IT’S 3 CRORES

The audio cassettes of Yash Chopras’s Dil To Pagal Hai have been released by HMV. And Yash Chopra has revealed the price at which he is selling the film to its distributors. It is reportedly 3 crore per major circuit.

LATEST POSITION

The initial excitement of DAUD gave way to dejection as the week progressed and saw its collections coming down drastically day by day. Even the energetic performances of Sanjay Dutt and Urmila Matondkar couldn’t salvage the film.

Daud, after a flying start, crashed from 4th/5th day onwards. Even trimming mid-week couldn’t better its weak sustaining power. It will entail heavy losses to distributors and exhibitors. 1st week Bombay 40,86,371 (89.89%) from 12 cinemas (11 on F.H.); Ahmedabad 11,70,782 from 8 cinemas, Vapi 2,39,621, Padra 1,52,476, Rajkot (matinee) 52,888, Jamnagar (matinee) 36,530; Pune 11,77,417 from 6 cinemas (1 in matinee), Solapur 3,18,461 from 2 cinemas, Satara 1,89,472 (80.13%); Hubli 100%, Belgaum 100%, Dharwad 100%; Delhi 39,53,387 (83.89%) from 10 cinemas; Kanpur 4,06,546 from 2 cinemas, Lucknow 2,46,637, Agra 3,51,360, Allahabad 1,66,000, Meerut 2,03,371, Bareilly 1,47,932 (67.37%), Dehradun 1,40,000, Gorakhpur 1,36,000 (74.62%), Varanasi 1,79,246; Calcutta 22,16,086 (56.32%) from 26 cinemas; Nagpur 6,03,041 from 5 cinemas, Amravati 1,70,523, Akola 1,65,055, Bhilai 1,59,129 from 2 cinemas; Indore 2,59,092 (2 on F.H.), Bhopal 3,53,153 from 2 cinemas; Jaipur 8,52,217 from 4 cinemas, Jodhpur 2,25,000, Bikaner 2,13,244; Hyderabad 56,81,026 from 25 cinemas, share 31,00,000; Vijayawada 5,33,000 from 3 cinemas, Guntur 1,10,000 from 2 cinemas, Venali 97,000, Ongole 1,53,000, Eluru 98,000, Bhimavaram 1,10,000.

…Aur Pyar Ho Gaya will entail losses to the tune of a crore and more per major circuit. 2nd week Bombay 14,41,452 (65.49%) from 5 cinemas (8 on F.H.); Ahmedabad 1,22,202 from 2 cinemas (1 unrecd.), Baroda 1,09,921, Jamnagar 66,814; Pune 3,87,185 from 4 cinemas (2 in matinee), Kolhapur 60,226, Solapur 60,844; 1st week Hubli 1,06,956 (69.20%); 2nd week Delhi 26,39,886 from 10 cinemas (1 on F.H.); Kanpur 1,52,202 from 2 cinemas, Lucknow 1,70,770, Agra 1,10,380 (1st 2,18,711), Meerut 87,434, Dehradun 70,152, Gorakhpur 69,000, Varanasi 91,758; Rohtak 15,756 (1st 29,238); Calcutta 3,41,052 from 2 cinemas; Nagpur 51,540, Jabalpur 1,08,563, total 2,93,485, 1st week Akola 84,329, 2nd week Bhilai 36,400; Indore 1,24,225, Bhopal 1,38,601 from 2 cinemas; Jaipur 1,85,480, Bikaner (26 shows) 86,732; Hyderabad 4,41,034 from 3 cinemas (2 in noon).

Mere Sapno Ki Rani is steady on mediocre collections in parts of Maharashtra and Bihar, but is a total loss in North. It will entail heavy losses to third parties/exhibitors who paid handsome terms. 2nd week Bombay 7,09,095 (53.87%) from 4 cinemas (5 on F.H.); Ahmedabad 86,930 from 2 cinemas, Vapi 98,998, Rajkot (14 shows) 94,828; Pune 2,63,357 from 3 cinemas (1 in matinee), Solapur (matinee) 55,476; Hubli 37,845 (32.67%, 1st 70,990); Delhi 1,74,940 from 4 cinemas (2 on F.H.); Kanpur 34,703, Lucknow 39,586, 1st week Agra 71,384, 2nd week Allahabad 24,000; Calcutta 1,89,014; Nagpur 84,215 from 2 cinemas, Amravati 87,282, Akola 41,000, Bhilai 38,167, Durg 41,722, Jalgaon 53,700, Wardha 27,501; Indore 63,272, Bhopal 62,902 (1st 79,089); Jaipur 52,153; Hyderabad 2,06,118.

Pardes, as predicted three weeks back, will prove to be a commission-earner in most circuits and average in a couple of them. 3rd week Bombay 20,11,463 (83.78%) from 7 cinemas (8 on F.H.); Ahmedabad 3,78,403 from 2 cinemas (1 unrecd.), Vapi 2,03,016, Bharuch (gross) 1,72,640, Rajkot 1,78,000, Jamnagar 78,760, total 2,36,811; Pune 4,54,935 from 3 cinemas (1 in matinee), Kolhapur 1,60,000, Solapur 1,45,000, Satara 92,783; Delhi 20,07,281 from 7 cinemas; Kanpur (6 days) 1,89,365 from 2 cinemas, Lucknow 2,37,768, Agra 1,28,460 (2nd 1,85,714), Allahabad 93,500, Meerut (6 days) 1,40,712, Bareilly (6 days) 63,788 (2nd 1,31,303; 50.53%), Dehradun 1,12,000, Gorakhpur 75,000, Varanasi 1,11,397; Calcutta 5,73,196 from 4 cinemas (1 in noon); Nagpur 1,67,567 from 2 cinemas, Jabalpur (6 days) 96,485 (2nd 1,44,532), Amravati (6 days) 85,917, Akola 1,00,651, 2nd week Dhule (6 days) 57,383, 3rd week Bhilai (6 days) 64,401, 2nd Jalgaon 1,12,083; 3rd week Bhopal 1,01,151, Ujjain 42,293; Jaipur 1,83,243; Vijayawada 1,95,533, total 7,90,651.

…………

RAJAT RAKSHIT DEAD

Director Rajat Rakshit died of acute asthama on 27th August at Cooper Hospital, Irla, Bombay. He was 55 and a bachelor.

He had directed Damaad, Bin Phere Hum Tere, Rakt Bandhan, Yahan Wahan, Naya Khoon, Meri Biwi Ki Shadi, Ruswai and Faraib.

MAJOR RENOVATION AT GANGA-JAMUNA CINEMAS OF BOMBAY

Ganga and Jamuna cinemas at Tardeo, Bombay, are being extensively renovated by owner Gul Achhra. They will be equipped with Dolby digital sound and will be now called Ganga Palace and Jamuna Palace.

Jamuna Palace will screen The Lost World: Jurassic Park (dubbed) from 5th September, and Ganga Palace, Judge Mujrim from 12th September. Both the films are being distributed in Bombay (the former in Bombay city & suburbs only) by Gul Achhra himself.

The cinemas have a facility for parking about 150 cars.

IN DEFENSE OF STARS

A large number of national and regional newspapers and periodicals have written a lot about the nexus of film people and the underworld. Mumbai politicians and police officers are blaming the film industry for taking finance from the underworld. The truth is that most politicians have close links with the underworld, and police is deliberately overlooking the unholy alliance between politicians and criminals. Police have no courage to accept that they have been under tremendous pressure. An old allegation against the film people is that some of them have been friendly with Dawood and they used to sing and dance in his parties held in Dubai. Photographs of the stars with Dawood, taken at Sharjah cricket stadium, have been repeatedly published. It is a fact that most stars have to pose with strangers and it is part of their profession. Today, it is being conveniently forgotten that once there was a video cassette depicting top politicians and police officers hobnobbing with notorious criminals. The most horrifying truth is that every small town has a don, and most people pay their respects to the local don. The street goondas also get respect and money from their area. In every small town and village, criminals are patronised by politicians. It is a well-known truth that politicians were the first to make use of criminals in election campaigns. Top people from the Election Commission have deplored the nexus between politicians and criminals. There are criminal cases against forty Members of Parliament. Criminals have invaded every aspect of life, and India has become a haven for criminals. There is an excellent scene in Rajkumar Santoshi’s Ghatak where Sunny advises his brother to fight for the shop in Mumbai. The elder brother wanted to go to his native place to cultivate land. Sunny says that there are criminals in the native place also. “If you do not fight against them in Mumbai, you will not be able to fight against them at Banaras.” The naked truth is that the entire nation is in the grip of fear. Everyone feels the presence of the invisible knife hanging in air over their heads. Dons are born from the womb of fear. When such is the state of affairs in the country, why blame the poor film stars for being friendly with the underworld?

There may be more than a lakh rich people in Mumbai alone, who can buy the entire film industry, but the underworld does not touch them because they know that any single real rich man can destroy the very politician who patronises them. Film people have no such muscle power. Stars are a frightened lot. They are lonely and miserable.

There is one area of closeness between stars and criminals. Most of the criminals have been ardent fans of stars and some of them wished to become stars when they were young. All of them are film-crazy people. When they attain enough muscle power, they manage to get stars to attend their parties. The neo rich from small towns pay a lot of money to the stars to inaugurate their offices and industries. No one minds this trend but everyone objects to stars attending birthdays of a don. Politicians also use the whip of income-tax to get stars at their residence. Most stars take part in election campaigns because of some fear. Police and politicians are seeking scapegoats in stars to hide their own failure and unholy alliance with criminals.

Today, India is like a masala film based on a script written by spineless politicians. Let’s hope, India rises above the script in the 21st century.

– J.P. Chowksey
Prachi Films,
Indore

YOU ASKED IT

Has audience taste changed in the last few years or is it the same?

– It has definitely changed. The audience is now receptive to newer subjects. What used to earlier click in just major cities, now appeals to the cinegoer in a small town also.

When should an artiste venture into doing a film which has a role which is not quite in keeping with his public image?

– Only when he has been accepted completely by the public and at least his last two or three films (in which he plays roles suited to his public image) have clicked.

What are the average theatre rentals in Bombay city and suburbs?

– About 35% of capacity in side-cinemas and 50% in main cinemas.

HERE & THERE

Shabana Goes To Rajya Sabha

Shabana Azmi is the latest star to become a Member of Parliament. She is among the nine who have been nominated to the Rajya Sabha by the President. Shabana, who has been recognised by the world as an actress of international standard, has won many national and international awards, worked as the chairperson of the N’CYP and is a social activist engaged in fighting for the rights of the downtrodden, will not be just a decorative piece in the Rajya Sabha as she has a mind of her own and is also outspoken.

The swearing-in ceremony of the new Rajya Sabha members was held on 29th August in Delhi. Mrinal Sen was sworn in that day but Shabana could not attend the ceremony in Delhi.

Filmmakers Demand Industry Status

A seminar on ‘The film industry’s expectations and government policy framework’ was organised on 23rd August as part of the Films Fair ’97, and a number of industry stalwarts as well as government officials participated in it. The filmmakers demanded recognition for filmmaking as an industry, and steps to mitigate its problems. It was emphasised by the industry speakers that the film industry was going through probably its toughest and trying period in its 100 years’ old history and the government should lend a helping hand to help it tide over the crisis. IMPPA president Sultan Ahmed asked the state and central governments to return part of the money earned through taxes on films, to the industry for the development of infrastructure facilities. He denied that there was any nexus between the film industry and the underworld. Only a few have connections with them, he said. AMPTPP president Pahlaj Nihalani expressed his unhappiness over the functioning of the Censor Board. He said that more often, personal biases and prejudices were at work when a decision was being taken. M. Bhaktavatsala from Karnataka was critical of the NFDC, which, according to him, had been usurped by a handful of directors while majority of the producers were being neglected. He also criticised the high rates of taxes and entertainment tax. ITPO chairman K.K. Mathur said that ITPO would try to act as a bridge between the industry and the government.

The seminar was jointly organised by ITPO and Federation of Film Societies of India.

Reshma Blames Indian Composers For Plagiarising Tunes

It was late Nusrat Fateh Ali Khan first. Now is the turn of Reshma, the Pakistani singer who is in India these days and whom Subhash Ghai had introduced to Indian film music lovers in his film, Hero, with the song Lambi judaai. Reshma was in Patna this week, where she told the press that some of her best tunes had been dubbed in Hindi films without any acknowledgement. She said that Lata’s Yaara sili sili from Lekin was lifted from her 28-year-old song. She also blamed Lata for singing the ‘lifted’ song. Reshma rendered that song at a concert in presence of Bihar’s chief minister, Rabri Devi.

IN & OUT OF BOMBAY

Producer Pravesh Sippy is in Africa to scout locations for SILSILA HAI PYAR KA, and will return after 10 days.

Producer-director Subhash Ghai is in Australia.

Director Aditya Chopra, Bombay exhibitor-distributor Anil Thadani and director Karan Johar will go to London on 1st September.

CCCA president Santosh Singh Jain is in Indore and is expected back in a day or two.

Actress and stage artiste Mini Tabassum left for the USA for stage shows on 27th August and will return on 1st October.

DO YOU KNOW?

* Shri Krishna Talkies at Seoni Malwa (M.P.) must be the only cinema in the country which celebrates the birth of Lord Krishna every year along with its patrons. Every year, at the stroke of midnight when Krishna was born on Janmashtami, the cinema stops the screening of the film for a while and distributes prasad among the patrons. The cinema also has a Krishna temple in its premises, where a pooja is done at 12 midnight on Janmashtami.

* DAUD has created a theatre record by collecting 2,26,176/- in 1st week at Shree, Ahmedabad.

* BORDER has created a record by collecting 51,700/- in 11th combined week at Palace, Allahabad.

