn’t too good for Karisma Kapoor either. Fiza was the only film which did above average business in some circuits. Chal Mere Bhai, Shikari and Hum To Mohabbat Karega were sad experiences for Karisma. Dulhan Hum Le Jayenge too couldn’t remain afloat in most circuits.

SEVEN WONDERS OR BLUNDERS?

The actress with the maximum number of releases in 2000 was, surprisingly, Tabu. Hers was a very consistent record — all seven flops! Hera Pheri was an exception in Bombay. The other disasters: Tarkieb, Shikari, Astitva, Ghaath, Biwi No. 2 (dubbed) and Dil Pe Mat Le Yaar. Dil Pe koi kaise nahin le, yaar! Especially when Tabu’s performance was first-rate in more than half the above!

RANI RULED… BUT NOT REALLY

Close on Tabu’s heels was Rani Mukerji with six releases. But while her Badal did pretty well in half the circuits of the country, Bichhoo was a fair fare in North India only. Hadh Kar Di Aapne managed a decent run in Bombay and U.P. Har Dil Jo Pyar Karega started like a rocket and thereafter, in some circuits, it plummetted like the Diwali rocket which comes down but goes God knows where! If Kahin Pyaar Na Ho Jaaye was a catastrophe, Hey! Ram was a calamity which had no cure whatsoever. That Hey! Ram is India’s entry to the Oscars may be the only consolation for Rani. Or is it?

TWO BAD BUT NOT TOO BAD

For Mahima Chaudhry, it was a very average year. A reasonable Dhadkan, a fairly good Kurukshetra and two miserable maladies — Khiladi 420 and deadly Deewane.

RAVEENA’S FRIGHTENING FIVE

Raveena Tandon was plain unlucky. Every release of hers misfired. In that sense, she posed stiff competition to Tabu. Only thing, while Tabu delivered seven croppers, Raveena’s score was five! Bulandi, Jung, Kahin Pyaar Na Ho Jaaye, Khauff (guest appearance) and Ghaath (guest appearance). Take your pick if you aren’t already sick!

ONE, TWO KA SCORE

Shilpa Shetty came to be recognised as an actress of substance with Dhadkan. But save this one, her two other releases — Jung and Tarkieb — must’ve reminded her of old times.

JUNGLE BEAUTY

Urmila Matondkar played the frightened captive of the jungle brigand in Jungle beautifully, but the box-office fate of her Deewane frightened the distributors even more. Her Kunwara was so-so in some circuits only.

PRETTY REASONABLE

Not a pretty good year but at least a pretty reasonable one for Preity Zinta. Kya Kehna! was the best small-cast film of 2000, which became a hit in Bombay and also did very well in other circuits. Mission Kashmir was not mission accomplished but all the same, it wasn’t mission unaccomplished either. Har Dil Jo Pyar Karega was her only other release.

SAWAAL MANISHA KA

Khauff wasn’t Manisha Koirala’s only khaufnaak delivery in 2000. Baaghi, too, bombed. Champion was her third release. The supreme disaster, of course, was Raja Ko Rani Se Pyar Ho Gaya. Manisha’s foray into television was worse than all the four releases put together. Sawaal Dus Core Ka, which she co-hosted with Anupam Kher on Zee TV, must’ve been the most khaufnaak experience, and not just for Manisha!

SONALI SPECIAL

Sonali Bendre made special appearances in three films — Hamara Dil Aapke Paas Hai, Chal Mere Bhai and Dhaai Akshar Prem Ke. Her only two other releases were Jis Desh Mein Ganga Rehta Hai, which was dubbed a mediocre fare, and the dubbed Dil Hi Dil Mein, a disaster by any yardstick.

– Komal Nahta

INFORMATION MEETS

“In five years, I have completed 3 Sunny-starrers…
How did I do it? By simply being professional.”

– BABLOO PACHISIA

GAJAA

In an industry where hypocrisy is the norm and mollycoddling the stars is the rule, Babloo Pachisia stands out as one of the few exceptions. Honest and blunt to the core, this 38-year-old producer may seem a bit of a misfit in the industry. But having known him for years, you realise that despite no hypocrisy, the guy has survived — and survived wonderfully — in this dog-eat-dog industry. Starting with Apradhi (Anil Kapoor and Vijayashanti), Babloo has produced Khuddar (Govinda-Karisma), Haqeeqat (Ajay Devgan-Tabu), Ziddi (Sunny-Raveena), Arjun Pandit (Sunny-Juhi) and is now ready with his sixth production, Farz (Sunny-Preity). The release is just 10 days away (this interview is taken on 2nd January) and with Sunny Deol’s 50% dubbing remaining to be completed, you’d expect Babloo to be biting his nails and tearing his salt-and-pepper hair apart. But nothing of the vision you have conjured greets you in his tastefully done spacious cabin. Babloo is as cool as cool can be if only because he is used to Sunny’s ways. After all, this is his third film with the Deol and all the three have been completed in reasonable time.

Babloo is the son of one of the leading finance agents of the industry, Bhaiji, but it is to his credit that he has also made his own identity, besides being known as Bhaiji’s son.

Over to Babloo alias Navratan Pachisia:

The credits of FARZ mention Sunil Saini as its producer. What is your role in the project?

This project was actually Sunil Saini’s. He had signed Sunny Deol and director Raj Kanwar and was supposed to make it with a Delhi-based guy. But the project could not move ahead, beyond the signing stage. It is then that I stepped in.

Why did you take over the project? Was it because of Raj Kanwar, Sunny Deol or your production chief, Sunil Saini?

I did it only for Sunil Saini because he has been handling my films since years.

So, you became a partner….

Not a partner, I took over the entire project. Vishant International is my banner. Since Sunil had put the project together, he shares a percentage in the profit.

You must have made a good packet even before its release?

It is a loss on the table!

Loss?

Yes, so far, it is a loss because the satellite rights are yet to be sold.

Surprising, because it is a star cast film. 

Sunny is not so hot where the sale of satellite rights is concerned. Similarly, audio and Overseas rights of Sunny starrers don’t sell for the sky. And, as you know, satellite, audio and Overseas rights are where the money is today.

Is it your first film which has shown a loss on completion?

No, Ziddi was also in minus. Arjun Pandit was just about okay. As for Farz, I have still to earn from satellite and, of course, I hold the Bombay distribution rights. I am also hopeful of getting good overflow from East Punjab. It is extremely hot there. In fact, the film has become pretty hot all over. I think, about 350 prints will be released on the opening day.

This is my first big star cast film where even the villain (Jackie Shroff) is a star. Also, the filming of the action scenes cost me a whopping Rs. 2 crore plus.

Here, I must say that Pretty Zinta worked at her committed old price even though she became a sought-after star after signing my film. She never asked for a hike in her price even though she is in demand today. And never has she hassled us for anything. I really appreciate her professionalism.

Since director Raj Kanwar’s last film, his own DHAAI AKSHAR PREM KE, did not do well, did your distributors feel shaky or apprehensive?

No distributor ever said anything post-Dhaai Akshar…. They consider this project as a combination of me, Sunny Deol and Raj Kanwar.

What kind of relationship do you have with your distributors?

I have my own set of distributors who’ve distributed all my five films and will be distributing the sixth too. Except one or two, who backed out for their own reasons.

Music has become a vital force for a film’s opening, but your film’s music is not very hot. Are you not tense about it?

It’s true that music plays an important role in boosting a film. But Sunny Deol is an action hero and we have relied on action and grandeur. Music is not as important in an action film as, say, in a romantic or family film.

What is the subject of FARZ?

Sunny Deol is a top police officer, but not the usual uniformed cop. The action is stylised.

Is it an original subject or a remake of a foreign film?

It is slightly inspired from an English film.

Which one?

You will come to know when the film comes on the screen!

What, according to you, ails the film industry? What corrective steps should be taken?

To me, filmmaking is fun. In which trade do you find people meeting and greeting each other so cordially and with so much warmth? But I must say, some people have now become too money-minded. These people believe in grabbing things — just khincho khincho! One can’t do anything about it. To each his own.

But one must appreciate you for having made three Sunny-starrers consecutively without any production delays. How could you achieve that? How long did FARZ take in the making?

Farz has been completed in 15 months. In five years, I have made three Sunny-starrers. I started Ziddi on 11th February, 1996 and now, on 12th January, 2001, I will be releasing Farz. How did I do it? By simply being professional. Each one has to play his own game here.

Are you taking any steps to save your film from video piracy?

This video piracy business is killing. When my film gets released, I will inform the police and take help of anti-piracy agencies.

How do you manage your finances? Does your dad help you?

No, he has retired from his finance business. He does not need to help me in anything. His blessings are enough.

What have you learnt from this industry?

I have been a producer for the last 10 years and I have learnt one thing very clearly: to be recognised in the trade, you have got to be big.

Is that the reason why you sign stars — to become big?

If that was the case, I would have now made a film with Hrithik Roshan whom I had signed six months before the release of KN…PH. I was the first to sign him. But my turn will come by the end of 2002 or in the beginning of 2003.

What explains your happy-go-lucky demeanour in the midst of pre-release tensions?

There is no point in crying about anything. What we have to face, we have to face.

You seem to be a strong believer in destiny.

Yes, I do believe in destiny. And I also believe in sincerity of work. Sincerity pays much more than your honesty.

Can you explain the difference between the two?

You see, an honest worker is the one who goes to work on time and leaves on time. A sincere worker is the one who, even if he does not go to his work place on time, completes his work much to his superior’s satisfaction and goes home early or late. It’s the quality of work that counts.

RAJU CHACHA

Devgans Films’ Raju Chacha is an extravagant drama about three kids whose multi-millionaire father is killed by evil relatives to escape a jail sentence. Not just that, the relatives then get down to torturing the kids with the aim of usurping the property and wealth of the deceased. But a famed crook, who robs cars and banks for a living, comes to the rescue of the kids, posing as their long-lost uncle. This ‘uncle’ knows the kids because he had tried to get married to their pretty governess a while ago. The marriage had been stopped by the kids’ father when he learnt that the guy was a fraud. Even while the kids forgive the ‘uncle’, the governess views him with suspicion till she is convinced that the guy wants to turn over a new leaf. How the ‘uncle’, the governess, the kids and their loyal chef unitedly eliminate all the evil relatives, after learning that it was they who had killed the father, forms the climax.

Anees Bazmee’s story and Robin Bhatt’s screenplay are directed at children mainly. But the handling of the subject by debut-making director Anil Devgan is so insensitive that emotions are almost absent when that is what should have been the film’s mainstay. Grandeur and special effects are often used to make up for the lack of feeling in the drama but, unfortunately, they are poor substitutes for emotions. Yes, a couple of scenes do touch the viewers’ hearts but the continuous yearning for the children’s well-being — which is what should be the emotion experienced by the cinegoer in a film of this kind — just doesn’t happen. The physical and mental torture inflicted on the kids by the villains would rather hurt the sensibilities of kids and their parents — the target audience for the film. Except for a couple of dialogues, which are really sensitive, even Javed Siddiqi’s dialogues don’t really create any impact.

Ajay Devgan does a fair job but the chemistry between him and the kids, whose messiah he comes as, just doesn’t work, thanks to the incompetent handling by Anil Devgan. It is sad to see an extraordinary actress like Kajol being wasted in an insipid fare as this. There’s not a single scene which could justify the casting of Kajol in the role of the governess. Her costumes are quite sad and it is difficult to believe that they’ve been designed by ace costume designer Manish Malhotra. Rishi Kapoor acts with utmost sincerity and is very good. Of the three kids, it is baby Sakshi Sem who performs very well. Master Harsh Lunia and master Kinshuk Vaidya are fair. Johny Lever’s comedy is enjoyable, though not hilarious always. Sanjay Dutt’s guest appearance comes as a wonderful surprise and will excite the audience enough to break into an applause. The gang of villains is weak. Govind Namdev, Pramod Moutho and Mayur play the evil relatives of the kids and they are average. Shahbaaz Khan’s get-up is more menacing than him. Tiku Talsania does a fair job. The dog has been wasted. Smita Jayakar, Usha Bachani, master Kewalya Chheda, Adi Irani, Vikas Anand and the rest of the cast lend average support.

Anil Devgan’s direction is not what the script demanded. He has given the film a rich look but it looks like a case of body beautiful without a soul. Jatin Lalit’s music is quite weak. ‘Tune mujhe pehchana nahin’, ‘Kahin se aayee rani’ and the title song are fair but a couple of songs are boring. Showing the animation song in the rolling titles in the end is a colossal waste. Action scenes are good. Some thrilling scenes are exciting although none has novelty. Camerawork is very good. Sets (Nitin Desai) are grand. Computer graphics are very beautiful.

On the whole, Raju Chacha lacks in emotions and entertainment. Thanks to the dull music, it has taken a poor start; thanks to lack of entertainment, it has bleak chances of a pick-up. A dull show which will do well only in selected cinemas.

Released on 28-12-2000 at Metro and on 29-12-2000 at 17 other cinemas of Bombay thru Devgan Entertainment & Software Ltd. Publicity: very good. Opening: fair. …….Also released all over. Opening was dull in most other circuits. It was excellent in Bihar.

KHILADI 420

D.M.S. Films’ Khiladi 420 (UA) is an action film with a complex story which has very little novelty. The hero (Akshay Kumar) plays a double role — one, a negative character, and the other, his twin brother who is noble-hearted. Revealing the second hero (noble-hearted guy) only after the death of the first hero (negative character) looks like a very simplistic approach to the drama.

The daughter of a multi-millionaire is pursued by two men. She opts for the friend she met in Canada and rejects the proposal of the other man who is her childhood friend. To her dismay, she finds that the guy she has married is a murderer who only wants to usurp her property. On the wedding night, she kills her husband in self-defence. All along till then, she doesn’t even know that her father had not died due to natural causes but had actually been murdered by her husband-to-be. After the death of her husband, emerges his identical twin brother. Except for her, nobody knows that the new man is not her husband. This brother is nabbed by the police for the father’s murder. Being a noble soul, he agrees to the crime he has never committed so that he can save his sister-in-law who has murdered her husband. If he reveals his identity, the law will catch up with his sister-in-law for her criminal act. If he doesn’t, he will be hanged to death, something which the sister-in-law will not allow to happen as she is in love with him.

How the twin brother saves her as well as himself from the clutches of law, even as the villains get to know of his true identity, forms the climax.

If the story is confusing, the screenplay has several weak links. The dead body of the negative hero being stored safely by his girlfriend for days together for no obvious reason is one such weak link. The twin brother’s barrage of questions to his sister-in-law-turned-beloved in the courtroom does not impress at all and surely doesn’t have to result in her being silenced! A matter of convenience to further the drama! In short, Uttam Gada and Neeraj Vora’s screenplay is more a piece of convenient writing than convincing writing. Even their dialogues are commonplace.

Akshay Kumar does well in both the roles. But there’s little he can do to rise above the poor script. Mahima Chaudhry acts with a lot of conviction and is especially brilliant in dramatic and emotional scenes. Mukesh Rishi is good. Sudhanshu Pandey makes an average big-screen debut as Mahima’s childhood friend. Alok Nath does an able job. Baby Lekhinee is natural. Antra Mali leaves a mark with a spirited performance. Viju Khote, Dilip Joshi, Sudhir Joshi, Dolly Bindra, Sayaji Shinde, Razzak Khan, Gulshan Grover, Subbiraaj and the rest provide average support.

Neeraj Vora’s directorial debut is nothing to write home about and for this, his weak script is also to be blamed. An unintentionally hilarious scene — to give an example of Vora’s direction — is the one in which Mukesh Rishi is holding Mahima Chaudhry in air, thousands of feet above ground level while himself safely placed in a cabin in an air balloon. Rather than clinging on to Mukesh Rishi for dear life, Mahima is shown as struggling to be let free. The discerning audience realises that if she is really let free by Mukesh Rishi, she will fall to her death! What she should have been directed to do was to cling on to Mukesh Rishi rather than trying to get free from his clutches! In the climax, Akshay Kumar is surrounded by villains who can easily shoot him dead, but they don’t do so for no apparent reason.

Sanjeev Darshan’s music is rather poor. A couple of songs are just about tolerable. Camerawork (Prabhu and S. Pappu) is of standard. Editing (Mohammed Ashfaque) is loose, especially in the second half. Some action scenes are exciting but there’s too much of action post-interval. The entire sequence of Akshay atop a moving aeroplane is breathtaking. Production values are rich.

On the whole, Khiladi 420 is weak in merits and has only action to lure the masses in small centres. A reasonable price is a point in its favour, but a dull opening, unexciting content and a dragging second half are danger points. Below average.

Released on 29-12-2000 at Alankar, New Excelsior and 20 other cinemas of Bombay thru Raman Pictures. Publicity & opening: good. …….Also released all over. Opening was poor in most of the other circuits.

LATEST POSITION

The Idd festival did nothing to boost the sagging morale of the industry. Rather, the dull opening of the two big releases of this week served only to demoralise the industry further.

Champion, after a very good start, dropped rather badly from 4th day onwards. 1st week Bombay 48,91,910 (59.79%) from 14 cinemas (10 on F.H.); Ahmedabad 6,70,086 from 3 cinemas (3 unrecd.), Patan (gross) 2,63,370 (77.92%), Kalol (gross) 1,89,628 (61.57%), Vapi 5,62,697 from 2 cinemas, Rajkot 1,72,800 (2 unrecd.), Adipur 1,78,368, Bhuj 1,54,657; Pune 11,92,475 from 5 cinemas, Solapur 2,81,054; Delhi 40,90,675 (45.33%) from 14 cinemas (4 on F.H.); Kanpur (6 days) 3,56,278 from 3 cinemas, Lucknow 4,83,200 from 2 cinemas, Agra 3,35,650, Varanasi 2,61,270, Allahabad 2,30,000, Bareily (6 days) 1,38,455; Calcutta 18,48,818 from 10 cinemas; Nagpur 5,67,633 from 4 cinemas, Jabalpur (6 days) 1,44,994, Amravati 2,05,334, Akola 1,93,347, Raipur (6 days, gross) 2,77,005 (1 unrecd.), Jalgaon 1,87,111, Katni (gross) 1,45,000, Wardha 1,01,860, Chandrapur 1,95,781; Indore 2,50,000 from 2 cinemas (2 on F.H.); Jaipur 8,06,408 (45.46%) from 4 cinemas, Ajmer (29 shows, gross) 2,76,002; Hyderabad (gross) 19,91,720 from 9 cinemas.

Raja Ko Rani Se Pyar Ho Gaya is a super-disaster. 1 week Bombay 3,86,042 (18.96%) from 4 cinemas (6 cinemas unrecd., 1 on F.H.); Ahmedabad 4,32,544 from 3 cinemas; Delhi 1,69,991 (9.44%) from 3 cinemas; discontinued from Bangalore after 3 days.

Jallad No. 1 is dismal. 1 week Bombay 1,35,862 (16.72%) from 2 cinemas; Jaipur (29 shows) 38,145 (10.24%).

Trishakti (dubbed) 1 week Bombay 1,86,078 (27.11%, 1 unrecd., 1 on F.H.); Ahmedabad 3,08,672 from 2 cinemas; Delhi 7,88,566 (23.64%) from 4 cinemas (1 on F.H.); Kanpur (6 days) 71,499 from 2 cinemas, Lucknow 89,494, Agra 1,60,000, Varanasi 1,15,778, Allahabad 65,144; Calcutta 3,27,676 from 8 cinemas; Amravati 1,54,298, Akola 1,52,442, Jalgaon 91,583; Jaipur (29 shows) 1,76,555 (33.16%). Poor.

………..

Dr. Babasaheb Ambedkar (dubbed, TF) is doing excellent in C.P. Berar. 2nd week Bombay 16,82,093 (52.46%) from 6 cinemas (2 on F.H.); Pune 3,42,327; Nagpur 4,51,120 from 2 cinemas, 1st week Amravati 2,02,447, 2nd week Akola 1,76,440, total 4,07,765.

Saali Poori Gharwali 1st week Nagpur 2,02,511 from 2 cinemas.

________

Mor Chhainha Bhuinya (Chhattisgarhi) 9th week Raipur (nett) 1,92,227, total 18,19,357, city record, 5th week Rajnandgaon 1,41,000, total 8,02,653, city record. Should do over 2 crore in Chhattisgarh.

U.A. THADANI NO MORE

“Firebrand leader”, “pillar of the film industry”, “an untiring worker”. These were only some of the ways in which leading Bombay exhibitor-distributor U.A. Thadani was described in the industry. Udharam Aildas Thadani breathed his last on 26th December at 10 a.m. at Breach Candy Hospital in Bombay, where he had been admitted about 20 days back for malfunctioning of the lungs. He was cremated the same afternoon. His funeral was well-attended by distributors, exhibitors and producers too. His chautha on 28th was attended very largely.

Thadani is survived by his wife, two sons and a daughter. His younger son, Rajesh, married Anjali just last week. The marriage took place at a simple ceremony in a temple because of U.A. Thadani’s critical condition.

Thadani had been the president of the Theatre Owners’ Association (TOA) for several terms. He was a selfless worker who served the industry for years. Not just in association meetings, U.A. Thadani was often seen in court rooms too, whether it was a case between the industry and the government or between an exhibitor and a distributor. A hot-tempered man, it wasn’t rare for Thadani to blow his top in matters concerning not just him or his business but the industry or association too. However, he used to cool down in a matter of minutes.

U.A. Thadani loved to socialise and, despite failing health in the last one year, he used to oblige people by attending their functions and parties. His son, Rajesh, who helped him and his (U.A. Thadani’s) brother, Kundan Thadani, in business, used to often escort his father, like a loving son would do, to parties as the doctors had advised him against going alone anywhere.

The Thadanis own New Era (Malad), Ganesh (Lalbaug) and Sona (Borivli) cinemas of Bombay, Deccan and New Excelsior cinemas of Pune, Alankar, Nadiad and Gopi, Amreli. All the cinemas owned by them remained closed on 26th. Gopi cinema, Amreli remained closed for 3 days. The Thadanis control Maratha Mandir, Gaiety, Galaxy, Gemini, Glamour, Gem and Shreyas (Ghatkopar) cinemas of Bombay, and Vijay and Mamta cinemas of Nasik. Thadani had distributed several films including Soldier and Kya Kehna! in recent times. He had also produced a film, Do Premee.

All distribution and exhibition offices at Naaz, Bombay remained closed on 26th as a mark of respect to the departed soul. Offices of the IMPDA, CEAI and TOA also observed a day’s closure.

IMPDA president N.N. Sippy was very sad on hearing the news of Thadani’s demise. Said he, “For me, his death is more than merely a professional loss. He was by my side, whether in personal matters, business matters or association matters. I will miss him very much. Just before he was hospitalised, I recall he telling me excitedly about how many whisky bottles he had arranged for his son’s wedding reception on 20th December. He was looking forward to the wedding.”

NOOR JEHAN BIDS ADIEU

Pakistan’s melody queen Noor Jehan struck the last note of her life and departed for the world beyond on 23rd December. The mallika-e-tarannum passed away following heart failure, in the port city of Karachi in Pakistan. She leaves behind two sons and five daughters, besides a number of fans in the two neighbouring countries, India and Pakistan. She was 75.

Noor Jehan started out as a singer and actress in undivided India when she was barely eight years old. K.D. Mehra, known as the father of Punjabi films, introduced her in a Punjabi film. Noor Jehan shot into prominence when Dalsukh Pancholi introduced her in Khandan in 1942, opposite Pran. To further her singing and acting career, she migrated from Lahore of the undivided India to Bombay. Mehboob cast her in his Anmol Ghadi (1946) in which she played the leading lady and rendered her career’s best songs under the baton of Naushad. This was the only film for which she sang under Naushad who gave evergreen tunes like Aawaz de kahan hai, Jawan hai mohabbat and Mere bachpan ke saathi mujhe bhool na jaana, which were a rage then and even now, a listener’s delight. Noor Jehan recorded hundreds of songs in Hindi and Punjabi.

Dilip Kumar, who acted opposite her in Jugnu (1947), said in his tribute, “She will remain immortal and, through modern technology, her voice will reverberate and echo…. May God be generous in his reward to Noor Jehan for the golden melodies with which she enriched generations in India and Pakistan.”

Lata Mangeshkar, who was mentioned as baby Lata when she acted in Badi Maa (1945) with Noor Jehan said, “She treated me as her younger sister and whenever we met, she used to hug me. Her death has created a vacuum in the world of music, which cannot be filled.” Suraiya, who co-starred with Noor Jehan in Anmol Ghadi, remembered how she (Noor Jehan) had prodded her (Suraiya) to sing. “The world is yet to see a singer like Noor Jehan,” she said.

“Mere geeton mein Noor Jehan apni noor bharke chali gayi,” said music director Naushad.

In its editorial tribute, The Times Of India has said, “Noor Jehan encapsulates the undying allure of the great Indo-Pak amity story. Decades of political acrimony, war and hate-mongering have failed to dim the charisma of this two-nation, one-human tale, for, Noor Jehan belongs to our virasat (heritage) as much as she belongs to their virasat.”

