(From our issue dated 31st August, 1996)

Sapna Arts’ Mr. Bechara is an unusual story of a young and noble-hearted widower who finds himself playing husband to a beautiful girl who has had a memory lapse. The young man has a little child to look after and since the girl is alone, a doctor-friend of the man plans this ‘alliance’ with good intentions. He hopes that ultimately, the two would get married and that would solve both their problems. Such a stage almost arises — after plenty of light moments — but then comes on the scene, the girl’s ex-lover. The girl also gets back her lost memory and finds herself in a dilemma about whom she should marry. Like the unusual story, the ending is also quite unexpected and would even move the weak-hearted to tears.

The first half is light and quite enjoyable upto a certain stage, after which it becomes boring in parts as, after a point, the story stops moving. The film again picks up and moves at a good pace after interval and there are, besides light moments, some scenes with an emotional under-current too. The film’s screenplay has been excellently written. Dialogues match the mood of the drama.

Anil Kapoor does a good job of a widower who is forced to live with an unknown girl. Sridevi is superb as the girl with a memory lapse. Her spontaneity in comedy scenes is remarkable. Anupam Kher also performs excellently as the doctor-friend. Shakti Kapoor is good. Heera Rajgopal has no worthwhile role. Nagarjuna is alright in a special appearance. Tiku Talsania’s comedy is truly entertaining. Avtar Gill, Shammi, Mahavir Shah, Damini and the others lend the desired support. The child artiste (infant) looks very cute.

K. Bhagyaraj’s scripting and direction are very nice. There are several scenes in the film which have the stamp of a seasoned director. As far as music goes, not only does the film have less songs, it also lacks in hit music. While the ‘Jaanam mere jaanam’ song is well-tuned, what was needed was a super-hit number with a haunting tune because it is on hearing this song that the girl gets back her lost memory. In fact, it is because of the absence of a haunting melody that the girl’s getting back her memory does not have the desired impact. ‘Saathi mere’ is quite an appealing number. The ‘Julie Seema’ song can safely be deleted because it looks quite odd.

P.S. Prakash Rao’s camerawork is praiseworthy. Other technical aspects are of a good standard.

On the whole, Mr. Bechara is a fair entertainer for families but the dull start it has taken will come in the way of its box-office prospects. It will have to rely on the word of mouth to pick up but even then, in most circuits, it may remain a loser, its merits notwithstanding.

Released on 30-8-’96 at Novelty and 13 other cinemas of Bombay thru ABC Pictures P. Ltd. Publicity: not effective. Opening: so so. …….Also released all over. Opening was dull at most of the places.

LATEST POSITION

The Raksha Bandhan holiday saw collections jump phenomenally. On the other hand, heavy rains in Maharashtra and other parts of the country adversely affected box-office collections.

Jeet has done very well initially. 1st week Bombay 41,70,534 (97.70%) from 12 cinemas (7 on F.H.); Ahmedabad 13,78,286 from 9 cinemas, Mehsana 1,02,800, Padra 1,71,630, Rajkot 2,18,652 from 3 cinemas (1 in matinee), Jamnagar (matinee) 16,045; Pune 10,72,179 from 7 cinemas, Kolhapur 1,52,849; Belgaum 1,37,658; Delhi  44,77,553 (91.68%) from 13 cinemas (2 unced.); Kanpur 2,96,667 from 2 cinemas, Agra 1,85,000, Allahabad 1,72,000, Bareilly 1,47,287 (82.26%), Dehradum 1,30,932 (75.42%), Gorakhpur 1,53,000 (85.66%); Calcutta 32,39,349 from 25 cinemas; Nagpur 7,64,408 from 6 cinemas, Jabalpur 1,63,698, Akola 1,87,298, Dhule 1,14,445, theatre record, Bhilai 1,86,938 from 2 cinemas, Chandrapur 1,47,036, Bilaspur 2,21,270 from 2 cinemas; Indore 2,63,952 from 2 cinemas (3 on F.H.); Jaipur 9,29,605 from 4 cinemas, Bikaner 2,85,379, city record, Sriganganagar 2,05,801, Alwar 1,87,372; Hyderabad 29,31,641 from 15 cinemas, share 15,26,723. Total: 2,28,11,264 from 119 cinemas. Average: 1,91,691 per cinema.

……..

Hindustani (dubbed) is doing  extraordinary in Maharashtra. 2nd week  Bombay 36,93,342 (81.64%) from 12 cinemas (7 on F.H.); Ahmedabad 5,15,265 from 5 cinemas, Bharuch (gross) 1,91,047, Jamnagar 95,691; Pune 9,56,675 from 4 cinemas (1 in mat.); Delhi 25,60,149 from 10 cinemas (1 on F.H.); Kanpur 1,85,895, Lucknow 2,53,469, 1st Agra 1,30,000, 2nd Allahabad 1,00,639, Meerut 1,56,220, Bareilly 63,030 (33.85%), Dehradun 1,45,000 (76.75%), Gorakhpur 81,158; Calcutta 16,64,137 from 22 cinemas; Nagpur 4,04,293 from 3 cinemas, Jabalpur 1,10,688, total 2,75,250, Amravati 1,54,356, theatre record, Akola 1,23,368, theatre record, Dhule 88,304, city record, Raipur 1,13,585, Bhilai 90,239, Jalgaon 1,34,462, theatre record, Bhusawal 45,010, Chandrapur 83,466, 1st Yavatmal 1,25,507 (72.65%), city record; 2nd Indore 2,33,000; Jaipur 2,54,580, Udaipur 87,527.

Khamoshi 3rd week Bombay 15,73,171 (62.53%) from 6 cinemas (2 on F.H.); Ahmedabad 1,39,300 (1 cinema unrecd.), Rajkot 60,540, Jamnagar 23,936; Pune 3,91,986 from 2 cinemas (1 in mat.); Delhi 12,20,059 from 6 cinemas; Kanpur (last) 31,425, Lucknow  1,02,593, Allahabad 30,000, Bareilly 23,087 (13.11%), Dehradun 43,720, Gorakhpur 27,500; Calcutta 1,53,840; Nagpur 1,09,690 from 2 cinemas, Jabalpur 63,699, total 3,12,548, Amravati (last) 52,491, Raipur 47,861, Bhilai (6 days, last) 26,800, 2nd Jalgaon 54,512; 3rd week Hyderabad 1,83,926 from 2 cinemas.

…….

YOU ASKED IT

Is Rajasthan the ‘hottest’ territory even today?

– Besides Rajasthan, there’s Bombay too!

First Papa Kahte Hain, then Is Raat Ki Subah Nahin and now Bhairavi and Laalchee. Why has Plus Films been unlucky in its production ventures?

– Non-star cast and new star cast films have bleak futures because cinema rentals have gone up tremendously. Unless such films have extraordinary merits, they cannot hope to succeed.

To what do you attribute the dull opening of Mr. Bechara this week when Anil Kapoor’s previous film, Loafer, and Sridevi’s previous film, Army, had both opened to excellent houses?

– A cold title, music which isn’t too popular, and bad publicity (designs).

NON-BAILABLE ARREST WARRANTS
AGAINST JACKIE, HEMA, BOKADIA

The first class judicial magistrate of Nagpur on 28th August issued non-bailable arrest warrants against Jackie Shroff and Hema Malini for offences under the Negotiable Instruments Act. The warrants were issued, directing the two stars to appear in person before the magistrate on or before September 9. This follows the criminal pleas moved against them by a builder, N. Kumar, who had, some time back, also initiated process against producer M.C. Bokadia.

Kumar had reportedly extended loans of Rs. 5 lakh each to Jackie and Hema for film projects last year. Both the stars, according to him, returned the loan amount by cheques which were returned unpaid by the bank due to lack of funds. Subsequently, the builder moved the court, and summons were issued against the two stars who were asked to appear before the magistrate. When they failed to respond to the summons, the magistrate issued non-bailable arrest warrants against the two.

In the case of M.C. Bokadia, the high court bench of Nagpur posted for September 2 the hearing of the application filed by Bokadia, challenging the process initiated against him by the judicial magistrate. Bokadia, in a similar case, had borrowed money from N. Kumar but the former’s cheque of Rs. 10 lakh for repayment of the loan to the latter was returned unpaid by the bank due to lack of sufficient funds. When N. Kumar moved an application accusing M.C. Bokadia of cheating and other crimes, the judicial magistrate on June 29 ordered Bokadia to appear before him in person on 28th^h August .

Bokadia, however, preferred an appeal in the high court, and the same was heard on August 27. The court refused to consider a stay on the criminal process. In absence of the stay and due to Bokadia’s failure to appear before the magistrate, a non-bailable arrest warrant was issued by the magistrate against him. Bokadia moved a fresh application on August 29 before the high court, seeking cancellation of the arrest warrant. The counsel for N. Kumar accepted the notice before admission and sought time till September 2 for replying to the same.

DO YOU KNOW?

* Plus Films’ SARDARI BEGUM may be the first Shyam Benegal directed film to have as many as eight songs! While its music has been scored by Benegal’s favourite, Vanraj Bhatia, the lyricist is a surprise – Javed Akhtar.

* As a token of appreciation for Nadeem Shravan’s music for his PARDES, Subhash Ghai has presented the duo with an Opel Astra car each!

KARNATAKA DIRECTORS ASSOCIATION
HONOURS SUBHASH GHAI

Subhash Ghai was felicitated by the Karnataka Film Directors Association in Bangalore on 25th August. Ghai also distributed trophies to several directors for their achievements. He attended the annual function of film directors the same evening as a guest of honour alongwith Karnataka chief minister J.H. Patel, minister of information Nanaiah, and Dadasaheb Phalke award winner Raj Kumar. The latter spoke highly of Ghai and his popularity in South India. Subhash Ghai, in his speech, appealed to the state government to maintain Bangalore as the state’s creative capital and keep it away from politics and commercial forces.

IMPPA AGM, ELECTIONS ON SEPTEMBER 18

The annual general meeting of the Indian Motion Picture Producers’ Association (IMPPA) will be held on 18th September at ISKCON, Juhu, Bombay. The meeting will be followed by elections.

3-E
Education-Entertainment-Enlightenment

No Election Heat

Like last year, the election scene in various associations of the industry is likely to be far from hot this year too. The Central Circuit Cine Association, which is the strongest body of the film industry, may even go without elections next month. That is to say, an executive committee to be selected by consensus may come in power this time. Not much election heat also seems to have generated on the front of the Indian Motion Picture Producers’ Association (IMPPA) and the Indian Motion Picture Distributors’ Association (IMPDA). Boring, isn’t it?

After 35 Years

Liberty cinema in Bombay was agog with activity after midnight on 27th and 28th August. Dance director Nimesh Bhatt picturised a song for Wajeda Films’ Jiyaala on the lead pair, Sajid Khan and Poonam Jhawar, at the cinema after the last show of Khamoshi The Musical got over at 12.30 a.m. That is to say, the khamoshi of the two nights was broken by the musical beats of Jiyaala. The shooting used to go on upto 10 a.m. the following day, a little before the show timing of the other musical viz. HAHK..! (which is running at Liberty in matinee shows). A film has been shot at Liberty cinema after 35 years. The last film to have been shot there was Mere Mehboob. According to the makers of Jiyaala, the management of Liberty was co-operation personified during their two eventful nights at the posh cinema. Incidentally, only two songs and the climax remain to be shot to complete Jiyaala.

KAUN

Kshitij Production Combines’ Kaun (A) is a real-time suspense drama aimed at terrifying the audience. It is about a girl who is scared stiff because she is alone at home (a huge home) on a stormy, rainy evening. The television news announces that a psychopathic killer is at large, which terrifies the girl even more. Suddenly, her doorbell rings and a man, asking for somebody, begs of her to let him in till the weather clears. She refuses. He persists. And finally, she finds him in her house. His behaviour makes her imagine, he is the killer. Even while she is trembling with fear and he is shivering of cold, a second intruder comes into the house. The two guys accuse each other of being the dreaded psychopath. The petrified girl is confused and since the suspense is about who the killer is, the audience is supposed to get into a guessing game. The ending, which deals with the revelation and much more, solves the mystery. The first half hardly moves. In the second half, the wordy duel between the two guys is entertaining but even though the audience may enjoy the war of words, its thirst for fright remains unsatiated. Also, this very entertaining bit detracts the story from the horrifying drama, which is not desirable. Because, since the entire film is shot in one bungalow only, it becomes a tedious and monotonous exercise for the viewer.

The film has just three characters. The three players and sound (effects and background score) play important roles in the 1-hour-56-minute drama. Although director Ram Gopal Varma has tried to exploit the lurking fear in a viewer’s mind, writer Anurag Kashyap lets him down badly, with a script that gives too much time to the audience to think. In this kind of films, the ideal situation would be to provide edge-of-the-seat thrills and chills and that would be possible only in a fast-paced drama. But the movement in Kaun is slow at many places, which raises questions in the viewers’ minds — questions like why the girl does not run out of the house and lock the two intruders inside, why she lets the first one in, etc. If the writer and director would like the audience to believe that there are no neighbours or neighbourhood, the same should have been established. Of course, the film’s ending answers the above questions that come to mind, but then, new questions arise at that point — questions like why the girl did not let the guys inside the house willingly, etc. In fact, the last scene in the film shows the girl rejoicing the fact that someone is knocking at her door again — something she wasn’t excited about when the drama started in the same fashion.

Another major drawback of the film is that it seeks to terrify through sound rather than substance. That is to say, the sound effects are more scary than the drama. The absence of songs and the short length of the film may be justified as far as the subject goes but since the merits are lacking, these become negative factors for the traditional audience. Besides, a major part of the drama looks unbelievable and unrealistic.

Urmila Matondkar does well in some scenes but is average in others, may be because the conviction in the drama is absent. Manoj Bajpayee acts ably but his character gets boring at places. However, even his performance is not flawless. For instance, when he fears that there’s yet another intruder in Urmila’s house (towards the ending), he shouts out to her repeatedly, to be careful and sometimes does so in a sing-song way (Ma’am, ma’am, ma’…….am)! Sushant Kumar fails to impress. His expressions do not befit his character and his dubbing also is dull.

Ram Gopal Varma’s shot compositions and takings are beautiful but much more effort should have gone into the script to have made it a terrifying drama. Although the man deserves to be complimented for trying out something different from the usual commercial stuff, his lapse in selection of a plausible script needs to be criticised. Editing should have been much more crisp. Action scenes are reasonably well composed. Sound effects are absolutely astounding. Background music is also wonderful. Photography is good.

On the whole, Kaun does not have enough material to scare the viewer and, therefore, does not serve the purpose for which it was made. A film for very selected cinemas in a few major cities only, especially of Bombay, Maharashtra and Southwards, it will entail losses to most of its distributors.

Released on 25-2-’99 at Metro and 26-2-’99 at 9 other cinemas of Bombay thru V.I.P. Enterprises. Publicity: very good. Opening: fair. …….Also released all over. Opening was disastrous at many places.

LATEST POSITION

It was a normal week. ….Collections in several parts of the country are likely to be adversely affected due to pre-Holi days.

Kachche Dhaage has done very well in 1st week but the drop from 5th day onwards was too noticeable everywhere. It has collected excellent at ‘B’ class centres too. 1st week Bombay 54,54,720 (79.91%) from 14 cinemas (9 on F.H.); Ahmedabad 13,97,298 from 8 cinemas, Padra 2,00,154, Rajkot 1,71,160 from 2 cinemas, Jamnagar (matinee) 32,000 (1 in regular unrecd.), Patan 1,89,578, Bhuj 1,27,696; Pune 13,58,353 from 6 cinemas (1 in matinee), Kolhapur 2,17,389, Solapur 3,04,266 from 2 cinemas; Belgaum 1,12,799 (100%), Dharwad 1,43,791; Delhi 57,76,205 (77.97%) from 13 cinemas (1 unrecd., 1 on F.H.); Kanpur 6,35,950 from 2 cinemas, Lucknow 4,33,517, Varanasi 2,44,054, Bhadohi 1,34,373 (88.18%), Alllahabad 1,97,552, Meerut 2,62,668, Bareilly 2,58,156 (91%), Dehradun 2,41,680 (83.85%), Hardwar 1,00,123, Muzaffarnagar 1,74,468; excellent in East Punjab, Ludhiana 3,80,996 (100%), Rohtak 58,664; Calcutta 24,75,625 from 18 cinemas; did very well in Bihar in 1st week; Nagpur 9,00,158 from 4 cinemas, Jabalpur 3,08,515, Akola 2,00,903, Raipur (6 days) 2,10,621, Bhilai (6 days) 42,663 (1 unrecd.), Durg (6 days) 1,18,952, Jalgaon (6 days) 1,73,443; Bhopal 1,78,755 (1 on F.H.); Jaipur 12,75,154 from 4 cinemas, Ajmer (29 shows) 1,71,636, Bikaner 2,56,566; Hyderabad (gross) 34,08,713 from 15 cinemas.