* BORDER (tax-free) has created a city record by collecting 72,105/- (against a capacity of 80,318/-) in 1st week at Shashikant Chitra Mandir, Karanja (C.P. Berar), despite heavy rains.

* ANACONDA (dubbed) has created a city record by collecting 60,004/- in 1st week at Rajkala, Wardha, in spite of heavy rains.

MIX MASALA

WHAT’S IN A NAME?

Believe it or not but many people in the industry refer to …Aur Pyar Ho Gaya as Aao Pyar Karen. And there are many who call Virasat as Hirasat!

EARTHY COINCIDENCE

In this week’s release, Prithvi, Sunil Shetty’s name is Prithvi. And in real life, Sunil lives in Prithvi Apartments on Altamount Road. Why, he has bought another flat in the same building from Bombay distributor Ashok Ahuja.

WHAT’S IN A NAME?

Believe it or not but many people in the industry refer to …Aur Pyar Ho Gaya as Aao Pyar Karen. And there are many who call Virasat as Hirasat!

Dream Merchant

WATER DREAM……..WHAT A DREAM!

Last Friday’s torrential rains which lashed Bombay city and threw it completely out of gear caught me in my dream the following night.

I dreamt about the entire Bombay film industry battling with the rain water. The more enterprising ones were enjoying themselves in the downpour.

Aamir Khan, who could barely keep his face out of the waist-deep water outside his house (it was waist-deep for me and, therefore, more than neck-deep for ‘shorty’ Aamir), was struggling to reach his car parked outside his compound. Drenched in the rain from the top and the water below, he managed to hold a picture of Karisma Kapoor in his right hand and an imported umbrella in his left, as he sang loudly, “Pardesi pardesi nahaana nahin / Mujhe chhod ke, mujhe chhod ke / Pardesi mere yaara, vaada nibhana / Tum yaad rakhna, kahin doob na jaana / Pardesi pardesi….”

Just nearby, Urmila Matondkar, clad in a skimpy bikini, was getting down from her Maruti Zen which had a breakdown in the water-clogged road. Umbrella-less, she waved out to her umbrella-clinging Rangeela hero and wondered aloud, “Why don’t you dress up like me? Na rahenge tan pe kapde, na honge geele!” But looking at Aamir singing away to himself, Urmila also broke into a song, asking Aamir to join her thus: “Yayee re, yayee re, baarish zor zor se aaye re / Chal ho jaa mere sang, thoda sa be-dhang / Ho jaa geela re, ho jaa geela re…” Waving goodbye to an unwilling Aamir, she said, she had to reach Gaiety cinema for the first-day-show of Daud.

Outside Gaiety cinema, producer-director Ramgopal Varma stood expectantly as boat-loads of people came to see Daud. He was waiting for his Bombay distributor Shyam Shroff who had promised to be with Ramgopal (Ramu) at 11.30 a.m. It was almost 2 p.m. and I don’t know whether Ramu was crying at the poor public reaction or because he was missing Shyam Shroff. Or was it the rain water rolling down his cheeks and not tears? Anyway, Ramu too started singing a song, “Rain-a beeti jaaye / Shyam na aaye / Rain-a beeti jaaye…”

Barely had he started the song than Shyam Shroff arrived on the scene with a bag full of bottles of Ganga jal which he had bought some time back for distribution among patrons of Lav Kush before the start of every show at Maratha Mandir, Bombay. Since nobody came to see Lav Kush, the Ganga jal remained unused. Aware that people found Daud vulgar, Shyam Shroff had decided to distribute Ganga jal among the viewers after every show to cleanse them and their minds. When he told Ramu of his plan, the latter felt insulted. Pointing to the rain water dropping into the open bottles of Ganga jal, Ramu remarked, “Shyam, teri Ganga maili ho gayee.” Just then, Urmila — her face soiled and her wet hair dishevelled — reached the cinema. To get back at Ramu, Shyam Shroff shot back, “Ram, teri Urmi maili ho gayee.”

I cornered Ramu and asked him what his next film would be. Drawing inspiration from the wet atmosphere, he replied, “It will be called either Geela or Rain-Geela. And since I’m accused of exposing my heroines in my films, I’ll not do anything of the sort in this film. That’s why, it will be the hero taking bath in the rains this time. And like my Satya is a songless film, Geela/Rain-Geela will be a heroine-less film.”

Just then, I saw Shekhar Kapur in a wet Digjam suitings coat, in conversation with Bobby Bedi. “Shekhar, why this long absence?”, I asked him. “When are you starting your next? What’s it about?” Slow-coach Shekhar, as usual, was undecided. “Wet and watch,” he winked.

Watch I did. At Lokhandwala bazaar, I was astonished to see Sridevi buying vegetables from a roadside vendor, her teeth chattering because of the cold water in which she was standing. She was making an attempt to talk in shudh Hindi under hubby Boney’s instructions, and on reaching home, she told hubby — in shudh Hindi again — “Dekhiye jee, main to paani-paani ho gayee!” Boney buried his face in his hands and wanted to drown in the rain water at such atrocious Hindi.

BBC News on television came up with a sensational bit of news. Away in Bangalore, Mandakini was throwing a fit at being left out of the rain drama in Bombay. She telephoned Rishi Kapoor and begged of him to sign her for his directorial venture. She reminded Rishi of how she had boldly done the waterfall bathing scene in his father Raj Kapoor’s Ram Teri Ganga Maili. Sentimental Rishi agreed to drop Aishwarya Rai and take Mandakini in her place. Packing her bags with bikinis, Mandakini told her mom, “Aa ab laut chalen.”

Rajiv Kapoor too decided on that wet Friday that he should return to direction after the long holiday. “So what if Prem Granth did not run,” he told elder brother Randhir Kapoor. “I’ll make Rain Granth this time. And I’ll make it in collaboration with BMC. The Brihanmumbai Municipal Corporation (BMC) will give me a lot of data on the rains in Bombay, down the centuries. People felt, Prem Granth was too dry, so, I’ve even chosen a wet title this time.”

Time took me to the office of Time Audio-Video. The Vijaypath makers were planning to announce Paanipath. No, it had nothing to do with the water-laden paths in Bombay. Rather, it was based on the battle of Panipat. The ‘h’ and extra ‘a’ in the title were purely for numerological reasons.

Numerology had me meeting producer Vashu Bhagnani who is obsessed with the number 1. Had the rains inspired him to announce another No. 1 film, I asked. “Yes,” he smiled, “Before Biwi No. 1, I plan to make Paani No. 1. The film will deal with water and related problems. It will star Govinda and will be shot completely in water.” Oh, a desi Waterworld, I suppose. “It will be a watershed film,” said an excited Vashu.

Suddenly, I heard Baba Sehgal singing a familiar song. He was gesticulating to Sheeba and the song went, “Aaja mere paani mein kood ja / Aaja mere paani mein kood ja / Swimming karenge / Dance bhi karenge / Gaana bajaana, khaana-peena paani mein hoga sanam…”

Anil Kapoor had to show his sincerity even on the rainy day. His driver was rowing a boat in which he was going towards Film City. Apparently, the boat had lost direction and a forlorn Anil was singing, “O majhi re, apna kinara…. Film City ka temple hai / O majhi re…”

At Film City, Salman Khan was shooting a rain song for brother Sohail Khan’s Pyar Kiya Yo Darna Kya. His heroine, Kajol, had not reached the location, and the shooting was held up for a while. Sohail’s fertile brain, during the forced interval, thought of a sequel to the film. It would be titled Paani Gira To Karna Kya.

On another floor, Akshay Kumar was barely able to give his shot because the water had reached the tall hero’s neck. I was scared, Akshay would drown. As it is, his films were sinking, I thought, and it would be terrible if the poor guy also drowned. Luckily, a taller and skinny Kamal Sidhu was shooting on the maidan in Film City and I requested her to get Akshay out of the water which she did. Doobte ko Thin K (Kamal) ka sahara mil gaya and I was happy.

On a set in Film City, Priya Teudulkar was shooting the 100th episode of The Priya Tendulkar Show. She had clinched the opportunity and had selected the topic ‘Should there be rains in Bombay?’ for the century episode. On the panel were Rain God Lord Indra, head of the meteorological department, and Sachin Tendulkar whose cricket was damper than the rains.

Producer R.V. Pandit had managed to reach the censor office despite the blocked roads, and was seen arguing with the soaked-in-rain regional officer who refused to issue a censor certificate to his Train to Pakistan. Maintaining his cool, despite all odds, Pandit informed me, “I am planning two more films now — Plane To Afghanistan and Rain From Pakistan. Khushwant Singh firmly believes that these torrential rains have been master-minded by our enemy, Pakistan.”

Rahul Rawail had just returned from London from the shooting of London and had managed to reach a far-off cinema screening his …Aur Pyar Ho Gaya to gauge the public reaction. He was in for a shock because there was no public, what to talk of reaction. “I’m sure, people haven’t come because of the rains,” he said, trying to hide the tears that threatened to come out of his eyes. Continuing his brave act, he sighed, “Oh, I thought, my film would at least be a Barsaat and I’m sure, it had the chances, but the rains have spoilt everything. I was looking forward to telephoning hero Bobby Deol in London today to give him the good news that the film Barsaat ho gayee, but look, I’ll now have to tell him that real life mein. …aur barsaat ho gayee.”

Amitabh Bachchan was frantically waving out to the stray cabs plying in the waist-deep water on Juhu Tara Road, but nobody was willing to stop. He had come out of his director, Mehul Kumar’s office, and his car refused to take off — in much the same way as his Mrityudaata had refused to take off. I thought, I’d chat up with him and swam across the road. “Where are you going? How have the rains affected you?”, I queried. With a fallen face, Amitabh replied, “It’s terrible. Meri company, ABCL, doob gayee.” Of course, I knew that, but what had the rains got to do with the company’s doobna? I asked him, “Doob gayee — figuratively speaking, isn’t it? “Yes, figuratively speaking,” he replied, “because all the figures of my creditors bhi saath mein doob gaye!”

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Of Content And Form

Although Pardes did not boast of a very exciting start, its collections became steady as the weeks progressed. On the other hand, Daud opened to bumper houses everywhere but collections began to drop day by day. This, in sum, describes the fate of, what we say, a grammatically correct film (Pardes) and grammatically incorrect film (Daud). The former had substance, the latter was rich in form but poor in content.

HAR DIL JO PYAR KAREGA

Nadiadwala Grandson Entertainment’s Har Dil Jo Pyar Karega is a love triangle inspired from the Hollywood film, While You Were Sleeping. An aspiring singer (Salman Khan) is pushed into a situation where he is assumed to be an accident victim’s (Rani Mukerji’s) husband. Soon, he realises the benefits of posing as her husband. The accident victim, who has slipped into a coma, has a foster-sister (Preity Zinta) whom the guy soon falls in love with. The families of the two girls, including the sister, treat the guy as the coma victim’s husband and dote on him for saving the girl’s life. As days progress, the sister learns the truth and she, too, starts loving the guy. In the meantime, the other girl comes out of the coma and starts loving her saviour. The guy is caught between the two girls and finds his beloved withdrawing as a gesture of sacrifice for her sister who has just recovered from the accident and coma. The climax has misunderstandings being cleared and issues being resolved.

A good story-line has been embellished with excellent visuals, pretty costumes, eye-catching locales, hit music and extraordinary choreography. But the screenplay is not flawless. The first half has hardly any movement, and emphasis has been laid on comedy punches to further the drama. Some punches are entertaining while others are irritating. Showing one heroine in a coma for several reels tests the audience’s patience. Although Salman poses as Rani’s husband, the real person of that name has simply not been shown in the entire film! Suspenses are revealed rather amateurishly — for instance, Preity gets to know of Salman’s real identity by chance.

The first half is just about fair. It will be liked by youngsters. One major reason for this is that while Rani makes her first appearance (that too, in a coma, and she remains in the comatose state for a long time!) after almost half an hour of the film’s start, the other heroine — Preity — comes on the scene even later than that. The second half has more movement and even though it has its lows, it does keep audience interest alive throughout. The last few reels of sacrifices will appeal to the womenfolk. Although the director has tried to infuse emotions, they do not touch the heart. Even then, the magic of the climax works on the viewer, if only for the drama — the religious touch, two sisters dying to sacrifice for each other, resolution of the problem etc. The film’s treatment reminds of Kunwara, Hum Aapke Hain Koun..!, Dil To Pagal Hai.

Salman Khan looks extremely handsome and sheds off more clothes than in his earlier films. He acts well too but his crazy comedy will be liked by only half the audience, the other half are bound to find it irritating. His dances are superb. Preity Zinta looks glamorous and shines in emotional scenes. Rani Mukerji gets lesser scope but is quite impressive in the last few reels. Shakti Kapoor’s comedy, especially the electric shock sequence and the juice stall-bus-stop episode, is very entertaining. He does a splendid job and may draw a round of applause for his surprising entry in the climax. Paresh Rawal is very natural. Neeraj Vora raises laughter at places and bores at others. Satish Shah is very good. Razzak Khan, too, entertains. Kamini Kaushal, Rajiv Verma, Ajit Vachchani, Shashi Kiran, Asrani (special appearance), K.D. Chandran, Vinay Pathak, baby Sana, master Smith Seth, Rekha Rao and Bhairav Aru lend good support. Shah Rukh Khan springs a pleasant surprise at interval point and keeps the audience guessing all through the interval. In fact, the interval point is superb simply for his presence. But his re-appearance in the end is unnecessary and worthless.