In a message sent to the High Commission of Pakistan in New Delhi, Guild president Surinder Kapoor has condoled the death of Noor Jehan. The message says that the singer “has made a special place in the hearts of millions of Indians. Her death has caused an irreparable loss to the film industry.”

SHAKTI SAMANTA ELECTED FFI PRESIDENT

Shakti Samanta was unanimously elected president of the Film Federation of India at the first meeting of its executive committee held on 29th December in Bombay. Santosh Singh Jain, Prabhat Bhushan, G.S. Mayawala and L. Suresh were elected vice presidents. Tilak Raj Magan and Surinder Kapoor were elected hon. general secretary and hon. treasurer respectively.

SANJEEV’S WEDDING RECEPTION

A large turnout of the industry bigwigs marked the grand reception held on 21st December at Juhu Centaur, Bombay, to celebrate the wedding of music director Sanjeev (of Sanjeev Darshan duo) with Ritika. Music director Shravan, father of Sanjeev, personally received the guests. His partner, Nadeem’s absence was made up by the presence of Nadeem’s parents.

NAZIM RIZVI’S REMAND EXTENDED

Citing police investigations being at a delicate stage, the special court in Bombay on 27th December further remanded Chori Chori Chupke Chupke producer Nazim Rizvi and his assistant Abdul Rahim Allah Baksh to police custody till January 8. The judge observed that the police had come across material evidence and valuable information during investigations.

Meanwhile, the prosecution questioned the locus standi of the film’s financier, Bharat Shah, in the matter. Shah had intervened in the case by filing a vakalatnama. However, he did not stake his claim on the negatives of Chori Chori Chupke Chupke which have been sealed by the police.

YOU ASKED IT

When the government of Uttar Pradesh grants 100% tax-exemption to films shot entirely in the state, why don’t our producers avail of the benefit?

– Uttar Pradesh does not have too many unexploited beautiful locales and also lacks in infrastructure facilities for shooting.

How come there was no satisfactory initial for star-cast films like Raju Chacha and Khiladi 420 which opened on Idd day?

– Mainly because of lack of hit music which is essential for a good opening. Besides, the musical promotion of KHILADI 420 was not up to the mark. 

It is indeed enlightening to note the total collections of films released in Bombay city and suburbs in your box-office section. Can you tell me the total collections of Hum Aapke Hain Koun..! and the number of weeks it ran for in Bombay city and suburbs?

– HUM AAPKE HAIN KOUN..! ran for 150 weeks in Bombay city and suburbs in its first run and it collected a total of Rs. 12.12 crore (excluding FH cinemas and Thane district)!

CENSOR NEWS

D.M.S. Films’ Khiladi 420 (social) was given C.C. No. CIL/2/49/2000 (UA) dt. 22-12-2000; length 5119.69 metres in 17 reels (cuts: 28.04 metres).

Saboo Films P. Ltd. and Bharat Film Works’ Kuch Khatti Kuch Meethi was seen on 26th.

Trust International’s Yeh Kaisi Chahat (dubbed; length 2402.07 metres in 5 reels) was applied on 21st.

F.K.R. Productions’ Zubeidaa (length 4100.20 metres in 15 reels), applied on 22nd, was seen on 27th.

NFDC Ltd.’s Daman (length 3466.49 metres in 14 reels), applied on 22nd, was seen on 27th.

Visuals P. Ltd.’s  Moksh  (length 4330.01 metres in 17 reels), was applied on 26th.

Vishant International’s Farz (length 4860.07 metres in 18 reels), applied on 26th, was seen on 27th.

CFSI’s Bhago Bhoot (length 2286.58 metres in 9 reels), was applied on 27th.

R.N. Films’ Hasina Dacait (length 2485.94 metres in 12 reels), was applied on 27th.

Hrithik Controversy In Nepal
THE TRUE STORY

So what sparked off the Hrithik controversy in Nepal? Now that it is established that Hrithik Roshan never uttered a single word against either Nepal or the Nepalese, in any TV or other interview, how did his name get dragged into the controversy which claimed four lives in Nepal on 26th December and is now threatening the very tenure of the ruling Koirala government?

Reportedly, it is the handiwork of a handful of Nepal distributors of Indian films, who are also producers of Nepalese films. It was their intention to disturb the smooth running of Hindi films in Nepal. This, in turn, would also help boost business of Nepali films, they thought.

The reason why the trouble-makers wanted to disrupt the screening of Hindi films in general is that they have not been successful in bagging the distribution rights of some coveted films of late, including the Hrithik-starrer Mission Kashmir. It may be mentioned here that it was recently decided by Nepal distributors — at the behest of vested interests, of course — that no Nepal distributor would pay more than Rs. 15 lakh for any Hindi film. Before some months, the Nepal Motion Picture Association had resolved that producers should sell distribution rights of their films for the Nepal territory directly to Nepal distributors instead of selling them to Bihar distributors who then either sell the same to Nepal distributors or release the films in Nepal themselves, which has been the practice for years. This, says a Bihar distributor wishing to remain anonymous, was done with a view to keep Indians out of Nepal territory.

The handful of people, it is learnt, instigated a group of gullible students to launch a tirade against Hrithik Roshan. It just happened to be Hrithik; it could have been anybody else. Another theory has it that Hrithik was targetted intentionally so that the screening of Mission Kashmir (which one of the miscreants had coveted but not succeeded in getting) could be disrupted.

In either case, this is how things seem to have transpired:

Simi Garewal’s interview of Hrithik Roshan is aired on Star Plus. Seeing this as a Godsent opportunity to create controversy over Hindi films in Nepal, the disgruntled local distributors instigate a group of rowdy college students of Chitwan. The youth march to a local newspaper (Chitwan Post) and demand that their condemnation of Hrithik’s anti-Nepal statements on the Simi Garewal show be published. The newspaper editor refuses, saying, he would rather wait and see if more people felt that way. The next day, the students set afire an effigy of Hrithik Roshan and send Chitwan Post a press release alongwith a picture. The paper publishes the news in its 15th December edition. On reading the news, the president of an all-Nepal students’ union issues a statement in Biratnagar, condemning Hrithik’s alleged remarks and he calls for a boycott of the actor’s movies. The situation precipitates when the secretary of the same union repeats the statement in Kathmandu. The statement is reported in all major newspapers on 25th December. On 26th, angry mobs take to the streets of Kathmandu and threaten to burn down the local Gopi Kishan cinema, owned by Udhab Paudwal, which is screening the Hrithik-starrer, Mission Kashmir. They heavily damage the cinema. In the police firing that follows the mob violence, four people are killed and 180 others, injured. The issue snowballs into a national crisis and refuses to die down even after the students’ union president admits to not having seen Hrithik’s interview. Hrithik’s denial fails to reach out to the angry masses as the only independent cable network in Nepal has by then stopped the telecast of Indian channels. Nepal’s newspapers, however, carry an apology attributed to Hrithik. The violence continues unabated on 27th as the protesters clash with the police and block streets with burning tyres and trees. The public ire turns on the Indian community, and the State Bank of India’s Kathmandu office sees its windows pelted with stones. The city of Kathmandu witnesses unprecedented violence. All work comes to a standstill as several political parties call for a strike on 28th. The prime minister’s chair is endangered as nearly half of the 113 ruling Nepalese Congress MPs move a no-confidence motion against Koirala.

Even those who master-minded the entire false drama had, perhaps, not dreamt that it would take such an ugly turn with such far-reaching consequences as to ultimately go on to shake the ruling government in the Himalayan kingdom.

An unrelated incident relates to Raju Chacha which could not be sold for Nepal as the powerful lobby of the same handful of distributors had spread the word a few weeks back that nobody should pay more than Rs. 10 lakh for its distribution rights! Khiladi 420, the other release of this week, opened in the Terrai region of Nepal yesterday (29th December) but not in Kathmandu. All Hindi film screenings in the capital city have been suspended following the horrendous riot that broke out there on 26th.

3-E
Education-Entertainment-Enlightenment

Lata, Rafi & Noor Jehan

Both, Lata Mangeshkar and Mohd. Rafi, had acted in films starring late Noor Jehan. Lata Mangeshkar had acted in a small role in Badi Maa, released in 1945. She was billed as baby Lata in the film’s credits. Mohd. Rafi had also acted in a small role in the Noor Jehan-starrer Jugnu, released in 1947. He also rendered for Jugnu that hit number, Yahan badla wafai ke siva kya bewafa kya hai with Noor Jehan. Jugnu was produced and directed by Shaukat Hussain Rizvi whom she married and migrated with to Pakistan after the Partition. The other actor-singers who acted with Noor Jehan were Surendra and Suraiya — in Mehboob’s Anmol Ghadi, released in 1946. Surendra played the lead opposite Noor Jehan while Suraiya was the other heroine of the film. The evergreen hit song of Anmol Ghadi, Awaaz de kahan hai, was rendered by Noor Jehan and Surendra.

Hrithik-Abhishek In Legal Battle

Hrithik and Abhishek are involved in a court battle. Only thing, Hrithik Roshan is not directly involved, and Abhishek is not Abhishek Bachchan but Abhishek Poddar! The latter has dragged S. Kumar’s to the Madras high court over the use of the brand name, Cinnamon, which is being endorsed by Hrithik Roshan. The court has restrained S. Kumar’s by an interim injunction from advertising their readymade menswear line under the brand name Cinnamon following the application by Abhishek’s Bangalore-based company, Sua Explosives & Accessories, which has claimed ownership over the name. The petitioners own a fashion store called Cinnamon in Bangalore, which sells clothes under that label. The store, which opened in 1999, has clothes designed by Italian fashion designer Andrea Anestasio. Abhishek plans to soon open similar stores in other cities too.

No Idd Celebration, This!

The dull opening of Raju Chacha and Khiladi 420 this week has sent shock waves in the industry. Not just because they both are star-cast and big-budget films, which are extensively publicised, but also because their releases coincided with Idd, a festival eagerly awaited by producers, distributors and exhibitors.

The Idd festival has traditionally been known for bountiful box-office collections as many Muslims, who abstain from frequenting cinemas during the preceding Ramzan month, throng cinema halls on the festive day. The following day (Baasi Idd) is also considered very good for the box-office. But this year, collections were generally dull on both, Idd and Baasi Idd days (December 28 and 29). In fact, several distributors released the films on Thursday (December 28) to take advantage of the festival, but were disappointed with the 40 and 50% collections!

Dull music of both the films contributed to the poor openings. Bombay city, of course, recorded good collections. In Bihar, collections of Raju Chacha were excellent.

Besides dull music, there are other reasons too. It appears that without music, Ajay Devgan and Akshay Kumar can’t pull in the crowds. Deewane, Ajay Devgan’s last release, too, had had a poor initial. Dhadkan (Akshay Kumar), despite super-hit music, had opened to ordinary houses. In the case of Ajay Devgan and Kajol, their first release together, after their marriage — Dil Kya Kare — was also a damp squib. Is the hit pair of Pyaar To Hona Hi Tha losing ground after marriage?

RAJA KO RANI SE PYAR HO GAYA

Shogun Films Ltd.’s Raja Ko Rani Se Pyar Ho Gaya is a fairy tale kind of a film. A child grows up with a dream to marry a princess. As a handsome adult, he befriends a pretty girl who, unknown to him, is a princess. He first meets her when he saves her life in his village. Unable to strike a rapport with her there, he sets out for the city where she lives, with the sole purpose of meeting her. His brother, nephew and nieces also stay in the same city. The pretty princess gifts the guy a baby elephant, having accidentally broken his elephant idol which is worshipped by his family as a deity. While the kids start loving the animal, it is found to be a nuisance by members of the housing society in which the guy lives with his brother’s family and the elephant. The silliest part is that the brother and his wife for many days don’t realise that an elephant is staying with them in their flat! When the brother does get to know about the presence of the elephant, he orders it to be thrown out. Ultimately, the elephant comes back to the house.

In the meantime, having lost his heart to the girl, the handsome guy one day proposes marriage to her. She declines his offer as she had been married off in her childhood to a boy who has grown up to be a menacing villain. On being prodded by his grandmother, the guy rescues the princess from her villain-‘husband’. He is aided in his climax fight by the baby elephant.

T.K. Rajeev Kumar’s screenplay is as pathetic as his story. A handful of scenes do appeal but the major part of the film is sickeningly dull. Dialogues are simple.

Arvind Swamy does well but a younger man was the need of the fairy tale. Manisha Koirala is good. Elephant Appu pleases at places. Dina Pathak, Goga Kapoor, Dilip Dhawan, Tanvi Azmi, Priya Tendulkar, Shahbaaz Khan, Kunika and the child artistes lend fair support.

T.K. Rajeev Kumar’s direction is too dull to be true. Music (Jatin Lalit) is average although a couple of songs have been beautifully picturised (Kala and Ahmed Khan). Ravi K. Chandran’s camerawork is splendid. Action (Thyagarajan) is just about tolerable.

On the whole, Raja Ko Rani Se Pyar Ho Gaya, which has taken years to be completed and reach the cinemas, is a disaster. Staleness apart, it is almost devoid of entertainment of the kind liked by today’s audience.

Released on 22-12-2000 at New Empire and 10 other cinemas of Bombay by Shogun Films Ltd. thru Shringar Films. Publicity: fair. Opening: poor. …….Also released in Delhi-U.P., West Bengal and Mysore.

U.A. THADANI CRITICAL

The condition of leading Bombay exhibitor-distributor and Theatre Owners’ Association president U.A. Thadani continues to be critical at the Breach Candy Hospital, Bombay. His condition is causing great anxiety not only to his family members and relatives but also to his friends in the Bombay film trade, particularly in Naaz building.

Thadani was hospitalised two weeks back and has been in the ICU of the hospital for lung malfunctioning and other complications.

HRITHIK-SUZANNE WEDDING CEREMONY A PRIVATE AFFAIR

All the guesswork and speculation came to an end on 20th December when Hrithik Roshan and Suzanne entered into matrimonial alliance in Bangalore following an engagement ceremony the previous day. The milni ceremony, prior to the wedding, had J. Om Prakash and politician Ghulam Nabi Azad representing respectively Hrithik’s dad, Rakesh Roshan, and Suzanne’s dad, Sanjay Khan.

The wedding was held at Sanjay Khan’s Golden Palms Resort & Spa in Bangalore. It was a private affair. Rishi Kapoor, Jeetendra, Prem Chopra and Sujit Kumar were among the few select guests who attended the wedding. The pressmen and photographers were kept at bay by the security guards.

The newly-married couple will arrive in Bombay on 24th December (Sunday) from where they will take off for a honeymoon (destination undisclosed).

MUSIC DIRECTOR SANJEEV WEDS

A reception to celebrate the wedding of music director Sanjeev (of Sanjeev Darshan), son of music director Shravan, with Ritika was held on 21st December at Hotel Centaur, Juhu, Bombay.

HC REJECTS ANUPAM KHER’S PLEA TO RESTRAIN ZEE

A plea by Anupam Kher to restrain Zee TV from removing him as the host of Sawaal Dus Crore Ka was rejected by Justice K.K. Baam of the Bombay high court on 20th December. Kher had claimed in his plea that Zee TV could not terminate his contract as it had promised that it would not conduct the game show without him as one of the hosts. The promise had, argued Kher, prompted him to sign away his copyrights as a performer on the show, especially since he was told by Zee TV that he would be one of the hosts for 156 episodes. Kher had been paid Rs. 1 crore initially and was being given Rs. 2.5 lakh per show. The total contract for 156 episodes was worth Rs. 3.9 crore.

While accepting Zee TV’s submission that the contract was of personal service and hence no injunction could be granted on Kher’s plea, the judge observed that the contract was not of an exclusive nature. He held that the contract did not prevent Anupam Kher from taking up other assignments in his acting career, but only stipulated that the actor set aside eight days every month exclusively for the show. He also added that Kher could claim damages from Zee TV if his removal from the show was held unlawful by an arbitrator.

Virag Tulzapurkar argued for Zee Telefilms. Janak Dwarkadas was Anupam Kher’s counsel.

In a related case, Zee on December 21 served a legal notice on Anupam Kher, asking him to tender an apology within 10 days for making allegedly defamatory statements against the company or face a Rs. 100 crore defamation suit. The notice states that Anupam had defamed the company in the press by saying that the show was bad and that it did not have proper lighting. Kher is also alleged to have said that there was no coordination between the organisers and the participants.

SALMAN, SATISH SHAH SUMMONED BY COURT

Salman Khan and Satish Shah have been summoned by a Jodhpur court to appear before it on January 27, 2001 in connection with the black buck poaching case. Salman had been arrested under various sections of the IPC, Wildlife Act and Arms Act in 1998 for hunting black bucks, but was released on bail. He was allowed permanent bail with a provision that he should appear before the court when summoned.

FIRE AT MEHBOOB STUDIOS

Two shooting floors at Mehboob Studios were gutted in a fire which broke out at 2 a.m. on 20th December. While stages 1 and 2 of the studio perished in the fire, the firemen managed to save the recording room, the make-up rooms and the studio owners’ residence after a three-hour battle to put out the fire. Since the studio was closed at the time, no one was injured.

The sets of Rohan Sippy’s Kuch Na Kaho and Meghna Gulzar’s Filhaal, which were erected on stages 1 and 2 respectively, were reduced to ashes. Reportedly, the cost of the Filhaal set, erected by art director Nitin Desai, was Rs. 32 lakh.

The cause of the fire is yet to be ascertained. The studio management does not suspect any foul play.

AMITABH UNVEILS STATUE OF SELF AT TUSSAUD’S

Amitabh Bachchan unveiled his wax statue at Madame Tussaud’s museum, London, on 20th December. Amitabh was immensely impressed with the quality of work of his wax version. He expressed his gratitude to Madame Tussaud and said that it was an honour not only for him but also for the people of India. He described the statue as “an incredible piece of art”.

NAZIM RIZVI’S MAN FRIDAY ARRESTED

Eight days after the arrest of producer Nazim Rizvi (Chori Chori Chupke Chupke), the crime branch of Bombay police arrested his personal assistant and close confidante, Abdul Rahim Khan, in connection with the controversy surrounding the financing of Chori Chori Chupke Chupke. Twenty-five-year-old Khan has been accused of having links with the underworld and has, like Rizvi, been booked under the Maharashtra Control of Organised Crime (MCOC) Act.

The crime branch had detained Khan for questioning since the day of Rizvi’s arrest (13th December) and had interrogated him for eight days prior to arresting him on 21st. He was remanded to police custody till 27th December by a metropolitan magistrate.

Meanwhile, the negative of CCCC continues to lie sealed by the police at Adlabs. The police, which had seized the negative under section 20 (2) of the Act, has now issued a notice, as per court’s order, asking any other “bonafide claimant of the negative to approach the court within 15 days”. Bharat Shah, the film’s financier and the negative rights holder, has so far neither staked his claim nor moved court as he had said, he would.

Earlier, on 16th December, the film’s directors, Abbas and Mustan, as also its lead man, Salman Khan, were interrogated in the case. Bharat Shah was questioned on 15th and 16th. He has submitted the source of funding of CCCC to the crime branch.

CINEMA CLOSURE IN MAHARASHTRA CALLED OFF

The one-day protest strike by cinemas of Maharashtra on 20th December was withdrawn on an assurance from the home secretary, government of Maharashtra, to the film industry that the government would take steps against illegal telecast of films on cable TV networks. Accordingly, cinemas all over Maharashtra functioned as usual on 20th.

The strike call was jointly given by the Indian Motion Picture Distributors’ Association (IMPDA), the Cinematograph Exhibitors’ Association of India (CEAI), the Theatre Owners’ Association (TOA) and the Central Circuit Cine Association (CCCA).

‘KAHO NAA…PYAAR HAI’ GOLDEN JUBILEE

Producer-director Rakesh Roshan’s Kaho Naa…Pyaar Hai, the box-office wonder of the millennium year, entered 50th combined week at Novelty (matinee), Bombay and other centres of the country on 22nd December.

While Rakesh Roshan surpassed all his previous hits with this film, his brother, music director Rajesh Roshan, gave ample proof of his musical prowess. And what’s more, Rakesh’s son, Hrithik Roshan, was bestowed with instant stardom on its release. Amisha Patel also achieved stardom. The film co-stars Anupam Kher, Farida Jalal, Mohnish Bahl, Dalip Tahhil, Satish Shah, Ashish Vidyarthi, Tanaaz Currim, Vrajesh Hirjee and Johny Lever (in a guest appearance). Honey Irani and Ravi Kapoor’s script, Sagar Sarhadi’s dialogues, Kabir Lal’s cinematography, lyrics (penned by Saawan Kumar, Ibrahim Ashq and Vijay Akela), Tinnu Verma’s action, Farah Khan’s choreography, Sanjay Verma’s editing, and R. Varman’s art direction contributed in no small measure to the film’s super-success.

50-DAY CELEBRATIONS OF ‘MOR CHHAINHA BHUINYA’

The 50 days’ run of the trend-setting Chhattisgarhi film, Mor Chhainha Bhuinya, was celebrated with felicitations at cinemas screening the film.

At Babulal Talkies, Raipur, where the film is running in daily 5 shows, the cinema’s owners, D.K. Jain, M.K. Jain and Kamal Jain, honoured the film’s producer, Shivdayal Jain, writer-director Satish Jain, music director Babla Bagchi, lyricist Lakhman Masturiya and the film’s artistes. Lavanya Tiwari, secretary, Chhattisgarhi Cine Association, also felicitated the film’s writer-director.

The proprietors of Sharda Talkies, Durg, Anil Jadav and Ajay Jadav, also honoured the film-makers and the artistes while the owners of Manohar Talkies, Bilaspur organised a function to celebrate its 50 days. It was attended by Bilaspur mayor Uma Shankar Jaiswal. The film’s distributor, Pooran Entertainments, Bhilai distributed sweets among its staff.

In the meantime, Satyanarayan Sharma, minister for higher education, Chhattisgarh, saw the film on 16th December in Raipur and praised it for highlighting the Chhattisgarhi culture.

PREM PRAKASH, JAIPUR TO BE RENAMED GOLCHA

Surendra Golcha and Abhimanyu Golcha’s Prem Prakash cinema in Jaipur will be renamed The Golcha on the occasion of its golden jubilee.

Amitabh Bachchan will unveil the cinema’s new name at a function at the cinema on 26th December. Yash Chopra will be the guest of honour. The cinema is currently screening Mohabbatein.

NEW CINEMA IN BIJAPUR

Apsara Theatre 70mm, a new cinema in Bijapur, owned by Shravankumar B. Mahindrakar, was inaugurated on 21st December by Rakesh Singh, district magistrate of Bijapur. It has 572 seats. The air-conditioned cinema opened with a Kannada film, Nee Nanna Jeeva.

In accordance with the policy of the Karnataka government, the cinema will enjoy an entertainment tax holiday for the first three years.

NARESH KANODIA CELEBRATES HIS SONS’ WEDDINGS

Actor-producer and music director of Gujarati films, Naresh Kanodia, and his music director brother Mahesh Kanodia hosted a cocktail-dinner party for their friends from the press to celebrate the weddings of the former’s two sons — music director Sooraj and Gujarati film actor Hitu. The party was held on 20th December at Nandkrupa Hall, Andheri, Bombay. Mahesh Kanodia, elder brother of Naresh Kanodia, welcomed the invitees.

Earlier, on 12th December, a reception to celebrate the weddings was held at the Hare Krishna Temple Garden, Juhu. It was a grand affair and was attended by the bigwigs of the Gujarati film industry. Several Gujarat ministers, including Faqir Waghela, Raman Vora, Narayan Patel, Khodbhai Patel, Tulsi Dabhi, Jayanti Barot, Ishwar Makwana and Nalin Bhatt, also attended the reception, Ratilal Varma (MP) and MLA Shailesh Parmar were also present.

Incidentally, the venue of the marriage and reception was Hare Krishna Temple Garden because the grooms had expressed their desires to enter into matrimony in a temple.

CENSOR NEWS

Emaar Films International’s Chori Chori Chupke Chupke (social) was given C.C. No. CIL/2/47/2000 (UA) dt. 18-12-2000; length 4560.20 metres in 18 reels (cuts: 4.64 metres).

Devgans Films’ Raju Chacha (social) was given C.C. No. CIL/1/81/2000 (U) dt. 21-12-2000; length 5096.63 metres in 18 reels (cuts: 27.09 metres).

Shree Shiv Bhakti Films’ Champion (crime) was given C.C. No. CIL/3/130/2000 (A) dt. 18-12-2000; length 4180.08 metres in 16 reels (cuts: 20.37 metres).

3-E
Education-Entertainment-Enlightenment

B4U: Bharatbhai For You

Topmost film financier Bharat Shah’s interrogation by the crime branch of Bombay police in the sensational Chori Chori Chupke Chupke case is all fine, but the negative publicity being given to Shah on a couple of television channels gives the impression that it is now turning into a channel war.

Bharat Shah’s involvement in the B4U channel is too well-known. Zee and Star TV have been rather harsh on Shah in their news bulletins and other shows, feel top industry people. A top producer-director, wishing to remain anonymous, said, “The two channels seem to be capitalising on this case by dragging Bharatbhai’s name into it more than required. The channels seem to have made up their minds that Shah was guilty and had a nexus with the underworld even though the police haven’t drawn any such conclusions.”