………..

Hum Aapke Dil Mein Rehte Hain 5th week Bombay 20,69,439 (65.05%) from 8 cinemas (4 on F.H.); Ahmedabad 4,09,953 from 3 cinemas, Baroda 1,13,953, Rajkot 90,740 from 2 cinemas (1 in matinee), Jamnagar 40,000; Pune 5,28,608 from 3 cinemas (1 in matinee), Solapur 1,48,357, 1st week Barsi 57,202; 5th week Delhi 5,88,685 from 4 cinemas; Kanpur 1,48,165 from 2 cinemas, Lucknow 2,27,856, Varanasi 85,521, Allahabad 56,483, Meerut 91,903, Bareilly 32,022 (10.56%), Dehradun 99,654 (4th 1,39,000), Hardwar 18,000; Calcutta 4,11,792 from 4 cinemas; Nagpur 2,52,951 from 3 cinemas, Jabalpur 64,055, total 5,18,928, Akola 61,122, total 5,43,568, Raipur 82,469, Bhilai 86,432, 3rd week Jalgaon 89,003, 5th Gondia (gross) 56,866, Chandrapur 66,524, total 5,88,480, Yavatmal 25,539, total 2,78,730; Jaipur 1,62,578, 4th Bikaner 51,580; 5th week Hyderabad (gross) 3,07,795.

AJAY DEVGAN WEDS KAJOL

Ajay Devgan got married to Kajol at a simple ceremony at the former’s house on 24th February. Only family members and close friends were present. The wedding was a low-key affair, presumably due to the recent demise of Ajay’s grandmother.

YOU ASKED IT

Why do producers have to go to court to restrain cable operators from screening their films when the law itself does not permit the operators to screen them?

– That’s the tragedy of the country we live in. And the worst part is that in spite of being restrained by court orders, cable operators do show films.

In your item on the big films due for release in 1999, the name of Venus’ Josh was missing. Will Josh not come this year?

– The list of releases was not exhaustive. JOSH will definitely be released in 1999.

Is Ram Gopal Varma’s Mast half-complete? I hear, it will be released next year. Is that so?

– MAST will be complete by June/July and the film will be released in August/September this year. Although it stars Urmila Matondkar with a newcomer (Aftab), the film is a big-budget extravaganza with many songs.

DO YOU KNOW?

* Karisma Kapoor, who has not had a single release since over a year, after DIL TO PAGAL HAI, may well be seen on screen for the first time in 1999 in N.N. Sippy’s SILSILA HAI PYAR KA. As if to remind the world that her last film was DIL TO PAGAL HAI, the new film has a song with the title of Yash Chopra’s film in it. That and the film’s title song are good, catchy numbers. There’s one more ‘Padosan’ song which is also good.

* Amitabh Bachchan was accorded the status of presidential guest by the Sri Lankan government during his first ever visit to the country from February 1 to 14 for the shooting of Padmalaya’s SOORYAVANSHAM.

* Vinod Khanna will be seen in a TV serial for the first time on 1st March on DD1 in SHOORVEER MAHARANA PRATAP. He plays the title role in it and his heroine is Poonam Dhillon.

Dream Merchant

Budget Blues

With the Union Budget to be announced, there’s a lot of speculation in the trade about what the Budget proposals have in store for the film industry. With so much talk about the Budget, I dreamt about the industry people’s expectations from the Union Budget to be presented in Parliament today, 27th February. I dreamt about what the following people had to say about their hopes/expectations from the Budget.

Govinda was praying that the Budget allowed producers to claim 10% of the actual expenditure incurred on a film, as Artistes’ Late-Coming Expenditure. For that, the only proof required to be submitted would be a contract with the Hero No. 1. No proof of actual cash outgoings would be insisted upon by the Income-Tax Department.

Anil Kapoor said, he had inside information that producers who signed stars who do not command an initial, would be given a rebate of 20% of their profits. The government was doing this, according to Anil, “at the behest of the anti-Khan lobby” because only films starring the three Khans — Shah Rukh, Aamir and Salman — were opening to bumper houses.

Mithun Chakraborty said that he had used top connections to ensure that the new Budget would make it mandatory for all producers to shoot at least one schedule in Ooty. If a producer failed to shoot at the hill-station, he would not be entitled to the benefits of the two new sections viz. section 80-OO and section 80-TY to be introduced in the Income-Tax Act. Mithun, however, refused to divulge the details of the new sections.

Sunil Shetty was hoping that the new Budget proposals would give at least some relief or rebate to producers who made films on sports, whether cricket, football, kho-kho or hu tu tu. This, he said, would encourage producers to risk their monies on sports films despite the debacle of sports films, which, he felt, would go a long way in including the sportsman spirit in today’s youth — and producers alike!

Juhi Chawla, who has given up non-vegetarian food and has turned vegetarian, hoped, the government would do something about non-vegetarian jokes in films. She felt, a penalty calculated at 2% of the net profit of the producer for every 100 prints of the film taken out would be a good deterrent.

Mahesh Bhatt said, biographical films needed to be given a push and so also remakes of Hollywood films, the latter because they would expose Indians to the culture of the West. He also said that he had been assured by the Union finance minister that producers of biographical films would not be required to pay income-tax on profits from those films provided they were a true account of the lives of the people whose biographies they dealt with. Producers of remakes of foreign films would be granted a special deduction calculated at 5 times the cost of VCR, LD player, video cassettes, LDs etc. with no upper limit. This would be allowed under a new section 80-HFC to be introduced after section 80-HHC of the Income-Tax Act, which deals with exports of films. According to an inside source, the ‘HFC’ in 80-HFC stands for ‘Hollywood Films ki Chori’!

Chandrachur Singh, Arshad Warsi, Mukul Dev and Sharad Kapoor were hoping that the Budget would give special concession to makers of films starring newcomers. The definition of a “newcomer” would include every artiste who has no successful solo starrer to his credit. Thus, every artiste would continue to be a newcomer (for the purpose of the special concession to his producer) till the time at least one solo starrer of his proved a success.

Gulshan Rai, Subhash Ghai, Gordhan Tanwani and Shekhar Kapur were very hopeful that a new chapter in the Income-tax Act would be added in this year’s Budget. It would deal with producers’ expenditure under the head of extortion money. They said, they had reliable information that payments made to extortionists would be allowed as revenue expenditure if made at least 3 months before the end of the financial year for which it would be so allowed. If, however, the money was paid less than 3 months before the year-end, only 50% would be allowed as expenditure and the balance would have to be capitalised and could be written off in the books of account over a period of 3 years. To avail of the benefits under the new chapter, producers would have to prove that they, in fact, received threatening calls from extortionists and they did try to avoid the expenditure. A proviso in the chapter would make it mandatory for all producers to make payments to extortionists by account payee cheques or demand drafts only. Confirmation letters from the extortionists would be required to be submitted by producers alongwith their returns of income.

Actors like Akshay Kumar and Akshaye Khanna were very sure that as per their request, the Budget would provide for suitable amendments in the I-T Act so that actors whose three films flop in a row in one year would not be required to pay any income-tax for that year. Like every dark could has a silver lining, every third consecutive flop would have a tax-free lining.

Overseas distributor Kishore Lulla had dashed a telegram to Atal Bihari Vajpayee. The telegram requested for free trade between India and Pakistan and a tax holiday of 10 years for profits earned from export of Indian films to the neighbouring country. Of course, the prints of the films would have to be transported to Pakistan by bus! Yes, by the historic bus to Lahore.

– Komal Nahta

INFORMATION MEETS

“For me, it was never the question of choosing art over commerce or vice
versa. I wanted to make something
that was entertaining and that people
would want to see.”

– JOHN MATHEW MATTHAN

RAJ VAIDYA

John Mathew Matthan is reluctant to talk about Sarfarosh, his maiden venture as producer-director. At least this much is clear within the first few minutes of the conversation. ‘I’d rather you see it and then, tell me what you think of it’, says he and you realise that his reluctance to talk about the film does not stem from a fear of shooting his mouth. It actually signifies the supreme confidence that he has in his film. And why not? The trade buzz on this Aamir Khan starrer is encouraging, to say the least.

Having been an ad filmmaker for more than a decade and a half, Matthan returns to his first love, feature films, with Sarfarosh. In his first-ever interview with the press, he comes across as a confident, intelligent and a completely unassuming person. He also has a great sense of humour. Like when asked what genre did Sarfarosh belong to, he says, ‘Even I don’t know. In fact, I am waiting for the film to release so that I can go to a video library and see whether they slot it as action, drama, or other. Then I’ll know!’

You seem to be one of the very few people who have made a successful transition from ad films to feature films. Why don’t you start by telling us how it all began?

Actually, I started my career in feature films and then switched over to advertising. You see, I had just finished a post-graduate diploma in Mass Communications from Xavier’s, Bombay when I got my break as chief assistant director to Govind Nihalani in his directorial debut, Aakrosh (1980). Later, I was the first assistant director in the Oscar-winning Gandhi (1983). But, by then, I also realised that it was very difficult to survive as just an assistant in the film industry as one only gets paid a pittance. So, I turned to making ad films, primarily in search of security. During the next 12 or 13 years, I went on to make nearly 400-500 ad films on almost every conceivable product under the sun. I have made ad films for the entire range of, say, detergents, be it Wheel, Surf, Rin, OK or Nirma. I also made the first ever Garden sarees ad, apart from those for Tips & Toes, Lifebuoy soap and countless others. In the process, I gained a tremendous amount of confidence in my abilities and earned some money too.

You obviously had it really good as an established ad filmmaker. What prompted you to venture back into the uncertain world of feature films?

After having made such a huge number of ad films, I had reached a point where I was fed up of them. Moreover, I had found the financial security that had prompted me into this field long ago. I also had the confidence that I could now direct a feature film. So, I guess, it was a logical switch back to full-length features. This decided, I began to think about the kind of film I wanted to make. I knew that at that time, it was easier to get a nod from NFDC or to raise funds for a small film, and go ahead and make it. But then, I also realised that those kind of films do not get the right exposure. So, I decided against that route. I wanted my film to get exposure. I mean, what is the purpose of making a film if it is not going to be seen by the audience? Ultimately, films are made for the audience to see, and the only way to ensure this is to make a mainstream film. For me, it was never the question of choosing art over commerce or vice versa. I wanted to make something that was entertaining and that people would want to see. With this in mind, I started working on the script for Sarfarosh. I chose a subject which is modern and, in many ways, unique to today’s times. The film is about the perilous nature of lives ordinary citizens lead in the grim shadow of the constantly increasing terrorism.

Sounds interesting, but how did you manage to rope in Aamir Khan in the project, considering your newcomer status as producer-director?

Even while I was scripting Sarfarosh, it was clear to me that Aamir could be one of the better options to play the lead. So, once I had completed scripting, I approached Aamir with a request to hear out the script. He gave me an hour at Sunny Super Sounds where he was to participate in the background score for one of his films. I explained to him that my script was three hours long and hence it wasn’t possible for me to narrate it in an hour. He respected that and, within a week, gave me the time I required. I went and just read out the script — not narrated it in a dramatic manner — and was pleasantly surprised at the end of it when Aamir said, he would do the film. I guess, what worked in my favour initially was the fact that I had a bound script on my hands. Later, Aamir did take a little time in checking me out, but that was simply because this was my maiden venture as a producer, and Aamir was naturally concerned about my being able to back it up financially. Here, Manmohan Shetty of Adlabs gave me a lot of support. I have had a nearly 20-year-long association with him and it was he who assured Aamir that the film wouldn’t run into any sort of trouble. Not only this, he also organised finance for the film. Soon, Aamir gave his nod and the project took off.

How much time did you spend in the scripting?

The scripting of Sarfarosh took nearly six to eight months. That was because I did a lot of research before actually sitting down and writing the film. Everybody asked me why I was wasting my time and whether I was going to make a documentary on terrorism. But, I am of the opinion that it is not possible to understand terrorism sitting in Bombay. You have to go out there were it is rampant and meet people who are affected by it. You must also meet people who have been a part of it and those who are against it. Only then can you begin to write about it in a knowledgeable manner. Meeting all these people helped me a great deal while scripting Sarfarosh. I was able to extract so many real-life stories from them and, in some instances, even dialogues. I later incorporated quite a lot of these in my original plot.

What kind of film is SARFAROSH?

It is really difficult to categorise Sarfarosh in a particular genre. I’d rather you see the film and tell me where it fits in. It has all the elements of a commercial mainstream film. The film opens in New Delhi where Aamir resides with his family. He is still studying in college and, one fine day, bumps into Sonali Bendre and they both experience the sparks of love. However, their romance ends prematurely when Aamir’s family is affected by terrorism and has to abruptly shift to Bombay. Once in Bombay, Aamir, a graduate now, lands himself a respectable job and begins a new chapter in life, until a chance meeting with Sonali at a ghazal concert revives his love. Matters soon come to a head when the dark shadow of terrorism catches up with his family.

Sarfarosh is an intense film and required an equally intense background score. I am fortunate that my team of musicians (refuses to name them for some reason) have given me a score that is better than what I had expected. Jatin Lalit have, likewise, given me a wonderful musical score, in six songs that befit the theme.

An increasing breed of new directors and screenwriters hate the compulsion of including songs in each and every film, regardless of its theme. What are your views?

All I can say is that one has to accept reality. If you choose to make a mainstream commercial film, then you must also accept that there will be six or seven songs in it. As a director, it becomes your job to figure out how to do it. I agree that Sarfarosh is not really a subject where there is great scope for songs. But, I couldn’t let that interfere and trouble me when I started off because my attitude towards songs would be negative then. Moreover, making a songless film with Aamir Khan is like making a statement and I did not want that. So, I accepted this compulsion right from the start and also figured out a way to do it.

Out of the six songs in the film, the title song, Sarfaroshi ki shama dil mein jalaa lo yaaron / Zindagi maut na ban jaaye sambhaalo yaaron, sets the framework of the film. Then, there is a ghazal being sung at the concert where Aamir and Sonali meet in Bombay. A flashback incorporated in the ghazal tells the audience about their love affair in New Delhi. Thus, the ghazal becomes a part of the narrative. The remaining songs, I have used as relief points in the film.

Coming to Aamir, what has been his contribution to SARFAROSH, apart from acting?

Aamir has been an excellent support to me throughout the film. He stood by me through everything and continues to do so even now. He is not the kind of an actor who just comes on the sets, does his job and leaves. He contributes a lot to the film in a very positive way. He has also been very respectful to me. See, when I began the film, I had not worked with anyone in my unit and hence my crew and the artistes probably did not know how to treat me. So, the respect they gave me was because of the respect Aamir gave me. There were also times when I wanted a particular thing in a particular way. It is to Aamir’s credit that he trusted my judgement and saw to it that I got what I wanted. He had the confidence to trust me and I owe him that.

Being a first-time producer, how was your experience with the trade?

Well, I have closed all territories except Andhra… so, I guess, the experience has been good. I must confess that I did not get the price I had in mind, but still managed a very good one in spite of having absolutely no track record in feature films.

Finally, what was the controversy surrounding SARFAROSH which led to the change of distributor for Bombay territory?

I would not like to comment on that. All I can say is that wait for ten days and it will all clear up. The matter is currently being sorted out by IMPDA.