Raj Kanwar has lent his directorial touches at places but he has not been able to hold the film together at several points. Salman Khan’s squeaking and comedy look out of place at times. Music (Anu Malik) is excellent. ‘Piya piya’ and the title song are superb and their picturisations (Farah Khan) are heavenly. Picturisation of ‘Ek garam chai’, ‘Dil dil deewana’ and ‘Aisa pehli baar’ are also superb. In fact, it must be mentioned that Farah Khan has a brilliant visual sense and her choreography complements the music score splendidly. The ‘Aate jaate’ song needs to be deleted as it slackens the pace and is a walk-out item. W.B. Rao’s camerawork is marvellous. Sets (Sharmishtha Roy) are breathtaking. Editing is good. Titles are novel and will be an attraction.

On the whole, Har Dil Jo Pyar Karega has not just taken a flying start but it also has music, colour, visual appeal, a bit of ladies appeal and a different story to emerge a plus fare on the strength of patronage of youth and women. Business in Bombay and South will be much better. Drawbacks of a loose screenplay and lack of control over the hero’s performance in several scenes make the film look disjointed at places and will hinder its long run.

Released on 4-8-2000 at Metro and 22 other cinemas of Bombay thru Raj Enterprises. Publicity & opening: extraordinary. …….Also released all over. Opening was bumper everywhere. 1st day Jaipur 3,65,509/- from 5 cinemas! Some shows at some centres in various circuits were cancelled owing to bandh on Friday.

DR. RAJKUMAR STILL IN VEERAPPAN’S CUSTODY

Dr. Rajkumar, the most idolised veteran superstar of Kannada films, was kidnapped by the notorious sandalwood smuggler and forest brigand, Veerappan, from the star’s farmhouse in Gajanur village in Tamil Nadu on the night of July 31. Tension gripped Bangalore and other places in Karnataka as soon as the news of the kidnapping was aired the following day. Before kidnapping the veteran actor, the bandits handed over an audio cassette to his wife, Parvathamma, and asked her to deliver it to Karnataka chief minister S.M. Krishna. The Karnataka CM and Tamil Nadu CM, M. Karunanidhi, have sent an emissary, R.R. Gopal, editor of Tamil magazine Nakkeeran, as he is the only person to have access to the ever-evasive Veerappan.

In a departure from the norm and in view of high anxiety, the All India Radio, Bangalore and Madras, have granted free airtime to the veteran actor’s family to communicate their feelings to the family head and to make frequent appeals to Veerappan to release the actor who is 73 and not keeping good health. The actor’s family is also broadcasting the names of the medicines he is supposed to take regularly, as Veerappan did not take Rajkumar’s medicines with him.

According to last night’s news, Dr. Rajkumar has got sent an audio cassette to the Karnataka CM, conveying that he was in good health and that there was no danger to his life since “Veerappan is a good man”. He has appealed to the CM to concede to the brigand’s demand as they were “justified”.

AN EVENING OF MADAN MOHAN’S MUSIC

The Madan Mohan family organised an evening of their father’s music on 14th July in Bombay to commemorate his 25th death anniversary. The function was attended by members of the film and music industry and those who were close to Madan Mohan. Among those who were special guests of the evening were Lata Mangeshkar, Asha Bhosle, Khayyam, Jagjit Singh, Chitra Singh, Alka Yagnik, Mahendra Kapoor, Nitin Mukesh, Alisha Chinai, Jatin and Lalit, Bhupen Hazarika, Talat Aziz, Bhupinder and Mitalee Singh, Sudesh Bhosle, Anand Bakshi, Uttam Singh, Rajendra Mehta and Nina Mehta, Shivkumar Sharma, Yash Chopra, Yash Johar, Aditya Chopra, Mohan Kumar, Kalpana Lajmi and Ameen Sayani.

A half-hour film, featuring Madan Mohan’s compositions, was screened on the occasion. A 5-cassette pack, ‘Legends – Madan Mohan’, was formally released by Lata Mangeshkar and Yash Chopra at the function. The cassette has been brought out by HMV.

BOOK ON B.R. CHOPRA

To commemorate the illustrious life and work of Dr. B.R. Chopra, Arun H. Puranik and B.R. Vyas are bringing out a rare book on the living legend of Indian cinema. It contains little-known facts about the filmmaker with rare photographs and messages from his friends and fans. The book will be released formally at a function to be held shortly in Bombay.

VETERAN FILM EDITOR BIMAL ROY BIDS ADIEU

Veteran film editor Bimal Roy passed away on 29th July at Ahmednagar. He had not been well for some time and had been admitted to a local hospital. He was 75 and is survived by his wife and a daughter.

Bimal Roy started his career with Kamal Amrohi’s Mahal in 1944 and worked for 50 years as a well-known editor. He worked with directors like Gyan Mukherji, Nitin Bose and Dulal Guha, and edited films which include Jwar Bhata, Deedar, Kalpana, Ragini, Mere Jeevan Sathi, Pratiggya, Kala Sona, Do Anjaane, Dost, Dushman, Zalzala and Ab Insaaf Hoga. After retirement, he went to Ahmednagar where he breathed his last.

7 DAYS’ ADVANCE BOOKING BEGINS IN AURANGABAD

Advance booking for the entire week commenced at Goldie cinema in Aurangabad this week with Har Dil Jo Pyar Karega. This is the first time that a cinema in Aurangabad has done advance booking for 7 days. Goldie opened seven advance booking counters in the city and the audience response was fantastic. All shows were full on Friday.

Deepak Jawaharani of Goldie will soon also begin internet booking for his cinema. Pukar recently completed a silver jubilee run at the cinema.

*      *     *

KN…PH celebrated silver jubilee a few weeks back at Abhineet cinema, Aurangabad. The cinema has Dobly SR sound system.

ALI SARDAR JAFRI DEAD

The greatest Urdu poet of our times, Ali Sardar Jafri, died in Bombay on 1st August. He was 86 and has left behind his wife.

The poet had been bed-ridden since April this year, and was suffering from brain tumour. The burial ceremony of the ‘perfect literal-democrat’ was performed the same day, at which representatives of the Film Writers Association and the Federation of Western India Cine Employees were present.

Ali Sardar Jafri was one of the founder-members of the progressive movement in India in 1935-36. As a freedom fighter, he spent many years in jail. He was honoured with many awards including the Jnanpith award, the Iqbal Samman of the Madhya Pradesh government, and the Padma Shri. He was among the few who accompanied prime minister Atal Bihari Vajpayee a while ago in his bus journey to Pakistan.

Paying their respects of the great litterateur who produced K.A. Abbas’ Gyarah Hazar Ladkiyan, wrote the script of Sohni Mahiwal (1946) and the lyrics, Sham-e-gham ki kasam (Footpath), Javed Akhtar said, “His death is a loss not only for Urdu literature, but also for the nation. He was a member of the shrinking clan of firm believers in social justice, secularism, equality and the liberal doctrine — ideals he preached and fought for all through his life. He used his poetry as a weapon against reactionary forces.” Nida Fazli, who edited the magazine Guftgoo with Ali Sardar Jafri, said, “Ali Sardar Jafri was a multi-faceted personality, a poet, writer, intellectual, fiction writer and documentary filmmaker, all rolled into one. He was a major poet of our times.”

OWNER OF RADHA, BHOPAL PASSES AWAY

Komal Singh Rathor, proprietor of Radha Cinema, Bhopal, passed away on 1st August in Bhopal. He is survived by his wife, two sons and two daughters. The funeral was attended by all the exhibitors of Bhopal. Radha Cinema remained closed for three days.

DOLBY DIGITAL AT SANGAM, BHOPAL

Sangam Cinema, Bhopal has been equipped with Dolby digital sound system. It has been commissioned with the release of Har Dil Jo Pyar Karega on 4th August.

‘DEEWANE’ BASH LARGELY ATTENDED

A showcase of Harry Baweja’s Deewane was screened for the media at a largely-attended party held on 1st August at Hotel Sun-N-Sand, Bombay. Among those who attended the party were the film’s lead pair, Ajay Devgan and Urmila Matondkar (Mahima Chaudhry could not attend as she was in Mauritius for the shooting of Mastana), Prakash Mehra, Manmohan Shetty, the Tauranis of Tips and many distributors and exhibitors of Bombay.

BABY GIRL FOR LAXMIKANT, PRIYA

Actor Laxmikant Berde and his actress-wife Priya (Arun) were blessed with a daughter on July 27.

YOU ASKED IT

How many completed Hindi films are lying ready today?

– More than five hundred, of which half are in various stages of post-production. The rest are lying on the racks of various labs. Add to these, a large number of dubbed films!

– Has the kidnapping of Kannada superstar Rajkumar by Veerappan perked up the collections of Ram Gopal Varma’s Jungle?

– Not really! In JUNGLE, Urmila Matondkar does not play a film star, therefore, the parallel cannot be drawn so easily. Nor is it obvious that the sandalwood smuggler in the film is based on the character of Veerappan.

How far is it true that Hrithik Roshan has been signed for a Hollywood film?

– Hrithik had been approached to play Hamlet, but the makers wanted immediate dates which the actor couldn’t give. So he has not as yet consented to do any Hollywood film. 

DO YOU KNOW? 

* A record number of 33 prints of HAR DIL JO PYAR KAREGA have been taken out by the C.P. Berar distributors. On Thursday (3rd August), a mobile van was inaugurated in Nagpur with HDJPK. The film had evinced bumper response at the advance booking windows in Nagpur, Amravati and Akola.

* Though Dada Kondke, the uncrowned king of comedy of Marathi films, is no more, he has left behind a legacy of immortal comedy. This was once again proved by his MUKA GHYA MUKA in which he played a dumb character. The film ran to packed houses at Prabhat, Pune despite many repeat-run screenings in the city. In the previous two weeks at the same cinema, Dada Kondke’s ANDHALA MARTOY DOLA fared exceptionally well despite civic unrest in the city and power problems.

* KN…PH has created a city record by collecting a total of 2,16,131/- in 3 weeks at Goyal, Kamptee.

ANNOUNCEMENT & LAUNCHING

Tabu-Atul Starrer ‘Chandni Bar’

Shlok Films’ Chandni Bar, starring Tabu and Atul Kulkarni, will be launched with a muhurt on Aug. 7. Being produced by Mrs. R. Mohan and directed by Madhur Bhandarkar from his own story, the film co-stars Srivallabh Vyas, Rajpal Yadav, Vinay Apte, Abhay Bhargav, Preeti Khare, Vaarun Vaardaan, Ananya and Suhas Palshikar. It has screenplay by Mohan Azad, dialogues by Masood Mirza, cinematography by Rajeev Ravi, choreography by Kishore Oreshkar, and art by Prasanna and Yashwant Patil.

PRODUCTION NEWS

Subhash Ghai Films Song On Hrithik, Kareena For ‘Yaadein’

Director Subhash Ghai picturised a song on lead pair Hrithik Roshan and Kareena Kapoor for Mukta Arts Ltd.’s Yaadein during its first Bombay schedule held from July 20 to 25 at Filmistan Studios. The film’s next shooting schedule will be held in Bombay and Rajasthan from Aug. 6 to 21. Jackie Shroff will participate along with the lead pair. Being produced by Ashok Ghai, the film has music by Anu Malik, and lyrics by Anand Bakshi. Kabir Lal is the cinematographer, and Sharmishtha Roy, its art director.

‘Mastana’ In Mauritius

The unit of United Films Combines’ Mastana left for Mauritius on July 31 for the last 15-day shooting stint. Two songs and scenes are being picturised on Govinda, Mahima Chaudhry, Jackie Shroff, Arun Govil, Jaspal Bhatti, Anjan Srivastava, Tiku Talsania, Avtar Gill, Upasna Singh and one more heroine in a special appearance, who will join the unit (for a song picturisation) later during the stint. The film is being produced by Vasant Doshi and directed by Parto Ghosh. Writer: Ranbir Pushp. Music: Rajesh Roshan. Lyrics: Maya Govind, Ibrahim Ashq and Nitin Raikwar. Dances: Rekha Chinni Prakash and Ganesh Acharya. Cinematographer: Sameer Reddy. Executive producer: Kamlesh Doshi.

20-Day Shooting Spell Of ‘Raju Chacha’ In HP

Devgan’s Films’ Raju Chacha will be shot in a 20-day schedule from August 16 at Simla and various locations in Himachal Pradesh. Anil Degvan, who directs the film, will picturise three songs and scenes. The entire cast, comprising Rishi Kapoor, Ajay Devgan, Kajol, Govind Namdev, Shahbaaz Khan, Smita Jayakar, Pramod Moutho, Tiku Talsania, Usha Bachani, Anil Nagrath, Navin Bawa, Adi Irani and Johny Lever, with four child artistes, Harsh Lunia, Hanshuk Vaidya, Sakshi Sen and Kewal Chadda, will participate. The film is being produced by Veeru Devgan. Story: Anees Bazmee. Screenplay: Robin Bhatt. Dialogues: Javed Siddiqi. Music: Jatin Lalit. Lyrics: Anand Bakshi. Action: Jai Singh. Choreography: Raju Khan. Cinematography: Nirmal Jani. Executive producer: Kumar Mangat. Bharat Shah presents the film.

CENSOR NEWS

S.P. Creations’ Deewane (social) was given C.C. No. CIL/2/24/2000 (UA) dt. 31-7-2000; length 4704.68 metres in 17 reels (cuts: 5.11 metres).

Venus Records & Tapes’ Dhadkan (social), applied on 28th and seen on 31st, has been issued C.C. No. CIL/1/44/2000 (U) dt. 1-8-2000; length 4579.05 metres in 18 reels (no cut).

Titwala Filmwalas’ Justice Chowdhary (crime), applied on 28th and seen on 31st, has been issued C.C. No. CIL/3/76/2000 (A) dt. 1-8-2000; length 3037.91 metres in 16 reels (cuts: 174.13 metres).

Bhagat Films Production’s Bijlee (social) was given C.C. No. CIL/3/75/2000 (A) dt. 28-7-2000; length 3174.11 metres in 13 reels (cuts: 29.66 metres).