More Multiplexes 

The Dainik Jagran group of newspapers, extremely popular in Northern India, is now set to get into the business of multiplexes. One 3-screen cineplex with other entertainment facilities, a huge shopping mall, parking space for 250 cars and the works will be open to the public in Kanpur in May 2001. Shailesh Gupta, the 29-year-old member of the 53-member joint Gupta family of Kanpur, is the man behind the multiplex called Rave. The name ‘Rave’ has been derived from Ravi and Vedant, the sons of Kothari (Gupta’s partner in the multiplex) and Shailesh Gupta respectively. Kanpur is only the beginning; the next city Shailesh is targetting for the multiplex is Lucknow.

A Valentine’s Launch

The debut film of Salman Khan’s younger brother, Sohail Khan, and Sameera Reddy will be a love story. Titled Maine Dil Tujhko Diya, it will — quite appropriately — go before the cameras on Valentine’s Day, 14th February, 2001.

Sohail himself will be directing the film which is produced by him jointly with partner Bunty Walia. Kabir Lal, who shot newcomers Hrithik Roshan and Amisha Patel in 2000’s biggest blockbuster, Kaho Naa…Pyaar Hai, will be the cinematographer for this romantic story too.

On being asked if the choice of Valentine’s Day to start shooting was a conscious decision or a coincidence, Bunty Walia said, “It is deliberate. Why? Because the film is a love story and Valentine’s Day epitomises love. Let me also add that we will be releasing the film on Valentine’s Day 2002!”

In the meantime, songs of Maine Dil Tujhko Diya are being recorded currently by Anu Malik’s younger brother, Daboo Malik.

Only Meethi, Nothing Khatti

Rahul Rawail is a happy man even before the release of his Kuch Khatti Kuch Meethi. For, Pritish Nandy Communications has entered into a deal with Rahul for all the territories for which his film was till now unsold. PNC has agreed to pick up all those territories at the market price of the film. B.L. Saboo, the first-time partner of Rahul Rawail in KKKM, can’t believe that film production is so easy! For, Saboo and Rawail have got more than their investment back with minimum efforts, thanks to PNC.

Baroda Exhibitors: Championing Their Cause

Baroda exhibitors have formed a syndicate like the one which exists in Surat. The syndicate has decided not to pay crazy prices to distributors for booking their films. Bookers have for quite some time now been doling out unheard of monies to distributors and, in the process, have often burnt their fingers. So it is hardly surprising that sanity should have been restored. The syndicate is now determined not to go by the bookers’ dictates. The first impact of the unity was felt in the release of this week’s Champion. Although a leading booker had committed a fancy price (Rs. 10 lakh) to the film’s distributor for a cinema of Baroda, the concerned cinema refused to honour the commitment. Resultantly, no cinema had been finalised in Baroda for Champion till the eleventh hour. Quite literally so! For, Champion was finalised at Sagar cinema of Baroda at 11 o’clock on the night of Thursday (21st December)! That too, at less than half the earlier price committed by the booker.

SHOWBIZ TODAY

R World:
It’s Our Whole New World!

You enter the long promenade after parking your vehicle and are flabbergasted by the sheer vastness of the multiplex that surrounds you. Are you in Hollywood? While you might just be as close in India as you can get to being in Hollywood, you realise that you are at R World, the multiplex marvel which has recently come up at Adalaj, near Gandhinagar in Gujarat.

As you pass the main entrance and stop to gaze at the high pillars, each displaying a backlit poster of forthcoming films, you may tend to miss out on the tiny neon lights fitted deep into the floor. If each pillar boasts of a backlit poster, the high walls of the cineplex can’t by any lesser, for, on them are mounted backlit close-ups of Hollywood stars in one row and our very own Bollywood stars in another. There’s a huge TV screen, too, in the grandiose foyer, just in case you don’t want to miss Kaun Banega Crorepati or …Kyunkii Saas Bhi Kabhi Bahu Thi! While you are still trying to grasp every picture and every bit of the eye-catching illumination, your attention is drawn to the bowling alley — ‘Future Bowl’. Yes, you can try your hand at bowling amidst some soulful music. And mind you, you’ll be provided special shoes for this sport, lest you slip on the smooth wooden floor.

A walk down the lobby takes you to the music shop, appropriately called ‘Listen’. Try out the numbers before buying an album.

Is it your best friend’s birthday tomorrow? Don’t worry, just pick up a card from the ‘Cards & Gifts’ shop.

Kids, too, have ample choice to have a whale of a time — from playing in the park (on the slides, see-saws and what have you) to striking cars (yet to be started) to watching their favourite cartoon films on the ‘Kid Screen’ to relaxing in the thoughtfully-conceptualised ‘Mother’s Room’. And if kids are net-savvy, you just might want to drop them at the Cyber Cafe for a while.

Oh dear, how did I forget the video parlour with its innumerable exciting video games and air hockey boards? What’s that now? Well, I can’t tell you everything: some games are better played and enjoyed than explained. Feeling hungry? Twenty-two, yes, 22, varieties of popcorn await you at ‘Catch 22 Corns’, ‘Popcorn & Nachos’ & ‘Top Corn’. Popcorn is not enough of a meal for you? Want something more filling? Just wait till the gates of ‘Food Hunt’ are opened sometime next month, where among others, Birdy’s by Taj, Just Around The Corner & Dosa Diner will provide their goodies.

And what is a ‘Banquet Hall’ doing here? Yes, you can also have an engagement or birthday party right here! Sounds unbelievable, isn’t it?

But hey! just a minute, you are here to see a film, remember? Yes, you are here to see a film on one of its three screens. So, here’s more about the three cinemas housed in the R World complex.

Each cinema is divided into two classes — Gold and Platinum. Cinema I has 462 seats in the Gold category (stalls), Cinema II has 336, and Cinema III has 337 seats. Each of the three cinemas has 100 seats in the Platinum (balcony) class. The ticket rates vary between Rs. 60 and Rs. 150 depending on the film being shown — Hindi or English. There is a single projection system for all the three screens.

Now we come to the posh push-back seats made of pure leather. Luxury at its very best! You have to sit in the seats to experience the comfort — never before experienced in any cinema in India (Psst! In case the film is boring, you may feel more inclined to just stretch your legs and lie back in the plush seat. Before you can spell S-L-E-E-P, you’ll be fast asleep! No thanks to the boring film, but all thanks to the coziness of the chair.)

Hello, if you think all the leisure activities (video games, bowling alley, go-karting and many more which are still to come) are for free with a film ticket, think again. Whoever said, all good things come for free? Each service comes for a price, whether the parking space for your vehicle or the games you play or the cyber cafe or just about everything except the Kid Screen. Nevertheless, such is the quality of the services that you don’t really feel the pinch in the pocket.

Although, the extravagance of the multiplex must have really pinched the pocket of Ajay Sinh Chudasama. But it is money very well spent! Indeed, anyone who visits the place will be prompted to say, “R World is our world!” Well, actually it is out of this world! You have to see it to believe it!

– Meena Nahta

PRODUCTION NEWS

8-Day Shooting Spell Of Jeetendra’s Film

Director David Dhawan started an 8-day shooting spell of Shri Siddhivinayaka Films’ Prod. No. 1 at Film City and on different locales of Bombay on Dec. 7. All the artistes are participating. Cast: Govinda, Sushmita Sen, Rambha, Anupam Kher, Satish Kaushik, Kiran Kumar, Sharad Kapoor, Ashish Vidyarthi, Shahbaaz Khan, Mohnish Bahl, master Jibran, Razzak Khan, Jaya Bhattacharya and Anant Mahadevan. Story-screenplay-dialogues: Yunus Sejawal and Imtiaz Patel. Music: Anu Malik. Cinematographer: K.S. Prakash Rao. Action: Mahendra Verma. Art: R. Varman. Executive producer: Prakash Pange. Jeetendra presents the film, being produced by Shobha Kapoor and Ekta Kapoor.

‘Love Ke Liye Kuch Bhi Karega’ Song Picturised

Director E. Niwas and choreographer Ahmed Khan picturised a song on Fardeen Khan, Twinkle Khanna and dancers for Dream Merchants Enterprises’ Love Ke Liye Kuch Bhi Karega in and around Goa in a 5-day spell till Dec. 7. The film is being jointly produced by Nitin Manmohan and Ram Gopal Varma. It co-stars Saif Ali Khan, Aftab Shivdasani, Sonali Bendre, T. Bharani, Sudha, Dalip Tahhil and Sharat Saxena. Writer: Rajnish. Music: Vishal Bhardwaj. Lyrics: Abbas Tyrewala. Cinematographer: Venkat Prasad. Art: R. Varman. Sound: Jagmohan Anand.

CD DUPLICATION PLANT RAIDED

On a tip-off by Malhotra Copyright Protection Agency Pvt. Ltd., Bombay, the assistant superintendent of police, Bhiwadi, raided a CD duplication plant in Bhiwadi (near Delhi) on 3rd November. Nearly 40,000 video CDs of Mohabbatein, Mission Kashmir, Jis Desh Mein Ganga Rehta Hai, Beti No. 1 and pornographic films were seized. Offences have been registered under various sections of the Copyright Act and the Indecent Representation of Women’s Act. The other seized objects include raw materials for producing nearly 5 lakh pirated video CDs, totally valued at approximately Rs. 5 crore, including the value of the CD manufacturing plant of the pirates.

Among the accused are owner Balbir Singh and his son, Amit.

ENTERTAINMENT TAX SLASHED BY 40% IN U.P.

The Uttar Pradesh government has, in a decision taken during a cabinet meeting this week, reduced entertainment tax on cinema tickets in the state to 60% from the existing 100%. However, the benefit of the reduced tax will be applicable only to those cinemas which do not hike their admission rates.

At the same meeting, the government allowed exemption from payment of entertainment tax to Beti No. 1 (upto 2nd May, 2001) and U.P. Chalchitra Nigam’s Karm Kasauti (for one year).

DOUBLE WEDDING IN KANODIA FAMILY

Marriages of Sooraj and Hitu, sons of top Gujarati film actor Naresh Kanodia, with Rhea and Rupal respectively, will be solemnised at the Hare Krishna Temple Garden at Juhu, Bombay on 12th December.

DEEP JAIN’S SON TO WED

Marriage of Vikas, son of Deep Jain of Divya Films, Delhi, with Sheenu will be solemnised on 11th December in Delhi.

ANWAR DEAD

Anwar, secretary to Shah Rukh Khan, expired on 6th December in Bombay at Lilavati Hospital. He had been admitted to the hospital two days back and had been battling for life. His condition deteriorated with each passing day and he breathed his last on 6th. He was 33 years old and is survived by his wife and a son.

Anwar had reported serious a few months back too, but recovered then.

A condolence meeting will be held today (9th) from 4 p.m. to 5.30 p.m. at 11, G/1, Venus Apartments, Nav Kiran Marg, opposite Good Shepherd Church, Four Bungalows, Andheri (W), Bombay. Quran Khani will be held on 17th December at Al Mecca, A-22/301, Millat Nagar, Andheri (W) between 6 p.m. and 8 p.m.

YOU ASKED IT

The censors (CBFC) categorise films as social, crime, thriller, historical, devotional, mythological and so on. What purpose does it serve?

– The censors don’t categorise a film, the producers do so when applying for censorship. This helps the censors to examine a film in accordance with the category as specified by the producer.

Is it practical to buy filming rights of a popular television serial?

– The concept works in Hollywood. Nobody has tried it in India so far.

With growing incidence of religious heads taking objections to certain scenes, don’t you think, the CBFC should have religious heads, too, on its panel?

– Not a good suggestion, this! But, definitely a good joke!!

In Protest Against Government’s Apathy

NO SHOW ON 20TH DECEMBER
(EXCEPT ON CABLE TV)

Cinemas all over Maharashtra will down shutters for a day on 20th December to protest against the inaction of the law-enforcing authorities to check illegal telecast of films through cable television networks. The call for the strike has been given jointly by the Indian Motion Picture Distributors’ Association (IMPDA), the Cinematograph Exhibitors’ Association of India (CEAI), the Theatre Owners’ Association (TOA) and the Central Circuit Cine Association (CCCA). The Cable Television Network (Regulation) Act, 1994 was amended recently by the government, making it compulsory for cable TV operators to obtain rights from the copyright owners for telecast.

The then Union I & B minister, Arun Jaitley, while addressing a filmland gathering mostly comprising producers and distributors, on 16th September at Sahyadri guest house in Bombay, had said that cable TV operators had shown eagerness to go by the law. He had also said that stringent action would be taken against erring cable operators.

The film industry was filled with hopes that the days of cable piracy were over. But that turned out to be just wishful thinking and a Utopian dream.

Information had then warned, through its editorial (in the issue dated 23rd September) that the minister’s promises were empty even as industry people behaved as though they had won a lottery of Rs. 100 crore. We reproduce alongside the same editorial (in box) for your reference.

Even now, we doubt whether this one-day strike will achieve anything. Will it gear up the law-enforcing authorities enough to initiate strong action against the erring cable operators who think law is an ass in this country?

Despite assurances from Maharashtra chief minister Vilasrao Deshmukh, deputy chief minister Chhagan Bhujbal, joint police commissioner of Bombay, D. Sivanandan, and Arun Jaitley, cable operators merrily carry on with their illegal shows with the police turning a blind eye. When will the industry folk learn to see through the sugar-sweet talks of the ministers?

At a press conference held on 8th December at Garware Club, Bombay, IMPDA president N.N. Sippy, CEAI president Gunvantrai Desai, TOA secretary R.V. Vidhani and CCCA president Santosh Singh Jain presented an alarming picture of the cinema exhibition trade. Rampant cable piracy had been on the rise due to which cinemas were losing patronage, they said. Many cinemas had been closed and hundreds of cinemas on an all-India level were on the verge of closure, they added. Due to dwindling attendance of cinegoers, big cinemas were giving way to mini cinemas in commercial buildings and arcades, they said.

R.V. Vidhani, secretary, TOA pointed out, “The hike in property tax, water charges, power tariff, show tax and advertisement tax every year has subjected the exhibition sector to heavy expenditure. Despite our representations, the government has not done anything to help the cinema industry survive. The property tax alone has been hiked by a whopping 80% in the last two years!”

CCCA president Santosh Singh Jain warned, “The government will incur a loss of Rs. one crore per day if the cinemas in the state remain closed.”

An exhibitor of Thane revealed, “When we go to lodge a complaint at the police station and ask them to raid the cable operator showing the latest films in contravention of the amended copyright laws, the police officials simply dole out the standard excuse, ‘We do not have enough manpower to carry out a raid’.”

IMPDA president N.N. Sippy resented the state government’s apathy towards cable operators’ misdemeanours. He said, “Cable piracy is almost nil in the Southern states as the state governments there are vigorously implementing the amended copyright rules.”

The Associations have jointly issued a memorandum to Maharashtra chief minister Vilasrao Deshmukh, notifying the government of the one-day protest strike. The memorandum has also stated that if the government failed to take deterrent action against cable TV operators violating the Copyright Act, all the cinemas would be forced to down their shutters for good.

PIL AGAINST GOVERNMENT?

Filing of a public interest litigation in the Bombay High Court against the Maharashtra government’s apathy in the matter of cable piracy was mooted at the press conference called by the Associations on 8th December. The PIL will charge the state government of failure to implement the amended Copyright Act, due to which cinemas were being forced to close down. The idea of filing the PIL appealed to the various leaders of the Associations. A final decision to file the PIL will be taken after consultations with the producers’ Associations in Bombay and legal opinion.

Will the PIL prove a bitter but effective pill to stir the government into action? Depends on how the PIL is presented in the high court.

Reproduced from our issue dated 23rd September, 2000:

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

3-E
Education-Entertainment-Enlightenment

In Search Of Majnu

Hollywood revived the legendary love story of Romeo and Juliet with Leonardo DiCaprio enacting Romeo. ‘If they can modernise a legendary love story on a lavish scale, why can’t we revive our Laila Majnu?’, he asked himself. That’s how B. Subhash has announced Laila Majnu – The Revival. The film’s story and screenplay have been worked out by B. Subhash’s young daughter, Malvika, and the dialogues have been written by Hasan Kamaal. B. Subhash is now on the lookout for a young handsome man to enact the character of the love-smitten Majnu. “I want a Majnu who would be called Majnu of this millennium,” says B. Subhash. Any bidders?

First Impression, The Only Impression

One wonders why a talented actor like Manoj Bajpai is bent upon proving himself to be hero material. He tried it in Shool, then in Dil Pe Mat Le Yaar and yet again in Ghaath. He has proved pretty much unsuccessful all the three times, thereby completing a hattrick! With every flop that he delivers in the hero’s role, he is only eroding the goodwill he created with Satya. Even today, if people remember him as Bhiku Mhatre (the name of his character in Satya), it should be enough indication to him of how people want to see him in films of tomorrow. Yet, Manoj seems to be running after hero roles. The fear here is that a talented actor like him is wasting his talent in trying to prove a point, which may ultimately do his career more harm than good. That would be really bad!

With admission rates being so high, the audience, obviously, wants to see saleable stars, to get their money’s worth. Manoj Bajpai certainly doesn’t appeal to them as a hero even if he is a reservoir of talent. It would be better for Manoj to shine in films like Satya than to sink in insipid fares like Dil Pe Mat Le Yaar.

As for Ghaath, the earlier Bombay distributor relinquished the distribution rights in the film for obvious reasons. As late as 20 hours before the first show started on Friday, it seemed uncertain whether the film will or will not open in Gujarat and Saurashtra because the deliveries weren’t effected. Ultimately, Inder Raj Kapoor intervened and used his good offices to get the deliveries effected.

Over-Busy Or Over-Cautious?

Rakesh Roshan seems to be taking the title of his film, Kaho Naa…Pyaar Hai, a bit too seriously. For, while openly declaring the pyaar between Hrithik and girlfriend Suzanne Khan, Rakesh Roshan is simply not announcing the wedding date. Even as media reports hazard guesses on the date of the marriage, papa Roshan is tight-lipped. Will the wedding be held in Bangalore on 20th December? Will the pheras take place in Bangalore? Will the nation’s heartthrob honeymoon with his wife in a faraway foreign land? Ask Rakesh Roshan and he replies, “I will take a decision about the wedding date next week. Hrithik is busy with his shooting and has no free date for the wedding and the honeymoon.” Obviously, the date is being kept a closely-guarded secret because the wedding itself will be a very, very select affair. Whatever the marriage plans, Rakesh, enough of pyaar hai now…. Kaho naa…shaadi (kab) hai?

Dream Merchant

I dreamt last night after a very long time. I dreamt that I was the lucky one to occupy the hot seat in the popular Kaun Banega Crorepati show on Star TV. But I presume, since I had just recently seen Mohabbatein, I saw Amitabh Bachchan as a mix of the TV show host and the Shankar Narayan of Aditya Chopra’s film.

The KBC set was full of scantily-clad girls straight out of the Mohabbatein set. “Oh my God,” I thought to myself, “kaun banega inka pati!”

I having won the faster-finger-first round, Amitabh was ready to fire questions at me. Luckily for me, as I found later, all the questions related to films. I could expect Amitabh to be at least that partial to me.

The first question:

Why is Salman Khan shirtless in all his current films?

The options:-
A. He has no dress designer.
B. He can’t afford clothes.
C. He feels very hot.
D. None of the above.
I chose the D option.

Amitabh congratulated me and declared that I had won Rs. 1,000. “Do you know the real reason?”, he queried. Nodding, I replied, “Yes, Salman is shirtless because he has been betting his last shirt on every new release of his — and losing!” “Excellent,” screamed Amitabh. “Bahut achchhe.”

The second poser was more trade-oriented.

Which of Govinda’s following films is a flop?

A. Shikari.
B. Jis Desh Mein Ganga Rehta Hai.
C. Beti No. 1.
D. All of the above.

“Shikari,” I mumbled. “Sure?”, asked Amitabh. “You have 3 lifelines at your service,” he added and went on to explain each one of them. “Beti No. 1,” I hazarded another guess. “Lock kar diya jaaye?”, asked Bachchan. I was not sure. Looking at my shaky confidence, Amitabh once again reminded me of the life-lines. I opted for phone-a-friend.

“Aapke dost ka naam kya hai?,” he asked. Very nervous, I said, “Govinda.” I was nervous because I didn’t actually know whether Govinda is a friend or a foe. Amitabh interrupted into my nervousness and exclaimed, “Oh, hero Govinda? Kahan rehten hain woh (pause) aaj kal?” A trifle embarrassed, I replied, “He lives here in Bombay and he is still doing films; only thing, since his films aren’t doing well, people don’t quite remember his whereabouts.” Anyway, Govinda my friend, the perpetual late-comer, was late to come on the telephone line too. “Kaise ho, chhote miyan? Main Amitabh Bachchan bol raha hoon, Kaun Banega Crorepati se,” announced Bachchan. “Oh, bade miyan,” shot back Govinda. I nervously asked Govinda which of his films was/were flop(s) and, after giving him the options, waited for his reply as the clock ticked away. “Shikari, Jis Desh Mein Ganga Rehta Hai and Beti No. 1 are all super-hits,” replied Govinda and continued, “The correct answer should be ‘None of the above’.” I told him, “This option does not exist.” This infuriated the dancing hero so much that he screamed back, “This KBC show is a flop, not my films. You leave that set and come to Sony TV’s studio to participate in Jeeto Chappad Phaad Ke.” The gong sounded loud. 30 seconds were up. Amitabh looked at me mischievously. “Afsos, aapke mitra aapki madad nahin kar sakey!” I interrupted him and said, I’d go for the D option.

“Bilkul sahi,” Amitabh yelled. “All the three films of Govinda are flops. Very, very creditable that you could answer such a tough question because several magazines have been writing that Shikari and the other two Govinda starrers are hits. Congratulations, aap do hazaar rupaye jeet gaye.”

It’s time for the third question:

Why is Aishwarya Rai considered the No. 1 actress of India?

A. Because of her talent.
B. By default.
C. Because Kajol got married.
D. Because of her beauty.

“Because Kajol got married,” I announced and almost immediately thereafter, requested for another chance as I wanted to change my reply. “Option B,” I announced. It was again a thunderous applause as I won Rs. 3,000. There was a commercial break before which Amitabh announced, “TV set chhodkar kahin mat jaayiye, please. Unless, aap Mohabbatein dekhne ja rahe ho — toh jaayiye.”

The fourth question for Rs. 5,000 was slightly tougher. Announced Bachchan:

What is the title of Feroz Khan’s new film starring Fardeen Khan?

Options:
A. Tera Saath Hai Kitna Pyara.
B. Tera Haath Hai Kitna Pyara.
C. Tera Baat Hai Kitna Pyara.
D. Tera Laat Hai Kitna Pyara.

Although I wasn’t at all sure of the correct answer, I hit a shot in the dark and chose the A option. This, even though I wasn’t sure whether, after Prem Aggan, either of Feroz Khan or Fardeen Khan could tell the other ‘Tera saath hai kitna pyara’.

“You’ve won Rs. 5,000. How did you guess it?, Amitabh wanted to know. I refused to answer that one and only smiled. Amitabh, too, smiled and fired the fifth question.

Despite being talented, why is Mahima not sought-after?

A. She is unprofessional.
B. She is very expensive.
C. Her mother interferes too much.
D. She is very choosy.

Even before one could say ‘Mahima’, I opted for the C answer. Amitabh was flabbergasted. “Oh, oh, this is incredible, how did you know this?”, he thundered. I replied sheepishly, “It’s simple — it had to be something to do with Mahima’s mother — her name says it all — Ma hi Ma.”

Time for question 6 for 20,000/-.

Why are the cinemas in Maharashtra downing shutters on 20th December?

A. To protest against high entertainment tax.
B. Because, as it is, there is no audience in cinemas.
C. To let cinema employees celebrate iftaar.
D. To protest against cable piracy.

I was nervous this time and started biting my nails. Sensing my nervousness, Amitabh reminded me of the two life-lines that were still available to me. So I opted for 50:50. The computer deleted two options viz. A and D. I was, therefore, left with B and C options. I chose B and declared, “Because, as it is, there is no audience in cinemas.”

“Sure?”, queried Bachchan. “Confident?”, he asked. I nodded in the affirmative to which the counter-questioned, “Lock kar diya jaaye?” “Yes,” I replied. Claps again. I’d won Rs. 20,000.

The seventh question for Rs. 40,000 came up almost instantly.

Why was MOHABBATEIN made as an unusually lengthy film?

A. It had no editor.
B. It had too many characters.
C. Aditya Chopra wanted it to have length and strength.
D. For no real reason.

This was the toughest question. Rather than risk getting out, I cut it short by using my last life-line — the audience poll. There was just no confusion for me because 100% audience — yes, cent per cent — voted for option D. That is to say, ‘for no real reason’. I told Bachchan, I would go with the audience. I saw Amitabh feeling a little uncomfortable, maybe, because he was a part and parcel of the oh-so-lengthy Mohabbatein. But the great actor that he was, he didn’t let his discomfort show. He asked the computer to lock D. That indeed was the right answer. I had won Rs. 40,000.