MILLENNIUM EXCLUSIVE

“I want to return to my childhood. Yes, that’s my millennium resolution…”

– SHAH RUKH KHAN

KOMAL NAHTA

For all his superstardom, Shah Rukh Khan is one hell of an easy-going guy who, unlike many other stars, doesn’t pretend to be busy when he is not. Rather, for this interview fixed in one single message left on the voicemail box of his cellphone and a return call precisely 15 minutes later, Shah Rukh pretended to be free when actually he had 20 things on hand and 200 others on his mind. Mind you, he is a producer too now, besides being an actor. With his maiden production venture, Phir Bhi Dil Hai Hindustani, nearing release, the post-production work, the publicity, the distributors, the premieres, everything needed the star’s attention. Oops, sorry, the superstar’s attention. Because that’s what the name-plate on Shah Rukh Khan’s cabin on the fourth floor of the building belonging to his production company, Dreamz Unlimited, at Khar, Bombay, reads — SUPERSTAR. Modesty be damned! But if such blatant flaunting of one’s status in the film world doesn’t come across as vanity, it is because the actor himself comes across as an honest human being. And quite honestly, isn’t the guy a superstar? If he isn’t, why do the locals in the Carribean Islands line up all through the 35-killometre stretch from the airport to the only good hotel on the island, and cheer the actor, chanting his name, when he goes there for a stage-show? Nearer home, the euphoria is no different.

Information on 28th December met the star who has dominated the acting scene for the last five years of the millennium gone by — and should continue to do so for many more years in the new millennium too. Seated in his office, he spoke about his experiences as a producer, his journey as an actor, and other things. Excerpts limited from the conversation unlimited:

So, how do you look at the new millennium?

– Honestly, I don’t look at it any differently. Four days later, it will be the same thing. It’s just the end of a year and the beginning of another. I see the year 1999 as a year of some great work I’ve done — not in terms of the number of my releases, but great work as an actor.

And as a producer, too…?

– Yes. But for me, it has been a year of good work — more than as a producer and actor, as a worker. It has been a little more hectic than usual. Hopefully, it will be the same next year. Though, as an actor, I’ll have five releases in 2000. So, the whole industry’s future will be hanging by the thread of Shah Rukh’s releases.

When were the pangs of fear greater — when your first film as actor was released or now, when your first production venture is releasing?

– Even as an actor, I’ve never been scared of a release. Frankly, release of a film means that it’s on air. After that, a film is beyond anyone’s control. I really work with this in mind, that I don’t work towards working commercial. I’d like to make a film which I think, I’ll like making and which, I think, people would like to see. When such a film becomes a hit, it feels good. But yes, I’m a little more numb now as a producer than I’ve ever been as an actor. I’ve been taking a keen interest in the film’s post-production work and the publicity. I believe in the American style of lavish publicity. I’m not going to tell the world that it’s the greatest film ever made but I’m surely going to publicise the film as the greatest film.

The production has been completely handled by Yash-ji (Johar), the accounts have been taken care of by Jay Mehta (Juhi Chawla’s husband). I’ve contributed to the creative side which has been Aziz Mirza’s domain, but I contribute to the creative side otherwise also — not to portray myself as an intelligent actor or as a hint of interference, but because of my involvement in the films in which I work. The film’s dubbing got over today. Juhi is handling paper publicity and the media. Aziz is busy with the background music. I’m only hoping that the film I’ve enjoyed making, people enjoy viewing it. I don’t know whether the film we’ve made is commercial or not, whether it’s good or not, but I do know that we’ve made it honestly and that we’ve enjoyed making it. I just hope, it has turned out to be the film we had set out to make. I think, it’s 85% of what we had planned. But I’m sure, our next film will be better. My biggest enemy, incidentally, is my ‘next time’. I’m neither being immodest when I say that my next will be even better nor am I being humble when I say that this is less than what my next film will be. But I must say, we’ve all worked very hard. We’ve never worked so hard in our lives. None of us here has slept properly for the last 40 days!

I only hope, people like us, like myself, Juhi, Aziz, Farah Khan, Karan (Johar) and Adi (Aditya Chopra), Manish Malhotra, my unit members, we keep on making these kinds of films. I also understand that to make these films, the first pre-requisite is that you’ve got to be in a position of choice. Just for that, I hope, this company gets a position of choice. That will happen if Phir Bhi Dil Hai Hindustani succeeds. I would be happy if our production company, Dreamz Unlimited, gets a position of choice like, say, Yash Chopra or the Barjatyas, maybe even 10 notches lower than them.

But, I assure you, I’ll make a better film next time, and a still better film after that.

Despite your busy schedules as an actor, what is it that prompted you to take the plunge into production?

– I’m not a very busy actor. I do only four films a year. And it has been so right from the day I started my career. I’ve had only 27 releases in my nine-year career so far.

This company and this film happened quite simply. I owe a lot to Aziz. I’ve stayed in his house for a whole year after my marriage. I’ve also been great friends with Juhi Chawla, with Salman, Chunkey… And they all have been nice to me when I was a nobody. So they weren’t expecting anything in return from me as I was a nobody then. I still remember how Juhi’s mother used to make a cake for my birthday. Then, a little later in my life, came Yash Chopra, Rajiv Mehra, Rakesh Roshan and Ratan Jain.

Coming back to how I became a producer, it happened just very casually. It all started when I was one day sitting with Ratan Jain. There was a friend of Ratan, who was not connected with the film industry at all. During the course of the conversation, he just mentioned that he wouldn’t mind investing his personal money in producing a film like Yes Boss, starring Juhi and myself and to be directed by Aziz Mirza, because he liked those kinds of films. That is the time I thought, we should start believing in ourselves. I thought, if an outsider can repose so much faith in us, why not we in ourselves. That is the time Aziz decided to start a production company and since he treats me and Juhi as his children and also because, as he said, he was going to earn money on our names, he asked us why we were not becoming his partners. And there we were, together on a mission to make a good, honest film.

The name of the company also simply happened. We were sitting with friends one day. Aziz said, the name had to be something to do with dreams because that’s what we were going to sell. We decided on Dreams itself. Aziz asked, “Dreams Ltd.?” I casually remarked, “Make that ‘Dreamz Unlimited’.” Sanjay Chhel, Raj Dahima, Manoj have all been friends. They all got down to writing a script. That’s how work started. We did reject the first story that emerged because we decided to make a little bigger film than originally planned. But, all the same, the process had started. Aziz, Juhi and myself decided to pool in Rs. 5 lakh each and open a bank account with that money. That was our idea of a company. Yash-ji and Jay then told us, if we were really serious, we should do proper documentation. The two of them set up the company for us formally. Friends like Karan, Manish and Aditya heard the story and gave their inputs. For instance, the title song is the work of Adi and Jatin Lalit, costumes have been taken care of by Karan and Manish.

Sony was wonderful enough to buy the music rights. Then Kishore Lulla was more than wonderful to buy the Overseas rights. Wonderful, not because they paid us a good price but because they gave us the confidence. Frankly, I had never thought that I would ever be a producer. Some day, I may have turned a director all right, but a producer? I hadn’t ever imagined that! Nonetheless, now that we have become producers, I’m glad about that. Maybe, we form a team of the best-looking producers, or, the only pin-up producers in the country! Jokes apart, there’s a lot of goodness in ourselves. The entire unit is quite like a family.

This company has so far quite been like my career. It has had the early success which I enjoyed. I sincerely hope, it also gets the fillip my career got. I’ve worked the hardest in my stint as a producer. We all have worked very hard. But Juhi and I had to also take care of our appearances because after the hard work, we had to face the camera for some other films. I did postpone Adi’s and David’s films for some months because of PBDHH. But the hard work notwithstanding, I’m ready for the next one.

You’ve dabbled into distribution in the past. But while you never got involved in the day-to-day business of distribution, what made you get into the thick of production activity?

– I turned a distributor with Kabhi Haan Kabhi Naa because nobody was buying the film. I had Rs. 4 lakh, and the film’s price for Bombay was 12, so Ratan Jain, Vijay Galani and myself brought in 4 each and formed a distribution company in the name of my wife, Gauri. We made money in that film, so we bought other films like Chaahat and Oh Darling Yeh Hai India. But just like in distribution, I didn’t dabble into day-to-day production too. I don’t understand accounts, what will I get in day-to-day production activity?

Whose decision was it to voluntarily reduce the price of your film for C.I. territory? Yours or Yash-ji’s?

– Very clearly, I’m not making this film for making money. If money-making was my aim, I could have done two ad films or shows and earned the same amount of money — probably, more — in just two or four days. Nor am I the highest paid actor, as is generally believed. My whole notion of films is very different. Money has never been so important for me. For me, if my film is beautiful, my price is worth 10 crores. Making money is incidental for me, believe me. Even as an actor, I’ve never been too money-minded. I only want to act in good films. I rarely discuss my price. I tell my producers to pay me a respectable amount commensurate with my standing and their recoveries. No producer can blame me of troubling him for money or even otherwise. My only aim, now that I have a house and all other comfortable things of life, is to earn enough money to be able to buy new equipments, besides the ones we bought for PBDHH, new technology and, some day, make a film of international standard in India. I dream of the day when Shekhar Kapur does not have to go to Hollywood to make his films, he can jolly well make them here. I don’t want to be blamed that I didn’t do enough for the industry which has made me whatever I am today. I’ve told my director-friends that they can use my equipments which are all very good.

I had decided, the price of PBDHH would be less than the price of any other Shah Rukh Khan starrer. I am not greedy. Yes, I wanted to ensure that we didn’t make a loss in the film. We definitely haven’t made a profit of several crores, as is the talk in the industry. After PBDHH, we will have a production office to call our own, the film’s negative, a good working team, the equipments, and, maybe, some respect. I now want to just release my film. By reducing the price, I wanted to tell my distributors that if they make money from our film, they should share the same with us. Beyond that, if Yash-ji has reduced the price, it must be because C.I. territory may be being perceived as not very good for the fun film which PBDHH is. In fact, the Bihar distributor, whom we were negotiating with, often complained that his territory was not good for my kind of films. I told Yash-ji not to negotiate the film with him if he wasn’t interested in releasing it, without any grudge. A person must buy my film only if he feels good about it, not otherwise. I understand that our company has got a great deal of advantage because of my star status. But I keep telling my partners, if you’ve benefitted due to my star image, you are also going to get a lot of brickbats because of the same. Here, let me tell you, PBDHH is not an out-and-out Shah Rukh Khan film.

As an actor, how good has your gut feeling been about the box-office fate of your films?

– I don’t normally comment about my own films. But my judgement of films is excellent, it is better than yours.

A while back, you said, you want to act in good films. How do you assess which is a good film?

– I’ll only be honest if I said, I have no sense of story, no sense of character. In my nine years here, I’ve realised that I have no sense of screenplay. So I work with good people. I have my set of people whom I am comfortable working with, who are honest about their work. One such honest person is David Dhawan. He doesn’t believe me when I say, I like his honesty as a filmmaker. After all, what is a film? It is selling of a dream. We have to tell lies to people, we have to sell them dreams.

Does that mean that besides the people you’ve worked with, there’s an entry barrier for the rest who may be desirous of working with you?

– Nothing of the sort. I’m working with Shashilal Nair, Mansoor Khan, Ahathian, David Dhawan and now, with Sanjay Leela Bhansali. I’ve never worked with any of them earlier. But I can’t do more than four films at a time.

There must have been occasions when things which excited you when you signed a film are not as exciting as the film is progressing. How do you cope with such cases?

– Films have never been “not as exciting” for me. I bring excitement on the sets. I’m an exciting actor, overrated, exaggerated. But I’m not an unexciting actor. I excite people. I never let hope be lost. If I feel that a film is going wrong somewhere, I do even better. In at least 10 of the 27 releases I’ve had so far, I knew that they were going wrong. But I’ve given my best to them. I don’t want to feel guilty that I didn’t give it my best shot and maybe, therefore, the film failed. I invariably hope that the star charisma may be able to pull a film through despite the wrong things. But I also know that this is the wrongest thing for an actor to believe — that he can pull a bad film through. However, I do it all the time. If my films have done well, it is not because of me. Dilip Kumar or Amitabh Bachchan could take such credit, not me. My films do well only because they are good, not because of me. Every actor should understand that he can never be greater than his film.

Considering what you’ve just said, isn’t it a paradox that stars are still paid many, many times more than the creators of the film, viz. the writers and the directors?

– This is the dichotomy of the film industry. You don’t have an art form in the industry, which ensures that a thing of art is appreciated even if it does not sell. At the end of the day, a good film is the one which is a hit film. Finally, the commercial aspect is so strong that one has got to market his film, to package his film. As soon as you are going to market a film, you have got to package it. And the packaging has got to be beautiful. Like beauty, stardom too is skin-deep. An Arnold Schwarzenegger will always be better paid than a James Cameron. There are, of course, some directors who also get paid handsomely, but then they are stars in their own right. A film is like any other commercial product, say, a soap. The quality of most of the bars of soap is more or less similar, all of them smell nice, yet people pay more for the one which is beautifully packaged. People get taken in by the marketing. Films are an art form which are sold after packaging, in this commercial world. Otherwise, a film could as well have been sold as starring Salim-Javed or Sanjay Chhel.

Are you insecure about your no. 1 position?

– I would have been if I lived in a shell or in an ivory tower. But I don’t go in a shell, I don’t live in an ivory tower. I’m surrounded by my work. In that respect, I’m quite like Dev (Anand) Saab. Besides, I know that whenever my slide downwards begins, it will take some time, I won’t just fall down from the top position in one day. I don’t spend sleepless nights, I don’t get tense. I sincerely believe that if you are working, it will work for you. Otherwise, you could be shattered. I feel scared when I imagine that people will not recognise me, there’ll be no smiles on the faces of people on the roads when they see me. But I know, that won’t happen because I’m working. There will be smiles always. I am not insecure enough to count the bouquets I receive on my birthday, I don’t assess my popularity by the number of magazine covers I am on, I don’t get worried if my song is on the seventh position on countdown charts.

What does the public expect of a Shah Rukh Khan film?

– I think, they expect openness, upfrontedness, honesty from my films. Honesty in my performance is also what they expect — honesty in that I don’t hold things back. Mahesh Bhatt once told me a lovely thing which I also think, Michael Caines said: ‘As soon as someone has bought a ticket to see your film, he has already treated you as a God, he has put you on a very very high pedestal. So you don’t have to remind him again that you are God. If you do so, he is never going to like you for it.’ I take care not to remind my audience that I am Shah Rukh Khan. The better thing to do is to hold a mirror for them and to tell them, ‘this is you’. If people have liked me in my films, it’s because I could kill like an ordinary man, I could slip on a banana peel, I could hide behind a girl to save my skin from a villain, I could do all that a common man could and would do. Honestly, I don’t mind doing anything on the screen. I believe that you can never be too good for the things you are best at.

People tell me, I’m popular because I am sexy, because of the dimples on my cheeks etc. etc., but I think, they are just labels given by people and the media. I am popular for all that I’ve done on the screen. That is why I’m never ashamed of what I’ve done in front of the camera, nor am I extra-proud of what I’ve done. The other day, a friend of mine was telling me, I should no longer do something I had done in my previous films. I fail to understand why I shouldn’t do it. People liked me for doing it and it is because of the things I’ve done that I am what I am today, then how can I stop doing exactly that? It would be cheating the public.

What lessons have production taught you, which acting did not?

– I’ve always been a producer’s actor. I’ve never overridden a producer. I’m a large-hearted man, I know, but I also realise how difficult it is to put that extra buck anywhere. I don’t, therefore, make fun of my producers. For this film of ours, I’ve spent crazily. I need a team like Juhi and Aziz to control me, which they have done. But yes, as a producer, I’ve realised that films should be made faster. It’s better that way. I promise, my next film will be made with even more large-heartedness.

Are the dreams of Dreamz Unlimited limited to making films or do they transcend other territory too?

– No. Aziz, Juhi and I want to make only films. If our first film goes right, we’ll make a still bigger film next time. If, God forbid, the first one goes wrong, we will make a small film. I also want to do something for theatre, maybe build a theatre.

Any millennium resolution for yourself?