SPE Films’ Jaan Hatheli Pe (dubbed; adventure/thriller) was given C.C. No. CIL/3/112/2000 (A) dt. 2-8-2000; length 3179.84 metres in 7 reels (no cut).

REGIONAL FILMS

Maa Movies International’s Saajan Haiye Saambhrey (Gujarati; social) was given C.C. No. CIL/1/45/2000 (U) dt. 2-8-2000; length 4497.94 metres in 16 reels (cuts: 25.18 metres).

Pan Music & Magazines Ltd.’s Vuyrin Vuyirae (Tamil; dubbed; social) was given C.C. No. CIL/2/21/2000 (UA) dt. 28-7-2000; length 4359.72 metres in 17 reels (no cut); Neemanasu Naamanasu (Telugu; dubbed; social) was given C.C. No. CIL/2/22/2000 (UA) dt. 28-7-2000; length 4359.72 metres in 17 reels (no cut); Ithukathaiyalla (Malayalam; dubbed; social) was given C.C. No. CIL/2/23/2000 (UA) dt. 27-7-2000; length 4359.72 metres in 17 reels (no cut).

Rahul Rohan Production’s Tari Mehndi Mare Haath (Gujarati), seen on 31st, has been passed with U certificate, with cuts.

K. Movies’ Sajan Vina Suno Sansar (Gujarati) was seen on 28th.

3-E
Education-Entertainment-Enlightenment

Abhishek — Positive, Sure, Confident!

These days, when film companies and television software production houses are going public, producer Vashu Bhagnani, too, went public on 2nd August — but in his own musical way! He got screened the three songs and promotional trailers of his Tera Jadoo Chal Gayaa for the public as well as the media through two big screens put up on the street outside Hotel Ramada Inn, Juhu, Bombay. The screenings were followed by a press meet with the film’s lead man, Abhishek Bachchan, and the unit members. The young actor fielded every query with a rare equanimity and sounded — to borrow from dad Amitabh Bachchan’s TV show, Kaun Banega Crorepati — “positive”, “confident” and “sure” of his performance in Vashu’s film.

Khooni On The Prowl

There are not one or two or four but eight completed films with titles bearing the word ‘Khooni’: Khooni Bistar, Khooni Chehra, Khooni Hostel, Khooni Ladki, Khooni Mahal, Khooni Sayaa, Khooni Shikunja and Khooni Tantrik. All these films are complete and are awaiting release. And there is one more, Khooni Aatma, which is under-production. There may be many more ‘bloody’ titles to come!

Flop 4 U

Ram Gopal Varma and four-letter words don’t go together. Now, that doesn’t mean that this producer-director doesn’t like to mouth gaalis (four-letter words). It just means that four-lettered titles of his films end up in a four-letter result: F-L-O-P. There are four instances to prove this unhappy fact: Raat, Daud, Kaun and Mast. So, four-letter titles are actually almost four-letter words for Ramu!

INFORMATION MEETS

“Our biggest care is our customer… Our focus will always remain customer choice and market viability.”

– SUBHASH GHAI

RAJ VAIDYA

For a man without a film background or a film family to support him, Subhash Ghai has come a long way. From being a small-time actor to a writer’s assistant to a big-time producer-director and, now, the chief of Hindi film industry’s first filmmaking company to go in for an IPO (initial public offering), Ghai has seen it all. His films, whether Ram Lakhan or Hero, Saudagar or Taal, have been spectacles. His music has mesmerised millions across the world. But that’s just the end result. Not many are aware of the hard work the man puts in to churn out such exciting fare for the audience. He works like a man possessed! His enthusiasm and passion for his films is never-ending. That’s, perhaps, the reason why the man is so charged, whether it is the launching for his film in London or a day of recording at Sound City, shooting at Filmistan Studios, a story sitting in his office or an editing stint at his Audeus. Endowed with a sharp memory (so next time, he says, “Oh! I forgot”, don’t believe him!) and an extremely keen sense of observation (be careful, he could do a lovely take-off on you!!), Ghai is now all set to take on the corporate world as head honcho of Mukta Arts Ltd. In this interview, taken over breakfast, he talks of going public, of his private likes and dislikes, of Yaadein, of plans of other things. Excerpts:

From scripts to scrips and from entertaining public to going public, how has the change been?

Scripts are primarily written to be sold. One produces, another directs, while still others engage in the business of films. From scripts to scrips is a journey to finally reach the market. It is the business of creativity created by creative people. Films are, after all, creative products. If you look at the works of Michael Jackson and Steven Spielberg, you will see that being commercial doesn’t affect their creativity in any way. They have successfully created a model business out of their creativity.

Still, there is the risk of one’s creativity getting bogged down by the burden to be answerable to the public?

Finally, business is a commercial art. You have to know both, business and art, equally. I have been in this business in both capacities — of a producer and a director. And never once did the producer affect the director in me…

…But surely, there must’ve been times when there were differences between the two…

…Never! You see, I was asked the same thing in ’78 when I turned a producer with Karz and Hero. A lot of people in the trade advised me against turning a producer. They said, “You have a successful track-record as a director. Why do you want to burden your creativity with the extra headache of becoming a producer?” But I was determined. As a producer, I created a model system to aid the director in me. Thus, when I launched Mukta Arts, I had the system in place, the people in place. I had decentralised from the very beginning, in an effort to create an ideal environment for my creativity to grow. When you have your own company, it is possible to mould it to suit your own creative needs.

The general perception is that you are now richer by 100 crore.

Yes, I know, but this is a totally wrong perception. The 100 crore Mukta Arts has got is not its income, it is finance given to the company by the public which expects Mukta Arts to perform, to grow and to give it returns on its Rs. 100 crore, in the form of dividends.

Star-sittings and music-sittings will now go alongside board meetings and general body meetings. For any creative person, while the sittings can be a pleasant experience, the meetings can be painful. Have you thought of how you will cope with them?

This is a general fear in the minds of the public and the film trade. However, I find that it is a misplaced fear. To give you an instance, I used to attend the Mukta Arts office only once during the week — except during the release period. In that one day, everything was checked, designed, executed and supervised. I believe, nothing is painful if you do it honestly and sincerely, and come out with good results. So, coming back to your question, all I would say is that sitting in board meetings and AGMs (annual general meetings) is as good as sitting on your business desk — something that I’ve been doing for the past 21 years.

Any parallels between directing a public entertainer and going public?

It is nearly the same. Except, whereas previously, our investors were film financiers, distributors and exhibitors, today, it is the public. Therefore, the volume of investment is larger. However, we still have to carry out the growth and expansion of our business with the same core competency. Which is why we haven’t adopted a vertical business model. We are going to be public entertainers, for the public.

What additional duties will going public entail upon you?

Performing regularly rather than lazing around and taking your own time. Achieving sustainability and credibility. Making the company of an international size and standard is our target. If the company continues to perform well, we shall achieve that target. Vision, wisdom and an excellent team are what you need in order to succeed in your goals.

In any public company, a second line is a must. But Mukta Arts has no second line after you. Are you thinking of building a second line?

Our proposed film and television institute will do just that. It will not only create a second line creative talent to Mukta Arts, but to the entire film industry. The top talent products of the institute will not remain merely students and employees, but will be given an opportunity to become the shareholders of Mukta Arts. Founder Sam Goldwyn may not be alive today, but MGM still exists as an institution. Likewise, we are aiming to create an environment for all talented people to showcase their best in the best possible manner. We will provide them with the opportunity to learn the best and earn the best.

What are the immediate plans of Mukta Arts Ltd.?

Well, we are going full steam ahead to complete Yaadein at the moment. Moreover, very soon, we will be starting two films — one each with Prakash Jha and Joy Augustine at the helm. Then, we are also entering into a co-production with Kapoor & Kaushik Entertainment (the name of the production concern of Anil Kapoor and Satish Kaushik) from 9th August. There are some other plans also, but I am not supposed to tell you about them till we perform.

How do you propose keeping pace with the age of internet?

I personally spend a large part of my leisure time being on the internet to keep myself abreast of the latest development in IT. Our production and direction teams are logged on 24 hours. We already have a website — www.muktaarts.com — and we are in the process of developing a portal concerning all the related activities of Mukta Arts.

You intend to start a film institute. Any progress?

The process of acquiring land for the institute, designing the complex, building affiliations with various international institutions, creating the faculty etc. has been on for the last 10 months. The institute, which will be located in Bombay itself, will conduct courses in all related areas in the art and science of filmmaking as well as television. Hopefully, it will have its own shape by next year and will begin bringing in results in three years’ time. The courses at the institute will include screenplay-writing, direction, acting, dance choreography, grooming and fashion technology, make-up, animation, special effects and all other technical courses. The institute itself is being designed along the lines of the international model of institutions.

How will Mukta Arts reach the projected turnover and profitability for the first year?

Through the sale of existing software, the deals for which have already been finalised with B4U and others; hiring of hardware services (both, existing and new hardware); release of one small-budget film before the year-end; music album, which is already in the making; television software, which may or may not generate revenue this year; and other existing revenue-generating sources.

So far, Mukta Arts and Subhash Ghai have been synonymous with one another. But now that your company will be hiring other directors, have you thought that the response of distributors may not be as overwhelming as earlier?

Distributors value the price of the whole project in terms of (a) banner, (b) director, and (c) star cast. Naturally, the name of the director and the star cast result in fluctuation of the price-line. Hence the distributors prefer to rather repose their trust in those banners which can produce movies in time, in budget and of quality. Our film with Prakash Jha is basically the story of a child and will be made within a small budget and with a lot of commercial potential. It could prove a bigger hit than a blockbuster, couldn’t it?

Have you studied the example of GV, the first film company to have gone public some years back? Any lessons learnt from it or from ABCL?

G. Venkateshwaran was our Madras distributor for Karz in 1980. He has been running a business house which mainly trades in movies which include a few Tamil movies, too. On the other hand, we are a major production house having some joint ventures in film distribution. Today, more and more corporate houses, having realised the future potential of the entertainment industry, are setting up their own divisions for films. Whereas we have been actively producing movies for the past 21 years. In truest terms, we are a performing unit with a proven track-record of over two decades.

With going public comes decentralisation. Will you be able to adapt yourself to dictation from outsiders?

Decentralisation as a system has long been prevailing at Mukta Arts. We have put together an efficient team of people to head various departments. Ashok Ghai heads our production division; Raju Farooqui, studios; Parvez Farooqui, law and finance; and Sudesh Gupta, who is our business executive, heading business and marketing. So, we already have a system of independent decision-making prevalent.

As far as taking suggestions from others is concerned, our biggest care is our customer. We will listen to everyone, but our focus will always remain customer choice and market viability.

How do you justify the high premium of Rs. 160  per share of your company?

The response from the investors has been overwhelming, be it the book-building or the fixed price public issue. They have not only reposed their faith in Subhash Ghai but have also validated the fundamentals of the company’s performance yesterday, today and tomorrow. On our part, we decided neither to overvalue nor to undervalue ourselves. I only told my merchant banker two things — to be very fair to our investors and to plan for tomorrow’s profitability rather than today’s earnings. We do not believe in short-term approach. That is why, even though it was a good time in February-March, we did not increase our price. Likewise, we did not lower our price in a comparatively worse market stretch of today. People have trusted us and we are committed to perform.

What will the USP of Mukta Arts Ltd. be?

Wealth of content and creative people, and generating fresh quality content on a regular basis.

Coming to YAADEIN, what is it about?

The title itself explains a lot. In one line, Yaadein is an entertainer full of sad and happy moments of a family. And before you ask, yes, it is a musical.

What did you think of Hrithik Roshan and Kareena Kapoor during the first shooting schedule?

Both of them are talented, energetic, hard-working and respectful to the unit and their seniors. I can see superstardom for both of them in the coming years, if they uphold the values that they have today.

Tell us something about its muhurt held last month in London.

It was not merely a muhurt, but a launch of our film. By Mukta Arts’ standards, it was both, the smallest and the biggest. Smallest, because only 70 people attended the muhurt and the launch party. The usual hype and fanfare that surrounds Mukta Arts’ film launches was intentionally done away with. Instead, the muhurt was just like the ones they used to have in the sixties — garlanding the camera, distributing pedas and such. It was also the biggest launch for me because my great friends and topmost British Indians like the Mittals, Hindujas, Binanis, Somaiyas, Keith Vaz (the first British MP of Indian origin) and Sameer Jain of Times Of India honoured the unit and me by gracing the occasion with their greetings. Shekhar Kapur, my favourite director, directed the first shot. It became a memorable moment of Yaadein.

It is rumoured that you did not repeat A.R. Rahman in YAADEIN despite his hit musical score in TAAL because of his starry tantrums. True?

No, it is not true. Rahman is my friend. He is extremely talented and God’s good man. The reason why I did not repeat him in Yaadein was because, very often, the style of the story and the script demands the right kind of star cast as well as technicians. Mukta Arts has never followed hits or market games, but has believed only in the true sense of film-making. If you look back, each of Khal-nayak, Pardes and Taal had different music directors. That was because each composer suited the style of that respective film. This is the only way we work. Today, we have Anu Malik in Yaadein and he has given marvellous music as per the script’s requirements. And I must say, Anu Malik is one of the most energetic and talented composers in Bombay. You will say so yourself when our music is released.

Like TAAL, has YAADEIN also been insured? For how much and against what risks?

We are planning to insure Yaadein for 14 crore for all risk factors except margin of profits. We, at Mukta Arts, felt honoured when some time back, United India Insurance announced the name of their film insurance policy as Cine Mukta Insurance Policy. This is not a compliment for Mukta Arts alone, but for the whole film industry.

Tell us how does one contact you whenever one learns of a sudden controversy or a rumour pertaining to you or Mukta Arts?