Amitabh congratulated me again but not very wholeheartedly. One more break later, he was ready with the next question for Rs. 80,000.

In the recent income-tax raid on Anu Malik’s house, what did the I-T people lay their hands on?

A. Rs. 10 crore.
B. Incriminating documents.
C. Swiss Bank account numbers.
D. Foreign CDs.

I promptly opted for D. “Foreign CDs,” I declared confidently as if I myself was declaring my assets to the I-T sleuths.

Amitabh Bachchan tried to puzzle me by maintaining a grim silence for about 20 seconds. I got a bit jittery, but I did not budge — much like Shankar Narayan of Mohabbatein who doesn’t ever budge from his stand. Then, all of a sudden, Amitabh’s face lit up as he screamed, “Absolutely correct. Fantastic. Mubarak. Bahut bahut abhinandan. Kya aap I-T mein kaam karte hain?”

I would’ve loved to skip the explanation, but Bachchan wouldn’t let it go. “How did you guess it, please let us know,” he pleaded. I replied, “It had to be foreign CDs — because the quality of Anu’s music has gone up greatly in recent times!”

I was reaching my second padau (barrier) and Bachchan fired the next question for Rs. 1,60,000.

Ram Gopal Varma likes to make films with heroines who are:

A. Very talented.
B. Extremely beautiful.
C. Reasonable in their price.
D. Least busy.

I tried to jot down the names of all the heroines Ramu had been working with in recent years, but my list was just not progressing. Then, I realised that there was no question of a list. Ram Gopal had been working with Urmila and only Urmila Matondkar. My choice of the correct answer became easy. “D,” I declared. Amitabh complimented me for my super-intelligence and asked me if he could ask me the next query for Rs. 3,20,000…..

…..My dream took a fast-forward. Yes, I had won a crore of rupees! “Fantastic, extraordinary, badhai ho, badhai ho, you are the second contestant to win Rs. 1 crore or our show,” Amitabh went on and on. I was beside myself with joy. Before I knew it, I had tears (of joy) rolling down my cheeks.

“Ek karod, aapke jeevan mein kya maayne rakhte hain?“, Amitabh asked me, waiting for a reply.

“Bahut,” I cried, “bahut, bahut.”

“What will you do with the crore?”

“It will help me turn a producer,” I replied, still crying.

“Oh really? What film do you plan to producer?”

I had all the courage backed by the crore and I replied — still crying, “I want to produce a film with Hrithik Roshan, Shah Rukh Khan and yourself, Amitabh Bachchan. I’ve decided to call it Hamesha Khushi Never Gham because after I’ve produced this film, I’ll roll in crores. My satellite rights will sell for 15 crore, my music for 10 crore, my Overseas for 15 crore, my Bombay territory for 3 crore…. oh, oh, I can’t wait!”

Amitabh was bewildered. “What?,” he asked, “you will sign three superstars with 1 crore? Sorry dear, if you want to sign us all, you will have to participate in Sawaal Dus Crore Ka. You need at least 10 crore to make Khushi Forever Gham Never or whatever your film is called.”

I woke up with a terrible start! I was still crying.

– Komal Nahta

GAJA GAMINI

Dashaka Films Pvt. Ltd.’s Gaja Gamini portrays the journey of a woman called Gaja Gamini — who is suspended in time and space, along with a spectrum of characters taken from art, history, music and poetry.

Gaja Gamini is born from a wall and manifests herself into four different characters — Sangeeta, Shakuntal, Monica and Mona Lisa. All the four characters voice the aesthetics of feminine beauty. Sangeeta, the blind singer, meets four other characters culled from history and fiction. Alongwith these women, she sets out to consolidate the power of womankind in a man’s world.

Shakuntal is yet another symbolic figure, conceived by Kalidas. She yearns for her lover like Shakuntala did for Dushyant. Kalidas is himself a metaphor of illusion. Monica is the woman of the 20th century. She is also in search of existential love, surrounded by a sea of knowledge. Mona Lisa is reincarnated in the form of Madhuri.

All the characters in the film are symbolic and metaphorical. They transcend the barriers of time and so one sees Da Vinci sitting on the ghaats of Banaras and painting the elusive Gaja Gamini. One also sees Kalidas with a cycle, and Kamdev descending on earth to woo her. The entire film oscillates between illusion and reality. Everything is so abstract that viewing the film becomes a painful and terribly tedious exercise.

The film is targeted at the intellectuals. The use of numerous innuendos and metaphors are beyond a common viewer’s comprehension. It would only appeal to people with great poetic inclination or with an artistic bent of mind. The film, punctuated with colours and music, has, obviously, food for thought for the very erudite tribe only. Though it has a message, it is not conveyed in a straightforward manner. Use of poetic language and words make it more difficult to understand the meaning instantly.

Madhuri Dixit, as Gaja Gamini, is grace personified. She is at ease in her performance. As always, she acts ably, dances magnificently and sails smoothly through her role. Shabana Azmi, as Nirmala and later as Lady Malika Bill Grate (chairperson of the Planning Commission), acts convincingly. But her potential has not been exploited to the fullest. Mohan Agashe, Ashish Vidyarthi, Farida Jalal and Shilpa Shirodkar support ably. Inder Kumar, as Kamdev, is not convincing. Naseeruddin Shah is wasted as Leonardo Da Vinci. Raeesa Husain is so-so in her debut performance as Phulwania. Shah Rukh Khan, as himself, plays his part well and enlivens the screen with a spontaneous performance in his characteristic style.

M.F. Husain’s direction couldn’t have been more absurd. Technical aspects are okay. Dialogues are too stagy. Music is very classical-based and so does not appeal at all. Choreography (Saroj Khan and Jojo Khan) is praiseworthy. Camerawork is okay and production values are just about average.

On the whole, Gaja Gamini stands zero chances at the ticket-windows because of its abstract content and dull form. A waste of raw stock, time and money, it will prove to be the disaster of the decade.

Released on 1-12-2000 at Eros (matinee) and 1 more cinema of Bombay thru Yashraj Film Distributors. Publicity: dull. Opening: good.

‘KASHMIR’ TAX-FREE IN MAHARASHTRA

Mission Kashmir has been granted exemption from payment of entertainment tax in Maharashtra for one year with effect from 25th November. The film is also tax-free in Delhi.

‘HAMARA DIL AAPKE PAAS HAI’ 100 DAYS

Boney Kapoor’s Hamara Dil Aapke Paas Hai completes 100 days of its run today (Dec. 2) at Dreamland (matinee), Bombay and in other centres of India. Produced by Surinder Kapoor and directed by Satish Kaushik, the film stars Anil Kapoor, Aishwarya Rai, Sonali Bendre, Anupam Kher, Anang Desai, Johny Lever, Himani Shivpuri and Jaspal Bhatti. Lyrics: Javed Akhtar. Music: Sanjeev Darshan.

RAVI ELECTED CMDA PRESIDENT

Ravi was elected president of the Cine Music Directors’ Association (CMDA) at its annual general meeting on 5th November in Bombay. Ravindra Jain and Khayyam were elected vice presidents, and Raj Sonik, general secretary. S. Madan and Alok Ganguly were elected joint secretaries, and O.P. Sonik, treasurer. The other committee members elected are J.P. Kaushik, Surinder Kohli, Tapan Bhattacharya, Dilip Dutta, Shantanu Kumar, Milind Chitnavis and Dutta Koli.

A two-minute silence was observed in the meeting in memory of Kalyanji Shah (of Kalyanji Anandji) and Kishan Sandhu.

Music director Vishal Bhardwaj was felicitated for winning awards for Godmother.

TROUBLE BREWING IN IMPPA

Trouble seems to be brewing in the Indian Motion Picture Producers’ Association (IMPPA) once again. The problem arose over the appointment of an additional member, Thakur Tapssvi, to the executive committee soon after the new committee took charge in September. B.S. Shaad, an elected committee member, took objection to Tapssvi’s appointment. Besides him, a few other producers have objected to the appointment on technical grounds. Resultantly, the appointment of additional members, loosely referred to as co-option, will now become the subject matter of legal opinion.

Shaad, in the meantime, has decided to resign from the executive committee if Thakur Tapssvi’s co-option goes through. He has already resigned from the membership and convenorship of various sub-committees of the IMPPA.

While Article 28 of the Articles of Association of the Indian Motion Pictures Producers’ Association provides for appointment of additional members in special cases only, Article 29 provides for co-option for special purposes only.

Shaad and the others objecting to the appointment of Tapssvi under Article 28 allege that there was no special case for which he was appointed. They further allege that Thakur Tapssvi’s is a back-door entry for the ensuing tug-of-war when IMPPA president Shakti Samanta will vacate his chair after he attains the age of 75. It is believed that at least one member, eyeing the president’s chair, is keen that Tapssvi is taken as additional member because additional members appointed under Article 28 have voting rights. Besides Tapssvi, the other producer who has been appointed under Article 28 is Mushirbhai.

In the meantime, Vinod Verma, a member of the IMPPA, has written to it to declare all appointments and co-options under Articles 28 (two appointments) and 29 (four co-options) null and void as there was neither any special case before the executive committee nor any special purpose which would warrant the appointment/co-option.

ADLABS’ IPO OF RS. 52.80 CRORE TO OPEN ON 11TH DECEMBER

Bombay-based Adlabs Films Ltd., one of India’s leading film processing laboratories, will soon enter the capital market with an initial public offering of 44 lakh equity shares at Rs. 120 per share aggregating Rs. 52.80 crore. The issue will open on 11th December and close on 16th December. The IPO is being made to facilitate the completion of a 4-cinema multiplex in Bombay, which will also house the IMAX dome theatre, and to upgrade and modernise the existing processing capacity of Adlabs.

Adlabs has an agreement with IMAX Corporation, Canada to bring the IMAX experience to India through a 520-seater state-of-the-art theatre which is under construction at Wadala, Bombay.

At a press conference held on 28th November at The Taj, Bombay, Manmohan Shetty, chairman and managing director of Adlabs Films Ltd., said that the IMAX theatre will be thrown open to the public in April 2001 while the four multiplex cinemas with a total of 1,225 seats will be inaugurated in January 2001.

Talking about the expansion plans, the Adlabs chief said that the lab, founded by him and Vasanji Mamania in 1978, has been regularly adding technologically advanced facilities. The lab created a record this year when it took out in one week a total of a thousand prints for Yash Chopra’s Mohabbatein and Vidhu Vinod Chopra’s Mission Kashmir. This year, Adlabs has processed a record 1,40,000 film rolls! Adlabs, today, commands a 60 to 70% market share in film processing in Western India.

SBI Capital Markets Limited are the lead managers to the public issue.

YOU ASKED IT

There are some anti-piracy organisations which help the police in detecting illegal screenings and piracy of films. Are those organisations authorised by the police?

– No, they are appointed by the producers. They are not entitled to make arrests but they can ask the police to conduct raids. 

What should be the right price for the satellite (which is a growing market) and Overseas rights for a star-cast film like, say, Mohabbatein?

– The combined price for satellite and Overseas rights for a set-up like MOHABBATEIN could be Rs. 15 to 20 crore!

Box-office collections in which centres of Maharashtra are particularly affected in the Ramzan period?

– The centres affected are the predominantly Muslim areas of Bombay, Bhiwandi (where 6 and 9 p.m. shows are often abandoned), Pune, Solapur, Malegaon, Islampur, Ichalkaranji etc. The same goes for Muslim-inhabited areas in other circuits. 

ANNOUNCMENT AND LAUNCHING

Ajay Devgan, Amisha Starrer To Roll

Bahry Films’ Parwana will go on the floors on Dec. 8 at Natraj Studios with a 10-day stint. The film is being produced and directed by Deepak Bahry and stars Ajay Devgan, Amisha Patel, Gulshan Grover, Paresh Rawal, Sayaji Shinde, Kader Khan and Danny Denzongpa. Story-screenplay: Rajiv Kaul and Praful Parekh. Dialogues: Tanvir Khan. Cinematographer: Damodar Naidu. Music: Sanjeev Darshan. Lyrics: Sameer. Sound: Chhotu Bhai. Action: Veeru Devgan. Editor: Naseer Khan.

T.P. Agarwal Announces Three Films

Producer T.P. Agarwal has announced Star Entertainments Pvt. Ltd.’s Bharat Bhagya Vidhata, to be directed by Osho Raja (formerly Ashok Tyagi), Aur Phir Ek Din, to be directed by Akashdeep, and a Hindi-Tamil bilingual, yet untitled, to be directed by K.S. Atheyaman. The cast and other credits of all the three films are yet to be finalised.

T.P. Agarwal’s Titliyaan, a tele-serial directed by Dayal Nihalani, has completed 31 episodes on Sahara TV. It is telecast every Wednesday at 8 p.m. A cocktail-dinner party was hosted on 26th November to celebrate the success of the serial. Another sitcom of Agarwal, Uff! Yeh Ladkiyaan, being directed and cinematographed by Nadeem Khan and starring Chunkey Panday in the male lead, will be telecast shortly.

Sooraj Barjatya To Direct Hrithik, Kareena, Abhishek

Hrithik Roshan and Kareena Kapoor will play the lead pair, and Abhishek Bachchan will make a friendly appearance in Rajshri Productions P. Ltd.’s Main Prem Ki Deewani Hoon. It will be directed by Sooraj R. Barjatya who has himself written the story, screenplay and dialogues. Anu Malik has been signed to provide music. Other cast and credits are being finalised. The film will be launched next year.

DO YOU KNOW?

* Jivandas Mohta (Venkatesh Films, Calcutta) has produced a Bengali film, SASURBADI ZINDABAD, which has become a runaway hit. Released before Diwali this year, it is expected to do a business of over 3.5 crore!

* R.B. Choudhary, the well-known Tamil and Telugu film producer, is known for launching new talents in every venture of his. But he has tried a different kind of launching with his PAPPA, a Tamil film. Venkatesh, the top lead man of Telugu films, and Kodi Ramakrishna, the veteran director of Telugu films, will make their debuts in a Tamil venture of R.B. Choudhary. This film is a ‘straight’ (which means, it is not a remake).

* Preeti Jhangiani, one of the young leading ladies of MOHABBATEIN, who was earlier introduced by Rajshri Music in its music video album, YEH HAI PREM, proved herself to be pretty generous when she handed over a cheque for Rs. 1,00,001/- to her secretary, Akash, on his birthday recently. Perhaps, that was Preeti’s way of expressing her thanks to her secretary due to whose efforts she has bagged films opposite Salman Khan, Akshay Kumar, Fardeen Khan and Sunil Shetty.

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Education-Entertainment-Enlightenment

Self-Styled Censors

The Pandits of Varanasi seem to be an extra-sensitive lot. Some months back, they hounded out Deepa Mehta from Varanasi even before she could start shooting for her Water. The protesting pandits have now trained their guns on Amitabh Bachchan who, they say, has gone against Hindu tradition by reciting the Gayatri mantra in Mohabbatein with his shoes on. Amitabh lost no time in clarifying that enough care was taken by him to remove his shoes during the filming of the scene which showed him reciting the Gayatri mantra. Even while dubbing for the scene, he had removed his shoes, he said while refuting the charges of the pandits. But that cut no ice with the holier-than-thou pandits. They stormed into Taksal cinema earlier this week and forcibly got the scenes showing Amitabh Bachchan reciting the Gayatri mantra cut. The fundamentalists have also sent a letter to I & B minister Sushma Swaraj, asking her to get the relevant scenes deleted from the film. On the other hand, the Film Producers’ Guild of India has also dashed off a letter to the minister, registering its protest against “the extra-constitutional authorities who barge into cinemas and, with their muscle power, force the cinemas to delete scenes according to their whims… Can we allow hoodlums to hold the world’s largest film industry to ransom?” The Guild has asked the minister to take up the matter of Mohabbatein with the government of Uttar Pradesh.

Like Yash Chopra, so also Vidhu Vinod Chopra. The latter has been asked by the Shiromani Gurudwara Prabhandak Committee (SGPC) to tender an apology for projecting the entire Sikh community as cowards in his Mission Kashmir. What has upset the SGPC is an innocuous scene in the film, which showed Sanjay Dutt asking a junior Sikh police officer to take a plunge into the Dal Lake very carefully lest the bomb planted there explodes before he does so. The Sikh officer gets so jittery that he wets his pants. The SGPC has asked Vidhu Vinod Chopra to delete the “objectionable” scene immediately from the film as, according to them, it showed Sikhs as cowards. It has asked the producer-director to express his regrets to the Sikh community.

Surprisingly, the Film Producers’ Guild of India has not made any mention of the Sikhs’ undue demand to cut the scene in Mission Kashmir. Is it because Vinod Chopra is not a member of the executive committee of the Guild?

Khushi In Boney-Sri’s Lives

Boney Kapoor and Sridevi’s second child now has a name. She is called Khushi Kapoor. Born on 5th November at Breach Candy Hospital, Bombay, the girl was christened Khushi on 26th November at Boney’s home. The christening ceremony was followed by lunch and it was attended by Boney’s parents, Anil Kapoor’s wife (Anil was out of station), Ashok Thakeria, Nizam distributor Ravi Machhar and a few other friends of Boney.

Boney and Sri’s first daughter is called Janhvi which was Urmila Matondkar’s name in Boney’s Judaai. Khushi is Sonali Bendre’s name in Boney Kapoor’s Hamara Dil Aapke Paas Hai. Both, Urmila and Sonali, played the second female leads in the respective films.

Kajol’s ‘Friendly Appearance’

It was a party to celebrate an audio release, but with a difference — no audio was formally released. One is talking about the party of Devgan Entertainment & Software Ltd.’s Raju Chacha at Hotel Sun-N-Sand at Juhu, Bombay on 25th November. Generally, at audio release functions of Hindi films, the cassettes and CDs are formally released by a guest of honour chosen by the producer. No such thing took place at the Raju Chacha party… Ajay Devgan, who usually is a mild-mannered person, got agitated with the media people (journalists and TV crews) who rushed to the stage to capture the moment when the lead artistes of the film took their places. To his credit though, he almost immediately regained composure and was his usual polite self within minutes.

Rishi Kapoor, who returns as an actor in the role of a business tycoon in the film, threatened to arrive at the party any moment. The emcee repeatedly announced that the teen idol of yesteryears would arrive at 11 p.m. There was no sign of him till almost after midnight. He probably made it after the guests had left!

The biggest surprise of the party, however, was Kajol’s ‘cameo appearance’. Kajol’s leaving the party within minutes of her arrival raised quite a few eyebrows, especially considering that Raju Chacha is hubby Ajay’s home production in which she plays the female lead. Irrespective of what guests might think of it, Kajol left the party with mom Tanuja and dad Shomu Mukerji.

Raju Chacha will have its world premiere on December 28 at the Samuel Goldwyn Theatre in Los Angeles (USA). This will be the first ever Bollywood film to have its world premiere in Hollywood.

SHOOTING COVERAGE

KABHI KHUSHI… ALWAYS FUN!

“Uncle, yes, it was alright,” whispers the director after shouting “Cut”. The shot has been okayed after a couple of takes. Amitabh Bachchan is the uncle, and Karan Johar is the director. There’s “aunty” Jaya Bachchan, too, in the shot that has been canned sans a dialogue. The film being shot is producer Yash Johar’s Kabhi Khushi Kabhie Gham.

Yes, Karan refers to the Bachchans as “uncle” and “aunty”. The guy has known them as his father and mother’s close friends ever since he was a kid. “I can’t call him Amit-ji, please!” Old habits die hard, we guess!

The two Bachchans have their backs to the camera as they pray to Lord Rama on Diwali day. Their house is lit up, enough to indicate that it is a joyous occasion but also a bit subdued to indicate that there’s something amiss.

The unhappy part of the happy Diwali festival is that Shah Rukh Khan, the older son of the Bachchans, is not a part of the festive celebrations. Younger son Hrithik Roshan, however, imagines Shah Rukh to be around and his face lights up, but only for a split second. Tears well up in his eyes as he realises that his elder brother is not around. This is the next shot that is being canned.

Explains Karan, “This is the interval point in the film.” The title song is playing in the background as Hrithik gives his dramatic shot necessitating several emotions to be seen on his face one after the other and all in barely 30 seconds. Sometimes, it is Hrithik who asks for another take; on a couple of occasions, it is Karan; and if not the two of them, it is cameraman Kiran Deohans who wants a retake. The final take is so wonderful, it brings tears to our eyes too! So, when the film is released, one can expect the intermission to be a tearful one!

That is the gham. But just before the gham shot, there is khushi of a unique kind on the set. Amitabh Bachchan presents a box of laddoos to the cameraman, bowing in front of him. Kiran, a trifle embarrassed, accepts the box. We hastily get up to compliment Amitabh on becoming a grandpa for the second time (daughter Shweta delivered a baby boy on 23rd November), but the actor beams, “Nahin, uski mithai toh do dinon pehle baant di thi.” And then he goes on to explain the reason for his presenting laddoos to Deohans. “Kiran never okays my shot in the first take — never! So I promised him a box of laddoos the day he would okay even one shot of mine in the first take. It happened today, a little while ago, and I, therefore, am thanking him with a box of laddoos! Wow! There are laddoos for everyone on the set as Bachchan has arranged not just for one but several boxes. Bachchan has another ‘complaint’ too. This is revealed by Karan Johar. “Amit uncle tells me that I never praise him on the sets like I do when Shah Rukh or Hrithik give a wonderful shot. But what do I tell him, he is always so good. How does one compliment such a legendary actor?”

Having himself won compliments galore for his debut film, Kuch Kuch Hota Hai, Karan is working doubly hard this time. He is sparing no efforts to ensure that his second venture turns out to be a worthy successor to the first one, be it in the department of music, writing or direction. Karan is modest when he says, “I am a much better writer than a director.” For, his involvement on the sets, as a director, is 100%. Note, for example, how Karan ‘s facial expressions are in synch with those of Hrithik’s when the latter is giving the shot. Seated in front of the TV monitor, Karan smiles for a split second before his face falls in exactly the same way as Hrithik is doing in front of the camera.

If there’s one gham Karan has about the film, it is the absence of Waheeda Rehman as a part of the huge star cast. Waheeda had been finalised to play a pivotal role in the film and she even participated in the shooting for a day, but her husband’s sudden illness prompted her to opt out of the project. A few days later, she lost her husband. In the meantime, Karan had finalised another talented veteran, Achla Sachdev, in place of Waheeda Rehman. The star cast is formidable, to say the least — Amitabh, Jaya, Shah Rukh, Kajol, Hrithik, Kareena Kapoor, Rani Mukerji, Achla Sachdev, Sushma Seth and others.

Coming back to the shooting at Filmistan, what is it that follows the intermission point in a film? A break, of course! And so it was time for a break after the interval shot involving Hrithik Roshan was canned. No sooner was the break announced than there was general feasting. If Bachchan had called for laddoos, Hrithik had ordered for two large pizzas. Even while he was gorging on them, Amitabh emerged from his make-up room and was about to pick up a piece when he was told that it was a chicken pizza. “Oh, I’m vegetarian,” he sighed. Karan promptly sent his man for a cheeze pizza for Bachchan. “All this has also been called for by Hrithik?”, queried Amitabh, pointing to the sandwiches and other snacks spread out on the table.  “No, yeh unit ka hai,” came a voice, “Oh, toh ye sarkari hai,” joked Bachchan.

Jokes, pizzas and sandwiches apart, the set erected by Sharmishtha Roy was indeed majestic. Producer Yash Johar explained, “All these paintings you see on the walls are very expensive ones. The house has to look like a multi-millionaire’s.” Karan adds, “The temple is actually on the top floor, but it has been shifted down here because it is Diwali.”

Even as the shot is progressing, Karan asks his assistant to arrange for a ring with a single diamond in it. “It is for Shah Rukh’s proposed engagement,” Karan explains. “I’ll be canning that shot tomorrow,” he adds as he gulps down fruits.

Fruits of this labour of love of Karan will be borne only next Diwali which is the time Kabhi Khushi Kabhie Gham will be released. Till then, Karan is sparing no efforts to translate his beautifully scripted family drama into a movie marvel. Suffice it to say, the film will have ample doses of fun and emotions to capture the hearts of the viewers when released.

– Komal

LATEST POSITION

The dull Ramzan period threatens to further deplete box-office collections. ….MOHABBATEIN is doing very well in good cinemas but is not maintaining well in average cinemas, and is dull in small centres.