– Yes, to start working out. I need to lose some weight. Really, I’ve got to start looking like a hero. Currently, I’m looking like a producer. I also need to spend a little more time with my family. I’ve learnt all my acting from children, I want to learn a lot more from my son, Aryan. Children are the only people who don’t know what’s right and what’s wrong. And yet, if a child actor can make you laugh or cry in a film, he must be the best actor. There’s no method to their acting, no calculation whatsoever. Children are so likeable. Maybe, children are my greatest fans because I learn my acting from kids. I recently asked Aryan to repeat the words, ‘Papa, I love you’, after me. He told me, “Papa, I love you,” but in the same breath, he continued, “See, butterfly, Papa,” pointing out to a butterfly. Isn’t that amazing? And we heroes and heroines take pauses before saying the words, “I love you” and after saying them. The way my son hugs me, there’s so much purity in that. I wish, I could hug my heroines the same way, with the same spontaneity, the exact purity. Kids are the most pure of the human species, they are the closest to God.

I hope, in the new millennium, I can get the rawness I had in Deewana. I know, I danced awkwardly in that film, my costumes were awful, my hairstyle wasn’t good, but still there was a likeable purity and rawness which made me acceptable to the world. I want to recapture all that.

If newcomers are not achieving the status of stars today, it is because they are so methodical. Their dress sense is impeccable, they learn dancing and become experts before their first films, they learn acting, action, their gait is well-rehearsed. All that is perfectly fine, but the audience also knows that these things can all be learnt. If they are to like you, they want to see something that’s typical to you. You must show that little difference, that little something that’s you and only you, it cannot be emulated. In the new millennium, I want to retain what I have, and to recapture and rebuild what I’ve lost. I want to return to my childhood. Yes, that’s my millennium resolution…

LATEST POSITION

JAANWAR has done well in U.P., Bihar, C.P. and C.I. (despite Ramzan) but is poor in major cities like Bombay, Delhi, Hyderabad etc.

Jaanwar 1st week Bombay 44,37,946 (59.19%) from 12 cinemas (8 on F.H.); Ahmedabad (6 days) 7,13,076 from 6 cinemas, Jamnagar 74,962; Solapur 2,85,267 from 2 cinemas; Delhi 40,78,058 (52.76%) from 12 cinemas (2 on F.H.); Lucknow 3,69,868, Agra 3,48,384, Allahabad 2,46,000, Bareilly (6 days) 1,56,712 (52.39%); Calcutta 22,28,230 from 13 cinemas; Nagpur 6,75,612 from 5 cinemas, Jabalpur (6 days) 1,59,454, Amravati (6 days) 1,93,197, Akola 1,54,450, Raipur (6 days) 1,86,621, Jalgaon (6 days) 2,23,933, Chandrapur 1,93,769, Yavatmal 1,18,748; Indore 3,20,670 from 2 cinemas (2 on F.H.), Bhopal 2,13,913 from 2 cinemas (1 unrecd.); Jaipur 7,61,264 from 3 cinemas, Bikaner (gross) 3,15,426; Hyderabad (gross) 20,18,310 from 10 cinemas, share about 8 lakh.

Dulhan Banoo Mein Teri 1st week Bombay (7 shows) 1,65,421 (60.63%); discontinued from Delhi after 1 day; Allahabad 16,500; Calcutta 28,163.

…………

Khoobsurat 5th week Bombay 12,64,908 (46.23%) from 6 cinemas (4 on F.H.); Ahmedabad (6 days) 2,71,008 from 3 cinemas; Solapur 71,705; Delhi 5,36,413 from 4 cinemas (1 on F.H.); Lucknow 97,252, Agra 38,612, 4th week Varanasi 46,048, 5th Allahabad 21,650; Nagpur 77,363, Amravati (6 days) 1,08,214, Akola 54,561, total 4,99,049, Raipur (6 days) 53,232, 2nd week Wardha 63,704, 3rd Yavatmal 31,434 (2nd 45,613); 5th week Indore 59,350, Bhopal 55,500; Jaipur 1,15,889.

Hum Saath-Saath Hain picks up even more fabulously in 8th week in East Punjab, Rajasthan and Nizam. Is very steady in U.P. and C.P. Berar. 8th week Bombay 8,84,186 (47.43%) from 3 cinemas (6 on F.H.); Ahmedabad (6 days) 1,70,334 from 2 cinemas (1 unrecd.), Baroda 1,54,660, Rajkot (14 shows) 73,816, Jamnagar (6 days) 34,445, Bhavnagar 63,198; Solapur 1,59,196; Hubli 98,600, Belgaun 91,971, 1st week Gadag 54,027, 4th week Bijapur 66,495, Nippani 34,542; 8th week Delhi 8,06,357 from 5 cinemas; Kanpur 1,37,566, Lucknow 3,25,366, Agra 1,52,290, Varanasi 1,24,077, Allahabad 1,02,936, Ghaziabad 78,760, Meerut 78,747, Bareilly 63,844 (7th 69,764), Dehradun 1,03,477, Jhansi 62,005, Gorakhpur 73,007, Aligarh 65,142, 4th week Hardwar 53,084, Moradabad 54,287, 1st Mirzapur 63,518; 8th week Amritsar 2,03,300 (7th 1,57,490), Ludhiana 2,97,895 (7th 2,46,049), Jalandhar 1,42,837 (7th 1,29,566), Faridabad 60,466, Chandigarh 1,11,135 (7th 90,432), Jammu (6 days) 74,440, 2nd week Ambala Cantt. 78,403 (1st 77,888), Ambala City (6 days) 35,070 (1st 39,649); 8th week Calcutta 5,25,885 from 5 cinemas; 5th week Guwahati (6 days) 48,541, 1st week Gangtok (Sikkim) 1,36,820; 8th week Nagpur 2,53,461, 5th Balaghat 63,051, 8th Jabalpur 2,97,253 (gross), Amravati 1,63,902, total 19,19,385, Akola 1,13,060, total 13,80,660, Dhule 55,638, Raipur (gross) 2,00,076, Bhilai 61,166, 6th week Durg 50,124, 8th Jalgaon 1,10,095, Bhusawal 85,553, Gondia 73,674, Wardha 35,341, Chandrapur 1,25,163, total 17,51,231, Yavatmal 61,212 (7th 68,018), Khandwa 1,07,166; Indore 1,37,507 (3 on F.H.); Jaipur 6,38,842 (7th 5,95,480), Jodhpur (gross) 3,64,423 (7th 3,08,587), Ajmer 1,05,888 (7th 83,546), Bikaner 99,223 (7th 79,159), Kota 1,24,880 (7th 99,567), Bhilwara 60,942 (7th 53,642); Hyderabad (gross) 6,78,197 from 2 cinemas, Aurangabad 1,51,677; Bangalore 1,94,442 (7th 1,71,393); Madras 1,83,459 (7th 1,50,797).

…………

ATTEMPT ON LIFE OF MANMOHAN SHETTY

Some unidentified assailants made an abortive bid on the life of Manmohan Shetty, owner of Adlabs, on 29th December. The lab owner was heading towards his office when the assailants tried to open fire. Manmohan Shetty escaped unhurt. Extortion seems to be the motive.

About a fortnight back, a Bombay distributor-exhibitor was also targeted by unknown assailants. The distributor-exhibitor escaped unhurt.

YUSUF LAKDAWALA’S ‘SOUND CITY’

Builder, hotelier, financier and studio-owner Yusuf Lakdawala is setting up yet another sound recording studio — Sound City — in the Empire Studio complex, for his son, Feroz, to look after. For the first time, Amek-Rembrandt Galileo console for recording and DSP Work-Station for dubbing and editing have been installed in Bombay in this state-of-the-art studio. Sound City, scheduled to start shortly, will provide complete post-production facilities.

YOU ASKED IT

Which was the first Hindi film to celebrate a jubilee?

– It was Prabhat Film Company’s AMRIT MANTHAN. It celebrated jubilee in 1934.

What would you wish for the film industry in the year 2000?

– That the first year of the new millennium (is it actually the first year of the new millennium or the last year of the old one?) proves to be a script-healthy year. Healthy scripts of films means a healthy industry.

What is your New Year resolution?

–I’ve resolved to see some great movies in the new year. See, I’m smart — I make a resolution, and filmmakers will have to ensure that I adhere to my resolution.

CENSOR NEWS

Maa Sherawali Productions’ Bulandi was given C.C. (in Madras) No. CIL/1/0569/99 (U) dt. 22-12-’99 ; length 4813.04 metres in 16 reels (with cuts).

Film Kraft’s Kaho Naa…Pyaar Hai was given C.C. No. CIL/2/46/99 (UA) dt. 29-12-’99; length 4730.75 metres in 16 reels (cuts: 9.29 metres).

Surjit Movies’ Shaheed Uddham Singh, applied on 28th and seen on 29th, has been issued C.C. No. CIL/2/47/99 (UA) dt. 31-12-’99; length 4705.10 metres in 17 reels (no cut).

REGIONAL FILMS

Mitali Films’ Jivtar (Gujarati) was given C.C. No. CIL/1/75/99 (U) dt. 27-12-’99; length 3830.45 metres in 14 reels (cuts: 0.35 metres).

Headline Films’ Maadi Jaya (Gujarati) was given C.C. No. CIL/1/76/99 (U) dt. 29-12-’99; length 4121.92 metres in 16 reels (cuts: 66.06 metres).

Ajey Madhav Jhankar’s Lekroo (Marathi) was given C.C. No. CIL/1/77/99 (U) dt. 29-12-’99; length 3669.19 metres in 15 reels (cuts: 5.76 metres).

Vaibhav Chitra’s Maherchi Pahuni (Marathi), applied on 27th and seen on 28th, has been issued C.C. No. CIL/1/78/99 (U) dt. 31-12-’99; length 4601.09 metres in 17 reels (some deletions in sound only).

FILM INFORMATION’S BESTS OF 1999

Best Film
Hum  Saath-Saath Hain

Best Producer
Kamal Kumar Barjatya
Rajkumar Barjatya
Ajit Kumar Barjatya
(Hum Saath-Saath Hain)

Best Director
Sooraj R. Barjatya
(Hum Saath-Saath Hain)

Best Actor
Aamir Khaan
(Sarfarosh)

Best Actress
Kajol
(Hum Aapke Dil Mein Rehte Hain)

Best Supporting Actor
Anil Kapoor
(Taal)

Best Supporting Actress
Sushmita Sen
(Biwi No. 1)

Best Villain
Naseeruddin Shah
(Sarfarosh)

Best Comedian
Johny Lever
(Hum Aapke Dil Mein Rehte Hain)

Best Story
Ahathian
(Sirf Tum)

Best Screenplay
Sooraj R. Barjatya
(Hum Saath-Saath Hain)

Best Dialogues
Hriday Lani & Pathik Vats
(Sarfarosh)

Best Music Director
A.R. Rahman
(Taal)

Best Lyrics
Anand Bakshi
(Taal)

Best Song
Taal Se Taal Mila
(Taal)

Best Playback Singer (Male)
Kay Kay
(Tadap Tadap – Hum Dil De Chuke Sanam)

Best Playback Singer (Female)
Kavita Krishnamoorthy
(Title Song – Hum Dil De Chuke Sanam)

Best Background Score
Sandeep Chowta
(Kaun)

Best Action Director
Tinnu Verma
(Kachche Dhaage)

Best Sound
Dilip Subramaniam
(Kaun)

Best Cinematographer
Anil Mehta
(Hum Dil De Chuke Sanam)

Best Choreographer
Vaibhavi Merchant & Sanjay Leela Bhansali
(Dholi Taro – Hum Dil De Chuke Sanam)

Best Editor
Jethu Mundul
(Sarfarosh)

Best Art Director
Nitin Desai
(Hum Dil De Chuke Sanam)

Best Climax
Sirf Tum

Best Scene
Tabu lending helping hand to Mohnish during their marriage
(Hum Saath-Saath Hain)

Best Male Newcomer
Aftab Shivdasani
(Mast)

Best Costumes
Neeta Lulla (for Aishwarya Rai)
(Hum Dil De Chuke Sanam)

Best New Director
John Mathew Matthan
(Sarfarosh)

Best New Music Director
Ismail Durbar
(Hum Dil De Chuke Sanam)

Best Upcoming Playback Singer
Sunidhi Chauhan
(Mast)

Best Promotion
Vashu Bhagnani
(Biwi No. 1)

Best Dubbed Film
The Mummy

CLASSIFICATION: 1999

(Total 154 films, including 42 dubbed films)

AAA (Super-Duper Hit)

–

AA (Super-Hit)

HUM SAATH-SAATH HAIN
(lesser in some circuits, and ‘AAA’ in some)

A1 (Hit)

–

A (Semi-Hit)

BIWI NO. 1 (‘A1’ in Bombay, and losing in Bengal)
HUM AAPKE DIL MEIN REHTE HAIN (‘AA’ in Bombay, and lesser in some circuits)
DAAG – THE FIRE

BB (Overflow)

SARFAROSH (‘AA’ in Bombay & ‘A’ in Delhi-U.P.and C.P. Berar)
SIRF TUM
THE MUMMY (dubbed, ‘AA’ in Andhra)
MUNNIBAI (‘A’ in West Bengal, Bihar & C.I.)

B1 to BB (Commission-Earner to Overflow)

HOGI PYAR KI JEET (‘A’ in West Bengal, ‘AAA’ in Bihar)
KACHCHE DHAAGE

B1 (Commission-Earner)

TAAL (‘A1’ in Overseas, ‘BB’ in few, and losing in few circuits)
HUM DIL DE CHUKE SANAM (‘AA’ in Bombay, ‘A’ in Overseas, and losing in several circuits)
HASEENA MAAN JAAYEGI (‘BB’ in a few circuits)
VAASTAV (‘A’ in Bombay, West Bengal and C.P. Berar, and losing in some circuits)
JAANBAAZ KHILADI (dubbed)
MAUT KA SAMUDRA (dubbed)

B to B1 (Coverage to Commission-Earner)

TEZ RAFTAAR (dubbed)
ARJUN PANDIT (losing in some circuits)
JAANWAR (‘A’ in Bihar, overflow in some circuits, and losing in some)

B (Coverage)

INTERNATIONAL KHILADI (‘B1’ in some circuits)
HINDUSTAN KI KASAM (‘BB’ in Bihar)
TITANIC (dubbed)

THE REST

…………….

Is The Film Industry Y2K OK?

It’s become a fashion to ask of Y2K compliance. Whether it is the airlines or the bank or even your own computers, you want to know whether Year 2000 will paralyse your life in any way or make it more difficult.

It is not just a fashion statement that we are making when we are thinking aloud about whether the film industry is Y2K compliant. Because the question — if it is or isn’t Y2K okay — is more serious than it may sound or appear to be today.

Are we really prepared for the Year 2000? Is the industry walking into the new millennium with its eyes wide open? The sixth sense tells a different story — that our eyes are wide shut! Need proof? Open your eyes wide and look at the fate of several of the films released in 1999. Analyze this: a number of big-budget films have bombed. Some among them did not even manage a decent initial. The blockbuster of the year, Hum Saath-Saath Hain, also did not do equally gratifying business in all the circuits.

On the one hand, film prices continued to rise in 1999. On the other, business deteriorated, generally speaking. The year 1999 did not boast of a single universal blockbuster. Time was when in 1977, there were not one or two but three mega hits — Amar Akbar Anthony, Dharam-Veer and Dulhan Wohi Jo Piya Man Bhaaye — in a single year. Time is in 1999 when there’s no film qualifying for the title of ‘universal blockbuster’.

What ails the film industry now? Lack of efforts and sincerity in one aspect — and might we add, the most important one at that — story writing. While filmmakers have woken up to the technological strides in cinema, the backbone of films — script — is being given the royal ignore. Another dangerous tendency among producers is to make films keeping the Overseas territory in mind. The films of such Overseas-conscious filmmakers are tops in style. While style is fine, it cannot be so at the cost of substance. And our makers would do well to remember that modernity and style may be ‘hot’ in the world market but substance can never go out of fashion. In fact, there’s no combination in a film deadlier than content and stylish presentation. So, we cannot hope to leapfrog into the new millennium without being S2A ready — story-to-appeal ready!