You can go to our website, muktaarts.com, where we have set up a newsroom to answer all your queries. Anyone having any doubts or questions over any controversy or rumour surrounding us, can find the true picture there. The problem is, at times, certain controversies and rumours come as news even to us!

Why has Mukta stopped introducing new talent? Has the experience with Mahima left such bitter memories?

Grooming talent, introducing and re-introducing talent and bringing the back-bencher to the forefront have been a constant exercise at Mukta Arts. Taal brought actress Supriya Karnik and singer Richa Sharma into the limelight. See, our main purpose behind setting up the film institute is to create a platform for all those young and talented children who do not have what I call a Film Family Support System (FFSS). Just wait and watch — Mukta Arts will bring 10 top stars and five top directors within seven years. We are going to share everything we have with them — our knowledge, our talent, our wealth, everything.

Finally, a few light questions.
If there were no commercial considerations, what kind of a film would you first make?

A small, black & white, 35mm film with all fresh faces, but with an excellent technical support.

What if you were asked to direct a film without a single song?

I’ll gain a sense of new achievement.

If you had the right to ban one thing in this industry, what would it be?

Piracy of all kinds.

What if you were invited to host the KAUN BANEGA CROREPATI show? 

Amitabh Bachchan is any day a better proposal than Subhash Ghai. He is excellent in the programme. The public has already given the responsibility of being a crorepati to me and, here at Mukta, we are committed to be patis to bringing up the Mukta Arts family.

What’s your biggest regret in life?

That I could never learn music formally.

Your all-time favourite song?

Na yeh chand hoga, na taare rahenge/magar hum hamesha tumhare rahenge. This, I remember, is the first song I ever heard — I must have been about three years old then — and it continues to haunt me till this day. I recall singing the song at family gatherings when I was just five years old. It was also the first song I sang to my wife, Mukta, during courtship. Today, we are happily married. Aaj chand bhi hai, taare bhi hain, aur Mukta bhi hai!

Your most used word or phrase?

“Be honest in whatever you do.”

BICHHOO

Bhagwan Chitra Mandir’s Bichhoo (A) is the story of a young man whose mother and two sisters commit suicide after being subjected to humiliation of the meanest form. The man seeks revenge on the wrong-doers by taking law into his hands. Even after his revenge, he continues to indulge in killings and becomes a contract killer. A girl enters his life and changes the tough guy. She brings to fore the soft inside of the man even as she gets trained by him in using arms and ammunition. The girl, whose family is killed by a double-faced police officer, resolves to kill the officer and is aided in her endeavour by the young man. Ultimately, her mission is accomplished but in the action drama, her beloved is also killed.

The film has a fast pace in the first half and gives hardly any chance to the viewer to think. But after interval, its pace slackens and boredom creeps in at places. The tragic ending will not be liked by some. Besides this, two more drawbacks of the film are: (a) the hero takes his revenge before interval and, as such, there’s no mission in his life thereafter, and (b) there is scant consideration for law in the drama throughout the film. On the plus side are the abundant action and three good songs. Emotions are missing. Romance is limited. Climax, in which an army of police is called in to nab just one man housed in a building, looks exaggerated. Dialogues (Dilip Shukla) are okay.

Bobby Deol does a fair job. He however, needs to improve in dramatic scenes — especially his voice modulation when shouting his lungs out. Rani Mukerji is spontaneous and good in some scenes but average in others. Ashish Vidyarthi is a bit too stagey. Ishrat Ali has a fixed expression on his face. Avtar Gill does fairly well. Mohan Joshi is alright. Malaika Arora is okay in a guest appearance. Virendra Saxena acts ably. Sachin Khedekar leaves a mark. Siddharth, Farida Jalal, Mahavir Shah and Dolly Bindra lend good support. Shweta Shetty’s dance on the hit song, rendered by herself, is sexy. Hans Raj Hans and Ganesh Acharya are okay.

Director Guddu Dhanoa has made the film’s first half really racy, which is the best thing about the film. But his over-reliance on action and side-tracking of other ingredients of a masala fare is not desirable. Music (Anand Raaj Anand) is good. ‘Jeevan mein jaane jaana’, ‘Tote tote ho gaya’ and ‘Yehi hai arzoo’ are racy songs and their picturisations are good. But the placement of ‘Tote tote ho gaya’ is too early in the film. Background score is effective. Production and technical values are of standard.

On the whole, Bichhoo should do well in the North. In the other circuits, it will have to depend on its reasonable price on the one hand and its excellent start on the other, to come to its aid. Business in ‘B’ and ‘C’ class centres will be good.

Released on 7-7-2000 at Novelty and 23 other cinemas of Bombay thru Vimal Agarwal and R.M. Ahuja & Co. Publicity: excellent. Opening: very good. …….Also released all over. Opening was superb in U.P., East Punjab, Rajasthan and C.P.

LATEST POSITION

The first week’s business of REFUGEE is tremendous despite the drop in collections from the 4th day onwards everywhere. A definite commission earner. 

Refugee 1st week Bombay 83,75,163 (93.78%) from 15 cinemas (9 on F.H.); Ahmedabad 38,54,196 from 8 cinemas, Padra 4,50,502, Vapi 10,10,652 from 2 cinemas, Jamnagar 2,71,179, Adipur 2,25,788 (100%); Pune 20,51,699 from 7 cinemas (1 in matinee), Solapur 2,56,934 (100%); Delhi 67,94,132 (81.65%) from 12 cinemas (1 on F.H.); Kanpur 7,50,836 from 2 cinemas, Lucknow 6,00,754, Agra 4,03,000, Varanasi 4,95,558, Allahabad 3,27,868, Bareilly (6 days) 2,16,162, Hardwar 2,00,000 (69.44%); Calcutta 33,84,040 from 14 cinemas; Nagpur 12,17,357 from 5 cinemas, Amravati 2,96,889, Akola 2,25,151 (95%), Bhilai 3,32,424, Jalgaon 3,00,062, Wardha (28 shows) 1,36,828, Chandrapur 2,87,456, Bilaspur 3,07,211 from 2 cinemas, Ballarpur 1,05,062, Itarsi almost 100%; Bhopal 4,32,024 from 2 cinemas (1 unrecd.); Jaipur 17,65,962 (74.72%) from 4 cinemas, Ajmer (29 shows) 1,80,611; Hyderabad (gross) 34,29,175 from 12 cinemas (1 in noon).

………….

Tarkieb drops further. 2nd week Bombay 5,86,442 (9 cinemas unrecd., 6 on F.H.); Ahmedabad 4,37,358 from 4 cinemas (1 unrecd.), Baroda 1,04,881, 1st week Rajkot 1,00,450 (1 in matinee unrecd.); 2nd week Pune 5,46,376 from 4 cinemas (1 in matinee), Solapur 1,91,784 from 2 cinemas (1 in matinee); Delhi 12,94,371 from 8 cinemas; Kanpur 1,50,883 from 2 cinemas, Lucknow 3,95,339, Agra 1,25,000, Varanasi 92,816, Allahabad 95,162, Bareilly (6 days) 42,000; Calcutta 1,92,221; Nagpur 47,916, Jabalpur (6 days) 1,17,007, Amravati (6 days) 1,38,334, Akola 75,434, Jalgaon 1,00,573; Indore 72,000, Bhopal 60,650; Jaipur 93,022; Hyderabad (gross) 2,88,209 from 2 cinemas (1 in noon).

Joru Ka Ghulam 3rd week Bombay 7,40,580 (50.08%) from 3 cinemas (9 on F.H.); Ahmedabad 1,90,398 from 3 cinemas (1 unrecd.); Solapur (matinee) 46,342; Delhi 1,67,798 from 2 cinemas (2 on F.H.); Kanpur 1,49,653 from 2 cinemas, Lucknow 1,18,044, Agra 1,63,000, Varanasi 85,049, Allahabad 61,243, Bareilly 29,715; Calcutta 1,40,199; Nagpur 93,376, Amravati 89,650, Wardha 30,064, Sagar (5 days) 21,971; Indore 94,000 (1 on F.H.); Jaipur 1,17,607 from 2 cinemas; Hyderabad (gross) 2,98,879 from 2 cinemas.

Josh 4th week Bombay 30,96,967 (59.69%) from 11 cinemas (6 on F.H.); Ahmedabad 2,00,329 from 2 cinemas, Rajkot 1,70,690, Jamnagar 26,792; Pune 5,44,307 from 4 cinemas (1 in matinee), Solapur 96,590 from 2 cinemas (1 in matinee), Barsi 65,927; Delhi 10,12,239 from 5 cinemas (2 on F.H.); Kanpur 1,42,769 from 2 cinemas, Lucknow 3,30,273, Agra 73,500, Varanasi 78,906, Allahabad 59,093, Bareilly (6 days) about 42,000, Muzaffarnagar 46,000, total 2,81,616; Calcutta 2,51,506; Nagpur 2,01,418 from 3 cinemas, Jabalpur (6 days) 62,770, Amravati (6 days) 1,10,763, Akola 52,104, total 5,37,490, Jalgaon 95,526 (3rd 94,427); Jaipur 1,83,671, Ajmer (gross, 28 shows) 79,035; Hyderabad (gross) 4,75,139 from 3 cinemas (1 in noon).

Kaho Naa…Pyaar Hai 25th week Bombay 4,04,297 (33.27%) from 3 cinemas (4 on F.H.); Ahmedabad 4,09,392 from 6 cinemas, Baroda 81,511; Pune (matinee) 26,600, Solapur (6 days) 63,870; Delhi 3,35,856 from 3 cinemas; Kanpur 52,563, Lucknow 1,26,009, Agra 44,700, Varanasi 66,277, Allahabad 30,113; Nagpur 76,290 from 2 cinemas, Jabalpur 41,690, total 26,59,016, Amravati 41,095, Akola 58,531, total 26,80,881, Raipur 44,789, total 26,58,614, share 19,33,242, Jalgaon 47,430, total 25,06,664; Bhopal 42,000, total 36,12,481; Hyderabad (gross) 2,17,423 from 2 cinemas (1 in noon, 2 on F.H.); 2nd week Guntur (r.r., gross) 65,446, 1st week Ongole (r.r., gross) 77,681.

VASHU BHAGNANI TO FETE ISMAIL DARBAR

Producer Vashu Bhagnani will host a party at Hotel Guestline, Juhu, Bombay, this evening (8th July) in honour of the music director of his Tera Jadoo Chal Gayaa, Ismail Darbar, who has bagged the National Award for the best music of 1999. The award was for Hum Dil De Chuke Sanam.

The audio cassettes of TJCG will also be released by Tips at the same function.

GUDDU DHANOA HOSPITALISED

Producer-director Guddu Dhanoa was admitted to the ICCU of Nanavati Hospital in Bombay on 6th July, a day before the release of his Bichhoo. He complained of chest pain on 5th, was admitted to a private nursing home for a few hours and took a discharge the same night. When his condition deteriorated on 6th, he was hospitalised. His condition is stable and he is likely to be discharged shortly.

‘BICHHOO’ VCDs IN MARKET BEFORE THEATRICAL RELEASE

On a complaint lodged by Prakash Laxman Utekar, field officer, Feature Films Copyright, PSIs Shirish Inamdar and S.D. Ingule conducted a raid at shop no. 39 at Musafirkhana, Bombay, and arrested the shop owner, Imran Aziz Khan, who was selling pirated VCDs of Josh and Bichhoo. While Bichhoo was released in the cinemas on 7th July, its VCDs were available one day earlier (6th July)!

‘REFUGEE’ CASSETTES SEIZED

The Balaghat police seized illegal video cassettes of Refugee in a raid conducted on 4th July. The police acted on a complaint lodged by local representative M.P. Mishra, and M.S. Rathore, manager, Shyam Talkies, Balaghat.

CMM TO START MUSIC CHANNEL

After the launch of its religious channel, ‘Aastha’, CMM will be launching a 24-hour music channel in premium digital mode. The channel will be positioned on the global beam of Thaicom-3. A complete music channel, it will have programmes dedicated to film, non-film and pop music. According to CMM’s managing director, Kirit C. Mehta, “During the trial phase, we will have truncated telecasts of Aastha and CMM music channel, both at different time zones on a single channel. In the coming weeks, both, Aastha and CMM music channel, will be telecast on different channels.” The test signals of the channel have already started.

The CMM music channel will beam programmes like ‘Coming Soon’, ‘On The Tracks’ (dedicated to old songs), ‘Deadly Medley’ (for film trailers), ‘Hum Tum’ (which will have soft romantic numbers), ‘Fresh Hai Bhai’ (new songs) and so on.

WALTER MATTHAU DEAD

One of America’s best-loved comic film stars, Walter Matthau, breathed his last on 1st July in Los Angeles following cardiac arrest. Matthau, who had a history of heart problems, was 79.

He spent five decades in show business and acted in more than 60 films. He won an Oscar in 1996 for the best supporting actor for his performance in Billy Wilder’s The Fortune Cookie. Matthau won a Tony award for his stage work in A Shot In The Dark. Some of his very popular films are The Odd Couple, Grumpy Old Men, Grumpier Old Men, Buddy Buddy, The Front Page, Kotch and The Sunshine Boys.

ANOTHER MYTHOLOGICAL FROM DHEERAJ KUMAR

Creative Eye Limited will launch a mega serial, Jai Jai Shree Ganesh, on July 10 at Film City. Director: Dheeraj Kumar. Script: Darshan Lad and Vikas Kapoor. Music: Sharang Dev. Lyrics: Abhilash.

SUDHAKAR BOKADE CLARIFIES

At a press conference called by him on 4th July, producer Sudhakar Bokade clarified that the news published in a Marathi daily that he had attempted suicide by consuming an overdose of sleeping pills was “totally false”. “I am hale and hearty,” he told Film Information in a telephonic conversation. Information had also published a report last week, based on the report of the Marathi daily. The error, though inadvertent, is regretted.