Kahin Pyaar Na Ho Jaaye is a disaster and will cause its distributors in India and Overseas huge losses. 1st week Bombay 33,95,028 (60.70%) from 10 cinemas (11 on F.H.); Ahmedabad 12,84,586 from 3 cinemas (1 unrecd.), Vapi 2,67,552, Rajkot 1,45,000, Jamnagar (matinee) 14,231 (1 in regular unrecd.); Pune 7,43,330 from 4 cinemas; Hubli 2,25,534; Delhi 26,32,093 (38.69%) from 9 cinemas (3 on F.H.); Kanpur 2,22,336 from 2 cinemas, Lucknow 3,88,664 from 2 cinemas, Agra 2,25,000, Bareilly (6 days) 76,056; Calcutta 7,48,671 from 3 cinemas (other cinemas’ collections undisclosed); Nagpur 4,32,345 from 4 cinemas, Jabalpur (6 days) 1,26,975, Amravati 1,42,744, Raipur (6 days) 1,81,288, Jalgaon 1,11,880, Wardha 77,000, Chandrapur 1,34,262, Yavatmal 1,22,503; Indore 2,31,222 from 2 cinemas (1 on F.H.), Bhopal 1,07,000 (1 unrecd.); Jaipur 3,47,430 (26.24%) from 3 cinemas, Bikaner 1,05,205; Hyderabad (gross) 24,46,121 from 9 cinemas.

…………

Kurukshetra drops. 2nd week Bombay 27,52,922 (71.40%) from 8 cinemas (7 on F.H.); Ahmedabad 13,26,597 from 10 cinemas, Jamnagar 78,806 from 2 cinemas (1 in matinee); Pune 8,62,845 from 4 cinemas (1 in matinee); Delhi 10,46,444 from 8 cinemas (3 on F.H.); Kanpur 1,74,420 from 2 cinemas, Lucknow 2,01,655 (1st 3,75,422), Agra 1,66,500, Bareilly 73,335; Calcutta 6,00,349 from 4 cinemas; Nagpur 2,41,196 from 3 cinemas, Jabalpur (6 days) 47,371, Amravati 2,00,453, Dhule 1,15,524, Raipur (6 days) 90,509, Jalgaon 1,29,189 (1st 2,35,005); Jaipur 2,10,793 (24.17%) from 2 cinemas; Hyderabad (gross) 4,59,453.

Mohabbatein 4th week Bombay 47,91,471 (76.92%) from 12 cinemas (5 on F.H.), Vasai (gross) 2,11,793, Vashi (gross) 1,73,909; Ahmedabad 15,35,426 from 5 cinemas, Vapi 2,31,536, total 15,37,608, Rajkot 1,80,000, Jamnagar 1,07,793 (3rd 1,55,578); Pune 11,94,644 from 5 cinemas (1 in matinee); Delhi 36,62,795 from 11 cinemas (1 on F.H.); Kanpur 3,62,011 from 2 cinemas, Lucknow 7,24,726 from 2 cinemas, Agra 2,64,000 (95%), Bareilly (6 days) 99,307; Calcutta 19,59,831 from 6 cinemas; Nagpur 5,93,652 from 3 cinemas, Jabalpur (6 days) 1,51,813, Amravati (21 shows) 2,12,509, total 10,66,055, Dhule 1,17,065, total 6,95,085, Raipur (6 days, gross) 1,98,553, Jalgaon 1,60,096, total 8,35,911, Gondia (gross) 68,457, total 4,40,390, 3rd Wardha (21 shows) 91,095, total 4,04,990, 4th week Chandrapur 97,054, total 7,31,207, Yavatmal (gross, 21 shows) 85,700, total 5,80,146; Indore 2,19,108 from 2 cinemas (2 on F.H.); Jaipur (21 shows) 2,85,005, Bikaner 1,23,550; Hyderabad (gross) 12,24,024 from 6 cinemas (2 in noon); 3rd week Guntur (gross) 1,07,493, total 3,99,876, Ongole (gross) 95,885, total 3,58,077, 2nd week Nellore (gross) 1,33,610, total 3,10,167.

Mission Kashmir has dropped further everywhere. 4th week Bombay 22,83,419 (69.53%) from 7 cinemas (5 on F.H.), Chembur 65,922; Pune 5,49,409 from 5 cinemas (1 in matinee); Delhi (TF) 15,11,461 from 6 cinemas; Kanpur (6 days) 83,813 from 2 cinemas, Lucknow 1,50,549 (3rd week 2,60,356), Agra 90,000, Bareilly (6 days) 22,530; Calcutta 4,85,336 from 3 cinemas; Nagpur 1,26,894 from 2 cinemas, Amravati 56,981, Jalgaon 51,785; Jaipur 4,95,539; Hyderabad (gross) 1,74,823 from 2 cinemas (1 in noon); 2nd Nellore 1,08,231, total 2,44,764.

…………

_____

Mor Chhainha Bhuinya (Chhattisgarhi) is creating history. 4th week Raipur (nett) 2,06,101, city record.

…………

WAHEEDA REHMAN BEREAVED

Kamaljeet, husband of Waheeda Rehman, died of brain haemmorhage on 21st November in Bombay at Lilavati Hospital. He was 67.

Kamaljeet had accompanied Waheeda, who was in Bombay to participate in the shooting of Karan Johar’s Kabhi Khushi Kabhie Gham…. But after just a day’s participation, Waheeda got busy with her husband who reported seriously ill. His condition deteriorated, and Waheeda pleaded inability to do the role. She had to be replaced in the film with Achla Sachdev.

Kamaljeet used to also act in films. He played a leading role in Son Of India and had also acted in Shagoon, opposite Waheeda whom he later married.

UP IN ARMS AGAINST MULTIPLEXES 

A group of cinema owners of Ahmedabad have made the tax holiday policy of the Gujarat government a subject-matter of a legal battle. The petitioners have contended that the tax holiday offered to new multiplexes in the state is discretionary in nature and would ultimately result in the closure of old cinemas in Gujarat as the existing cinemas would not be able to compete with the new and modern multiplexes with regard to facilities as well as earnings. They have also sought reliefs from the state to match the incentives offered to new multiplexes, or, in the alternative, discontinuation of the multiplex policy.

SHANTARAM BIRTH CENTENARY

The birth centenary of producer-director-actor Dr. V. Shantaram began with a pooja on the morning of 18th November at Rajkamal Studios, Bombay. Maharashtra chief minister Vilasrao Deshmukh offered floral tribute at the memorial of the legendary filmmaker and also formally launched two websites — www.vshantaram.com and www.khwaab.com. Lauding the efforts of the late stalwart in the development of the Indian film industry, the Maharashtra CM said that even the titles of his films had cultural value. He asked Kiran Shantaran to produce at least one Hindi film in the centenary year of his father as Rajkamal Kalamandir had stopped producing films after the passing away of the doyen. The CM also announced that a film award, instituted in the memory of actress Ranjana Deshmukh, would be announced by the state government this year.

The CM then presented centenary mementoes to artistes and technicians who were associated with V. Shantaram’s films. Among those who received the mementoes were Sandhya, Vasanti, Shashikala, Padmini Kolhapure, Mahipal, Chandrashekhar, Ram Gabale, music directors Ramlal Chaudhry and Anandji, fight master Ravi Dewan, and Sushant Ray. Jeetendra, Nanda and some notable artistes and technicians were not present at the function.

Kiran Shantaram assured the CM that he would launch a Hindi film in the centenary year and, at the same time, he hoped to get full-fledged support from the state government. “I would like to celebrate this centenary year of my father with a series of small functions and events, which would focus around him, in various parts of the country,” said Kiran. “We are planning to have some kind of celebrations on the 18th of every month for the whole year in different major cities of the country. This will include screening of his films, a travelling photo gallery, an award function and also an exhibition of his belongings.”

About the two newly-started websites, Kiran Shantaram informed that vshantaram.com would be a research-based historical website which would provide exhaustive data of all Indian films made in various languages and categories. “It will be a veritable boon for all cinema lovers,” he added. Of khwaab.com, Rahul Shantaram, CEO, Rajkamal Infotainment, said, “I wanted to contribute in my own way to my grandfather’s birth centenary year. khwaab.com is an attempt to create a platform for newcomers who would want to enter the entertainment industry. My grandfather always gave chance to newcomers and I, continuing the tradition and keeping pace with new technology, thought of launching a site which would help worldwide new entrants in the entertainment industry.”

He added that khwaab.com will contain a complete list of all possible categories — film, television, music, video, theatre, radio and advertising.

The huge gathering at the celebration included Yash Chopra, Sunil Dutt, Shyam Benegal, Ramesh Sippy and Rahul Rawail.

The same evening, the government of Maharashtra celebrated Dr. V. Shantaram’s centenary with a function which was presided over by Maharashtra CM Vilasrao Deshmukh.

SAJID NADIADWALA WEDS

Producer Sajid Nadiadwala got married to Warda Khan on 18th November in Bombay. The couple flew to Mecca earlier this week.

SUNIL SAMAT TO WED

Bombay exhibitor Sunil Samat (brother of Vijay Samat) will wed Droupadi on 3rd December in Bombay. The wedding reception will be held the same evening at Hotel Sun-N-Sand, Juhu.

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Education-Entertainment-Enlightenment

Rajshri To Revive Old Fervour

Believe it or not, the Barjatyas are getting into production full-throttle. Like they used to make films in the seventies and early eighties, they are yet again on the verge of starting multiple productions. Sooraj Barjatya, of course, will continue to make films but since he makes one film in four or five years, the banner will employ outside directors to also make films for it.

Says Rajkumar Barjatya, “In today’s times, when films don’t generally enjoy long runs, it is very difficult to maintain a huge office network like ours with just one film in 4 or 5 years.” The Barjatyas’ Rajshri banner is the only company in the country to have distribution offices in every circuit. Rajshri getting into production in a big way would automatically mean that its distribution division will also become busy since home productions are distributed by self.

Extortion Rears Its Ugly Head

Two sharp-shooters, who were killed in an encounter by the police on 20th November outside Natraj Studios, are believed to have targeted producer Shakti Samanta who has his office at Natraj Studios. According to Shakti Samanta, who is also the president of the Indian Motion Picture Producers Association, “We had been receiving anonymous calls for the past two weeks. The caller used to ask us to contact two numbers, one of Dubai and the other of Karachi. We asked them, ‘Why should we call these numbers?’ The phones continued for some time.”

Rumours were making the rounds in the film industry that the underworld got wind of Natraj Studios being sold. The underworld, according to sources in the industry, “wanted a share of the sale money”. Shakti Samanta refutes the news, saying firmly, “We are not contemplating selling the Natraj Studios premises to anyone.”

Natraj is owned by five producers of which Shakti Samanta is the co-owner.

Yash Chopra Recalls Shantaram’s Gesture

Yash Chopra has a plush office today in the swanky Juhu area of Bombay. But he will never forget those days when he had his office at V. Shantaram’s Rajkamal Studios. After directing several films for outside banners, when Yash Chopra decided to turn a producer, he did not have a place to operate from. Mustering courage and placing his trust on V. Shantaram’s helpful nature, he went up to Shantaram and said, “Anna Saab (that’s what V. Shantaram was referred to as), I have decided to turn a producer, but I don’t have an office to work from.” That was enough! Shantaram immediately called his people and ordered, “See, Yash is my son. Give him the office and give him whatever he needs.” Anna Saab then wished Yash Chopra good luck and thus Yash Chopra was ‘office-ially’ launched as producer. Yash revealed this at the V. Shantaram birth centenary celebration held at Rajkamal Studios on 18th November, to highlight Anna Saab’s grand gesture.

“If the industry lacks good writers today, it is largely because our writers are not well paid.”

– AMITABH BACHCHAN

Praised for his performance on the big screen as much as for his role as the host of the most popular TV show. That’s Amitabh Bachchan for you today. His restrained acting in Mohabbatein has won him a lot of accolades even as compliments haven’t stopped more than 50 episodes after the Kaun Banega Crorepati game show.

That Amitabh has renewed his contract with Star for an additional 130 episodes is old news. But some of the things Amitabh spoke, when we met him on 19th November on the sets of Suneel Darshan’s Ek Rishtaa – The Bond Of Love, were definitely news.

Bachchan is thrilled with the working styles of directors like Aditya Chopra and Karan Johar. “The system of bound scripts had become history after Javed Akhtar,” remarked Amitabh. “But these talented filmmakers have brought back that much-needed system again. You don’t know how useful a bound script is for us actors. We can prepare for the day’s shooting while we are going to the sets, in our cars or vans.” Taking a trip down memory lane, the comeback superstar further continued, “After a few films I did with Salim Javed, I stopped insisting on the complete script. I used to hear my role broadly before signing a film because they knew what was best for me.

“Now again, the era of bound scripts has come and I must add, I, for one, am thrilled. Would you believe, for all the films I am currently doing, except the one with David Dhawan, I have ready scripts from the directors.”

Amitabh has heard the subject of Sooraj Barjatya’s Main Prem Ki Deewani Hoon (yes, the title may be changed from Main Prem Deewani Hoon to Main Prem Ki Deewani Hoon). He revealed, “Sooraj wanted me, Jaya and Abhishek to hear it jointly. I tell you, it is fabulous. That boy is incredible. He gave us a complete narration and even sang us the songs!” Will Abhishek be acting in it? “Yes, the film will have Abhishek, Hrithik and Kareena Kapoor.”

Talking of narration, Amitabh couldn’t help recalling the time when Aditya Chopra had given him a narration of Mohabbatein. Says Bachchan, “At that time, even before he started the film, Aditya was aware that people might object to not establishing why I was the way I was, in the sense, why was I so much against love? But he told me, ‘I don’t want to show your past.’ He went on to explain to me why I was supposed to be like that by telling me that my wife, whom I loved dearly, had died, which is what had shaken my confidence in love completely. But Aditya told me, he didn’t want that to be a part of the film as he feared, it would look too clichéd. What I mean to say is that, omitting my past or background was not an error, rather it was intentional.” Another thing that greatly impressed Amitabh was that even before Mohabbatein was launched, Aditya knew how his promotion of the film would be, how the trailer would begin, what it would show, what it wouldn’t etc. etc.

While on the topic of scripts, the actor opined that if the industry lacks good writers today, it is largely because our writers are not well paid. “The writers need to be motivated enough to get the best out of them,” explained Bachchan.

Now that efforts were on to revive his company, ABCL, how would Amitabh ensure that mistakes of the past were not repeated? “To begin with,” began Bachchan, “we’ll go slow this time. We will do only selected things at a time and not try to put our fingers in too many enterprises. We will start with just film production. Secondly, we will keep the control with ourselves and not give cent per cent control to people appointed by us.”

ABCL will produce two films, one starring Aamir Khan, and the other, starring Bachchan Sr. and Jr. with Mrs. Bachchan. The latter film will be directed by Rakesh Mehra who is currently making Aks with Amitabh.

Amitabh reveals that the Sahara people are seriously contemplating taking over the control of several cinemas in Uttar Pradesh. Bachchan is a director in the Sahara group and he should know.

Is Bachchan net-savvy? “I do surf the net at times, though I’m not very net-savvy. I have my site on jalwa.com, but nobody wants to come and see what the site offers,” he jokes. “There are just two hits everyday, one by the person who has made the site, and the other, by me.” This bit of a joke he also shares with co-star Juhi Chawla who informs that srkworld.com, the site launched by Shah Rukh Khan recently, gets a million hits every day. He prods Juhi, “Will you please visit my site today? Promise? …Then, we’ll have three hits on a single day for the first time ever!”, he says with a straight face even as Juhi giggles away.

– Komal Nahta

KAHIN PYAAR NA HO JAAYE

Siddhivinayak Creations’ Kahin Pyaar Na Ho Jaaye (UA) is a fairly unusual story of a young guy trying to make it big in life. For a living, he sings at weddings. He loves a girl who is forced to ditch him on their marriage day, in favour of a rich NRI because she needs money for treating her kid-brother suffering from terminal cancer. The guy is shattered but soon begins to pick up the threads of his life. He falls in love with another girl who is unaware of his love for her and treats him only as a wonderful friend. By a quirk of fate, this girl, too, gets engaged to an NRI, leaving the wedding singer heartbroken once again. But this time, he tries to win his beloved back. She, too, realises that she actually loves him more than she does her fiancé. Just when the two are about to meet and express their love for each other, the singer’s earlier girlfriend emerges on the scene and complicates matters by declaring that she is still single. It also turns out that the NRI, whom she was supposed to get married to, is now the fiancé of the other girl. In a rather far-fetched and tame climax, the singer gets his second love while his first girlfriend gets the NRI’s hand in marriage.

The film has a reasonably different story but the screenplay (Sanjay Chhel and Manoj Lalwani) is poor, thanks to which the two coincidences in the singer’s life look unbelievable. Further, the dull screenplay leaves some questions unanswered. For instance, how does the singer not know till on his wedding day that the kid-brother of the girl he loves so dearly is a cancer patient? The coincidence of the same NRI being engaged to the same singer’s two girlfriends is a bit too much to digest. The scene after the first girlfriend announces to the singer her decision to marry a rich guy is quite strange. A very sensitive and serious scene appears like a mockery as the two of them laugh and cry together. Scenes showing the singer and his good-for-nothing friend drinking in the bar are very lengthy, repetitive and boring.

On the positive side, there are some scenes, emotions and directorial touches that strike a chord in the viewers’ hearts. The entire sequence of enactment of a wedding scene between the singer and his second girlfriend has been handled with great finesse. So also the scene in which the second girlfriend chides the singer for drinking himself to death and thereby mentally torturing his near and dear ones. Some comedy scenes (involving the pandit and his sons) are very enjoyable. Climax is not just weak but also childish. Overall, while the first half is quite good in parts, the post-interval portion is very weak.

Salman Khan is not consistent in his performance. While he is good in some emotional scenes, he spoils some others by his by-now-famous-and-irritating comic outbursts. In his drunken scenes, he hams, talking more like a spoilt child than a drunkard. Rani Mukerji gives a wonderful account of herself, adding the right amount of sensitiveness to her role. She is a delight to watch! Jackie Shroff acts quite well. Raveena Tandon gets limited scope but is good all the same. Pooja Batra is free and very natural. She looks pretty and impresses with her acting. Inder Kumar does a fair job. Shakti Kapoor is cute and the kids playing his four sons are even cuter. Kashmira Shah and Mohnish Bahl have their moments. Reema, Jagdeep, Sanjay Goradia, Gufi Paintal and the others lend fair support.

K. Murali Mohan Rao’s mature handling of emotional subjects is missing in this film. With a slipshod script, the director is at sea and has not been able to remain much in command. There are some scenes which impress but they are few and far between. Himesh Reshammiya’s music is melodious. The title song, ‘Anmol’, ‘Kar le pyar’ and ‘Saanwariya’ songs are very well-tuned. ‘O Priya’ has good lyrical value (Sudhakar Sharma) . Song picturisations could have been more happening. Cinematography (Rajan Kinagi) is extremely nice. Dialogues (Sanjay Chhel and Abbas Hirapurwala) are witty and humorous at places. Editing is weak.

On the whole, Kahin Pyaar Na Ho Jaaye may have some entertaining comedy but, overall, it lacks the emotions the subject needed. Even the light scenes have no hilarious moments. Lacking in all-round merits, the film will prove a burden for all concerned.

Released on 17-11-2000 at Eros and 20 other cinemas of Bombay thru Devgan Entertainment & Software Ltd. Publicity: very good. Opening: fair. …….Also released all over. Outside Bombay, the opening was weak at places and average at others.

LATEST POSITION

While KURUKSHETRA dropped as the week progressed, the topic of discussion in the trade was the drop in collections of MOHABBATEIN all over in its 3rd week. 

Kurukshetra 1st week Bombay 50,00,323 (83%) from 10 cinemas (9 on F.H.); Ahmedabad 22,07,371 from 10 cinemas, Vapi 4,11,326; Pune 14,90,411 from 5 cinemas (1 in matinee), Solapur 2,96,844 (100%) from 2 cinemas (1 in matinee), Satara 2,44,791 from 2 cinemas (1 in matinee); Delhi 36,79,557 (52.96%) from 14 cinemas (3 on F.H.); Kanpur 3,54,882 from 2 cinemas, Lucknow 3,75,422, Agra 3,05,000, Varanasi 2,31,352, Allahabad 2,60,000, Bareilly 1,66,082; Calcutta 18,31,474 from 10 cinemas; Nagpur 5,52,060 from 4 cinemas, Jabalpur (6 days) 1,41,501, Amravati 3,02,204, Akola 2,17,666, Dhule (29 shows) 2,00,147 (76.68%), Bhilai 98,011, Jalgaon 2,30,005, Wardha (21 shows) 1,33,268, Chandrapur 1,73,654; Jaipur 7,36,054 (42.83%); Hyderabad (gross) 24,65,161 from 8 cinemas (2 on F.H.).

…………

Mohabbatein dropped conspicuously in its third week as schools reopened. 3rd week Bombay 62,38,903 (89.75%) from 13 cinemas (6 on F.H.), Vasai (gross) 2,84,269, Vashi (gross) 2,63,298, Panvel (28 shows, gross) 1,70,357; Ahmedabad 24,77,183 from 6 cinemas, Vapi 3,69,039 (78%), total  13,06,072, Patan (gross, 21 shows) 1,74,372 (2nd 2,59,057), Kalol (gross, 21 shows) 1,07,243 (2nd 1,90,532), Rajkot (21 shows) 2,33,500, Adipur (21 shows) 1,86,034 (69.33%); Pune 16,11,617 from 5 cinemas (1 in matinee), Solapur 2,95,883, Barsi (21 shows) 36,774, total 1,67,555, Satara 1,52,328 from 2 cinemas (1 in matinee); Delhi 51,83,331 from 12 cinemas (1 on F.H.); Kanpur 5,09,792 from 2 cinemas, Lucknow 8,94,486 from 2 cinemas, Agra 2,65,555, Varanasi 2,69,527, Allahabad 2,46,152 from 2 cinemas, Meerut 2,24,507, total 8,11,472, Bareilly (6 days) 1,69,875; Calcutta 26,13,742 from 9 cinemas; Nagpur 8,30,251 from 3 cinemas, Jabalpur (6 days) 1,88,581, Amravati 2,45,671, total 8,53,546, Akola 1,72,757, total 6,26,826, Dhule 1,32,205, total 5,78,020, Bhilai 1,80,280, Jalgaon 1,89,317, Rajnandgaon (21 shows) 68,940 (2nd 77,414), total 2,78,431, Chandrapur (21 shows) 1,38,090, total 6,34,152, Yavatmal (21 shows) 1,26,337, total 4,94,446; Indore 3,20,430 from 2 cinemas (2 on F.H.); Jaipur 4,51,017, Ajmer (28 shows) 1,35,282, Bikaner 2,14,082; Hyderabad (gross) 15,74,539 from 5 cinemas (2 in noon); 2nd week Guntur (gross) 1,37,538, total 2,92,310, Ongole (gross) 1,17,806, total 2,63,192.

Mission Kashmir crashed at several places. 3rd week Bombay 44,28,143 (63.58%) from 12 cinemas (8 on F.H.); Ahmedabad 8,31,683 from 4 cinemas, Padra 2,12,543; Pune 8,04,936 from 4 cinemas (1 in matinee), Solapur 1,40,804 from 2 cinemas (1 in matinee), Satara 71,685 from 2 cinemas (1 in matinee); Delhi 24,50,828 from 6 cinemas (3 on F.H.); Kanpur 1,51,750 from 2 cinemas, Lucknow 2,60,356, Agra 1,53,000 (2nd 2,80,000), Varanasi 1,11,341, Allahabad 1,12,000, Bareilly (6 days) 53,425; Calcutta 8,77,711 from 5 cinemas; Nagpur 1,51,783 from 2 cinemas, Jabalpur (6 days) 1,06,707, Amravati 1,03,255, Akola 71,747, total 5,17,483, Bhilai 26,938, Jalgaon 83,452, total 6,37,604, Wardha 38,529, Yavatmal (5 days) 15,860, Bilaspur 35,711, Sagar 23,630; Indore 85,000 (2 on F.H.); Jaipur 7,21,310 from 2 cinemas, Ajmer (gross, 28 shows) 1,59,660, Bikaner 1,03,556; Hyderabad (gross) 3,48,599 from 2 cinemas (1 in noon); Guntur 3 weeks’ (20 days) total (gross) 2,68,529, 2nd week Ongole (gross) 1,07,498, total 2,53,227, 1st week Nellore (gross) 1,36,410.

…………

_____

Mor Chhainha Bhuinya (Chhattisgarhi) 3rd week Raipur (nett) 2,05,482 (2nd 2,00,980), record, total for 3 weeks 6,43,796, record, 1st week Bhilai 1,54,209.

CITY GOLD MULTIPLEX OPENS IN AHMEDABAD

City Gold, one more ultra-posh and luxurious multiplex, was inaugurated in Ahmedabad on 16th November at the hands of Gujarat chief minister Keshubhai Patel. The multiplex has 5 screens although only 3 screens were thrown open to the public on 16th. The remaining two screens will open shortly.

Besides the five extraordinary screens, the complex houses an open-air theatre for cultural programmes and other functions. It has a huge car parking space in the basement.

Owned by Chimanbhai Agrawal, the cineplex has a combined seating capacity of about 1,250. It also has two restaurants and a huge foyer. The interior designing of all the screens and the entire complex has been done by City Pulse owner and leading architect Ashok Purohit.

The cinema is located on the central Ashram Road where once Dipali cinema stood. All the three screens are showing Kahin Pyaar Na Ho Jaaye this week.