The audience the world over is becoming sharper and wiser by the day. Nothing short of excellent cinema will now do if one is to compete in the international as well as the national arena. Let us shed our complacency and usher in the new millennium by infusing dynamism in thoughts and action alike. Let’s now begin a NEW STORY!

3-E
Education-Entertainment-Enlightenment

Kaho Naa… ‘O Shit’ Twice!

Rakesh Roshan’s Kaho Naa…Pyaar Hai has made the CBFC raise its eyebrows over an ‘objectionable’ utterance and an ‘unholy’ act. That is, ‘objectionable’ and ‘unholy’ from the CBFC’s point of view. The objectionable part was Amisha Patel, the film’s heroine, uttering “Oh shit!” twice in one scene in the film. The CBFC relented almost immediately after Rakesh Roshan agreed to cut the part where Amisha says the s-word a second time. Obviously, ‘you can say (sh)it, but say (sh)it only once’, seems to be the CBFC diktat!

Incidentally, the CBFC also objected to another scene from Kaho Naa…Pyaar Hai, where the hero and heroine are doing an ‘unholy’ act. Guess what? They are drinking champagne! The scene was later okayed when the hero and heroine were shown touching their lips to the champagne bottle rather than drinking from it.

Curiously enough, the CBFC did not find distasteful or objectionable the wind-breaking scenes of Salman Khan and Neeraj Vora in Hum Dil De Chuke Sanam and Hello Brother respectively.

How’s That For A Change?

Here’s one to make you rack your brains for a while.

Why does Waheeda Rehman wear only one saree in the entire Gaata rahe mera dil song of Guide? That is to say, why does she not have a change of costume during the entire song?

Think, think…
Simple — because Dev Anand sings to her:

O mere hamrahi
Meri baanh thame chalna
Badle duniya SAREE
Tum na badalna…

Therefore, no change of SAREE, you see!

MILLENNIUM MADNESS

☺☺ No Ground For Seriousness ☺☺

A film publicist of many years’ standing had been ‘cheated’ by a producer of his, who refused to pay him his remuneration. The publicist felt, he deserved the money for work done. But the producer believed, there was nothing owing to the publicist, from his side. In such an atmosphere, the publicist once came face-to-face with the producer at Natraj Studios. He seized the opportunity and asked the producer to pay him his dues. Agitated, the producer asked the publicist, “On what grounds are you asking me to pay you?” Without batting an eyelid, the publicist gave proof of his poor English when he shot back rather bodly, “On the grounds of Natraj Studios!”

☺☺ Hey Maa! ☺☺

The term ‘and above all’ in a film’s cast is reserved for some important character actor or actress. But what does one do when there are two ‘above alls’ — that is to say, when there are two really important character actors in a film? A production house had us in splits when its press release mentioned the entire cast, and reserved the last space for the two important actors. But can you imagine how they sought to point out that both were playing key roles? Here’s how:
…and above all, Amrish Puri, and below all, Hema Malini!!
Absolutely no comments under this over-the-top howler!

☺☺ Master Blaster ☺☺

A top producer-director had invited us to his residence one fine morning to listen to the music of his forthcoming film. The music cassettes were due to be released shortly. We reached his house and, after the usual pleasantries were exchanged, we settled down to listen to the songs. Just as the first song on the audio cassette began to play, out came running the producer-director’s four-year-old nephew. The little kid had his fingers stuck in both his ears. Clenching his teeth, he shouted, “Uncle, I told you, I can’t bear this music. Why don’t  you switch it off?” The producer-director went red in the face. Our faces were redder. The only saving grace was that the film’s music was indeed good and that the one commenting to the contrary was a little kid.

☺☺ Undeserved Compliment ☺☺

We have a system of summing up our reviews with the words, ‘On the whole’. Of course, sometimes, we do use some other phrase in place of ‘on the whole’. For one flop film, instead of the normal ‘on the whole’, we commenced the summing-up with the words, ‘All said’. The film was so terrible that anybody who saw it, ended up criticising and condemning it. Hearing all-round criticism for the film, one of our readers complimented us thus: “Kya kamaal ki judgement hai. Aapne likha, ‘all said’, aur dekhiye, all are saying that the film is a flop.”

That’s literal translation, wot?!?

☺☺ Mrs. Juhi Chawla Who? ☺☺

This laughing matter is courtesy a producer whose first film was a runaway hit and the second, a ‘walkaway’ flop. The third? He hasn’t made a film after his second! Anyway, coming back to the laughing matter. He was once referring to an invitation card that had been sent to Juhi Chawla’s mother. There was confusion in the group about whether the card had reached Juhi’s mother. This producer was confident, it had reached. To put all speculation to rest, he told the group, ‘Arre baba, card pahunch gaya hai. Mrs. Juhi Chawla se maine khud baat ki hai.”

“Mrs. Juhi Chawla?”, someone in the group asked.
“Arre haan bhai, Juhi Chawla ki mummy — Mrs. Juhi Chawla!”

☺☺ They Care Two Hoots… ☺☺

Have you heard this one?

There are some distributors who telephone the producers of films released by them, on the day of release and congratulate them thus: Mubarak ji, mubarak, film hit hai. Public bahut hooting kar rahi hai.” Hooting?!? Hit!?!Well, some people think that hooting is akin to applauding. They do not know that hooting is a negative appraisal for a film. 

The joke is, some of our producers also think that ‘hooting’ is a good word. Two hoots to the English language!

…AUR PYAR HO GAYA

Essem Entertainment Inc.’s …Aur Pyar Ho Gaya is a love story inspired from the Hollywood film, Only You. A girl from India sets out to test the credentials of her to-be husband in Switzerland but she is fooled by another guy who poses as the prospective husband. She falls in love with him after making sure that he bears a good moral character, but is shattered when told that he is not the guy whom she had come to meet. Two two split and then meet again. Back in India, a few days before their marriage, there’s a misunderstanding which threatens to separate the lovers. The guy realises his folly in spurning the girl’s love, just in time to win her back.

The story (Rumi Jafri) is thin, and the screenplay (written by Honey Irani) relies rather too heavily on coincidences. It would appear, after seeing this film, that life is full of coincidences, and anything and everything under the sun is possible. Several turns and twists in the drama, if not initiated by coincidences, are such as would seem too unbelievable. For instance, the girl leaves India for a foreign land, without even knowing how the guy whom she has to meet looks and with just the knowledge of his name and business. She suffers from a rather dangerous disease (she is a somnambulist, that is, she sleep-walks) but when it comes to going abroad, no member of her doting family bothers to accompany her. The reason why the guy spurns her love in the pre-climax and calls off the marriage is too flimsy to appeal to the masses because the fault, if one may call it so, lies with the girl’s father and not with the girl at all. Besides, the question which immediately crops up in the audience’s mind when he calls off the wedding is: if the boy could cheat the girl by posing as the prospective groom, why can’t he bear a bit of insult of his mother — and this, when the mother is ready to overlook the insult. As for the coincidences, they are far too many — the luggage of the guy and the girl is identical, the guy and the girl’s father meet in a saloon as unknowns, before they meet in the latter’s house, etc.

Notwithstanding the rather weak screenplay, the film does have some really good comedy scenes which evoke a lot of laughter. Two such scenes are that of the saloon and when the girl’s grandmother tries to convince the parents of another prospective groom that her grand-daughter is not the best girl for their son. Another highlight of the film are the breathtaking foreign locations which have been captured oh so beautifully on celluloid by cameraman Manmohan Singh. Dolby DTS mixing is yet another asset because the sound effects are splendid.

Bobby Deol does a fair job. He is a bit awkward in comedy scenes. Aishwarya Rai looks a heavenly beauty and mesmerises with her stunning and gorgeous looks (her costumes are fantastic) and figure. She makes a commendable debut with a promising performance and also dances gracefully. She’s a girl who, in her very first film, gives the impression that she is destined to go places. Anupam Kher impresses a lot in the scene in which he comes face to face with Bobby Deol in the former’s house. Otherwise, he is okay. His choti comedy looks silly, at times. Shammi Kapoor acts with aplomb. Shammi is very cute and endears herself with a good performance. Beena plays her role with utmost conviction and is restrained. Priya Tendulkar and Avtar Gill lend good support.

Rahul Rawail has concentrated more on the visuals than on content. He ought to have Indianised the Hollywood film. His attempt looks like a body beautiful in which the soul is missing. Computer graphics in the climax look jarring. Even otherwise, the climax (inspired from the English film, Liar, Liar), which ought to have been hair-raising, is dull and cold.

Nusrat Fateh Ali Khan’s music is a mixture of entertaining and boring songs. Although there are too many songs, not even one is a super-hit number. ‘Koi jaane koi na jaane’ is the best song.’Meri saanson mein basaa hai’, ‘Luk-chhup ke main galli-galli’ and ‘Jaagi huyee fizaayen’ are also appealing numbers. But a couple of other songs are boring. Song picturisations do not have much variety. Emotions are completely absent. Production and technical values are of a very high standard.

On the whole, high-priced …Aur Pyar Ho Gaya is a film for cities mainly, not having a completely Indian flavour and emotions. It, therefore, will entail most of its distributors to losses. Business in Bombay and South should be better.

Released on 15-8-’97 at Eros and 14 other cinemas of Bombay thru Raj Enterprises. Publicity & opening: excellent. …….Also released all over. Opening was dull in many circuits like U.P., C.P.C.I. but very good in Delhi.

MERE SAPNO KI RANI

Shri Raaghavendra Movie Corporation’s Mere Sapno Ki Rani is a love triangle. Remake of the Telugu blockbuster Pelli Sandadi, it is the story of a boy who romances a girl but is to be married to her elder sister. The film has too much of a hangover of Hum Aapke Hain Koun..!, especially in the first half.

The pre-interval portion is light and although the comedy is entertaining, it gets repetitive at times. The real drama starts in the second half and it keeps the audience guessing till the last scene. Two main drawbacks of the film are lack of emotions and an overdose of songs. The drama actually moves ahead through the songs, and the director has conveyed a lot without dialogues and scenes but through songs. This could have appealed immensely had the music been super-hit but that isn’t the case. It is for this reason that at least three to four songs can be advantageously trimmed.

Sanjay Kapoor is quite relaxed and gives a fair performance. Urmila Matondkar is the life of the film. She looks pretty and does a first-rate job as the younger sister in love with Sanjay. Madhoo also looks good and plays the elder sister ably. Of the comedians, Satish Kaushik, Shakti Kapoor and Satish Shah impress the most. Anupam Kher also does well. Laxmikant Berde has limited scope. Asrani, Paintal, Rakesh Bedi and Rajesh Puri evoke laughter with their dialogues. Kulbhushan Kharbanda is restrained. Manmoujee, Dinesh Hingoo, Satyen Kappu, Dina Pathak, Himani Shivpuri, Vandana Ghai, Shalu Kashyap and Anita lend able support.

Raaghavendra Rao’s direction is fair. He should have infused more emotions in the script. Dialogues are quite good. Music is good but given the excessive number of songs, a couple of hits was the need of the film. ‘Yeh pyar yeh pyar’ is the best number, followed by ‘Chamma chakka’, ‘Choli ke peechhe’, ‘Swapna sundari’ and ‘Aaja meri baahon mein’. Song picturisations are very beautiful and eye-filling. Camerawork is also extremely nice. The film looks very colourful because of exceptional locations and colourful costumes. Production values are of a good standard.

On the whole, Mere Sapno Ki Rani has some masala for ladies and families but lack of emotions and an overdose of songs rob it of universal appeal, which will tell on its business prospects. Having taken a lukewarm start at most places, it can hope to fare well in a couple of circuits only. Business in Bombay and Maharashtra should be the best. In the rest of the circuits, it will find the going tough.

Released on 15-8-’97 at Novelty and 15 other cinemas of Bombay thru Balaji Enterprises. Publicity: superb. Opening: very good. …….Also released all over. Opening was poor in most circuits and fair in a couple of them. In Delhi, opening was good.

LATEST POSITION

PARDES has met with a mixed reaction and has failed to live up to people’s great expectations…. Both the releases of this week have had lukewarm starts in majority of the circuits.

Pardes started dropping from 3rd/4th day onwards. It has done fair in 1st week in Bombay, Delhi-U.P., East Punjab and South, but dull in Bengal and C.P.C.I. Rajasthan. 1st week Bombay 38,05,494 (94.04%) from 10 cinemas (6 on F.H.); Padra 1,68,495, Jamnagar 96,354; Pune 11,55,664 from 5 cinemas, Kolhapur 1,55,000, Solapur 2,68,610 (90.67%), Satara 1,54,067 (83.68%); Hubli 100%, Belgaum 100%, Dharwad 100%; Delhi 35,18,102 (90.01%) from 8 cinemas (1 on F.H.); Lucknow 2,70,487 (100%), Agra 2,10,304, Meerut (6 days) 1,83,795, record, Bareilly (6 days) 1,56,513, Gorakhpur 1,72,000 (85.57%); Calcutta (6 days) 17,40,103 from 17 cinemas (15 on F.H.); Nagpur 6,46,550 from 4 cinemas, Jabalpur (6 days) 1,50,135, Akola 1,78,500, Bhilai (6 days) 1,28,159, Jalgaon (6 days) 1,45,988; Bhopal 3,45,386 from 2 cinemas, Ujjain 99,345; Bikaner 2,15,868; Hyderabad 30,61,516 from 12 cinemas (1 in noon, 1 on F.H.), share 17,55,000; Vijayawada 3,34,455, Guntur 1,47,636.

Daadagiri has done quite well in several centres other than major cities. 1st week Bombay 20,46,449 (65.25%) from 12 cinemas (6 on F.H.); Rajkot 49,000; Delhi (6 days) 13,96,162 (55.18%) from 9 cinemas (2 on F.H.); Lucknow 83,499, Agra 87,037, Meerut 1,05,849, Bareilly 73,090 (47.45%), Gorakhpur 71,000 (47.92%); Calcutta (6 days) 6,44,252 from 10 cinemas; Nagpur 2,49,327 from 4 cinemas, Akola 1,08,094; Indore (6 days) 1,63,640 from 2 cinemas (1 on F.H.), Bhopal 1,51,439 from 2 cinemas; Jodhpur 2,10,000, Bikaner 85,881; Hyderabad 7,14,376 from 9 cinemas (3 in noon).

……….

Anaconda (dubbed) 3rd week Bombay 5,75,741 (70.68%) from 2 cinemas (3 on F.H.); 1st week Pune 1,45,096; Belgaum 1,21,198 from 2 cinemas; 3rd week Delhi (6 days) 2,39,812; 1st week Lucknow (E.) 1,37,641 (100%), Agra 2,00,113; 3rd Nagpur 2,26,757 from 2 cinemas; Hyderabad 1,45,553; Vijayawada (E.) 3 weeks’ total 1,50,508.

Yes Boss 4th week Bombay (6 days) 24,43,934 (76.68%) from 9 cinemas (3 on F.H.); Rajkot 82,161 from 2 cinemas (1 in matinee), Jamnagar 46,936, total 2,72,130; Pune 2,98,110 from 3 cinemas (1 in matinee), Solapur 77,278 from 2 cinemas (1 in matinee), 3rd week Satara 34,734 from 2 cinemas (1 in matinee, 1 in daily 1 show); 4th week Hubli 72,347, Belgaum 73,254, 3rd Karwar 41,267; 4th week Delhi (6 days) 12,60,816 from 6 cinemas; Lucknow 2,00,816, Bareilly 21,850 (14.67%), Gorakhpur 35,000; Rohtak 8,289; Calcutta (6 days) 1,37,958; Nagpur 82,075 from 2 cinemas, Jabalpur 67,563, total 4,11,431, 3rd week Chandrapur 50,554 (2nd 68,746), total 2,45,961; 4th week Bhopal 84,444; Hyderabad 3,75,199 from 2 cinemas (1 in noon); 1st week Visakhapatnam 1,56,044, Nellore 1,82,668.