NATIONAL FILM AWARDS

‘SARFAROSH’ ADJUDGED BEST POPULAR FILM

Sarfarosh, produced and directed by John Mathew Matthan, was adjudged the best popular film providing wholesome entertainment, at the 47th National Film Awards. A triumph indeed for Matthan, a first-timer in the arena of feature filmmaking! Malayalam film Vanaprastham, directed by Shaji N. Karun, was adjudged the best film in the feature films category. The film also won the best actor award for Mohanlal. Kiron Kher bagged the best actress award for her unusual performance in the Bengali film, Bariwali, directed by Rituparno Ghosh. Incidentally, Bariwali happens to be Kiron Kher’s home production, and she has acted in a Bengali film for the first time.

The best supporting actor award went to Atul Kulkarni for Hey! Ram, while Sohini Haldar and Sudipta Chakraborty shared the best supporting actress award for their performances in Paromittar Ek Din and Bariwali (both Bengali) respectively.

The best director award was bagged by Buddhadev Dasgupta for Uttara (Bengali). The award for the best first film of a director was shared by Shekhar Kappula’s Dollar Dreams and Ashwini Chaudhury’s Laado (Haryanvi).

Music director Ismail Darbar, who made his debut with Hum Dil De Chuke Sanam, bagged the award for the best music director.

YOU ASKED IT

With CVDs (compact video discs) coming out in the illegal market even before the film is released in cinemas, would it not be wiser to delay the Overseas delivery by a week?

– It may be wise, but it is not practical at all. Overseas territory, which fetches several crores for a big film, may not fetch even 50% of the price after a week of release.

Amitabh Bachchan is striking public attention for his television game-show, Kaun Banega Crorepati, his son, Abhishek, is winning a lot of appreciation on his debut in Refugee. And what’s more, Amitabh has almost cleared his dues of ABCL. Does it mean that happy days are here again for AB?

– Maybe, baby!

What do you predict for Aftab Shivdasani?

– He is a very spontaneous actor. He should lose a little weight and improve his latecoming habit, that is to say, he should not make people on his sets wait!

DO YOU KNOW?

* REFUGEE has created a record at Krishna, Padra (Gujarat) by collecting 4,50,502/- in 1st week (28 shows).

* REFUGEE has created a city record by collecting 10,10,652/- in 1st week from 2 cinemas of Vapi: Shree (6,25,882/-) and Vaishali (3,84,770/-).

* REFUGEE has created a city record in Jaipur by collecting 8,31,170/- in 1st week at Raj Mandir. Admission rates were hiked for the film, because of which it did not record 100% collections at the cinema. Nevertheless, such a figure has never been recorded in the pink city.

* KN…PH has created history in Raipur by yielding the highest ever share of 19,33,242/- in 25 weeks from Anand. 25th week’s collection: 44,789/-, city record. Total 26,58,614/-.

* KYA KEHNA! has become a favourite with the ladies and the youngsters at Krishna, Raipur, thanks to the cinema’s manager, Gurmit Singh Gurudutta, and local representative Lucky Rangshahi (of Shree Rang Films, Amravati), who have been experimenting with new methods of promotion of the film. Currently, a quiz, woven around the film, is being conducted for the public. This is not only soliciting public participation but also getting in the audience!

* In view of Subhash Ghai’s TAAL being the first Indian film to have been insured, United India (the insurance company which provided the cover) has decided to name its film policy after Ghai’s banner (Mukta Arts) as ‘Mukta Cine Policy’. This announcement was made by the insurance company on 6th July at Mukta Arts’ press conference in Bombay.

* In keeping with the excitement and craze for the film among the people of Bhuj, REFUGEE was released last week at not one, but two cinemas of Bhuj — Modern and Ravi. For the first time in Bhuj, a new film was released at two cinemas. It may be mentioned here that REFUGEE was extensively shot at Bhuj.

* Urmila Matondkar will be the much-seen actress in the coming weeks. She stars in three films which are to be released in close proximity to each other: JUNGLE, KUNWARA and DEEWANE. Her co-stars are all different — Fardeen Khan, Govinda and Ajay Devgan. 

A Cut In Time…

J.P. Dutta bowed to public demand and re-edited his Refugee mid-week. The film was found by the audience to be too lengthy and boring in parts. Even before Dutta could effect cuts, his distributors had chopped off portions they felt were dull. Word had spread among his distributors on Friday (30th June) itself that cuts were being effected without J.P.’s consent and they exchanged notes on the various cuts to be carried out.

Not just J.P. Dutta, most directors become very sentimental when it comes to re-editing their films. But the harm the delay in cutting the dull portions does cannot be overlooked. For, the people, who see the full-length film, cannot be stopped from spreading the word that it is boring. 

There have been several cases of directors delaying re-editing. Subhash Ghai refused to cut his Pardes short but had to budge from his stand on the second day of release itself. Indra Kumar would hear nothing about picking up the scissors after the release of Mann, but he had to reconsider and re-edit it after five days of the release. Why, J.P. Dutta himself re-edited his previous film, Border, after it hit  the screens. What the makers don’t take into consideration is that after they’ve effected the cuts here in Bombay, it takes two to three days to carry out the corrections across the country. The loss ultimately is theirs. 

In the particular case of Refugee, the two necomers — Abhishek Bachchan and Kareena Kapoor — had found such a universal acceptance that the audience was willing to overlook the fact that the film was boring in parts. Now that it’s been re-edited by about 12 minutes by J.P. — and another eight to ten minutes by distributors and exhibitors — the pace has become faster.

There is no doubt whatsoever that the film will not be a loser in any circuit despite very mixed reports. The bumper initial was a boon. In most of the territories, Refugee should fetch commission for its distributors. The Bombay distributor’s billing in the first week itself (including MGs and FHs) is about 75% to 80% of the investment. Ditto the Delhi-U.P. distributor. The East Punjab distributor has covered his entire investment in the first week. The C.I. distributor has earned a share equivalent to 65% of his MG royalty. The C.P. Berar distributor has recovered 60% of his MG royalty in 7 days. With such impressive figures, it shouldn’t be a surprise even if a couple of distributors share overflow with J.P. Dutta.

Dutta, on his part, should keep the publicity and promotion of the film in full gear. In fact, television promotion needs to be stepped up. Unlike in the case of re-editing, J.P. should not delay refuelling the promotional campaigns. Collections have dropped at most of the places, but the drop in 90% of the cases is not continuous. Sustained publicity can steady the collections even further.

*                    *                    *

If Boney Kapoor releases his Hamara Dil Aapke Paas Hai on 11th August, it will be a Himalayan blunder that he will be committing. The music cassettes of the film are due to be released around 20th July. That means, the gap between the audio release and the film’s release would be barely 21 days! Anil Kapoor starrers normally don’t take good initials, so what would it be without proper promotion of music? Distributors and exhibitors shudder to think! Wonder, why Boney Kapoor doesn’t see reason and postpone the release by two or three weeks. As it is, there are far too many releases in the coming weeks — till 18th August. Therefore, August 25 or September 1 should be a more ideal release date for Hamara Dil Aapke Paas Hai. Why kill the dil?

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Kaun Banega…?

Whether anyone will succeed or not in becoming a ‘crorepati’ in the Kaun Banega Crorepati television show is to be seen. But Amitabh Bachchan has already become one — by hosting the show. Yes, the actor is reportedly being paid several crores for anchoring the show. So, kaun banega crorepati? Of course, Jaya ka pati!

A Paanch-Star Gesture 

Producer Tutu Sharma sure knows how to reward talent. Vijay Maurya, one of the five heroes of his Paanch, will never forget the night when, in a split second, Tutu made the actor’s long-cherished dream a reality. It was late night when Tutu and his team had seen the rushes of about 80% of Paanch. Tutu was thrilled with the rushes and with the work of new director Anurag Kashyap, heroine Tejaswini Kolhapure, and all his five heroes. Vijay Maurya’s performance, in particular, had left Tutu stunned. Outside the preview theatre, Tutu asked Vijay, a resident of Moradabad, what his dream was. The newcomer was hesitant and Tutu had to prod him on to open up. The simpleton replied, a little apprehensively, “Sir, nobody in the three generations of my family I have known, has ever possessed a car. I want to earn enough money to some day own a car.” Tutu took Vijay outside where his Maruti Zen was parked and, handing over the car keys to Vijay, said, “Here, this car is yours. I had bought it three months back, but I think, you deserve it.” Vijay couldn’t believe his eyes and ears. He thought, it was all a dream. Actually, it was the realisation of his dream! The story did not end there. The next morning, Tutu, a little scared, broke the news to his wife, actress Padmini Kolhapure. He was scared because he had given away the family car without so much as informing his wife. Padmini Kolhapure heard Tutu’s story and had just this to ask her husband. “Are you happy about having made Vijay happy?” Tutu replied, “I’m very happy.” Padmini then said, “I’m happy if you are happy.”

‘Gadar’ — Violence In The Midst Of Shooting

Zee’s Gadar – A Love Story is a period film of love in the midst of violence. And the film’s unit has encountered violence wherever the film has been shot. Some time back, there were protests and threats against the shooting at Imambara in Lucknow. During the recent shooting at Amritsar railway station, a huge crowd of locals gathered on day one of the shooting and some of them indulged in stone-throwing. The local police, therefore, had to resort to lathi-charge. However, the situation was brought under control with the help of policemen and railway authorities in Amritsar and the shooting was completed over the next three days. A steam engine was brought all the way from Delhi railway museum and the Amritsar railway station was repainted to lend the ambience of 1947 when the migration took place from both the sides of the border following the announcement of Partition. The whole gadar-like situation (gadar means ‘mutiny’) was escalated due to the participation of stars like Sunny Deol, Amrish Puri and Amisha Patel. Secondly, it was after over a decade that a film was being shot in Punjab. It is being shot since the last one month at Ferozpur, Amritsar, Dunera, Dalhousie and Pathankot. According to Nittin Keni, who is producing the film for Zee, “The inspiration behind the shooting in Punjab was Vinod Khanna, the MP from Gurdaspur. Full co-operation was extended by all his associates and campaign managers, who helped the unit at every step.” The film is being directed by Anil Sharma.

Leela Chitnis: Lonely In America

Character actress Shashikala, who was on a holiday in the United States and Canada recently, returned to Bombay with a heavy heart and sad memories. While on her holiday, she met a grocer in Connecticut, who informed her of the pathetic condition in which yesteryear’s superstar was living. Shashikala immediately went to see her. There, at a nursing home for the aged, she found Leela Chitnis! The lady who, till not long ago, was playing the doting mother’s roles, was lying all alone, abandoned by her family and friends and without a cent to her name. Only a kindly nurse was looking after her daily needs. Leela did not recognise Shashikala when she went to meet her and, in fact, is not in a condition to recognise anyone. A distressed Shashikala related this sad story to her journalist-publicist-friend, Hilla Sethna. Where are the veteran actress’ loved ones, one is led to ask!

This Wasn’t Off The Mark!

A first-year B.Com. paper on Mercantile Law at the M.S. University in Baroda, asked the candidates to write a short note on “offer and acceptance”. For one student, the answer lay in the offer of love by Amisha Patel in KN…PH and its acceptance by Hrithik Roshan.

The student’s answer read: “Amisha Patel offered a hand to Hrithik Roshan. Amisha Patel was after Hrithik Roshan like anything. Amisha Patel was from a very rich family. Hrithik Roshan was from a poor family. There was a villain between the two, who was her father. Hrithik Roshan and Amisha Patel were in deep love. They used to sing songs, run around the trees, sit together for hours and look into each other’s eyes.”

Did the answer get a big zero? Surprisingly, not! The answer was ‘accepted’ by the examiner who ‘offered’ the student a good six marks! Kaho naa…aisa aur kahin hota hai?

SHOOTING COVERAGE

MATTERS OF THE HEART

Is 28th June the day of the festival of colours? Holi usually falls in the month of March, then what’s the unit of Boney Kapoor’s Hamara Dil Aapke Paas Hai doing with colours in Hyderabad? We’d been told, they were wrapping up the patch-work shooting of the film, but then, the white shirt of director Satish Kaushik is dotted with red, blue, yellow and green colours. So is the white shirt of the assistant cameraman. Ditto the colourful shirts of several other unit members. Boney had earlier mentioned that Johny Lever’s character in Hamara Dil Aapke Paas Hai is of a person who, when happy, celebrates any festival — be it Diwali, Holi or any other — any day. We wonder whether real life is emulating reel life and the unit-wallahs are following in the footsteps of Johny’s character. But we don’t have to wonder for long. Standing near the director’s chair on the set at Padmalaya Studios, plonk comes a coloured water drop on our shoulders! It’s the huge multi-coloured umbrella under which is placed Satish’s chair and the television monitor that’s responsible for the colourful welcome to us. You see, it’s been raining in Hyderabad, and the colours of the umbrella, which happened to be new, are running. No celebrations, no festivities!

BONEY’S ‘QUICKIE’

Actually, there is celebration in the evening. The film’s completion is reason enough for Boney to throw an impromptu party. It’s not just the completion but rather the quick completion which is the underlying point here. As Anil Kapoor, the film’s hero and co-producer, says, “It’s been completed in less than even a year.”

SATISH KAUSHIK MISSES A HEART BEAT

Satish Kaushik looks a trifle nervous at the party. The reason for his nervousness, which comes to light with the rising sun the following day, is quite cute. The director, not able to cope up with his nervousness any longer, telephoned Anil Kapoor in his hotel suite and told his actor the cause of his worry. As it happened, Boney had seen the rushes of the film in Bombay on the morning of 28th before leaving for Hyderabad, but he had not given any comments to Satish Kaushik about the film. This had made Satish nervous enough to think of the worst. “Maybe, Boney has not liked the film and is, therefore, avoiding talking to me about it,” the crest-fallen comedian-cum-actor told Anil. When Anil conveyed the director’s fears to his producer-brother, Boney could only laugh. “I didn’t tell him anything because there’s not much to be changed,” he told Anil. Then, explaining the same thing to Satish who was on tenterhooks, Boney reached Satish’s suite to reassure him that the film had shaped up very well and to discuss the “minor changes” that were to be effected.