Shyam Shroff, Balkrishna Shroff, Ramesh Sippy, Nandu Bohra, D.Y. Pattani, Kumar Mangat, Ashok Ahuja and Nandu Ahuja from Bombay attended the inauguration of the multiplex. (Read detailed coverage of the inauguration in our issue next week.)

DECLARED DEFAULTERS

Names of fourteen cinemas of Ahmedabad have been declared by the Ahmedabad Municipal Corporation as major defaulters of special property tax.

The dues from some of the cinemas are as follows: Shiv Rs. 39.84 lakh, Shree Rs. 60.96 lakh, Advance Rs. 18.96 lakh, Relief Rs. 17.78 lakh, Roopalee Rs. 30.27 lakh, Kamal Rs. 6 lakh, Madhuram Rs. 1.24 lakh, Priya Rs. 3.14 lakh, and Chandrabhanu Rs. 6.45 lakh.

WAHEEDA REHMAN’S HUSBAND SERIOUS

Waheeda Rehman’s husband is seriously ill in Bangalore. Waheeda was to start shooting for Karan Johar’s Kabhi Khushi Kabhie Gham this week but she could not report for the shooting due to her husband’s illness. Her role is now being played by Achala Sachdev.

BABY GIRL FOR MADHOO

Actress Madhoo gave birth to a baby girl on 16th November in Bombay.

‘MISSION KASHMIR’ TAX-FREE IN DELHI

Vidhu Vinod Chopra’s Mission Kashmir has been granted exemption from payment of entertainment tax in Delhi for a period of three months with effect from 17th November.

NEW CINEMA AT KOTPUTLI

Purva, a new cinema, opened on 17th November at Kotputli (district Jaipur) on Bansur Road. The cinema is owned by Nahatas and Swamis. Phone: (01421) 22161. Smt. Kamala, minister for irrigation & revenue, govt. of Rajasthan, was the chief guest. Hanuman Sahay Vyas, chief of the panchayat samiti of Shahpura, was a special guest.

DR. RAJKUMAR’S RELEASE:
ECSTASY AFTER 109-DAY ANXIETY!

It was freedom before sunrise for veteran Kannada films’ superstar Dr. Rajkumar when he was released at 4.30 a.m. on 15th November. The 71-year old star, who was kidnapped by Veerappan and his men on July 30, was confined to Veerappan’s jungle hideout for 109 days. The news of the superstar’s release was broken by Tamil Nadu chief minister M. Karunanidhi. Rajkumar, who went to his home town, Bangalore, soon after his release, was received by his countless admirers and fans with unprecedented jubilation. The actor underwent an ECG test and other medical tests immediately on his arrival in Bangalore. His personal physician, Dr. B. Ramana Rao, said that the veteran actor had insect bites all over his body and that he had lost weight by 4.5 kgs. “Other than that, he has no health problem,” the doctor certified.

Karnataka CM  S.M. Krishna, who received the much-admired actor in Bangalore, brought him and his family members to Vidhan Soudha where Rajkumar told the press persons that his unexpected release seemed like a dream. Veerappan was led into believing that the actor could become a costly liability if held captive any longer (read details in 3-E column in this issue) and he, therefore, decided to free him. The actor also pointed out that the efforts of R.R. Gopal, editor of ‘Nakeeran’, had failed. Tamil Nadu CM M. Karunanidhi, however, acknowledged the efforts of R.R. Gopal and P. Nedumaran of Tamil National Movement for their efforts to prevail upon Veerappan to release the actor.

The question that, however, remains unanswered is: was the Rs. 50-crore ransom, demanded by Veerappan, paid to him? If not, it is unlikely that the sandalwood smuggler would have freed Rajkumar.

PRODUCTION NEWS

22-Day Shooting Spell Of ‘Nayak – The Real Hero’

A 22-day shooting stint of producer A.M. Ratnam’s Nayak – The Real Hero began on Nov. 12 in Bombay. It will be followed by shooting on locations in Pune and Madras. Many scenes and part of a song are being picturised on Anil Kapoor, Rani Mukerji, Pooja Batra, Amrish Puri, Johny Lever, Paresh Rawal, Shivaji Satam, Saurabh Shukla and Sushmita Sen (in a special appearance). Being directed by Shankar, the film has music by A.R. Rahman. Lyrics: Anand Bakshi. Dialogues: Anurag Kashyap. Cinematographer: K.V. Anand. Art: Thotta Tharani. Action: Kunal Kannan. Editors: B. Lenin and V.T. Vijayan.

‘Mujhe Kuch Kehna Hai’ In Delhi

Puja Films’ Mujhe Kuch Kehna Hai is being shot in a 15-day schedule from Nov. 17 in Delhi. Being produced by Vashu Bhagnani and directed by Satish Kaushik, the film stars Tusshar and Kareena Kapoor with Amrish Puri, Dalip Tahhil, Himani Shivpuri, Alok Nath, Pankaj Berry, Vrajesh Hirjee, Hemant Pande, Punit, Rashmi and Rinke Khanna. Music: Anu Malik. Lyrics: Sameer. Cinematography: Johny Lal. Art: Sameer Chanda. Action: Mahendra Verma. Sound: Jagmohan Anand.

3-E
Education-Entertainment-Enlightenment

Salman Khan: Waning Popularity?

Is Salman’s popularity on the wane? Or is it the lack of publicity as compared to other recent Salman starrers, which is responsible for a dull opening of Kahin Pyaar Na Ho Jaaye this week? It is a combination of both.

Salman’s career has been on the downslide for almost two years now. Several of his starrers have been bombing at the box-office. Jaanam Samjha Karo flopped in April 1999, followed by Hello Brother. Chal Mere Bhai just didn’t work. Dulhan Hum Le Jayenge barely managed to scrape through in some territories. Har Dil Jo Pyar Karega took a flying start, but that was about the only silver lining to the film’s overall box-office performance.

This week’s Kahin Pyaar Na Ho Jaaye has opened to ordinary houses in Bombay but even less-than-ordinary houses in cities like Delhi, Jaipur etc. and towns like Khandwa (C.P. Berar).

This is a clear indication that Salman’s fan-following has considerably reduced in sheer numbers. For every shirt that Salman takes off in a film, he may be losing around a lakh fans, going by the rapid rate at which his films are failing. His senseless antics on the screen and his receding hairline are also contributing to this otherwise handsome hero’s declining popularity. Besides, Salman’s penchant for doing the nonsensical before the cameras has got on people’s nerves now.

In the case of KPNHJ, the lack of time given for its music to grow has also gone against the film’s opening. For, despite the presence of some exciting numbers in the film’s album, they haven’t really floored the listeners.

Whatever the reasons, the dull initial of Kahin Pyaar Na Ho Jaaye is a danger signal for Salman. For, there’s no problem as long as he loses his shirt in film after film. But losing in popularity is a big worry. After all, box-office figures lay everything threadbare and conceal nothing. Rather, they reveal the naked truth.

Ramraj-ji’s Judgement Extraordinaire

A reading of this week’s Flashback column (page 14 of this issue) made the senior family members of Film Information go nostalgic. The then owner-editor-printer-publisher, Shri Ramraj Nahta, had predicted not even 15 weeks after Sholay was released: ‘Sholay has beaten by lengths super-hit films like Bobby and Roti Kapada Aur Makaan at most of the places; it may draw full houses for 50 weeks at local Minerva.’ Today, after Sholay has been acknowledged as a landmark film of Indian cinema, this statement may not look very bold. But to have predicted then that the film would draw full houses for 50 weeks together required not just guts but tremendous foresight, both of which Ramraj-ji possessed in ample measure. Guts, because there were many, many in the trade who dogmatically maintained that Sholay was no big hit and that its glory would be short-lived. They maintained that the effervescence of the initial euphoria would die down soon. Among such pessimists was a trade paper, too, which revelled in calling Sholay a weak film for weeks together. Ultimately, of course, those people as well as the trade paper had to bite the dust. As for your editor then, this prediction more than proved right! For, Sholay ran to full houses at Bombay’s Minerva cinema not just for 50 weeks but for 265 weeks!! Ramraj-ji’s prediction, like his review of Sholay in Film Information, published a day after its release, drew a lot of flak in the beginning, but ultimately proved yet another feather in his cap for his superb judgement.

No Name Is A Good Name!

Boney and Sridevi Kapoor are still without a name for their new-born. Two weeks after her birth, the second daughter of the producer-actress couple is nameless. That’s because the li’l one’s parents can’t agree on any name.

While Khushi appeals to Boney, Sridevi finds it too filmy. “She takes a little long to appreciate good things,” jokes Boney, but Sridevi is not in a mood to give in.

And so the search for an appropriate name for Janhvi’s little sister goes on.

Incidentally, Janhvi was Urmila Matondkar’s name is Boney’s Judaai. Janhvi was born a few days before the release of Judaai. Khushi is Sonali Bendre’s name in Boney’s Hamara Dil Aapke Paas Hai which was released about three months back. So Sri is not wrong when she says, “Khushi is too filmi.”

KURUKSHETRA

Time Movies’ Kurukshetra (A) is the usual honest-cop-versus-corrupt-politicians story. A principled police officer, honest and utterly duty-conscious, chargesheets the chief minister’s son accused of raping a girl. That is the beginning of his (police officer’s) life turning hell. He and his family members are tortured mentally and threatened; he is suspended from his job; and an attempt is also made on his life. The opposition leader, who all along supports him and his mission to get the chief minister’s son punished for his crime, ultimately trades the chargesheet for the deputy chief minister’s post. The police officer, finding himself at the losing end in the political game, guns down the foes-turned-friends — the chief minister and his deputy.

By way of subject, the film offers no novelty and only repackages what one has seen in many revenge dramas of good versus evil. The routine script is, nevertheless, pepped up by some bold and, at the same time, entertaining dialogues (K.K. Singh) and a couple of good characterisastions (the chief minister and the corrupt police hawaldar who supports the principled officer).

However, the scripting as well as the making of the film look like jobs hurriedly done. The undue hurry at the scripting stage is clear from instances like the following: when the suspended police officer refuses to have faith in the opposition leader, the officer’s wife resents his suspicious nature, but when finally the opposition leader turns out to be a crook, the same lady, rather than cursing her lack of judgement and repenting for the same, walks in haughtily and almost throws proof of the leader’s crookedness to her husband’s face! So, there’s no co-relation between the wife’s stance before and after. Even otherwise, the wife’s constantly cribbing nature does not go too well with her character — a good wife of a conscientious police officer. Secondly, the principled police officer taking shelter in the local don’s house doesn’t quite go with the former’s character and makes him appear selfish. As far as the hurry in the film’s making is concerned, it is obvious because several scenes have less than the desired impact since they are better written than executed.

The first half is better but after interval, the film moves on a single track and gets boring at places. Too much use of swear-words will work both ways — it will go against the film’s interest in big centres and by keeping away family audience and ladies, but will appeal to masses in ‘B’ and ‘C’ class centres.

Sanjay Dutt does quite well as the principled police officer. Mahima Chaudhry, as his wife, gives a lovely account of herself despite a weak characterisation. Om Puri is the highlight of the film. His mouthing mild swear-words will be loved by the audience. He acts with aplomb and, despite playing a scheming politician, endears himself to the public. Shivaji Satam is effective in the role of the opposition leader. Radhika Rana is quite natural as Sanjay Dutt’s sister. Salil Ankola fails to score in a brief role. Sayaji Shinde is lovable and gives a good performance, aided by some wonderful dialogues. Mukesh Rishi is good as always. Pramod Moutho acts ably. Rajat Sharma (guest appearance), Mahesh Anand, Suman Ranganathan, Kashmira Shah, Sukhwindara Singh and the others provide adequate support.

Mahesh Manjrekar’s direction is fair and could have been better. Music (Himesh Reshammiya) is just about alright. The engagement song and the birthday party number are the better ones. Suman Ranganathan’s song-dance is for front-benchers. Action scenes are alright. Background music needed to be far better. Camerawork (Vijay Arora) is okay. Production and other technical aspects are alright.

On the whole, Kurukshetra is a routine fare which will do well mainly in Bombay, Maharashtra and small centres. It has taken an ordinary start in several circuits (like Delhi, C.P. Berar (M.P. belt), C.I., Rajasthan) and will, therefore, remain an average fare there.

Released on 10-11-2000 at Novelty, New Excelsior and 17 other cinemas of Bombay thru Tilak Enterprises P. Ltd. Publicity & opening: very good. …….Also released all over. Opening was average in many other circuits.

LATEST POSITION

MOHABBATEIN is rock-steady in its 2nd week too. Proves class ‘A’ in Bombay and an overflow film in other circuits. MISSION KASHMIR is good in 2nd week in Bombay (where it will fetch overflow) but dropped perceptibly in every other circuit.  Should turn out to be average in most other circuits. 

Chudail Ki Raat did poor in 1st week in Bareilly.

Godzilla 2000 (dubbed) ran for 1 week in Bombay, with dull collections; 1 week Pune 1,08,606 from 2 cinemas.

Mohabbatein should touch at least 7 to 7.5 crore in Bombay, 4 crore in Delhi-U.P. and 2.5 crore in C.P. Berar: 2nd week Bombay 65,03,642 (99.93%) from 13 cinemas, Vasai (gross) 4,43,579, Vashi (gross) 4,30,914, Panvel (gross) 2,82,770, (6 on F.H.); Ahmedabad 34,59,712 from 6 cinemas, Padra (21 shows) 3,70,253, Vapi (21 shows) 4,63,630 (99.94%), Rajkot (28 shows) 3,20,910, Jamnagar 2,35,870, Adipur (28 shows) 2,79,789 (78.20%), Bhuj 2,26,051; Pune 14,92,282 from 4 cinemas, Solapur 3,24,456 (100%), Barsi (21 shows) 57,898, total 1,30,783, Satara 2,94,706 from 2 cinemas (1 in matinee); Delhi 61,36,639 from 12 cinemas (1 on F.H.); Lucknow 5,66,800 (100%), Agra 2,73,387 (1st 2,81,316), Allahabad 3,06,429 from 2 cinemas, Jaunpur 60,000 (1st 84,771), Bareilly (6 days) 2,13,453, Dehradun (21 shows) 2,52,218; Calcutta 33,62,815 from 13 cinemas (8 on F.H.); Nagpur 12,10,104 from 4 cinemas, Jabalpur (6 days) 2,10,239, Amravati (22 shows) 2,88,660, total 6,04,875, Akola 2,16,427 (100%), total 4,54,069, Raipur (6 days, gross) 2,64,602, Jalgaon (21 shows) 2,32,782 (1st 2,62,306), Gondia (gross) 1,27,055 (85%), total 2,82,953, 1st week Wardha (21 shows) 1,80,627, 2nd Chandrapur 2,25,786, total 4,96,062, Yavatmal (21 shows) 1,68,357, total 3,68,109; Indore 4,00,743 from 2 cinemas (2 on F.H.); Jaipur 8,53,221 (81.45%) from 2 cinemas, Ajmer (21 shows) 1,44,347; Hyderabad (gross) 23,96,373 from 8 cinemas (2 in noon); 1st week Guntur (gross) 1,54,708.

Mission Kashmir drops. 2nd week Bombay 70,58,297 (81%) from 13 cinemas (10 on F.H.); Ahmedabad 25,31,666 from 7 cinemas, Vapi 3,02,677, Rajkot (28 shows) 2,24,290, Jamnagar 87,840; Pune 16,04,884 from 4 cinemas, Solapur 2,88,862 from 2 cinemas (1 in matinee), Barsi 27,714, total 96,702, Satara 1,96,944 from 2 cinemas (1 in matinee); Delhi 57,02,663 from 14 cinemas (3 on F.H.); Lucknow 6,00,584 from 3 cinemas, Agra 2,80,000 (1st 6,03,000), Allahabad 2,25,384, Jaunpur 40,000 (1st 79,617), Dehradun 2,50,000; Calcutta 18,53,998 from 14 cinemas (22 cinemas’ collections not recd.); Nagpur 3,99,016 from 3 cinemas, Jabalpur (6 days) 1,43,076, Amravati 1,97,383, Akola 1,40,312, total 4,45,735, Raipur (6 days, gross) 1,60,684, Jalgaon (6 days) 1,53,107, Wardha 68,782, Chandrapur 1,05,108, total 3,60,744, Yavatmal 41,894, total 1,87,633, Sagar 42,947; Indore 1,05,000 (2 on F.H.); Jaipur 10,97,041 (76.40%) from 2 cinemas, Ajmer (28 shows, gross) 1,75,781; Hyderabad (gross) 15,00,639 from 6 cinemas (3 on F.H.); Guntur (gross) 1,02,538, total 2,50,093.

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Mor Chhainha Bhuinya (Chhattisgarhi) 2nd week Raipur (nett) 2,00,980, record, going very strong.

ROSHANS’ SHOW IN CALCUTTA

The Roshans — Rakesh, Rajesh and Hrithik — are presenting a grand show — Roshans’ Show — in Calcutta this evening (11th November) at the Salt Lake Stadium which has a capacity to seat an audience of 1.5 lakh. The show is housefull in advance!

MULTIPLEX IN AHMEDABAD TO OPEN NEXT WEEK

A new multiplex, City Gold, will open on Ashram Road in Ahmedabad on 17th November with Kahin Pyaar Na Ho Jaaye. The 5-screen multiplex, constructed by architect Ashok Purohit (of City Pulse, Gandhinagar), has come up where once Dipali cinema stood. It is owned by Chimanlal Agarwal and controlled by Ashok Purohit and Nandu Bohra.

Three of the five screens of the multiplex will be operational from next week. All the 3 screens will show Kahin Pyaar Na Ho Jaaye. Two screens are likely to open in December.

The multiplex has a total seating capacity of about 1,250. It has a parking space to house 300 cars. Its admission rates are Rs. 80 on weekdays in non-night shows and Rs. 100 on Sundays and in night shows on weekdays.

YOU ASKED IT

How much of Amitabh Bachchan’s popularity acquired due to Kaun Banega Crorepati contributed to the box-office success of Mohabbatein?

– I don’t think, it must have at all contributed. Yes, Amitabh’s new popularity must have been at the back of the audience’s minds, but that’s about all!

Many small-budget films are closed for Overseas while the home territories are open. This is indicated in your monthly chart of under-production and completed films. How come? Do small-budget films have a market in Overseas?

– Like in India, there are small distributors who deal in only small films in Overseas territory.

Devdas has been made once in the silent era and twice as a talkie film. What is so unique about this subject that even Sanjay Leela Bhansali is making Devdas? Will this romantic tragedy find acceptance today?

– As you too know, the story of Devdas has romance, pain, emotions etc. and so, makes for good material for a film. I’m sure, Sanjay Leela Bhansali must’ve thought of all what you’ve said and must have been convinced of its potential even today!

PRODUCTION NEWS

20-Day Shooting Spell For Ketan Desai’s Film

Director David Dhawan will commence another 20-day marathon shooting stint of M.K.D. Films’ Prod. No. 6 on Nov. 16 at Kamal Amrohi Studios. After shooting there for four days, the unit will move to Delhi for 12 days, shoot on locales and come back to picturise a romantic duet on Salman Khan and Amisha Patel at Famous Studios in Bombay from Dec. 1 to 5. A Manmohan Desai presentation, the film co-stars Rishi Kapoor, Rati Agnihotri, Rinke Khanna, Sharad Kapoor, Kader Khan, Kiran Kumar, Shahbaaz Khan, master Ajay Nagrath and Anupam Kher. Producer: Kanchan Ketan Desai. Co-producer: Ketan Manmohan Desai. Executive producer: Prakash Pange. Story-screenplay: Yunus Sejawal and Imtiaz Patel. Dialogues: Rumi Jafri. Cinematography: K.S. Prakash Rao. Art: R. Varman. Action: Mahendra Verma. Sound: Vinod Potdar.

ANNOUNCEMENT & LAUNCHING

Mehul Kumar Launches ‘Kitne Door…Kitne Paas’

Producer-director Mehul Kumar’s Kitne Door…Kitne Paas was launched with a muhurt on Nov. 6 at SNDT College, Juhu, Bombay on a massive and opulent set depicting a New York Opera theatre. Lead man Fardeen Khan faced the camera for the inaugural shot which comprised a song’s opening lines. Jayantilal Gada of Popular Entertainment Network (PEN), which presents the film, switched on the camera as CCCA president Santosh Singh Jain performed the coconut-breaking ceremony. Ramesh Taurani of Tips sounded the clapper-board. The muhurt is being followed by an 8-day shooting spell at the same venue where a song-dance number and scenes are being picturised, featuring Fardeen, Nasir Khan and dancers from abroad. Mahima Chaudhry plays the leading lady in the film which has screenplay and dialogues by Yunus Sejawal and Imtiaz Patel. Music is by Sanjeev Darshan and lyrics, by Anand Bakshi. All seven songs have been recorded. Choreography: Ahmed Khan. Cinematography: Mazhar Kamran. Art: R. Varman. Editing: Yusuf Sheikh. Audiography: Jagmohan Anand.

Being made under the banner of M.K. Pictures, the film is scheduled for completion in six months.

3-E
Education-Entertainment-Enlightenment

Not Just Marketing

“I’d be genuinely happy if Aditya Chopra’s Mohabbatein proves a hit.” Words of showman Subhash Ghai. He had told us before the film’s release two weeks back, “If Mohabbatein clicks, those producers, who’ve strutted around for far too long as marketing wizards, will have to rethink their strategies. For, Yash Chopra and Aditya Chopra have not resorted to crazy publicity campaigns like some producers who don’t even spare dust-bins on the streets to get their films’ names painted on! Although I love publicity, I don’t approve of publicity for the sake of hoodwinking distributors or the public.”

The point, according to Ghai, which is proved loud and clear now that Mohabbatein has hit the bull’s eye, is that it is not marketing alone that maketh a film. Subhash Ghai was referring to, what he calls, “the thaila producers” — those who send out thailas (bags) of gifts made around their films as a marketing gimmick. “These gifts are made only to lure gullible distributors into buying films,” said Ghai.

Replacement Rumbles

Karisma Kapoor is on a replacement spree! First, she replaced Kajol who herself had stepped in in place of Sridevi in Boney Kapoor’s production venture, as yet untitled, a remake of the South hit, Anthapuram. And now Karisma has stepped into the shoes of Aishwarya Rai. The ex-Miss World was paired opposite Anil Kapoor in Indra Kumar and Ashok Thakeria’s Rishta. The film was to be launched but Aish pleaded inability to do the film. Indu and Ashok had no alternative but to cast another heroine in her place. Actually, the film has two heroines and Indu-Ashok were planning to sign Yukta Mookhey as the second heroine. “Not any longer,” remarked Ashok Thakeria. “We were considering Yukta but only if Aishwarya was doing the film. With Karisma, we will sign another girl.”

Meanwhile, Karisma herself has been replaced by Shilpa Shetty in another film — Anil Kapoor, Satish Kaushik and Subhash Ghai’s joint venture, Badhai Ho Badhai. Karisma recently opted out of the project. The film co-stars Amisha Patel, besides Anil Kapoor, of course!

Interestingly, Karisma has passed on her dates of Badhai Ho Badhai to Boney’s film!

While on the heroines’ merry-go-round, here’s one more: Shilpa Shetty has replaced Tabu in Sunny Deol’s latest production, Indian, being directed by South’s writer-director, N.K. Maharajan.

Dé-Dreaming

It is by now a well-known fact that columnist Shobha Dé does not like what the aam janata likes (or, rather she likes to dislike what ordinary mortals prefer to like) where films and film people are concerned. But it would be better for her to keep her likes and dislikes to herself rather than fill her daily columns with carping and sweeping statements. A daily columnist need not always have a supercilious attitude towards people associated with glitz and glamour.

For instance, just when Kaun Banega Crorepati went on air on Star Plus, the aam janata went ga ga over it. But Shobha Dé denounced it as if an epidemic had broken over the whole nation. And what’s more, she heaped on Amitabh Bachchan all the invectives that only she could think of (imagine, calling AB a telephone operator!). But at the end of the day, what? She had to chew her own words when viewers wrote in the ‘letters to the editor’ column in the very newspaper which carried her column, denouncing Shobha Dé and canonising the hero of the day, Amitabh Bachchan. However, she chose to maintain silence. Why did she not admit the failure of her judgement in her daily column then?

And now, she has dubbed the two Diwali releases, Mohabbatein and Mission Kashmir, as flops. And this is not her personal review. Had she said in her column that she had not liked the films, it would have been fine — to each his or her opinion. But Dé says authoritatively that the films have flopped at the box-office. To quote her: “Now let’s hear it from aam janata. The reactions range from “so-so” to “bore-bore”. The good thing, of course, is that both the Diwali Dhamakas have bombed at the box-office.” Hello, whoever is Shobha Dé to decide what the box-office says. And how does she think that she is equipped enough to say what she says? Shobha may not like to know that at least Mohabbatein is doing extraordinary business. Shobha further says, “Yes, the distributors have got the money back… and more.” Hello again, can Shobha Dé explain how a film can be termed a flop when distributors have got their money back and more? Maybe, according to Dé, Dil Pe Mat Le Yaar and Nidaam were box-office hits because their distributors lost money! By referring to Mohabbatein as a flop, Shobha has only exposed how arrogantly ignorant she is! Come on, Shobha dear, it’s about time, you understood before you wrote!