Gupt 6th week Bombay (6 days) 9,70,016 (72.38%) from 5 cinemas (3 on F.H.); Jamnagar (matinee) 9,500; Pune 4,62,238 from 3 cinemas (1 in matinee), Solapur 74,278, 1st week Barsi 57,302 from 2 cinemas (1 in daily 1 show), 4th week Satara 69,412 from 2 cinemas (1 in matinee); 1st Bijapur 89,600; 6th week Delhi (6 days) 2,70,254; Lucknow (35 shows) 1,43,498, Agra 1,15,890, Bareilly 27,664 (12.60%), Gorakhpur 37,000, 3rd week Hardwar 28,000 (2nd 39,768); 6th week Calcutta (6 days) 1,20,206; Nagpur 74,714, 5th week Amravati 82,593, total 6,79,375, 6th week Akola 35,062, total 4,33,791, Bhilai 30,092, 3rd week Durg 36,749, 5th Jalgaon 43,129; 6th week Indore (6 days) 93,000, Bhopal 65,296; Hyderabad 4,00,901 from 3 cinemas (1 in noon).

Border 9th week Bombay (TF, 6 days) 12,01,290 (77.13%) from 5 cinemas (4 on F.H.); Baroda (TF) 53,648, 7th week Rajkot (TF) 1,25,615, 9th Jamnagar (noon, TF) 10,026; Pune (TF) 6,52,286 from 4 cinemas (1 in matinee), Kolhapur (TF) 97,324, Solapur (TF, matinee) 34,574, 5th week Barsi (TF, 7 shows) 10,347, 8th Satara (TF, matinee) 13,603; 9th week Belgaum 33,964; Delhi (6 days) 15,91,218 from 8 cinemas (1 unrecd.); Lucknow 2,68,016, Agra 56,460, Gorakhpur 65,000; Rohtak 17,100; Calcutta (6 days) 49,219; Nagpur (TF) 1,35,225, Jabalpur 67,288, total 15,01,621, Akola (TF) 89,224, total 11,09,756, 4th week Bhusawal (TF) 60,000, 2nd week Gondia 72,817, total 1,66,269, 9th Chandrapur (TF) 70,004, 3rd week Sagar (5 days) 44,685; 9th week Indore (6 days) 86,745, Bhopal 91,111; Hyderabad 2,89,852 from 2 cinemas (1 in noon); Vijayawada 2 weeks’ total 4,63,488, Guntur 3,82,902.

‘JUDAAI’ JUBILEE

Boney Kapoor’s Judaai is celebrating silver jubilee at 12 centres this week. The places where it has entered 25th week are Bombay, Ahmedabad, Baroda, Surat, Rajkot, Bhavnagar, Pune, Solapur, Kanpur, Hyderabad, Aurangabad and Latur. Directed by Raj Kanwar, the film stars Anil Kapoor, Sridevi, Urmila Matondkar, Kader Khan, Farida Jalal, Paresh Rawal and Johny Lever. Music: Nadeem Shravan. Lyrics: Sameer. It is produced by Surinder Kapoor.

PAKISTAN BESTOWS HIGHEST AWARD ON DILIP KUMAR

Dilip Kumar was honoured with Pakistan’s highest civilian award, ‘Nishan-e-Imtiaz’, on the occasion of the golden jubilee of its Independence. Melody queen of yesteryears, Noorjehan, was similarly honoured.

Dilip Kumar, who is among 59 persons who have been honoured with various Pakistani civilian awards by President Farooq Ahmed Khan Leghari, is the first Indian actor to have been conferred with the highest Pakistani civilian award. This, despite the fact that the screening of Indian films is banned in Pakistan since 1965.

Simultaneously, at the golden jubilee celebrations of its Independence day, Pakistani premier Nawaz Sharif called for peace with India.

Gulshan Kumar Gunned Down By Terrorists

Music industry king Gulshan Kumar was shot dead at about 10.30 a.m. on 12th August by two youths near a temple off the Juhu Versova Link Road at Andheri, Bombay. He was 41 years old.

Four persons, including Gulshan Kumar’s driver, were injured. All four are out of danger.

The music baron was stepping into his Maruti Esteem after offering prayers at a small Shiva temple which he himself had helped build some years ago, when he was pumped with 15 bullets. According to the crime branch of the police, the killers are believed to be members of the Abu Salem faction of the Dawood Ibrahim gang. It is believed that Gulshan Kumar was shot dead because he refused to part with “protection money” of several crores of rupees which the Dubai-based gang wanted to extort.

The assailants are believed to have fired with sten guns. Gulshan Kumar ran for cover towards a neighbouring chawl and tried to enter one of the tenements but a panic-stricken resident shut the door on him. He then tried to enter a nearby room but was followed by the killers who pumped him with bullets. He slumped to the ground, blood oozing out of his body. The killers fled in a taxi after forcing its occupants and driver out of the vehicle.

The bleeding music tycoon was rushed by shocked local residents to Cooper Hospital where he was declared dead on arrival.

Gulshan Kumar had reportedly sought protection from the Uttar Pradesh police but had made no formal or even verbal complaint to the Bombay police. Due to his business interests in Delhi and Bombay, he kept shuttling between the capital city of India and its commercial capital and maintained houses and offices in both the cities. His bodyguard, provided by the U.P. police, had been absent from work for the past two days due to illness.

Gulshan Kumar’s murder has taken place within 20 days of the abortive bid on the life of director Rajiv Rai. News of Gulshan Kumar’s death spread panic in industry circles. The horrified Bombay film industry observed a Black Day on 13th to protest against the growing insecurity of their members and the growing terrorism. All production activities in Bombay were suspended on Wednesday in a show of solidarity. Cinemas, however, continued to function.

EMOTIONAL FAREWELL FOR GULSHAN KUMAR

The body of Gulshan Kumar was taken from Bombay (where he was gunned down) to Delhi on 13th August and consigned to flames at Nigambodh Ghat the same day. Emotional scenes were witnessed when his son lit the funeral pyre. Earlier, mortal remains of the music industry king were mounted on a bedecked truck which was brought to the ghat in a huge procession from his residence.

SECURITY FOR INDUSTRY PEOPLE BEEFED UP

Perturbed by the spate of threats to the lives of industry people and petrified by the murder of Gulshan Kumar on 12th August by the Abu Salem faction of the Dawood Ibrahim gang, the film industry held a meeting on 13th at IMPPA House to demand police security for it and to protest the killing. The meeting was attended by a number of industry bigwigs.

A delegation of the film industry called on Maharashtra dy. chief minister Gopinath Munde at Mantralaya on 14th August to impress upon the government the need to step up security for film people. Munde, who holds the home portfolio, assured the industry that the state government would not let anybody hold the film industry to ransom. He told press persons that protection was already being given to seven artistes, including Amitabh Bachchan.

Munde also explained that apart from giving protection to individuals, the city police would also be asked to ensure adequate security in and around film studios. He appealed to producers and artistes to inform the police about threats from gangsters, and ensured that protection would be given as soon as complaints were received by the police. He also informed that while one of the four killers of Gulshan Kumar had been arrested on 13th August and remanded to police custody till 27th August by additional chief metropolitan magistrate Veer Singh Taware, the others would be nabbed soon.

AMARLAL CHHABRIA NO MORE

Producer Amarlal P. Chhabria expired on 12th August at a private nursing home in Bombay where he had been admitted for a liver problem. He had not been keeping well since the last few months. He was 58 and is survived by his wife, two sons, a daughter and two brothers.

Amarlal had made several films of which Kunwara Baap, directed by Mehmood, was a runaway hit. He also financed Mehmood’s Do Phool and Sabse Bada Rupaiya. He had a long association with Mehmood whose Ginny Aur Johny was also produced by Amarlal Chhabria. Among the other films produced by him are Janta Hawaldar, Patton Ki Bazi, Sannata, Mujhe Shakti Do and Lamboo Dada. At the time of his death, he was producing Honeymoon, a serial for Zee TV.

Amarlal had introduced playback singer Anwar in his Janta Hawaldar. He had also given break to music director Rajesh Roshan in Kunwara Baap.

His chautha was held on 15th August in Bombay.

HARMEET KATHURIA DEAD

Film journalist Harmeet Kathuria passed away in Jammu on 11th August. He had not been keeping good health for quite some time and had gone to Jammu to meet his parents.

Harmeet used to write for several magazines. Many years ago, he used to write the column ‘Information Meets’ in Film Information in which he used to interview film personalities. Harmeet was a bold writer and used to write as fearlessly as he used to speak bluntly.

PRODUCTION NEWS

‘Haseena Maan Jayegi’ Shooting Starts

Director David Dhawan will start the initial shooting schedule of Rahul Productions’ Haseena Maan Jayegi on Aug. 17 in Bombay. Many scenes will be picturised in a bungalow at Madh Island and different locations, featuring Govinda, Satish Kaushik and Kader Khan. Sanjay Dutt and Karisma Kapoor play the other leading roles. One more heroine is to be finalised. Anupam Kher plays a key role in the film which is being presented by Bharat Shah and produced by Smita Thackeray. Music by Nadeem Shravan, story-screenplay by Yunus Sejawal and Imteyaz Hussain, lyrics by Sameer, dialogues by Rumi Jafri, cinematography by K.S. Prakash, editing by A. Muthu, and sound by Vinod Potdar are the other major credits.

‘Gharwali Baharwali’ In Nepal, Hyderabad

Director David Dhawan will start a month-long shooting schedule of Tutu Films’ Gharwali Baharwali from Aug. 20 in Nepal and Hyderabad. A song and many scenes will be picturised featuring all the artistes. With the conclusion of this schedule, the entire talkie portion of the film will be complete. Starring Anil Kapoor, Raveena Tandon, Rambha, Satish Kaushik and Kader Khan, the film is being produced by Tutu Sharma. It has music by Anu Malik, and is being written by Rumi Jafri. Cinematography by K.S. Prakash, editing by A. Muthu, lyrics by Nitin, and art by Ashok Kumar are the other major credits.

‘Hindustan Ki Kasam’ On Indo-Pak Border

Devgans Films’ Hindustan Ki Kasam is currently being shot in Delhi, Agra, at the Golden temple in Amritsar and the Indo-Pakistan border. The proceedings and celebrations of 50 years of India’s independence are being captured on camera in Delhi and Agra for the film. It stars Amitabh Bachchan, Ajay Devgan, Sushmita Sen, Farida Jalal, Shakti Kapoor, Shahbaaz Khan, Navin Bawa and Gulshan Grover. It is being produced and directed by Veeru Devgan, and presented by Bharat Shah. Writer: Janak Hriday. Music: Sukhwindara Singh. Lyrics: Anand Bakshi.

YOU ASKED IT

When you earn foreign exchange in US dollars as licence fee for export of films, what benefits do you get, now that the system of granting of import licences against such earnings has been discontinued?

– The exporter gets duty drawback to the tune of about Rs. 7,500/- to Rs. 9,000/-per print.

Why did a film like …Aur Pyar Ho Gaya have a bumper advance booking in Bombay and Delhi but not get even a decent opening in C.P. and C.I.?

– The craze for the film was mainly due to Aishwarya Rai, the ex-Miss World. The concept of beauty queens is quite alien (yes, it’s true!) in towns and smaller places. Secondly, even though it stars Bobby Deol, the film is a love story devoid of action.

Don’t you think the percentage ratios of various circuits need to be re-defined?

– Yes, if you look at the businesses of recent releases like GUPT, PARDES, JUDAAI, MAACHIS, KOYLA, YES BOSS, HERO NO. 1, etc., you will notice that businesses of the various circuits don’t match their ratios. Therefore, percentages of the different circuits need re-definition.

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Education-Entertainment-Enlightenment

Panic As Never Before

The film industry is in the grip of panic as never before, following the murder of Gulshan Kumar. Its members have been receiving threatening calls, and the attempt on Rajiv Rai’s life three weeks back had sent shock waves in the industry. The gunning down of music baron and producer Gulshan Kumar on 12th August has left the industry completely speechless. Financiers, especially, are withdrawing as they don’t want to come in the limelight. Repercussions of Gulshan Kumar’s murder are going to be felt for months to come as the already tight money market will become tighter still. Tough days are ahead for the industry.

Bobby’s Hat-Trick In C.I.

So, Bobby Deol has completed his hat-trick. …Aur Pyar Ho Gaya is his third release and this one too, like his earlier two films (Barsaat and Gupt) did not get a decent opening in C.I. Poor Bobby, he had better visit the Mahakaal temple in Ujjain (which falls in C.I. territory). Maybe, thereafter, his films will get better openings in C.I. By the way, …Aur Pyar Ho Gaya had a dull opening (on Thursday) in C.P. Berar and U.P., too.

A ‘Ban’tastic Award

That Dilip Kumar has been honoured with the highest civilian award of Pakistan, ‘Nishan-e-Imtiaz’, is a matter of joy for the whole of India. After all, it is the first time that an Indian actor has been conferred with the award. But it is also paradoxical that while Pakistan has chosen an Indian actor to receive the award, it has banned the screening of Indian films since 1965. Dilip Kumar or, for that matter, no Indian star is permitted to act in a Pakistani film or even perform on stage in that country. On the other hand, India has permitted Pakistani artistes to act in Indian films and also perform in India. Quite rightly then has Film Federation of India (FFI) secretary K.D. Shorey remarked, “Dilip Kumar should either decline to accept the Pakistani award or use the opportunity to make the Pakistani government lift its over-30-year-old ban on the Indian films and artistes.”

Urmila’s South Connections

Urmila Matondkar, who shot to stardom with Rangeela, has had South connections ever since. Rangeela was directed by South-based Ramgopal Varma. Her next release, Judaai, was the remake of a Telugu hit, Shubhlagnam. Mere Sapno Ki Rani, released this week, is also a remake — that of the Telugu blockbuster, Pelli Sandadi. And due for release next week is Daud, again directed by Ramgopal Varma. Incidentally, Varma has just recently shifted base to Bombay.

HAZAAR CHAURASI KI MAA

Udbhav’s Hazaar Chaurasi Ki Maa (A) is the story of the mother of a revolutionary boy who is part of the Naxalite movement in Calcutta. The mother is unaware of her son’s activities till after he is killed. To find out more about him and his work, she goes to meet the mother of a friend of his (who was also killed alongwith her son) and her son’s girlfriend. Both of them throw light on her son’s activities and she understands him better after his death. Ultimately, the mother also becomes a human rights activist. But before that, she emerges as a bold lady who is quite different from the traditional, submissive, unprotesting, tolerant upper-middle class wife and mother working in a bank.

The film, based on Mahasweta Devi’s Bengali novel, is aimed at the elite audience and connoiseurs of art cinema. The story itself has little entertainment value and is depressing, besides being thought-provoking. The pace is extremely slow and it moves on a single track. There are no songs, no comedy, no romance.

The narration has some scenes which move the viewer, a couple of them even stun him. For instance, the climax, in which the mother catches the leg of the killer tight and does not let him escape, the scene in which she identifies the corpse of her son, the scene in which the mother of her son’s friend recounts her agonising tale, the brutal murder of the four friends in front of the parents of one of them etc. Dialogues are natural to the core.

Jaya Bachchan excels in the role of the sensitive mother. She guards against going overboard and performs wonderfully. Seema Biswas is also superb as the mother of the friend of Jaya’s son. Nandita Das, as the son’s beloved, is excellent and very natural. Joy Sengupta is very good as the son. Anupam Kher does a fine job. Milind Gunaji and the others lend good support.

Director Govind Nihalani’s narration of the subject is such as would appeal to the class audience only. Background score is effective. Camerawork is very nice. Technical aspects are of a good order.

On the whole, Hazaar Chaurasi Ki Maa is a slow fare for select cinemas in very select cities only. Its commercial prospects are as grim as the subject it tackles.

Released on 19-3-’98 at Metro and on 20-3-’98 at 1 more cinema of Bombay thru Shringar Films. Publicity: quite good. Opening: poor.

NOW IN BOMBAY
BADA DIN

Gramco Films’ Bada Din is about an aspiring singer who couldn’t care less about anybody else in the world. He suddenly finds himself protecting a young eye-witness to a murder because the police fails to give him protection. When confronted by the murderers, he even musters courage to give them a tough fight and declares that he has become a fearless man now.