A relaxed Satish is back at Padmalaya after being let down by rains for more than two hours. The patch-work scenes, which were to be shot outdoors, could not be shot due to the rains. In the studio, scenes with Anil Kapoor and Sonail Bendre are canned. “Just passing shots,” Anil informs. Literally so because Sonali is seated in a car which is supposed to be passing by!

AISH CRIES, SATISH SMILES

After these shots, a whole scene is reshot. It is an emotional encounter between Anil Kapoor and Aishwarya Rai when the latter is packing her bags to leave the former’s home forever. The scene had been shot earlier but, both, Anil and Aishwarya, as well as Satish Kaushik felt, it could be improved by performances with a little more of feeling. Glycerine in Aish’s eyes, sorrow in Anil’s eyes — one take, two takes, three takes… after a few more, it’s joy in the director’s eyes. This is how he had wanted the scene.

A DIFFERENT STORY

Boney Kapoor lets us in on the story. Remake of the Telugu hit, Pelli Cheskundam (“don’t ask me the spelling, you please contact Mr. D. Rama Naidu for that,” jokes Boney), the film is about two principled human beings, Anil Kapoor and Aishwarya Rai. The film opens with a scene showing Anil, Aish and two kids. The audience is led into believing that theirs is a happy and complete family, but a couple of reels later, the truth is revealed. Anil and Aish are no man and wife and the little girl and boy are not the kids of either of them. As the story unfolds, you are informed that Aish is a rape victim, spurned by her family and best friend, secluded by society. Her rape was the result of her stand against a goonda — in other words, a result of her stand on a matter of principle. Anil Kapoor, who has met Aish briefly before her rape and rejection, offers her his home to live in. With nowhere else to go, Aish starts living with Anil. The two kids are Anil’s step-brother and -sister. Anil had gotten to know of his dad’s extra-marital alliance, from the dying mother of the two innocent children and he had confronted his father to give the two kids their rightful place in society. Scared to own up his waywardness, Anil’s father had point-blank denied any alliance with any woman, which had led the principled Anil to leave his own home and stay separately with his half-brother and -sister. It is in this home that Aish lives with the trio.

OF VOWING AND WOOING

Anil slowly but surely begins to love Aishwarya but the latter holds him in too high an esteem to even think of marriage with him. Enters Sonali Bendre who vows to bring back Anil to his parental home and woos him to win his heart. Aish feels jealous of Sonali. Hey! wait, isn’t this love? Aish has to admit that she, too, loves Anil. Just when you think, all’s well and that will end well, comes the bolt from the blue. The pre-climax and climax, quite understandably, have drama and melodrama as their high-points.

5-STAR COMEDY

Boney is quite confident that the five comedy tracks in the film — Anupam Kher, Johny Lever, Jaspal Bhatti, Satish Kaushik and a newcomer being the comedians — would appeal a great deal to the masses. Anupam Kher, a much married man, is in love with his neighbour’s wife and he pretends to be a somnambulist (one who walks in his sleep) to escape to the neighbour’s house every night. Johny Lever’s is the other comedy track, and the third light track is that of Jaspal Bhatti. Satish plays Anil’s secretary. The comedy of the newcomer, who is a look-alike of a veteran actor, springs from his single suit which he wears every day.

RELEASE DATE

When asked how he would release the film on 11th August when its music had not yet been released, Boney admitted quite frankly, “See, it is not as if the music of my film is going to draw the audience to the cinemas. Mine is a story-based film and its music will grow after the film is released. Even otherwise, Anil-starrers don’t take such a great start that I should be unduly concerned about the popularity of my film’s music prior to its release. I’ve got special posters printed with the release date (11th August) prominently displayed on them… I am confident of both, the film and its music.” Anil Kapoor adds, “Even if the film’s music is out on 10th August, we will release the film on 11th August.” Although the confidence of the two brothers is appreciable, still, we don’t quite see reason for them to hurry with the release of the film, a decision which they may have to regret later!

Brother Anil is branching out into independent production with Anupam Kher and Satish Kaushik as his partners. Called Voice, his company will produce feature films and is already into production of software for television. To a question about how Anil would cope with the production problems alongside his acting career, the actor replied, “Even now, I am a producer. So, nothing’s going to change. I will not get into the day-to-day business of production. Plus, Boney is always there to help us.”

ESHA, “A STAR IN THE MAKING”

About the heroine of his Koi Mere Dil Se Poochhe, which Boney shot in early June in the US, the producer says, “Esha Deol will be a big star, mark my words. She is simply remarkable.”

– Komal Nahta

DUPLICATE

Dharma Productions’ Duplicate (UA) is a comedy film. It is the story of two guys, not related to each other but who look exactly similar. While one is a simpleton, the other is a crook and a killer. The police is after the killer but they arrest the simpleton twice by mistake. Ultimately, the crook is killed by his own girlfriend. The simpleton also has his girlfriend and the comedy of errors makes the two girls romance with the wrong partners at one point of time.

The film has a number of cute and light moments which make the viewer laugh. But like too much of anything is bad, even too much laughter gets tiring after a while. There’s just no romance, not much seriousness in the drama, and the comedy, at times, looks far-fetched too. After a point of time, even the crook and the police begin to behave like comedians. Nevertheless, for the class of audience, which doesn’t look for a well-defined story line but can do with good comic punches in its place, the film does afford good entertainment. Of course, some of the jokes are of the type which can be appreciated only by the educated/class/city audience. Climax is weak.

Shah Rukh Khan is splendid. As the simpleton, he shines with a perfect sense of timing and a performance that requires the greatest skill. He is not as good in the role of a crook, though. In fact, there’s so much of Shah Rukh in the film that his fans will take it as a feast but too much of Shah Rukh may irritate the ones who aren’t crazy about him. Juhi Chawla looks pretty and does a fantastic job. Her sense of comedy, too, is absolutely praiseworthy. Sonali Bendre looks glamorous and acts ably. Farida Jalal is excellent as the simpleton Shah Rukh’s mother. Mohnish Bahl is truly restrained and effective. Tiku Talsania lends good light moments. Gulshan Grover leaves a mark. Sharat Saxena, Rana Jung Bahadur, Vishwajeet Pradhan and the rest provide adequate support. Kajol’s friendly appearance is too brief to register in the viewer’s mind.

Given the comedy subject, direction is very appropriate. But the more discerning audience would have expected a more well-defined story and more variety of masala. Music is below the mark. Although the ‘Mere mehboob mere sanam’ song is well-tuned, there’s no hit number and some of the other songs are slow. However, song picturisations (Farah Khan) are eye-filling, and the foreign locales, on which most of them have been shot, are a treat to watch. Special effects and computer graphics (showing two Shah Rukhs even touching each other) are splendid. Photography is of a very good standard and so are the other technical and production values. Sets are opulent. Action scenes are so-so. Dialogues are very witty at many places.

On the whole, Duplicate will appeal mainly to kids and youngsters but there will be a section of the audience which will find so much comedy too difficult to digest. At best, it will remain a city fare which will do well in ‘A’ class centres, especially in Bombay, Maharashtra and South.

Released on 8-5-’98 at Liberty and 20 other cinemas of Bombay thru Modern Movies. Publicity: excellent. Opening: very good. …….Also released all over. Opening was a little below the mark in Delhi, C.P. and C.I. 1st day Jaipur 2,39,670/- from 4 cinemas.

LATEST POSITION

It was a normal week. However, collections were adversely affected at several places on 7th due to Mohurram. On the other hand, collections were good on 1st May owing to Labour Day holiday.

Aunty No. 1 did well in the first 4-5 days but once the decline in collections started thereafter, it dropped rather badly. 1st week Bombay 33,19,247 (64.68%) from 13 cinemas (7 on F.H.); Ahmedabad 4,42,138 from 5 cinemas (1 unrecd.), Rajkot 73,957 from 2 cinemas (1 in matinee), Jamnagar (matinee) 14,242 (1 in regular unrecd.); Pune 8,47,510 from 5 cinemas, Kolhapur 1,63,514, Solapur 1,33,598; Hubli 1,29,986, Belgaum 1,37,645; Delhi 29,31,904 (59.59%) from 10 cinemas (1 on F.H., 1 unrecd.); Kanpur 2,81,136 from 2 cinemas, Lucknow 1,75,772, Bareilly 91,266 (42.25%); Amritsar 52,156; Calcutta 14,06,880 from 14 cinemas; Nagpur 5,92,665 from 4 cinemas, Jabalpur 1,18,453, Amravati 1,43,102, Akola 1,06,615, Dhule 1,06,013, Raipur 1,57,181 (57.91%), Jalgaon 1,39,395, Chandrapur 1,17,300; Indore 2,95,161 from 2 cinemas (4 on F.H.), Bhopal 2,71,565 from 2 cinemas; Jaipur 7,61,508 from 4 cinemas; Hyderabad 20,85,007 from 11 cinemas.

Salaakhen crashed further in 2nd week. 2nd week Bombay 23,21,905 (61.11%) from 10 cinemas (9 on F.H.); Ahmedabad 58,227 (2 unrecd.), Rajkot 1,06,750, Jamnagar 59,390; Pune 5,38,516 from 5 cinemas, Kolhapur 1,06,000, Solapur 1,51,348; Delhi 13,66,374 from 8 cinemas (2 on F.H.); Kanpur 2,04,015 from 2 cinemas, Lucknow 2,13,330, Bareilly 51,834 (23.20%), Hardwar 42,000; Calcutta 6,15,698 from 6 cinemas; Nagpur 1,33,162, Jabalpur 1,48,345, total 3,80,406, Amravati 1,34,963, total 3,80,922, Akola 80,042, total 2,86,017, Raipur 81,870, Jalgaon 1,13,442, Chandrapur 83,604, total 2,73,101; Indore 1,27,000, Bhopal 1,63,616 from 2 cinemas; Jaipur 2,90,129 from 2 cinemas; Hyderabad 6,35,522 from 3 cinemas (1 in noon, 1 on F.H.); 1st week Vijayawada 1,93,186.

Pyaar Kiya To Darna Kya 6th week Bombay 10,33,977 (46.11%) from 6 cinemas (9 on F.H.); Ahmedabad 1,07,828, Rajkot 59,611, Jamnagar 32,845, total 4,59,548; Pune 4,27,174 from 4 cinemas (1 in matinee), Kolhapur 77,600, Solapur (14 shows) 1,13,947; Delhi 5,21,013 from 4 cinemas (1 on F.H.); Kanpur 1,26,520, Lucknow 2,28,042, Bareilly 42,153 (18.73%); Nagpur 1,80,167 from 2 cinemas, Jabalpur 80,696, total 8,38,749, Amravati 1,03,304, Akola 90,037, total 7,29,000, share 5,48,026, Raipur 82,904, Wardha 45,868, Chandrapur 63,184; Bhopal (6 days) 1,29,993; Jaipur 2,04,027; Hyderabad 5,32,194 from 3 cinemas (2 in noon).

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Chhota Chetan (partly dubbed, revived, 3-D) 3rd week Bombay (TF) 21,32,004 (100%) from 3 cinemas; Ahmedabad 1,81,483, Rajkot 1,32,742; Pune (TF) 4,05,411, 1st week Kolhapur (TF, 6 days) 1,49,772, Solapur (TF) 1,85,193; 3rd week Delhi 9,14,840 from 2 cinemas; 2nd week Kanpur 62,871.

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Lakhtar Ni Laadi Ne Vilayat No Var (Gujarati, TF) 1st week Ahmedabad 2,22,791 from 4 cinemas (2 unrecd.), dull.

Shandhyug (Marathi, TF) 1st week Bombay 1,57,848 (36.01%) from 3 cinemas.

Tu Tithe Mee (Marathi, TF) 2nd week Bombay (matinee) 90,133 (65.54%).

Jeans (Tamil) is steady in Tamil Nadu and collected very well in 2nd week.

Jeans (Telugu) 2nd week Hubli 98,365, Dharwad 37,914 (1st 69,387); 1st week Tenali 1,40,750, Ongole 1,73,800, 2 week’s total from Vijayawada 8,84,461 from 3 cinemas, Machilipatnam 1,98,854.

Titanic (English) 9th week Bombay 38,70,042 (84%) from 8 cinemas; 2nd week Ahmedabad (14 shows) 2,94,204 (1 unrecd.); 8th week Delhi 14,38,640 from 3 cinemas; 2nd week Lucknow 2,80,434; 9th week Calcutta 3,50,210; 1st Nagpur 2,37,300 (100%); 8 weeks’ total at Vijayawada 26,37,140.

NEW MINI CINEMA OPENS IN BOMBAY

A new luxurious cinema house, Movie Time, opened on 8th May at Malad (West) in Bombay with Duplicate in two shows and Titanic in two. Situated at Jagdamba Complex, Kanchpada, the 330-seater has a beautiful exterior as well as interior and is equipped with imported Christie projectors, Xenon illuminator, QSC Dolby digital amplifier and 12 JBL speakers of 800 watts each. The seats are cushioned and comfortable and are fitted with cup-holders. There is only one class in the cinema.

Admission rate is Rs. 70. The capacity per show is Rs. 14,231.25, and the capacity for 28 shows is Rs. 3,98,475. Telephone nos.: 880-4022/4023/2164.

For booking tickets in advance, arrangements for telefax system upto Lokhandwala Complex and online booking on internet have been made.

Movie Time is owned by Lalit Kapur.