India Is The Best

Who among the three young and successful directors — Sooraj Barjatya, Aditya Chopra, Karan Johar — is the odd man out? Sooraj, where shooting on foreign locations in concerned. Sooraj is yet to develop a taste for foreign locations. But then, may be, he does not feel it necessary to do so. Though Sooraj has directed three films so far, Maine Pyar Kiya, Hum Aapke Hain Koun..! and Hum Saath-Saath Hain, in none of the films has his hero or heroine been transported to a foreign land in either a dream sequence or in reality!

Besides, it has been a policy with the Rajshri banner to always choose locations that are apt for the story. Says P.K. Gupta, production manager of Rajshri Productions, “We have never thought of shooting on locations abroad. We, at Rajshri, go by the dictates of the subject. Our subjects have always been India-based and, therefore, we prefer to shoot here. For us, East or West, North or South, India is the best.” Well said.

LATEST POSITION

Diwali proved bountiful for both, MOHABBATEIN and MISSION KASHMIR. While MOHABBATEIN held on fabulously in ‘A’ class centres, MK began to drop from 4th day onwards. The fall at several places was alarming. Exhibitors, who’ve paid very fancy terms to MK, stand to lose quite heavily. MK is, however, extraordinary in Bombay, so-so in Delhi-U.P., Eastern circuit, C.I. Rajasthan and Mysore, dull in Nizam and fair in East Punjab and C.P. Berar. The length of MOHABBATEIN is a negative point. While the business in ‘A’ class centres is superb, it is good in ‘B’ class centres, and ordinary in smaller centres. Eighth day figures of MOHABBATEIN in all ‘A’ class centres are outstanding. 

Mohabbatein is mind-blowing! Will prove an earner in every single territory. Amitabh Bachchan and Shah Rukh Khan are being loved immensely. 1st week Bombay 68,12,387 (99.87%) from 14 cinemas (8 on F.H.), Vasai (gross) 4,89,978, Vashi 4,66,127 (100%), Panvel 3,16,624 (100%); Ahmedabad 40,43,719 from 7 cinemas, Padra 4,71,807 (100%), Patan (28 shows) 3,24,400 (95.88%), Valsad (gross) 4,98,414, Kalol 2,31,567 (100%), Ankleshwar 4,42,546, Vapi (21 shows) 4,73,403 (100%), Rajkot 4,37,850, Jamnagar (28 shows) 3,13,450, Adipur (28 shows) 3,24,502 (90.70%), Bhuj (28 shows) 3,07,983 (83.51%); Pune 17,70,902 from 5 cinemas (1 in matinee), Solapur 3,24,456 (100%), Satara 3,42,666 (95.70%) from 2 cinemas (1 in matinee), Sangli 3,15,344 (95%); Delhi 66,85,211 (96.81%) from 11 cinemas (1 on F.H.); Kanpur (6 days) 6,62,886 from 2 cinemas, Lucknow 5,66,800 (100%), Agra 2,81,316 (100%, 1 unrecd.), Allahabad 3,45,108 from 2 cinemas, Bareilly (6 days) 2,80,748; Calcutta 40,21,788 (100%) from 15 cinemas (6 on F.H.); Guwahati 4,28,967 (53.55%) from 5 cinemas; Nagpur 13,02,744 (99.48%) from 4 cinemas, Jabalpur (6 days) 2,30,897, Akola (24 shows) 2,37,642, Raipur (6 days, gross) 2,98,714, Bhilai 2,85,543, Jalgaon (22 shows) 2,62,306, Khandwa 1,42,841, Gondia (24 shows) 1,55,888 (91.15%), Rajnandgaon 1,32,077 (87.29%), Chandrapur (23 shows) 2,70,275 (100%), Yavatmal (25 shows, gross) 1,99,752; Indore 4,81,687 from 2 cinemas (2 on F.H.); Jaipur 15,90,341 (94.21%) from 4 cinemas, Ajmer (22 shows) 1,67,467; Hyderabad (gross) 37,04,760 (100%) from 11 cinemas (2 in noon, 2 on F.H.); tremendous in Overseas, especially in the UK.

Mission Kashmir has grossed fantastic figures in Bombay, U.P., East Punjab and C.P. Berar, but dropped drastically in C.I. and Nizam. Is ordinary in Overseas. 1st week Bombay 91,02,682 (95%) from 14 cinemas (10 on F.H.), Vasai (gross) 5,44,110; Ahmedabad 58,02,887 from 10 cinemas, Vapi 6,44,665 (91.36%), Rajkot 6,15,100 from 2 cinemas, Jamnagar 2,81,921 from 2 cinemas (1 in matinee), Anjar 1,19,929 (74.13%), Bhuj 2,51,716 (94.21%); Pune 25,92,773 from 6 cinemas (1 in matinee), Solapur 3,74,774 from 2 cinemas (1 in matinee), Satara 2,88,442 from 2 cinemas (1 in matinee); Delhi 1,02,31,411 (81.94%) from 17 cinemas (2 on F.H.); Kanpur (6 days) 9,72,093 from 4 cinemas, Lucknow 13,12,028 from 3 cinemas, Agra 6,03,000, Allahabad 3,71,135, Bareilly (6 days) 2,85,385; Calcutta 72,09,146 from 41 cinemas; Guwahati 6,21,000 (74.04%) from 6 cinemas; Nagpur 10,50,708 (66.20%) from 5 cinemas, Jabalpur 3,10,648, Balaghat 1,07,034, Amravati 3,83,365, Akola (30 shows) 3,05,423, Raipur 4,55,007 from 2 cinemas (1 in gross, 1 in nett), Bhilai 2,40,200 from 2 cinemas, Durg 1,38,752, Jalgaon 4,01,054, Wardha 1,65,929, Rajnandgaon (6 days) 1,05,129, Chandrapur 2,55,636, Yavatmal 1,45,739, Sagar 1,05,048; Indore 2,65,089 from 2 cinemas (5 on F.H.); Jaipur 15,91,791 (87.15%) from 3 cinemas, Ajmer (29 shows, gross) 3,30,806; Hyderabad (gross) 40,95,696 from 15 cinemas (3 on F.H.); Guntur (gross) 1,47,555.

…………

SILVER JUBILEE

Tips Films’ Kya Kehna!, directed by Kundan Shah, has entered combined 25th week at Shalimar (matinee), Bombay. It stars Preity Zinta, Saif Ali Khan, Chandrachur Singh, Farida Jalal, Mamik, Navnit Nishan and Anupam Kher. Music: Rajesh Roshan.

K.P. SINGH’S SON TO WED

Marriage of Ashish, son of producer K.P. Singh and nephew of producer N.P. Singh, with Shilpa will be solemnised on 8th November in Bombay. A reception will be held the same evening at Hotel Centaur (Airport).

GOGA KAPOOR CONVICTED

In case no. 92/S/93, filed by Gobindram Ahuja under sections 138 and 141 of the Negotiable Instruments Act, in the 18th Girgaum (Bombay) court against actor Goga Kapoor, director V. Menon and their wives, for dishonour of a cheque (dated 15th July, 1993) for Rs. 4,00,000, the court convicted the four accused vide its order dated 15th October, 2000. They were fined Rs. 5,000 each and were ordered to pay Rs. 4 lakh to Ahuja or, in default, to undergo 3 months’ imprisonment. The case related to the film Hamari Pratigya.

CINEMA SEALED FOR SCREENING ‘BITS’

Jaihind Talkies, Balaghat was sealed by the police on 18th October after a raid during which it was found to be screening a print of Khooni Shikunja interpolated with ‘bits’. The police seized the print and arrested the cinema manager and the projection operator on the spot. The print was reportedly supplied by Abhayraj Film Distributors, Amravati thru Krishna Theatre, Raipur. The police has initiated action against all the involved offenders.

MUKTA ARTS’ 20 CRORE PROJECT: FILM AND TV INSTITUTE

Mukta Arts Ltd. has earmarked Rs. 20 crore to set up a film and television training institute to create a pool of new talent in filmmaking and in media arts and science. It has, for the purpose, entered into a joint venture with the Maharashtra Film, Stage & Cultural Development Corporation Ltd., an autonomous body which owns the Film City in Bombay. The Corporation will hold a 15% stake in this joint venture company, to be known as Whistling Woods International Pvt. Ltd., for providing land to Mukta Arts Ltd.

Andersen Consulting and leading architects of India and abroad are working in full swing to give shape to the project. The new training institute will be ready for inauguration by October 2001.

YOU ASKED IT

Who among these can make a dependable director — stars, writers, editors and cinematographers?

– The one who has a good combination of writing and editing sense.

When one receives payment against a lab letter, is the payment made with interest or without it?

– Without interest!

How could you predict that Mohabbatein would prove plus when the talk in the trade was that it was very boring and lengthy?

– Those who spoke of boredom and length forgot to see the power of the scenes of (a) Amitabh Bachchan, (b) Shah Rukh Khan, (c) both of them together. Those scenes alone are enough to more than offset the boredom and the extra length. The film has some inherent plus points, and that’s what the audience has seen. 

DO YOU KNOW?

* MOHABBATEIN stood at no. 9 in the UK tops for the 29th October weekend, collecting £2,46,368 from 26 screens. Its per screen average of £9,476 was the highest for the weekend, including English films. MISSION KASHMIR could collect only £89,265 from 27 screens with an average of £4,291 per screen. It stood at no. 15. 

* An idea of how MISSION KASHMIR dropped as the week progressed while MOHABBATEIN held on fabulously can be had from the 7th day collections of the two films in Nagpur:- MOHABBATEIN: Panchsheel 43,584/- (full), Liberty 54,273/- (full), Aashirwad 53,335/- (not full), and Jaswant 35,875/- (full). MISSION KASHMIR: Smruti 33,053/- (full week 4,06,053/-), Alankar 25,204/- (2,15,633/-), Jayshree 14,220/- (1,79,572/-), Sangam 9,319/- (1,56,580/-), Gitanjali 5,798/- (92,870/-). While both the films started with 100% collections, MOHABBATEIN closed at 99.48% (all 4 cinemas) and MISSION KASHMIR, at 66.20% (all 5 cinemas).

* So much is the craze for MOHABBATEIN that the 2nd week plans at Chitra, Bombay are full in advance!

* MISSION KASHMIR has yielded a distributor’s share of 4 lakh from Parvati, Vasai (a distant suburb of Bombay) in 1st week. This is the highest-ever share earned from the cinema since its inception.

* MOR CHHAINHA BHUINYA (Chhattisgarhi) has created a record by collecting 2,37,313/- (nett) in 1st week at Babulal, Raipur, despite direct oppositions of MOHABBATEIN and MISSION KASHMIR. There was uncontrollable rush at the cinema from Sunday onwards. 

3-E
Education-Entertainment-Enlightenment

Special Effects For Special Film

Take a deep breath! For, what you are going to read may take your breath away for a while.

Ajay Devgan, who has already spent a fortune on the making of his dream project, Raju Chacha, is now spending heavily on the special effects in the film starring himself, wife Kajol and Rishi Kapoor.

Three top studios specialising in computer graphics in Bombay (CMM, Crest and Western Outdoor) as well as three top names in Madras (Pentafour, Prime Focus and Total Infotech) are engaged in doing special effects of the film. Pentafour has been working on a 7-minute 3-D animation in the film for the last six months, according to the film’s executive producer, Kumar Mangat.

The film will have more than 20 minutes of effects and the average rate is Rs. 8,000 per second of graphics. Which means, Ajay will spend over Rs. 1.5 crore on special effects alone.

But well, what is a crore or two for a special effects if the film is so special to you, right? Incidentally, the film, which marks the debut of director Anil Devgan, may hit the screens in Idd week (28th December) this year.

Satish Jain’s Chhattisgarhi Hit

Satish Jain may not have tasted much success as a writer, but his maiden directorial venture, Mor Chhainha Bhuinya, a Chhattisgarhi film, has hit the bull’s eye. Released in Diwali week in the Chhattisgarhi region’s three stations — Raipur, Durg and Bilaspur — the film picked up phenomenally from its third day (Sunday) onwards and is running to packed houses. It is after many years that a Chhattisgarhi film has come. This, coupled with the current sentiments in wake of Chhattisgarh being made a separate state, besides, of course, the film’s merits have all added up to lure record crowds to cinemas screening the film.

Going Deewana

Although the title of Rajshri’s new film is Main Prem Ki Deewani Hoon, the ones who’ve gone deewana over its story are Hrithik Roshan and dad Rakesh Roshan. As is well-known by now, the latest screen sensation heard the complete story of Sooraj Barjatya’s love story from Sooraj himself last week. So floored was the guy by the narration that he, in turn, narrated the story to dad Rakesh Roshan. Sr. Roshan’s reaction was no different. “It’s earth-shattering,” is how Rakesh Roshan described the love story.

The film, to roll next year, will release in the year 2002. Besides Hrithik, the love story will star one more hero and a heroine. Although Hrithik has not been formally signed, it’s definite that he will be playing one of the two male leads. As for the second hero, your guess may not be as good as ours!

Hum Panchhi Saalon-Saal Ke!

Perhaps, Sunil Shetty and Aishwarya Rai’s stars don’t match. How else could one explain the fact that both the films starring the pair have ended up taking overly long in the making. The two films in question, Hum Panchhi Ek Daal Ke and Radheshyam Seetaram, are among the earlier films that Aishwarya had signed — after her debut vehicle, ..Aur Pyaar Ho Gaya. The director of Hum Panchhi Ek Daal Ke, K. Sashilaal Nair, opted out of the film when it was nearly 75% complete. Since then, producer Rahul Gupta has tried out a couple of other directors in order to complete the film, however, without much success.

Meanwhile, there is a ray of hope as far as the other film, Radheshyam Seetaram, starring the lead pair, is concerned. The film, which had been stalled for quite a while, has now changed hands, having been acquired by the N. Kumar Group from the original producer, Shabnam Kapoor. It is 50% ready and efforts are now on to complete it for a release some time next year.

That is, if Sunil Shetty and Aishwarya Rai’s stars match!

MOHABBATEIN

Yash Raj Films’ Mohabbatein is the story of triumph of love over fear. An autocratic disciplinarian (Amitabh Bachchan) is the principal of Gurukul, a prestigious educational institution. Love, fun and frolic have no place in his scheme of things and, resultantly, in his institution. Three boys join the school and dare to fall in love despite their principal’s aversion to anyone falling in love because, according to him, love makes one weak.

The boys are encouraged in their pursuit of love by a maverick music teacher (Shah Rukh Khan) who joins the school. This teacher always tries to bend the strict rules of the institution and also tries to soften the stone-hearted principal. Principles clash — it’s an open war between the principal and the music teacher on matters of principles. Things take a shocking turn when the teacher reveals to the principal that he is none other than the young boy who had been rusticated from Gurukul some years ago by the strict principal. Reason: he had dared to fall in love with the principal’s daughter (Aishwarya Rai). The daughter, unable to take one or the other side, had committed suicide and her beau lived alone, her memories being his best friend. Once the principal learns of the music teacher’s true identity, the war between the principal and the teacher intensifies further.

Ultimately, the principal is forced to soften his stand as the love stories of the three youngsters triumph over his steadfast principles.

Based on the English film, Dead Poets Society, the story is fairly novel and one must commend Aditya Chopra for his narration. The film has a very fresh look, like its story. Showing Aishwarya in flashes reminds of Braveheart. It also gives the film a ‘classy’ touch. Aishwarya’s suicide itself, in the first place, looks a bit far-fetched if only because she is the daughter of such an iron-willed man.

The film’s length is definitely a problem. Some scenes are slow and too verbose for the universal liking of audience today. The three love stories often move in similar directions and, therefore, scenes appear repetitive. The running time of 3 hours and 35 minutes gets on the viewer and the film could do with re-editing. Climax is tear-jerking. Dialogues (Aditya Chopra) are poignant when they are not lengthy and overtly philosophical.

To Aditya’s credit, it must be mentioned that even if the script takes a dip at places, there are incidents at regular intervals, which revive the viewer’s interest. Confrontation scenes between the principal and the teacher are breathtaking, both, in conception and execution.

Amitabh Bachchan plays the autocratic principal with exemplary conviction and grace. He looks every inch the character he portrays and delivers a performance that’s mind-blowing. Matching Bachchan is Shah Rukh Khan who lends immense credibility to his character of the music teacher. The guy’s sense of timing, his light scenes, emotional ones and dramatic encounters are par excellence. In fact, the film’s highs come whenever one or both of these firebrand actors come/s on the screen. Bachchan and Khan make a formidable team and complement each other superbly. Aishwarya Rai looks bewitching and is very natural. But her brief role will disappoint her fans.

Although the three young boys and three girls have acted well, they aren’t the kind to whom one’s heart can go out. Uday Chopra makes an extremely confident debut and is remarkably natural in light scenes. His physique is lovely although he does not have the looks of a conventional hero. Shamita Shetty also makes a confident debut. She has a good figure. Jugal Hansraj is cute but a little more fire can help. Debutante Kim Sharma is quite nice. Jimmy Shergill does well. Preeti Jhangiani is restrained and fairly effective. Anupam Kher and Archna Pooran Singh’s comedy is very enjoyable. Saurabh Shukla is wasted and his single scene looks out of place. Helen’s dance is highly entertaining. Shefali Chhaya leaves a mark in the confrontation scene with her father-in-law. Amrish Puri stands out in a brief role. Raman Lamba is alright. Parzan Dastur, Ram Mohan and the others lend superb support.

While Aditya Chopra has gone a bit haywire in his scripting, his direction is sensitive and masterly. To handle four love stories is no mean task, but Aditya does that ably. His shot compositions and execution are extraordinary. But he needs to trim the film by at least 15 minutes.

Jatin Lalit’s music has melody and feel. ‘Kya yehi pyar hai’, ‘Humko humeen se chura lo’, ‘Aankhen khuli ho ya ho bandh’ and the Holi number are the pick of the lot. Choreography (Farah Khan) is wonderful, and the dance steps are refreshingly different. Manmohan Singh’s camerawork is fantastic and so are the locations. Sets (Sharmishtha Roy) are chic. Amitabh’s costumes are elegant. Shah Rukh’s sweater (matching with his shirt) carefully thrown on his back and tied around his neck looks nice. Background score is effective. Production values are grand.

On the whole, Mohabbatein will be loved by the city audiences and more by the classes. Its length is a problem and will mar its business prospects on two counts — audiences will get restless and while cinema rentals of four shows will be charged, the film can be screened in only three shows daily. Looking to its bumper initial, the film will do hit business in Bombay and Maharashtra as well as Overseas and will also keep its other distributors happy.

Released on 27-10-2000 at Liberty and 23 other cinemas of Bombay thru Yash Raj Film Distributors. Publicity:- quality: superb; quantity: excellent. Opening: mind-blowing. …….Also released all over. Opening was bumper everywhere.

MISSION KASHMIR

Vinod Chopra Productions’ Mission Kashmir (UA) is about terrorism in Kashmir. A police officer, in his zeal to wipe out a group of dreaded terrorists, ends up killing an entire family of civilians, except the little son whom he and his wife adopt without telling him that he had murdered the family, albeit in the course of carrying out his duty. The couple had lost their real son due to delayed medical attention, thanks to an edict (fatwa) by the leader of the dreaded terrorists’ group to not give medical assistance to any doctor or his family in the valley. The adopted child, having seen his family being killed right in front of his eyes, remembers clearly the mask-covered face of the police officer and often gets nightmares of the carnage.

One day, he is stunned to find a similar mask in his new home and takes no time in getting convinced that the murderer of his family is none other than his foster-father. Picking up the gun, the child tries to kill the police officer and his wife but is unsuccessful. However, he runs away from his new home and is brought up by a terrorist group. All through his years of growing up, he has this growing desire to avenge his family’s killing by murdering his foster-father. The terrorist group, in the meantime, hatches a heinous conspiracy to kill innocent Muslims and Hindus in the valley. To accomplish this horrendous task, the group chooses this orphan boy who is unaware of the communal angle. For him, it is a golden opportunity to get even with the police officer, as one of the steps in achieving the final mission (unknown to the orphan) is to eliminate the officer. Ultimately, the foster-father exposes the evil designs of the terrorist group to the gullible foster-son who spares his target and, instead, kills the leader of the group. Kashmir is thus saved.

The film starts on an extremely superb note but after barely two reels, the weak story (Abhijat Joshi, Suketu Mehta, Vikram Chandra and Vidhu Vinod Chopra) and the weaker screenplay (the same four) ruin the initial impact. The film takes shape more of a personal vendetta than that of a large cause of combating terrorism. The terrorism angle itself offers no novelty, being similar to that seen in many earlier films. Otherwise too, the Kashmir issue doesn’t interest today’s viewers. Of course, even thereafter, there are flashes of brilliant moments, three very melodious songs and some wonderful blasting scenes and other visuals, but the overall impact leaves the viewer detached and disinterested. And not without reasons…

…For one, the orphan child being convinced that his foster-father is the killer, merely on finding a mask in his drawer, looks unbelievable. More so because the woollen mask is of the kind which thousands and lakhs wear! Whereas the writers should have rather shown the orphan’s growing-up years with the terrorists and his complete love and respect for the terrorist group’s leader, who calls him his “bachcha”, this part is left completely to the imagination of the viewer! Consequently, the sympathy for the orphan, when he grows up and is used as a pawn to serve the ulterior motives of this terrorist leader, is missing — a serious flaw, considering that the orphan is the film’s hero! Portraying the orphan as a dreaded killer on the one hand and a soft romantic on the other confuses the audience although the intention may have been to convince them of how realistic the story was. There’s almost no relief in the second half which also gets boring — especially in the long-winding chase of a convict, to land at the terrorist’s den. Dialogues (Atul Tiwari) are natural. Climax has been well conceived and shot.

Sanjay Dutt does a splendid job as the duty-conscious police officer. He is superb, in both, dramatic and emotional scenes. His emotional breakdown in a scene, days after his son’s death, is tear-jerking. Hrithik Roshan looks fresh and does an able job despite a difficult characterisation. His action scenes are brilliant and his dances, just too graceful. Preity Zinta gets limited scope and is good. Sonali Kulkarni delivers a first-rate performance. Whether in the scenes of agony of a traumatised mother or pain of a childless mother, she is par excellence. Jackie Shroff is fair but his get-up and gait (with head bent forward) are weird. Puru Raajkumar leaves a mark in a brief role. Abhay Chopra, Rajendra Gupta, baby Heena Biswas and the others provide able support.

Vinod Chopra’s shot-takings are, as usual, superb but his scripting and direction — again, as usual — leave plenty to be desired. A weak foundation has been sought to be offset by clever and eye-filling form. Music (Shankar-Ehsaan-Loy) is very melodious. ‘Bumbro’, ‘Rind posh maal’ and ‘Chupke se sunn’ are beautifully tuned numbers. The sad part is that all these three songs come in the first half in quick succession of one another, leaving no hit song for the tenser second half. Action (Allan Amin) and blast scenes are fantastic. Binod Pradhan’s camerawork is supremely superb. Background score is effective. Technically, of a good standard. Sets (Nitin Desai) are realistic.

On the whole, Mission Kashmir has some good moments and scenes, but in entirety, the impact is dull. Still, the bountiful Diwali period and the outstanding initial the film has taken will see the distributors through. Business in Bombay will be the best.

Released on 27-10-2000 at Metro and 24 other cinemas of Bombay by UTV Motion Pictures thru Shringar Films. Publicity:- quality: fantastic; quantity: wonderful. Opening: absolutely bumper. …….Also released all over. Opening was mind-blowing everywhere.

CINE PLANET 2-SCREEN COMPLEX INAUGURATED

Cine Planet 1 and 2 opened on 27th October with Mohabbatein and Dinosaur (English) respectively at Sion, Bombay. Both the state-of-the-art cinemas are equipped with EX track (CP 650), the latest in digital sound technology. This is the first 2-screen cinema in the country to have installed this sound system. Besides, it has a sophisticated projection system with Xenon lamp. Cine Planet 1 has 327 seats, and Cine Planet 2, 216 seats. The cinemas have a creche for 3- to 10-year-old children, well-equipped with toys and games. The booking hall is spacious.

A day before the inauguration, Rasesh Kanakia and Hiral Kanakia, the cinema owners, took the scribes around the spacious theatres. Some film clips were also screened. On 27th, the cinema was officially inaugurated by Yash Chopra.

The management is also planning to start online booking of tickets. There is ample car parking space. Each car is charged Rs. 10. The baby care unit charges Rs. 20 per child.

‘FIZA’ TAX-FREE IN MAHARASHTRA

The Culture Company’s Fiza has been exempted from entertainment tax by the government of Maharashtra for a period of one year. The exemption came into effect from 21st October.

JAYANTILAL GADA BUYS GIRDHAR MANDIR  CINEMA IN JODHPUR

Girdhar Mandir Cinema of Jodhpur has changed hands. Jayantilal Gada of Popular Entertainment Network (PEN) Ltd. has acquired it from Lakhpat Motiani.