The film has a Christian backdrop as two principal characters are Christian. That itself limits the film’s prospects to a large extent. Further, the drama moves on almost a single track, the other tracks being there just for namesake. The treatment of the offbeat subject is of the kind which would be appreciated by very select audience. The film’s pace is slow and at the end of it, one gets the feeling of it being much ado about (almost) nothing. Dialogues are alright but several dialogues are spoken in English, and that limits their appeal.

Shabana Azmi plays the Christian lady with aplomb. She is as natural as natural can be. Mark Robinson acts with confidence in his first film but dances quite awkwardly. He doesn’t look the traditional hero. Tara Deshpande has a small role and is okay. Abhay Chopra plays the villain ably. Sanjay Pathak is effective. Alok Nath is superb as the main villain, Irfan Khan, Pramod Singh and the rest of the cast provide good support.

Anjan Dutt’s shot takings are good but his handling of the dark subject is aimed at ‘entertaining’ the class audience only. Music (Jatin Lalit) is very good. ‘Meri aankhon mein tum ho’, ‘Suno zara’ and ‘Na koi tera’ are very well-tuned songs. Camerawork is good. Production values are so-so. Technically, appropriate.

On the whole, Bada Din has nothing big about it except its title. Returns, too, will be very small.

Released on 20-3-’98 at Minerva thru Gramco Films. Publicity: average. Opening: poor.

RAJASTHANI CINEMA’S FIRST LYRICIST, DIALOGUE WRITER DEAD

The first dialogue writer and lyricist of Rajasthani films, P.N. Sharma, expired on 16th March in Jaipur due to old age. He was 95.

Better known as Dr. Prabhu Narayan Sharma ‘Sahriday Natyacharya’, he wrote the songs and dialogues of the first Rajasthani film, Nazrana, made in 1942. He was also an author and dramatist. Thirty books written by him, have been published. Sharma also wrote, directed and acted in several Sanskrit and Hindi stage-plays. It was for his contribution to Sanskrit and Hindi stage that he was conferred the title of Natyacharya in 1934.

NEW CINEMA IN AURANGABAD

A new cinema, Nupur Cinetorium, will open on Gudi Padwa day (28th March) in Aurangabad near CIDCO fire brigade in the Radhika shopping arcade. Owned by Rajesh Patel, it has a seating capacity of 1,002 and is equipped with Ultra Stereophonic and DTS sound systems and a modern projector which been installed by Monee & Co. The cinema will be thrown open to the public from 3rd April. It is air-cooled and is the 14th cinema in Aurangabad.

LARGE ATTENDANCE AT SIPPY’S DAUGHTER’S WEDDING RECEPTION

Priya, daughter of Bombay distributor Ramesh Sippy, got married to Rajeev on 17th March. The reception at NSCI, Bombay, was very well-attended by industry people.

For The First Time, Perhaps….
….Dada Kondke’s Name Brought Tears To The Eyes

Dada Kondke, the comedy king of Marathi films, died of a heart attack in the early morning hours of 14th March. He suffered the attack at his residence and was rushed to a hospital in Dadar, where he was pronounced dead before admission. Dada was 66 and single. He was cremated the same day.

Born in 1932, Dada’s real name was Krishna as the day of his birth happened to be Gokul Ashtami. Actor-producer-director-writer Dada Kondke was well-known for his brand of comedy films and double-meaning dialogues. He played the role of a village bumpkin to perfection, his innocent face and his trademark half-pant attire, complete with a string hanging down, adding to his character. For connoiseurs of Dada’s films, the very mention of his name brought a smile to their lips.

Dada Kondke had made 15 Marathi films, besides four in Hindi and two in Gujarati. His Marathi films were Songadya (which had the all-time hit song, Kay ga Saku, bola Dajiba). Ekta Jeev Sadashiv, Andhala Marto Dola, Pandu Hawaldar, Tumcha Amcha Jamla, Ram Ram Gangaram, Bot Lavin Tithe Gudgulya, Hyoch Navra Pahije, Aali Angavar, Muka Ghya Muka, Mala Gheoon Chala, Sasarcha Dhotar, Wajvoo Ka?, Yevoo Ka Gharat and Palva Palvi. His Hindi films were Tere Mere Beech Mein, Andheri Raat Mein Diya Tere Haath Mein, Aage Ki Soch and Khol De Meri Jubaan. His nine consecutive Marathi films had celebrated silver jubilee (some of them were even golden jubilee hits), a feat that found a mention in the Guinness Book of World Records.

Dada is survived by his sister and nephew, Vijay Kondke, also a producer-director. He had just recently decided to dub his Marathi films in Hindi and was, in fact, dubbing Aali Angavar at the time of his death.

Like his films, Dada used to make people laugh with his stock of jokes and wit and humour. He used to tell of his attempt to sign a leading Hindi film actress years ago. The actress in question quoted him an abnormally high price which Dada agreed to pay. But when she was told by Dada that he would be her co-star, she refused and asked to be cast opposite a better hero. Upon which, Dada is said to have demanded back the signing amount he had paid her, telling her that he had agreed to pay her more than her market price, only because she would have to star with a person with an ugly face. Dada’s favourite co-star in Marathi films was Usha Chavan with whom he acted in 10 films. She was also his co-star in his first two Hindi films.

Dada owned two studios, one at Ingavli and the other at Khadakvasala near Pune. He also had distribution offices in Bombay and Amravati.

AKBAR BAKSHI NO MORE

Well-known action director Akbar Bakshi passed away on 19th March in Bombay at his residence following a heart attack. He was 48 and is survived by his wife, a son and a daughter. He was cremated the same day.

Akbar had composed the action for almost 75 films. He was the favourite action director of Akshay Kumar and had composed the stunts for almost all his films including the daredevil ones in Sabse Bada Khiladi, Khiladiyon Ka Khiladi and Mr. & Mrs. Khiladi. Among the other films he had directed the stunts for were Paanch Paapi, Aakhri Ghulam, Kala Dhanda Goray Log, Nagina, Khiladi, Dilwale Dulhania Le Jayenge, Insaaf, Tarazu, Baazigar, Yes Boss, Main Khiladi Tu Anari, Gambler, Karmyoddha and 2001. He used to assist Mohammed Ali before he turned independent with Pahlaj Nihalani’s Paap Ki Duniya, directed by Shibu Mitra.

Umesh Mehra described Akbar Bakshi as a hardworking and technically sound action director who used to plan things properly. Akbar had also composed the fights in two English films, The Far Pavilions and Queenie, and a Bengali film of actor Prasenjit. Among his forthcoming complete and incomplete films are Keemat, Duplicate, Angaaray, Barood, Soldier, Shivam, Baadshah and Meri Biwi Ka Jawab Nahin.

PREM SETHI DEAD

Producer Prem Sethi expired on 14th March at Nanavati Hospital in Bombay where he had been operated upon for a spinal ailment. Although the operation was successful, Sethi passed away on the morning of 14th following some complications. He was 70 and is survived by a wife, two sons and a daughter. He was cremated the same day.

Prem Sethi had produced films like Mastana (with Motilal as hero), Pocketmaar, Sharabi (both starring Dev Anand) and Gumrah (starring Subhash Ghai).

C.S. OZA DEAD

C.S. Oza of Jalaram Films, Indore expired on 19th March in Indore. He had been suffering from cancer.

YOU ASKED IT

The government denied permission for shooting Seven Years In Tibet in India for political reasons but now, the film has been passed by the CBFC for screening in India? How is it?

– The permission not granted was for shooting. The CBFC may have considered it fit for exhibition, so it cleared the film.

It is said that production has declined in the past 2-3 years, yet the number of releases every year is almost the same. How is that possible?

– In the past two to three years, the number of dubbed films hitting the screens has increased. Besides South films, we also have Hollywood films being dubbed in Hindi now. Therefore, even though film production has decreased, the number of releases hasn’t.

Who is the number 1 music director today?

– There’s none who can claim to be the numero uno among music directors. Nobody has the consistency to entitle him to claim the no. 1 title.

FILM INDUSTRY MINISTRY

Prime minister: Santosh Singh Jain

Home minister: Sreedevi

Information & Broadcasting minister: Harish Sughand

(Cultural) Affairs minister (read that: Love Affairs): Pooja Bhatt

Deputy (Cultural) Affairs minister: Manisha Koirala

(External) Affairs minister: Chunkey Panday

Finance minister: Bharatbhai Shah

Defence minister: Amitabh Bachchan (he has to always defend himself and ABCL)

Deputy Defence minister: J.P. Dutta

Education minister: Govinda

Law & Justice minister: Sanjay Dutt

Deputy Law & Justice minister: Aditya Pancholi (for always taking law in his hands)

Human Resource Development minister: Asha Chandra

Food minister: Guddi Maruti

Health minister: David Dhawan

Commerce minister: Boney Kapoor

Industry minister: R. Mohan

Textile minister: Mamta Kulkarni (you know why!)

Tourism minister: Yash Chopra

Deputy Tourism minister: Mithun Chakraborty

Railway minister: Manoj Kumar (he never travels by aeroplane)

Ministers for Science & Technology: Ram Gopal Varma & Shankar

Power minister: G.P. Sippy (for, he is most power-hungry)

Forest minister (read that: Jungle minister): Dinesh Patel

Telecommunications minister: Anupam Kher (for his love for the phone)

Speaker: Nana Patekar (forget Khamoshi!)

DO YOU KNOW?

* Financier Dinesh Gandhi can swear by Mehul Kumar’s honesty. That is why his finance arrangements with Mehul Kumar used to be all oral with nothing being signed or sealed. For one of his films (financed by Dinesh Gandhi), Mehul Kumar had sold off two prints (taken out for Saurashtra; the film was being distributed in Saurashtra by Mehul Kumar) to the Orissa distributor of the film, and he showed the receipt of money from the Orissa distributor, in the account submitted to Gandhi. Dinesh Gandhi was thrilled beyond words by Mehul Kumar’s honesty, and complimented him for it, saying that had the transaction not found a mention in the statement, he (Dinesh Gandhi) would never even have known that it had taken place. In other words, Mehul Kumar could have pocketed the money, but preferred not to do it. Honesty is still the best policy for some!

* India’s new home minister, Lal Krishna Advani, had in 1977, performed the muhurt ceremony of J.G. Mohla’s (father of producer Madan Mohla) film, YOGESHWAR KRISHNA. Although the film never got completed, it starred top names like Dharmendra, Vinod Khanna and Shashi Kapoor, and was to have been directed by Ramanand Sagar. It was launched at Natraj Studios. At that time, L.K. Advani was the I & B minister, and Morarji Desai, the prime minister. Incidentally, Morarji Desai had worked on the script of YOGESHWAR KRISHNA with J.G. Mohla.

* Rajesh Roshan’s music score in Dinesh Gandhi’s Jackie-Akshaye Khanna-Manisha starrer, LAAWARIS, is very good. Of the five songs recorded, two should become very popular once the music is released. One more song may be added. Incidentally, no song has been picturised on Jackie and his co-star, Dimple Kapadia.

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Education-Entertainment-Enlightenment

Flexibility, Tutu Style

Producer Tutu Sharma has decided not to be rigid about the release date of his film, Gharwali Baharwali. He would rather come in a week in which there aren’t any other big films scheduled for release than clash with one or more biggies. Say he, “I’ll be ready for release by mid-May but I’ll wait for a clear week. I have no ego problems and I don’t mind postponing my film by one, two or more weeks if another or other films are announced for the week in which I’ve planned my release. I’ll not indulge in the usual ‘Why should I postpone my films?’ or ‘If the other guy is scared, let him postpone his release, I’m not scared of anyone’ type of comments. It’s so silly, we indulge in such ego talks and, in the process, get big films to release simultaneously, thereby cutting into each other’s collections. What is the sense? Let us also think about our distributors because it is they who would suffer more due to ego hassles between producers.” Right, Tutu, right. There indeed is no sense in such clash of releases. If more producers thought like Tutu, it would be really nice.

Two Together

Producers Indra Kumar and Ashok Thakeria are planning to start not one but two films, both to be directed by Indra Kumar. While the first will star Aamir Khan and a heroine (to be finalised), the other — Rishta — will have Anil Kapoor paired with two girls. And before you think, these two films will take four years to complete, let it be said that it won’t be so. The Aamir starrer will be launched in June with a 45-day shooting schedule, and Rishta will go on the sets in August. Both will be completed fast which, for Indra Kumar, should be a record. Yes, Indra is out to prove that he doesn’t need years to complete a film. And yeah, for the Aamir starrer, the duo has signed a new duo to score music. It is music director Shravan’s sons, Sanjeev and Darshan, who will be providing music in the film. “They are damn good,” is how Ashok Thakeria describes the talented team of Sanjeev-Darshan.

Confidence, Bokadia Style

Barely has K.C. Bokadia completed Hitler and is on the verge of completing Lal Baadshah (directed by himself) than he is already planning two or three more projects. One film that he will direct will star Sunny Deol (in a special role) and Arshad Warsi. It is being produced by film agent and producer B.R. Sahni’s nephew. Bokadia has a couple of other projects in mind, which may or may not be directed by him. In the meantime, with a few days’ shooting remaining to complete Lal Baadshah, he is already on to its post-production work and is dead sure that he will manage a May release for the film. About no other film has Bokadia been so sure as he is about Lal Baadshah. Unlike many producers who are secretive about their film before release, Bokadia doesn’t mind showing friends scenes and songs from the film. That’s confidence, baadshah style!

Public Or Private Choice?

The Zee Cine awards which were presented last week profess to have been decided by the public. Can the public be so foolish as to not vote for Tabu either in the best actress or best supporting actress category for her performance in Virasat? Compare her non-inclusion in any category with the inclusion of Sapna Bedi and Shrabani Mukerji (both for Border) in the supporting actress category. Sapna Bedi’s role was completely chopped off a few days after the release of Border, and Shrabani hardly had a role to perform. Then how did the public vote for the two girls? Likewise, while Anil Kapoor was not nominated for the best actor award for his performance in Virasat, an inconsequential actor like Rajeev Goswami in an insignificant role in Border was nominated in the best supporting actor category. Did you ask, who Rajeev Goswami was in the film? Well, many people have been asking the same question. And Zee’s reply, obviously, is that it is the people’s choice. So much for the so-called democratic way of selecting the award-winners! No, people are not so stupid . Then who is? Let the people decide now.

Boney Oopar Neeche

Producer Boney Kapoor these days oopar neeche ho raha hai. Literally! No, not because a very long shooting schedule of his Pukaar is in progress but because the shooting of his Sanjay Kapoor starrer will also begin next week. But why ooper neeche? Well, because the Sanjay starrer will be shot ooper — in Delhi, that is — and Pukaar is being shot neeche — in Hyderabad.

LATEST POSITION

DIL SE.. has been rejected by the classes as well as the masses. It will put distributors and exhibitors to heavy losses. It has done somewhat better in Bombay and South. The Telugu dubbed version is also weak.

Dil Se.. has been rejected by the audience despite its hit music. Although it has done well in the first week in Bombay, Delhi, some centres of U.P. and in South, it will entail losses to the tune of about 60 lakh to a crore per major territory. 1st week Bombay 66,25 958 (91.20%) from 13 cinemas (9 on F.H.); Ahmedabad 12,40,017 from 6 cinemas, Vapi 2,56,062, Padra 1,56,006, Rajkot 1,60,468, Jamnagar (matinee) 27,492; Pune 11,95,029 from 6 cinemas (3 in matinee), Kolhapur 2,17,000 (1 unrecd.), Solapur 3,23,775 from 2 cinemas; Hubli 100%, Belgaum 100%; Delhi 52,41,206 (88.99%) from 10 cinemas; Kanpur 3,33,570, Lucknow (6 days) 3,20,471, Agra 2,35,400, Varanasi 1,97,165, Allahabad 1,75,000, Meerut (6 days) 1,81,489, Bareilly (6 days) 1,23,677 (64.60%); Calcutta 23,07,967 (69.93%) from 16 cinemas (8 on F.H.); Nagpur 7,89,592 from 4 cinemas, Jabalpur (6 days) 1,51,774, Amravati 1,82,659, Akola 1,36,469, Raipur (6 days) 1,51,820, Jalgaon (6 days) 1,09,970, Bilaspur (6 days) 1,22,870; Indore (6 days) 3,53,402 from 2 cinemas (2 on F.H.), Bhopal (6 days) 3,07,532 from 2 cinemas (1 on F.H.); Hyderabad 43,40,353 from 17 cinemas.