Gada plans to convert the cinema into a multiplex with at least two additional screens. “The multiplex will also house a shopping complex,” informed Jayantilal Gada.

R WORLD MULTIPLEX OPENS IN GANDHINAGAR

Ajay Sinh Chudasama’s posh 3-screen multiplex — R World — was inaugurated on 27th October in Gandhinagar. The multiplex has a huge foyer, bowling alleys, restaurants and food courts, a creche, a play-room for kids, go-karting etc. It is one of its kind not just in Gujarat but the whole of India. 

MOHABBATEIN and MISSION KASHMIR are being screened in one screen each of R World.

Ajay also owns Rajshri and Shalimar cinemas of Gandhinagar, Rajshri, Bhavnagar and Dharam, Rajkot.

FIRST MULTIPLEX IN SAURASHTRTA

A 3-screen multiplex will come up at Gandhidham in Kutch district of Gujarat next year. Construction work is to begin soon after Diwali. This would be the first multiplex in Saurashtra. It is owned by Sanjay Sorathia, Sanjay Jagesia and Arjun Jagesia. All government formalities have been complied with and all clearances, obtained.

The multiplex is likely to have a total of 1,350 seats. M.L. Khakhar is the architect.

YOU ASKED IT

Now that the government has notified film business as industry, do you think, there will be any major change in the production sector in the coming two years? How beneficial will this be for low-budget film producers?

– The benefit, if any, will accrue to big producers. Not much will change for small producers who make films with budgets of Rs. 15 and 20 lakh.

Do you think, festive Diwali is the right time for releasing a film like Mission Kashmir, which is a disturbing tale of terrorism?

– Why not? Don’t you read about murders, rapes, loots and dacoities during Diwali time?

Why do heroines, who flop in the Hindi film industry, make it big in South Indian language films?

– Even they may not be sure of the reasons. Try figuring that out from Khushboo, Simran, Naghma, Jyothika, Komal Mahuvakar, Sakshi Shivanand. 

Multiplexes – A Complex Issue

Beginning Of A Boom

The next two years are going to see a boom in the construction of new cinemas. The process has begun in Gujarat because the Gujarat government has a well-defined policy for cinema multiplexes. While the Maharashtra government is still dilly-dallying with the proposed multiplex policy, several top players have jumped into the game and are already in the process of building multiplexes in Bombay and Pune, among other cities. Rajasthan may have started a tad latter, but the cinema scene in the desert state is no different from Gujarat.

Anupam PVR in Delhi was the first multiplex in India. The four screens at Anupam in the capital city are doing excellent business, and the multiplex has its own clientele. Irrespective of the films being screened at the multiplex, cinegoers throng to it for the sheer experience of watching a film there.

City Pulse in Gandhinagar, the capital city of Gujarat, is a veritable tourist attraction and a picnic spot for locals who don’t mind travelling long distances to view a film there even if cinemas closer home are screening the same film. The scene at City Pulse on weekends is to be seen to be believed. In Gandhinagar itself, a new multiplex — R World — has come up, and it opened yesterday (October 27) with Mohabbatein and Mission Kashmir. This multiplex, like City Pulse, has three screens. It also has food courts, a bowling alley, go-karting, shopping mall etc. — some of which have started and others are to start. Ajay Sinh Chudasama has spent a fortune on the multiplex. There’s one multiplex coming up in Gandhidham, the first in Saurashtra.

In Bombay, the Suranas of the famed Raj Mandir cinema of Jaipur, diamond merchant Kothari and jeweller Padam Sacheti (son-in-law of CCCA president Santosh Singh Jain) have collaborated to build a multiplex in a suburb of the metropolis. Like this one, there are several multiplexes in various stages of construction or planning in Bombay.

The Million-Dollar Question

But the question that arises here is: with so many multiplexes coming up, what is the exhibition scene going to be like in the days to come? Even now, the same City Pulse of Gandhinagar, which experiences a veritable mela of cinegoers on Saturdays and Sundays, has to sometimes suspend shows on weekdays due to lack of audience! If this is the scene now, what will it be after more multiplexes come up? Do we have enough software to sustain the new increased number of cinemas in the country two years hence? Secondly, even if there is production of more software for cinemas, will the run of the software be able to keep all screens occupied?

Shravan Shroff, who diversified his dad Shyam Shroff’s, and uncle Balkrishna Shroff’s Bombay distribution business and began exhibition by taking up the control of cinemas like Cinemax and Cine Star, does not feel, it is necessary to despair over the lack of software. Like water finds its own level, he says, film exhibition, too, will undergo a change and settle at a level in keeping with the new conditions. “Exhibitors have got to come out of their weekly rental routine,” says Shravan, adding, “It has happened in Hollywood and I don’t see why it shouldn’t happen here.” The problem, according to this third-generation Shroff in film business, is that exhibitors have got used to taking their share of the pie irrespective of how a film fares. “The mindset must be changed,” warns the forward-looking 30-year-old Shravan. “Once this is done, distributors will release films in much, much more number of cinemas than they release today.”

What Shravan says is that saturated releases will become the norm. For distributors, this would mean more shares from a greater number of cinemas, while for exhibitors, it will ensure that their cinemas are fed with running programmes.

With people spending more on eatables in cinemas now than, say, a few years ago, revenues from canteens and food courts or restaurants in the multiplexes will also add to the kitty of exhibitors.

In the first year of its operation, Ashok Purohit of City Pulse multiplex recovered 50% of his running expenses from restaurants and snack counters in the cineplex premises alone! Of this, 30% was from just the sale of pop corn and beverages! The balance 20% was from sale of other food items. Multiplexes will have varied sources of revenue-generation for the cinema owner and one has to stop thinking of cinemas in the traditional terminology. No longer now will there be mainly revenue from sale of tickets or an apology of a canteen! Revenue from parking space in cinemas, advertisement revenue from display windows in cinema foyers, revenues from food courts, etc. can contribute substantially to the income stream of multiplexes.

Will The Old Order Change?

But another question that arises here is: will old cinemas be able to withstand the competition offered by state-of-the-art cinemas and multiplexes? It is, perhaps, this fear of being eaten up by multiplexes that’s made old cinema owners in Bombay, the heart of Bollywood, go up in arms against the proposed multiplex policy of the state government. Says Russ Balaporia, who owns Jaihind and other cinemas of Bombay, “The policies governing multiplexes should be linked with the policies governing the existing single-screen cinemas because these cinemas have been paying taxes to the government promptly for so many years.” Balaporia adds, “What we are demanding is only that the government must give the existing cinemas adequate protection. In the alternative, it must allow cinema-owners not wanting to continue their cinemas, to demolish them. Today, we are required to build a mini cinema in place of the existing cinema, if we want to demolish the existing cinema. But that cinema will have to be state-of-the-art if it has to compete with the others. Which means, an investment of at least Rs. 1.50 crore. After that, what is the guarantee that the government will give mini cinemas like ours, protection?” Given the choice, Balaporia feels, many cinema owners in Maharashtra would be willing and glad to down shutters. He is vociferous in concluding that “multiplexes should not be allowed at the cost of single-screen cinemas”.

Nitin Datar of Uday cinema, Ghatkopar, Bombay, is vehemently against the Maharashtra government’s proposal to grant entertainment tax holiday to multiplexes that come up in the state. Asks he, “Have those going in for multiplexes studied the economics of the cinema industry; the amount invested vis-à-vis the returns? There is an equation: 1 seat costs Rs. 10,000; now multiply this with ‘n’ number of seats. Are the big planners even aware of this equation? Forget the equation, let’s just face the fact that even the existing cinemas are facing a crunch these days!” The major factor behind the crunch, of course, is the shortage of good films, as Bombay exhibitor Pranlal Doshi points out. He asserts, “As it is, there are no films to feed the existing cinemas. People are motivated only by the ‘no entertainment tax’ and ‘no sales tax on multiplexes’ hooks dangling in front of them. The government’s policy on multiplexes is yet to be decided.”

On the other hand, leading Bombay distributor Balkrishna Shroff feels that multiplexes are good for the distributors and the audience alike. He is radical — and almost scathing — as he airs his view on the issue. As far as he is concerned, gone are the days when the exhibitor could get away with adding precious little at his cinema for the comfort of his patrons. “They (multiplexes) are the need of the hour and so, everyone must think positively on the issue,” he begins. “If existing cinemas will suffer because of multiplexes, they deserve to. The choice before them is quite plain — refuse to move ahead with the times and suffer… or renovate the cinemas, as many have already done, and survive/prosper,” concludes he.

Countering Shroff’s view, Gujarat exhibitor-distributor D.Y. Pattani warns that the multiplexes picture may not be so rosy after all. He is convinced that multiplexes are marching towards very tough times ahead. He claims, “Multiplexes will close down for want of films within just six months of their opening! Most investors in multiplexes are the kind who are pumping in money earned from other businesses into cinema complexes. They are carried away by the misleading notion that multiplexes yield very high returns. Ultimately, they will realise their folly when they will be pinched by the shortage of films.”

As against the fears of people like Balaporia, Doshi and Datar, there are others, like Maharashtra exhibitor Guru Shenoy, who feel that you cannot fight technology. The old order changeth, yielding place to the new. Guru says, “Whenever a new thing comes, the older one ends up on the losing side.” The argument that multiplexes will adversely affect business of old cinemas cannot be used to throttle the birth of multiplexes. One has got to keep pace with the times, the emerging technologies and has to offer services to cinegoers to lure them to the cinemas. Guru Shenoy is of the opinion that the multiplexes could survive provided due attention is given to creating a gamut of entertainment activities for the patrons within the complex. He suggests, “One could have pubs, games arcade and what have you to attract people to one’s multiplex.” Opines Vinay Choksey, the leading Bombay distributor and exhibitor, “Multiplexes will cater to the interest of big films. Week-days may experience no shows at the multiplexes whereas weekends will see huge crowds there.” But since Choksey is both, a distributor and an exhibitor, he adds quickly, “As a distributor, I’d welcome multiplexes because they will fetch us high shares and at a faster speed. Of course, existing cinemas may face problems with the coming up of multiplexes.”

– KOMAL NAHTA

Diwali To Diwali
(6-11-’99 to 27-10-2000)

RELEASES

A total of 197 films were released between the two festival of lights (52 weeks). Of the films released from last Diwali to this Diwali, 68 were dubbed films accounting for more than a third of the total number of releases. In the corresponding period last year, there were 158 releases, 41 (26%) of them dubbed. The increase in absolute numbers (197 as against 158) was mainly due to the large number of tiny-budget sex and horror films that are being made.

HITS & SUCCESSES

(This week’s releases are not being considered for this section.) Rakesh Roshan’s Kaho Naa…Pyaar Hai is the only blockbuster during the Diwali-to-Diwali period. Rajshri’s Hum Saath-Saath Hain was released last Diwali and it did fantastic business during the period under review. But, besides KN…PH, there was no blockbuster released during the period. Of course, there were films like Jaanwar which did mind-blowing business in circuits like Bihar, West Bengal and some others but not equally exciting in other territories. Kya Kehna!, Badal, Dhadkan, Hamara Dil Aapke Paas Hai were some of the other films which recorded lopsided businesses. With just one blockbuster in a year, it is easily the worst Diwali-to-Diwali period. Big films like Dhaai Akshar Prem Ke, Phir Bhi Dil Hai Hindustani, Hey! Ram, Chal Mere Bhai, Deewane, Tera Jadoo Chal Gayaa and Shikari were among the major shockers.

……..

THREATS TO LIFE

Film industry people continued to live in the shadow of fear as threats to their lives, from extortionists continued. The Overseas, which is a potential money-spinning territory for big and successful films, was eyed by extortionists who demanded the Overseas distribution rights of films. There were attempts on the lives of Rakesh Roshan, Manmohan Shetty and a couple of other industry people.

……..

NATIONAL AWARDS

Hrishikesh Mukherjee received the Dadasaheb Phalke award for 1999. Malayalam film Vanaprastham and Hindi Sarfarosh bagged the Golden Lotus for the ‘best film’ and the ‘best film providing wholesome entertainment’ respectively. The National Awards for the best director, actor and actress went to Buddhadeb Dasgupta (Uttara; Bengali), Mohanlal (Vanaprastham; Malayalam) and Kiron Kher (Bariwali; Bengali) respectively. E. Niwas’ Shool picked up the award for the best Hindi film.

……..

DIWALI SPECIAL

“When I was making KAHO NAA…PYAAR HAI, I never let the thought that I was launching my son affect me. I just wanted to make a good film and that was all.”

– RAKESH ROSHAN

GAJAA

For Rakesh Roshan, the new millennium kicked off very well. Not only did his Kaho Naa…Pyaar Hai, released in January 2000, become a runaway hit, but his son, Hrithik, whom he introduced in the film, also became a mega star overnight with a fan-following that spans nations and generations. No producer, no director and no daddy could have asked for more.

Unlike some people who change at the slightest hint of success, Rakesh Roshan doesn’t give the slightest hint of any change in himself even after such an enviable track-record of successes as a filmmaker, capped by his most sensational success with Kaho Naa…Pyaar Hai. Nor has he become unrealistically modest as some successful people are wont to become in this world of make-believe. Everything about Roshan Sr. is the same — his smile has the same warmth, his laughter even today rings the genuineness it did earlier, he loves to laugh at himself even now, he still appreciates another’s film, he even now blushes — only a little redder though! — when you ask him a question that embarrasses him. He still wants to learn and is currently hearing out story ideas from “whoever tells me, he has one”.

Just one thing has changed though! That glint of a tear in his eyes, when you shower a genuine praise on son Hrithik in your conversation with Rakesh Roshan, was never there earlier. Obviously, because the heaps of praises, too, were never there before. It is only now that Hrithik is Hrithik!

Excerpts from a conversation with a producer, a director and a father:

The year 2000 belonged to the Roshans in diverse ways. KN…PH, the birth of star Hrithik Roshan and then, your close brush with death. How would you sum up this experience — of the best and the worst together?

– God has been very kind to me. When I was making Kaho Naa…Pyaar Hai, I never let the thought that I was launching my son affect me. I just wanted to make a good film and that was all.

So you were not under pressure about your son making his debut as a hero?

– No, I wasn’t. I was just making my film in the most normal manner. There were no fears or negative thoughts in my mind and nor was I being over-cautious with regard to my son’s career. During the course of the film’s making, Hrithik used to sometimes tell his mummy, ‘Tell daddy to put some dramatic scenes.’ But I did not listen to either him or his mother and made the film exactly the way I had thought. However, towards the end, as the release date was nearing, I must admit that my fatherly instincts came to the fore. Like any father, who would pray for his son’s success, I prayed to God very hard, imploring Him to see my son through and to make him acceptable among the public. Then, my film began to matter less to me. It was my son and his career, that kept getting me anxious all the time.

Hrithik has gone on record to say that you are very emotional and nervous and that you used to cry before the release of every film of yours. Did you cry before the release of KN…PH?

– Yes, I cry every time my film is on release! As for Kaho Naa…Pyaar Hai, I was stiff worried about the opening of the film. It is for this reason that I told my C.P. and C.I. distributors not to hold the 9 a.m. show as they normally do, because 9 a.m. shows are generally weak. Around 1 p.m. when I was sitting at Rahul Nanda’s office for finalising a publicity design of KN…PH, my C.I. distributor, J.P. Chowksey, phoned me on my cellphone to say, ‘Mubarak ho, I  am right now in the cinema hall and enjoying the audience reaction to Hrithik.’ He made me listen to the whistles, and I was convinced that Hrithik had been accepted. Before I knew it, I had tears rolling down my cheeks. Then came C.P. distributor Laloo Kabra’s call, echoing the same sentiments. He told me that people were whistling with excitement and applauding Hrithik in every scene. He even admitted to having conducted shows at 9 a.m. despite my instructions to the contrary, and informed me that the opening response was tremendous. I continued to cry with joy. Then came a Thane exhibitor’s phone call. He also gave me the same kind of reaction. Now, I was convinced that my son had been accepted. That my prayers had been answered! I was crying inconsolaby. Rahul must’ve been taken aback as he told me to control my emotions. But I told him, I was okay and that he should let me be for a few minutes. My tears of joy continued.

I thank God for everything he did for me. It was He who kept working for my film’s success. It was He who gave me a talented music director-brother in Raju (Rajesh Roshan). It was He who gave me Hrithik as a son. It was He who made Hrithik endear himself to people. And, most importantly, it was He who saved my life. Had it not been for the attempt on my life, I would have, perhaps, gone on celebrating the success of the film and may never have known about my heart problem. For, it was during my hospitalisation following the shootout that the doctors detected my heart problem and advised immediate heart surgery. This way, I got a new lease of life! In fact, it was God’s blessing in disguise. For all the things that’ve happened in my life, I am indebted to the one up there.

How do you decide or judge whether a story is good or bad for making into a film?

– Actually, there are no fixed parameters. The moment you hear a subject, it should hit you and generate an excitement in you. Of course, this does not necessarily mean that the end result of an exciting subject would always be positive. Things can go wrong sometimes, like it happened when I made Koyla. The subject of Koyla had excited me just as did the subjects of Karan Arjun and Kaho Naa…Pyaar Hai. I generally go for subjects of unusual patterns though I decorate them with a lot of commercial values.

Have you analysed what went wrong with KAROBAAR?

– Nothing really, except its delay. Had Karobaar been released just as it was originally scheduled to, its business would have been a different story. The delays during its making took their toll on the film. I also feel, there may have been some kind of a jinx attached to the film. I say this because every time a shooting schedule was planned for the film, some or the other problem used to crop up. Even during the shooting, there used to be some hurdle or the other. Though the film took about eight years in the making, I took only 80 shifts to complete it, which is a very normal number. Nobody wanted to delay the film purposely. But it somehow went on getting delayed.

What is it that works in a film?

– The premise! The premise of a subject should be very strong. If the first five to seven scenes are good enough to make a good impression, the film moves on its own thereafter. But if the premise is not good, no matter howsoever good the subject is, the film will not work.

Producers have a common complaint that there are no writers. But no attempts are being made to train people to become writers. Shouldn’t there be institutes to impart training in film writing?

– No, there cannot be an institute or school to create writing talents. Screen-writing is a very creative job. If someone wants to seriously pursue writing for films, he should watch more and more films and develop his own thoughts… See, our producers and directors are also not very serious about their subjects. They wouldn’t mind carting the entire unit to foreign locations to shoot their songs, but when it comes to scenes, they are not bothered — it is the same Nagi Villa which you’ve seen in a hundred films earlier. They know, it is music which is publicised on TV channels, and it is the audio rights which fetch big money. So all their energies are diverted towards music. What they don’t realise is that a film will run on the strength of its subject. Well, actually, so many are not even bothered about the running of a film, they are only concerned about the delivery of their films.

Our present-day films fare differently in different territories. Why does this happen?

– This is because the mental growth of the younger generation is faster in cities than in the rest of the country. It’s about time we made films with the young generation in mind. To cite an instance, Jaanwar is a bigger hit than even my KN…PH in Bihar. Even Hogi Pyar Ki Jeet is better than my film in Bihar. We need to come out of the past and update ourselves to the changing styles to go with the expectations of the younger generation.

Did Hrithik always yearn to be an actor? Or was he thinking of becoming a film-maker while working with you as an assistant? Can you recall his growing years?

– You see, when he was very young, he wanted to become a scientist. He was very good in studies throughout his academic career. But his inclination to become a scientist waned as he grew. He later showed a fascination for cycles. Whenever I went abroad, he would make only one demand: that I bought for him a BMX — those bicycles used to be such a craze among kids those days! He used to ride throughout Juhu and he would attract people’s attention towards him by trying all kinds of stunts, like riding his bicycle on one wheel and other tricks. He had developed a heroism of his own kind. Like in cycling, Hrithik was a very focussed boy. He had always wanted to be an actor. But much before I could even think about KN…PH, Shekhar Kapur came to me with the subject of Tara Rum Pum Pum. He told me, he wanted to cast Hrithik as the lead man. I agreed too, but Shekhar became busy with his Elizabeth, and the Tara Rum Pum Pum project remained at the idea stage only.

Meanwhile, Hrithik used to sit on the screenplay and even on the editing of my films. He would, during the film’s editing, ask me very probing questions like why a particular scene had been cut in a particular way and why not in another way. In order to make him learn, I used to ask him to cut the way he wanted and then see the result for himself. That way, he learnt the finer points of editing. Why, he also made the promos of Koyla and Kaho Naa…Pyaar Hai. He has picked up the ropes of direction so well that I am confident, he can direct a film himself. But, of course, he will not try his hand at direction so early. If he wants to, he may after, say, 12 or 15 years.

What kind of a son is Hrithik?

– As a person, he is emotional the way I am. If he is upset about something, he goes into a shell. But I know him so well that he can’t hide his feelings from me. My wife, Pinky, is the link between us. If he wants to convey anything to me, he would rather do it through his mother. He does not conceal anything from us and if he has to decide on anything, he always asks me. When the HMV people had taken him to Calcutta for the inauguration of their showroom, after the release of KN…PH, they wanted to present him a Mercedes car. I was in London then. But before accepting the car, he called me up and asked, “Daddy, they are presenting me a car. Should I take it?” I said, “Of course, you should! Why not?”

From Hrithik, back to Rakesh Roshan the director. How important is it for a director to be a sensitive and emotional person?

– It depends upon every individual and varies from person to person. A director’s emotions are reflected in his films. His scenes in the film show the kind of person he is and how sincere he is to his work. There are some directors who make only comedy films. Does it mean that such directors are not emotional? No! They, too, may be emotional. When I work on a script and get touched by a certain scene, I do get emotional, and my emotions help me to shoot the scene the way I want. Emotions are not restricted only to creative filmmakers. Even an accomplished painter, however excellent his quality of work, cannot put life into his work without the required amount of emotion. Sometimes, we see a painting and we are struck by the depth of, say, the eyes of the person painted. That depth is a result of the painter’s depth of emotions.

As for me, anything good and heartwarming brings tears to my eyes. While I was in London recently, I happened to see The Gladiator. Every dialogue, every scene was so moving and so worthy of appreciation that I could not hold back my tears.

Talking of emotions, the best emotional experience I had was when Hrithik and I were heading towards Eros cinema (Bombay) to check the sound and projection two days prior to the release of Kaho Naa…Pyaar Hai. As we were passing by, almost every motorist and cabbie was waving at Hrithik, showing him the thumbs up sign. While on our return journey home, the same thing happened. It was incredible, I tell you! Then, at the signal opposite St. Michael’s church at Mahim, a hijra came to our car which was waiting for the green light, and asked Hrithik to roll down the window. Hrithik was a bit hesitant but I told him, “Don’t worry, just slide down the window, nothing will happen.” The eunuch touched Hrithik’s head and blessed him. I was deeply touched. I told Hrithik that I had never seen such genuine gestures of encouragement from the public, and I knew, it bode well for my son.

What was your experience while making your first ad film for Coke?

– You’ve got to give a lot of your time to make a feature film. And you also get a lot of time to improvise. But in an ad film, you have to say a lot in a given time frame.

Before you took up this product ad of Coca Cola, did you make efforts to study how ad films are made?

– I was watching the ad films on television. I made some mental notes on their editing patterns, the execution of various shots and their cuttings. In an ad film, there need not be any continuity.

So, while you made your son, Hrithik, a star overnight, Hrithik, too, made you a sought-after ad filmmaker!

– We both helped each other. In KN…PH itself, we all helped him only initially. I contributed with my direction. Raju (Rajesh Roshan) helped him with his music. The technicians, too, gave their best. Thereafter, it was Hrithik who helped take the film to the superhit slot.

What was your experience with your distributors when KN…PH became a runaway hit?

– I trust my distributors completely. For none of my films have I written letters to my distributors, questioning their integrity. If they want to be honest, they will be honest. If they don’t want to be honest, they will not be, no matter what and notwithstanding the letters I write. If I want, I can keep a tab of them, but I do not want to. Once you give a film to the distributor, you’ve got to believe in him. This whole business is based on trust.

A few producers, who have tasted big success in their last films, are thinking of opening distribution offices all over India. Are you in favour of such a move?

– Some big producers are already doing it. Some of them may be releasing their film in two or three major territories. I myself got KN…PH distributed in Bombay, Delhi-U.P., Andhra and Overseas in my own account.

How was the Overseas business of KN…PH?

– Overseas is a game of opening. The business is generally restricted to four weeks. The Overseas audience wait for their favourite stars’ release. One week before the release of KN…PH, the Aamir Khan-starrer, Mela, was released. And one week after KN…PH, the Shah Rukh Khan-starrer, Phir Bhi Dil Hai Hindustani, was released. Since KN…PH had a new star team, it was sandwiched between the two star-studded films. Therefore, KN…PH could not get a bumper initial abroad. It opened with 50%, but then, gradually, week after week, the collections went up unlike what happens with other films. Ultimately, KN…PH celebrated 25 weeks at four cinemas! And it proved a major success in Overseas, too.

How many cassettes and CDs of KN…PH have been sold till now?

– Overseas, 85 lakh cassettes and over 3 lakh CDs. HMV is coming out with a remix version of the music this Diwali in a big way.

That should be some Diwali dhamaka.

– So be it…