………

Godzilla (dubbed) 3rd week Bombay 5,95,152 from 2 cinemas; Ahmedabad 1,99,347 from 3 cinemas, Baroda (Hindi & Eng.) 1,30,108, Rajkot 1,00,500; Pune 1,95,474; Delhi 16,05,434 from 7 cinemas; Kanpur 80,156, Lucknow 1,77,193, Agra 72,000, Varanasi 86,033, Allahabad 29,338; 1st week Rohtak 10,270; 3rd week Nagpur 2,10,372, 1st week Jabalpur 57,742, Akola 49,542.

Pyaar To Hona Hi Tha 5th week Bombay 22,75,065 (97.70%) from 5 cinemas (6 on F.H.); Ahmedabad 86,421 (2 unrecd.), Rajkot (matinee) 15,507 (1 unrecd.), Jamnagar 75,803; Pune 6,04,096 from 4 cinemas (1 in matinee), Kolhapur 65,724, Solapur 89,276; Delhi 15,45,063 from 7 cinemas; Lucknow 2,26,678, Varanasi 1,05,898, Allahabad 62,000, Meerut (6 days) 89,973, 3rd week Bareilly 51,114 (22.70%), 5th week Hardwar 24,544; Calcutta 3,74,431 from 4 cinemas; Nagpur 1,76,049 from 2 cinemas, 3rd Jabalpur 1,68,524, total 6,18,866, 5th week Amravati 81,247, Akola 91,144 (4th 1,27,320), total 6,86,718, Raipur 93,369, 2nd week Yavatmal 84,268; 5th week Indore 1,51,429 (1 on F.H.), Bhopal 1,13,197; 3rd week Bikaner 1,04,278; 5th Hyderabad 5,07,417 from 4 cinemas.

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Godzilla (English) 3rd week Bombay 5,07,970 (69.59%); Delhi 7,83,950 from 2 cinemas; Calcutta 2,05,177; Vijayawada 3 weeks’ total 6,45,680.

CINE ARTISTES’ ASSOCIATION FINDS INFORMATION EDITORIAL DISTURBING

While Information‘s editorial last week, condemning the stars for remaining absent from the Bombay film industry’s rally against cable piracy on 18th August came in for a lot of praise for its boldness, frankness and honesty, the Cine & TV Artistes’ Association has taken strong objection to the same.

In a letter to Film Information, the honorary general secretary of CINTAA, Ram Mohan, has blamed Information of unnecessarily blaming the stars for utter lack of responsibility. The letter, quite strangely, asks of the editor: “Do you expect, my dear friend editor, that our stars should leave aside their shooting schedules and their other professional commitments?”

(Of course, we did expect that. After all, why else did the Action Committee cancel all production activities that day?)

The letter further adds: “Was it a rally to draw the government attention towards video piracy? Or was it a get-together of the stars? Or a tamasha to draw the public out of their homes on to the streets to collect donations for some drought or flood relief fund or defence fund?”

(Here, we’d like to ask Mr. Ram Mohan: If you justify the absence of stars, what were Aamir Khan, Madhuri Dixit, Salman Khan, Sunil Shetty and CINTAA president Asha Parekh doing at the rally? Creating a tamasha?!?)

The letter also requests us to desist from criticising each other at this “crucial juncture”.

(If it is such a crucial juncture, why did the stars not attend the rally, we ask again. A wrong must be criticised and will be criticised.)

SINGER SUNIDHI ROBBED

Singer Sunidhi Chauhan and her family were robbed by seven men at gun-point last week in Bombay. The armed men robbed their car, gold chains, rings, cellphone and other valuables worth Rs. 3 lakh. A complaint has been lodged at the Oshiwara police station in Bombay.

SAURASHTRA DISTRIBUTOR ATTEMPTS SUICIDE

Saurashtra sub-distributor Vasu Jayram (Deepa Films, Rajkot) attempted suicide last week but was saved in time. He was reportedly forced to take such a drastic step after running into huge debts following the flopping of some of his films. He is presently recuperating in a Rajkot hospital.

YOU ASKED IT

What repercussions will the flopping of Dil Se.. have?

– Distributors and exhibitors will brood over its failure for some more days and also swear that unrealistic prices are killing the industry. After that, everyone will forget about it and continue to pay crazy prices for films.

Will the industry rally of 18th August against cable piracy yield fruits?

– The government has made promises to the industry but it seems very unlikely that there will be implementation of what has been promised. This is India.

When will distributors stop ‘playing blind’ in the acquisition of films?

– Never! Very often, films are bought by distributors on announcement or while they are under-production. It has to be a blind game in such cases. When completed films are acquired, their producers may be unwilling to show the film to the prospective buyers. So, it’s again a blind game.

DO YOU KNOW?

* Chandan at Juhu, Bombay, has become a favourite cinema of a number of film stars who have been frequently seen enjoying their evenings there with friends and families. Madhuri Dixit, Abhishek Bachchan and Sanjay Khan are only a few names on the long list of Chandan’s high-profile visitors.

* SATYA (tax-free) has created a theatre and Khandesh record by collecting 1,62,374/- in 1st week at Ashok, Jalgaon.

* PYAAR TO HONA HI THA has collected an excellent 16,03,754/- in 5 weeks at Novelty, Lucknow. 5th week: 2,26,677/-.

* TITANIC (E.) has created a record by collecting 70,230/- in 1st week (21 shows) and 59,794/- in 2nd week (despite heavy rains) at Shivshankar, Miraj.

‘DIL SE..’: ZOR KA JHATKA LAGE AUR BHI ZOR SE..

Distributors of Dil Se.. all over except, perhaps, of Mysore circuit, are in for terrible losses.

Exhibitors of the various circuits are queuing up in their respective distributors’ offices, asking for compensation. Like the film’s distributors, the exhibitors, who paid fancy MGs or FHs, also stand to lose heavily.

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A new cinema, Sapna, was to open in Nasik with Dil Se.. on 28th August. The cinema owner, Sanwaldas Thakur, had paid a hefty MG amount to Bombay distributor VIP Enterprises. A part of this amount was paid by a post-dated cheque. Reportedly, the cinema owner was so shaken by the film’s debacle that he refuses to take the licence for starting the new cinema.

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Some cinemas in Gujarat, like Apsara in Baroda and Krishna in Padra, are repeating the hit Chhaiyyan Chhaiyyan song after interval. Their logic is that there’s no relief in the second half. Also, the song comes right at the start of the film, thereby diluting its impact. Besides, they argue that even where the song actually appears, it does so without a situation, so, even after interval, it can be repeated without any situation. Distributors of several circuits have become self-appointed editors and have reportedly heavily edited the film.

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Saurashtra sub-distributor Nanubhai had acquired both, Barood and Dil Se.., from VIP for a fantastic (combined) price. The combined loss will be more than 50% of his investment. Kasam se!

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In Delhi, an exhibitor of Hapur (U.P.) went to the office of Om Namah Shivay Enterprises, the distributors of Dil Se.. and Gunda. Asking for the booking, the exhibitor told the distributor that he would screen the film for just one week. The distributor tried to prevail upon him to screen it for 2 weeks at his cinema. “After all, Dil Se.. is such a big film,” argued the distributor. This shocked the exhibitor. He cried, “Dil Se..? Who has come here for Dil Se..? I’ve come to book Gunda!” The distributor didn’t know where to look!

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In C.I., the collections of Dil Se.. were disastrous everywhere. For example, in Dewas, collections were Rs. 700 against a capacity of Rs. 6,500 in some shows on the fourth day. Little wonder, the film has been discontinued in Dewas after just one week.

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In Rajasthan too, the scene was as ugly as in C.I. Fifth day’s collections in some cinemas of Jaipur were less than 40%.

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In Bihar, collections nosedived from 2nd and 3rd day onwards.

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A Bengal exhibitor joked about Dil Se... “It has a super hero, a super heroine, a super-hit director, super-hit music, super-hit choreography and super-hit opening. Everything is super. Even the losses are super-duper!”

*          *          *

An East Punjab exhibitor telephoned us to say that this is what distributors and exhibitors of Dil Se.. are singing:

Jiyaa jale
Jahan jahan chale..

3-E
Education-Entertainment-Enlightenment

Distributors’ Woes

Many distributors all over the country are getting disillusioned with their producers — and the flopping of their films is not the only reason. Actually, it is because of the current practice of keeping the film under wraps right till the day of its release. This is fast becoming a trend among film producers. Many producers have begun excluding even their distributors from having a dekko at the film! Very often, the poor distributors, even after investing huge sums of money in the film, do not get to see even a single frame before its release. Take the case of Mani Ratnam’s Dil Se... Not a single preview of the film was held for its distributors and exhibitors. Hence, when the film bombed so terribly, it caught its distributors completely unawares. Repeated occurrences of such types have finally forced the distributors to openly voice their protest at this “unfair” and “unethical” practice indulged into by producers. On the other hand, producers complain that if they hold trials of their films and if distributors do not like them, they start playing games with the producers.

Jitendra Jain, a leading C.I. distributor, compares today’s scenario with that of the past. He recalls how valued the opinions of distributors and exhibitors were to even a producer-director of such a stature as Dr. V. Shantaram. Says Jain, “Even though he distributed all his films himself all over India, he would still invite a number of distributors, exhibitors and friends for the previews of his films. After the previews, he would very seriously consider every suggestion made by them about improving/exploiting the film.” According to Jain, there was no compulsion of any kind on Shantaram to show his films to the distributors as he distributed them himself. But he did so only because he had a healthy respect for their opinions, a trait, sadly, missing in today’s producers, he laments. Jain also cites the example of the Barjatyas who likewise distribute their films themselves. Yet, they make sure that their films are previewed by distributors, exhibitors and friends much before their release. And their suggestions are taken seriously by the Barjatyas.

Finally, the point remains that even if a producer does not have respect for his distributors’ opinions, he must be obligated to show him the film, say distributors. If for nothing else, only because the distributor has invested money in the product. Sadly, this right is being denied to him, feel distributors of all India. Maybe, after seeing a film in a preview, a distributor can plan his release strategy better. But……..

Four New Cinemas For Jodhpur

Jodhpur residents will have four more cinemas for their viewing comforts. The owners of Kohinoor Cinema, Jodhpur, are building a cinema hall on the same road on which Kohinoor stands. It is expected to be ready soon. Permission to construct three more cinemas has already been sought. The work is expected to begin shortly on a cinema to be built on a plot between Kamla Nehru Nagar and Housing Board Colony. It will be owned by the Nasranis of Nasrani Cinema, Jodhpur. Jagdeo Singh Khalsa of Khalsa Theatre, Falna, is coming up with a 300-seat cinema hall on Sardarpura ‘B’ Road. The Bohra brothers (producers and exhibitors) have already set the plans in motion for a 200-seat cinema on the Jodhpur-Pali highway. This cinema will be part of a multiplex, complete with restaurants and other recreational facilities.

Manisha + Khan = Jinx

Our resident statistician is not in the least bit surprised over the dismal failure of Dil Se.. at the box-office. According to him, the film was destined to bomb the moment Manisha Koirala was signed opposite Shah Rukh Khan. His analysis indicates that the odds are always against the film that pairs Manisha with a ‘Khan’. To prove his point further, he provides the examples of Akele Hum Akele Tum, in which she was paired with Aamir Khan; Majhdhaar, Sangdil Sanam and Khamoshi, in which she starred opposite Salman Khan. Needless to say, all the four films were super-duds. Come to think of it, even the only earlier film in which she was paired with Shah Rukh Khan, Guddu, turned out to be a turkey at the box-office! So Dil Se.. was, perhaps, destined to go the Guddu way! Raj Kumar Santoshi is well aware of this ‘Manisha + Khan = Jinx’ equation. Maybe he would, therefore, steer clear of Manisha while casting a heroine for his film that stars not only one but two Khans (Aamir and Shah Rukh). Hmmm….. about time we took our resident statistician more seriously!

Rational Thinking Is Need Of The Hour

The debacle of Dil Se.. has sent tremors in the industry. While this is not the first film to have bombed, its resounding failure raises some pertinent points.

Were the producers justified in selling the film at the price of 2 crore per major circuit? If one were to go by the market forces of demand and supply, the price of 2 crore looks perfectly justified. But it is a wonder that our distributors, who constantly crib about the risk factor in their business, agreed to be dictated simply by the market forces and chose to overlook the risk in buying the film at the prohibitive price. Frankly speaking, the proposal looked tempting, what with Shah Rukh Khan, Manisha Koirala and Mani Ratnam’s names adorning it. To top it all, A.R. Rahman’s music score was a definite bait to lure buyers to strike a deal at even an otherwise unthinkable price.

But if the distributors would have thought rationally and not let emotions dictate terms, would they have really paid 2 crore for a film directed by Mani? After all, Mani Ratnam may have given hits but he has also delivered bombs. His Bombay was a super-hit but his Roja was only a sectional hit. A number of his other dubbed films like Anjali and Dalapathi and Hindi remakes of his Tamil hits, like Dayavan, have bombed miserably. Business prudence then should not have permitted distributors to pay the fancy money demanded by Mani and presenter Bharat Shah.

Even after having paid such a heavy price, what did the distributor get? A whole lot of suspense before the film’s release! No distributor was shown the trial of Dil Se.. till one day before its release. Not that seeing the film two or three days or even a week in advance would have made any difference to how it ultimately fared. But still, distributors did get a feeling of being cheated after having paid through their nose. Like the distributors, exhibitors too were groping in the dark. They too paid fancy terms to distributors and are, today, shedding tears of blood alongwith the distributors.

Coming to Mani Ratnam, how could he have been so careless and callous about his script? When his heroine was being shown as a terrorist, he should have at least taken care to show his hero in good light. But he chose to do the reverse. People are complaining that Manisha Koirala’s negative character is not easily digestible, but they are also disillusioned with the characterisation of Shah Rukh Khan. For, he too is a negative character in the film, maybe not as negative as Manisha but, nevertheless, negative. At least two points in the film bring out his negative traits. One, even after getting engaged to Preity Zinta, he is shown as trying to woo Manisha. Which means, if Manisha would have said “yes” to his advances, he would have dumped Preity — and for no fault of hers! That’s not like a Hindi film hero. Secondly, Shah Rukh is least concerned about the security of India, his primary aim being to coax Manisha to get married to him. That is why, his death in the climax failed to evoke the sympathy it should have. Indians don’t like selfish lovers, and Shah Rukh is shown as being exactly that. Further, there’s no repentance on his part for his selfishness.

It is because of faux pas such as these that the concept of script doctoring must come soon in India. Hollywood has script doctors, who are experts in their field. Writers, directors and producers there bury their egos when it comes to the betterment of their films. They don’t mind taking the expert opinion of a script doctor, but will Indian directors or writers be ready to take a second opinion? Considering that the stakes are so high today, they should be more than willing to do so. That’s the only way, complete objectivity can be brought into a project. A dialogue on this aspect would be an interesting exercise.

Coming back to Dil Se.., the losses in most of the circuits are going to be back-breaking. The failure of Dil Se.. will, one hopes, teach a few lessons to the trade. For one, prices of films should be more reasonable and realistic. Yash Chopra, after DDLJ, could have sold his DTPH at the ratio of 3 crore, but he chose to sell it at 2 crore only. The market forces were at work then also, but Chopra did not let greed get the better of his considerateness. Secondly, the background of a maker and his past films should decide the right price of his next. Mani Ratnam has always made ‘class’ films and such films, even if they click, have limitations. Thirdly, super-hit music score may not be enough for a film to hit the bull’s eye. Fourthly, script is the thing. We need to become more serious about this single aspect of filmmaking and if that happens, the other things will fall in place automatically.

– Komal Nahta