KOTA COURT DIRECTS SHAH RUKH, JUHI TO APPEAR ON MAY 21

Shah Rukh Khan, Juhi Chawla and the story writer, director and producer of Ram-Jaane have been directed to appear in the court of the senior chief magistrate (1), Kota, Brijmohan Bansal, on May 21. The order was issued by the magistrate, rejecting Shah Rukh’s appeal to dismiss the case filed against him in 1997. The case was filed by pleaders of Kota — Mohammed Akram, Meghraj Singh Shaktawat, Kailash Bamania, Satyanarain Dhaman, Satyanarain Goel and others — objecting to the derogatory remarks against the pleaders in Ram-Jaane. Earlier, on an appeal by the defendants, the Jaipur high court had directed them to file their objections in the court of the magistrate, which was ultimately rejected by the magistrate.

Even Shah Rukh Khan Is Incomplete Without Hit Music

Everyone in the trade had expected Duplicate to take a bumper opening. It had Shah Rukh Khan, after all. And Shah Rukh had DTPH and Pardes behind him.

However, the opening of Duplicate on Thursday/Friday was anything but bumper. At places, it was good or very good, at other places, it was not even good.

What went wrong? Well, nothing actually. The only wrong thing was the industry’s assumption that Duplicate would command a fantastic initial. What the industry got taken in by was the presence of Shah Rukh and the excellent publicity. But what the industry forgot was that Duplicate did not have hit music. What it also forgot was that even Shah Rukh Khan must have the advantage of hit music to command an initial draw.

The music of Pardes became a rage only after the film was released. Therefore, despite the presence of Shah Rukh Khan and the name of Subhash Ghai, it didn’t open to bumper houses at many places. On the other hand, Shah Rukh’s DTPH and Koyla boasted of hit music, and both the films, therefore, recorded phenomenal opening day collections.

So, it is a fallacy to think that Shah Rukh alone is enough for a bumper initial draw. What is needed is Shah Rukh Khan plus hit songs. Without the latter, you can definitely hope for a decent opening but not a crazy opening.

Telephone Calls For Trustworthy Confirmation

Our office telephones rang endlessly yesterday (Friday, 8th May). Not as much for the reports of Duplicate, as for knowing which of Hitler and Mard would make it to the cinemas on 15th May, that is, next week. The reason for the hundreds of calls was the uncertainty over the release of Hitler and Mard. Both these films were scheduled to be seen by the censors on the same day (8th May). At around 2.30 p.m., news poured in that Hitler had not only been seen by censors in Madras but had also been cleared for universal exhibition. The other bit of news was that Mard would not be seen by the censors that day.

Desperate distributors and exhibitors all over India wanted to know the correct position from us. While it was certain in the afternoon that Hitler had won the race to the box-office over Mard, by 4 p.m., there was a rumour that Mard was also being seen by the censors in Madras. This brought the film back in the race. Matters became more complex because many exhibitors had booked both the films, assuming that they wouldn’t be released simultaneously. While distributors of both the films in almost every circuit claimed that it was their film which would come, and not the other, exhibitors didn’t know whom to believe and whom not.

Why, producer K.C. Bokadia, stationed in Madras, made it a point to himself telephone all his distributors and inform that Hitler had been censored and would be released on 15th. In the meantime, by the evening of Friday, it was clear that Mard had not been seen by the censors, as rumoured.

As one rumour led to another, the level of desperation of distributors and exhibitors went up. This became evident to us when we began to receive the strangest of all requests. Like this distributor of Mard, who literally pleaded with us to do anything within our powers, but to get Mard released first! “Aap kuchh bhi kijiye, lekin Mard ko 15th ko le aaiye!”, the distraught distributor said.

But no, Mard will now be seen by the Madras regional office of the CBFC on 12th May. The released date will be finalised only thereafter. It could be 22nd or 29th May or even 5th June.

YOU ASKED IT

When Chhota Chetan, in its 3-D version, is doing well in its repeat-run too, why did the 3-D technology not catch on in India?

– Because of the headache involved in distributing 3-D spectacles to cine goers. Literally also, the wearer of 3-D spectacles complains of a headache after a while!

When did the levy of entertainment tax on films begin in India?

– The first tax was levied in 1922 in Bengal, followed by Bombay in 1923. The rate was 12½%.

What is more important for a film — a hit star or hit music?

– Both are equally important for ensuring a bumper opening.

CENSOR NEWS

Varma Corporation Ltd.’s Satya was given C.C. No. CIL/3/22/98 (A) dt. 5-5-’98; length 5017.14 metres in 17 reels (cuts: 10.96 metres).

Jeans Productions’ Jeans (dubbed), seen on 8th in Madras, has been issued C.C. No. CIL/1/0422/98 (U) 8-5-’98; length 4746.38 metres in 16 reels (no cut).

B.M.B. Productions’ Hitler, seen on 8th in Madras, has been passed with U certificate, without cut.

Roopvati Pictures’ Mard and Makewell Films International’s Hatyara will be seen on 12th in Madras.

P.M. Films’ Sar Utha Ke Jiyo has been offered A certificate, with cuts.

Deepak Arts’ Iski Topi Uske Sarr has been offered UA certificate, with cuts.

Samna International’s Zanjeer – The Chain has been offered A certificate, with cuts.

Tips Films P. Ltd.’s Jab Pyaar Kisise Hota Hai (length 4633.26 metres in 16 reels), applied on 6th and seen on 8th, has been reportedly okayed.

Pooja Bhatt Productions’ Dushman (length 4262.93 metres in 15 reels) was applied on 8th.

IN & OUT OF BOMBAY

Mr. Vinay Choksey of VIP Enterprises, Bombay, is expected back from Australia after two weeks.

Mr. Ramdhan Mamoria of Shreedhan Enterprises, Jaipur, and Mr. Kishanchand Jain of Rekha Films, Jaipur, are at Hotel Neelkanth (649-5566/7/8).

Mr. Ajay Chudasama of Rajshri Cinema, Gandhinagar, left for Gandhinagar this morning (9th May).

Mr. Mohan Kasat of Mohan Chitra, Amravati, is in town.

Mr. Ravi Machhar of Sahyog Films, Hyderabad and Abhinay Cinema, Aurangabad, is in town.

Producer Mahendra Dhariwal will leave for Ooty on 10th for the shooting of his DADA and will stay at Hotel Monarch (44408).

DO YOU KNOW?

* Rival exhibitors of Baroda don’t seem to be too happy with the good collections at Sagar cinema, Baroda. Perhaps, that is why every time a new film is due for release at Sagar, either a rival exhibitor puts some legal or other hurdle in the way or ensures that the print to Sagar reaches late. One or the other problem cropped up at the time of release of ZIDDI, DEEWANA MASTANA, PKTDK. On 8th May, when DUPLICATE was due to open at Sagar, a rival cinema served Sagar a show cause notice and tried to obtain a stay on the film’s release. But the court dismissed the case, and the film opened to full houses in 5 shows!

* Producer-director Ratan Irani is shooting his MERE APNE in Kashmir. It is after nine years that a film unit is shooting there. A lot of film shootings used to be done in Kashmir till 1989 when militancy started there. After that, there was shooting in Kashmir but of a different kind. 

BOOM TIME IN GUJARATI INDUSTRY

* One Gujarati blockbuster, DESH RE JOYA DADA PARDESH JOYA, has given such a boost to the Gujarati film industry that there are about a dozen films either in the making or in the planning. These include films of Mundra brothers, Bhavchand Patel, Rambhai Bhimani, Dablabhai Tanna, Ashok Patel, Govindbhai Patel, Atul Rawal, S.J. Talukdaar, Rajendra Butala, Amar Kumar Jadeja etc. And the most-in-demand hero and heroine are Hiten Kumar and Roma Manik. Incidentally, DRJDPJ is expected to do a business of 10 crore!

3-E
Education-Entertainment-Enlightenment

Despondent Exhibitors

Despite the regular flow of releases, exhibitors all over the country are panicking. Reason: no film is sustaining at the box-office. In the first four months of 1998, Pyaar Kiya To Darna Kya is the only film which has done great business. No other film has so far really made any impressive mark at the box-office. Rather, some releases have put exhibitors to horrifying losses. Like, for instance, Salaakhen. It nose-dived in the second week and collected 50% of the first week’s collection or even lesser! Exhibitors, who had booked the action film on fancy terms, are still rubbing their eyes in disbelief. For, they stand to lose heavily, very heavily. With films falling like nine pins, exhibitors (and even distributors) are looking up to the heavens. For, it seems, only God can help this industry. Did you say, even God cannot?

‘Hitler’ Wins The Release Race

The race between the three Mithun starrers — Hitler, Mard and Hatyara — has finally been put to an end by the Central Board of Film Certification. While K.C. Bokadia’s Hitler was censored in Madras on 8th May, Surendra Bohra’s Mard could not be seen that day by the Madras regional office. Obviously, therefore, Hitler will hit the screens next week, while Mard will come later. Mahendra Dhariwal, the producer of Hatyara, had earlier last week decided on postponing his film by some weeks. Incidentally, all the three producers of the Mithun-starrers — Bokadia, Bohra and Dhariwal — hail from Rajasthan. While Bokadia is from Merta, Bohra and Dhariwal are from Jodhpur.

Professional Low

It’s a strange coincidence that whenever producer Sajid Nadiadwala starts a film, his director is, at that time, passing through a low in his profession. His Judwaa, directed by David Dhawan, went before the cameras on the day Yaraana, also directed by David Dhawan, was released and declared a loser. His Jeet (Raj Kanwar) had barely started than Kartavya, directed by Raj Kanwar, bombed. Now, Sajid will shortly start the Hindi remake of the Malayalam hit, Chandralekha, with Priyadarsan whose last two films (Saat Rang Ke Sapne and Kabhi Na Kabhi) have bombed. The remake will star Anil Kapoor, Tabu and Mahima Chaudhry.

Mithun’s Mantra — More The Merrier?

While there is an increasing breed of stars who prefer doing fewer films at a time, Mithun Chakraborty seems to tread a different path. He remains, so far, the star with the most number of releases in 1998. The year is only in its fifth month and already, six Mithun-starrers have seen release. These are Sher-E-Hindustan, Saazish, Military Raaj, Chandaal, Ustadon Ke Ustad and Gudia. While the next few weeks await the release of his Hitler, Mard and Hatyara (all ready for release), another lot of Mithun-starrers like Goondagiri, Sikandar Sadak Ka and Do Numri are being readied for release in the coming two months. Moreover, it is certain that Mithun’s Devta, Sabse Badhkar Kaun, Yamraaj and at least five or six of his other under-production films may be completed in time for release this year. Thus, if all goes well, Mithun’s tally of 1998 releases will add up to a whopping 15 or even 20 films! Among his other under-production films are Mafia Raaj, Aag Hi Aaag, Agni Putra, Arjun Raaj, Jaan Ki Bazi, Jwar Bhata, Phandebaaz, Balram, Sautela, Waqt Ka Faisla, Warrant, Dada, Love Station, Deepak Pawar’s Prod. No. 1, Sipahi Hindustan Ka and Balidaan. Well, didn’t we say, more the merrier?

Incidentally, South films’ hero, Prem Nazir, perhaps, holds the record for the maximum number of releases in a single year. He had — hold your breath — 39 releases in 1979! Prem Nazir may also be the hero with the maximum films to his credit. He has acted in 450 films.

INFORMATION MEETS

“Satya can make an intellectual mind think but it also has the substance to shock the masses.”

– RAMGOPAL VARMA

KOMAL NAHTA

That Ramgopal Varma has an eye for technical brilliance was evident in his very first film, Shiva. Of the ten Telugu and Hindi films which followed Shiva, some clicked and some bombed, but they were all technically far superior than many other films of their times. Ramu, as Ramgopal is affectionately called, has surpassed all his technical brilliance, in his latest film, Satya. We recently had an occasion to see the stark Satya which deals with the Bombay underworld — how it functions, the personal lives of gangsters, their humane side. The film is so realistic (it even has four-letter words being mouthed by the characters) that it leaves the viewer shocked; for the thinking mind, it provides good food for thought. Its principal artistes — Chakravorty, Urmila Matondkar and Majoj Bajpai — have performed so wonderfully that you can’t help singing their praises. Satya also boasts of excellent sound effects, of the kind not heard earlier in Hindi films. All said, it definitely leaves you with a hangover. Our hangover prompted us to sit with Ramu and get him to talk more on Satya. The engineer-turned-filmmaker answered all the questions except the one about, what we think, is too heavy a price fixed for the film (“that’s Bharatbhai Shah’s department,” he laughed), in an informal chat a little before his departure for Panvel (near Bombay) for the shooting of his next film.

What was the inspiration to make a film like SATYA?

– I was toying with the idea of making an action film, something like my first film, Shiva, but on a much larger scale, when I happened to meet a gangster. When I interacted with him, I was touched by the human element of a guy from the underworld. I discovered that we generally tend to treat them as gangsters and nothing more than that, but when you interact with them, they too come across as human beings. One is horrified when one reads headlines in newspapers about underworld dons and gangsters being shot dead or shooting others dead, but when the human element of these gangsters comes in, the whole perspective changes. You then start looking at these people as human beings. My film, Satya, is more about the psychology of gangsters, it tackles the human side of the strata which society shuns and is terrified of.

Having made the film, how far do you think, you’ve succeeded in striking a balance between commercial and good cinema?

– The clichéd definition of good or art cinema is that the narration should be very slow and that it appeals to the thinking mind. Whereas, commercial cinema is something which appeals to instinct rather than intelligence. I would say, in a commercial film, you try to give the audience what it wants. What does the audience want? Violence, sex, fear and emotions. These four ingredients in a film are bound to affect the cine goer, whether he is in Hollywood or Bollywood. In Hollywood, the line between commercial and good cinema has been removed. A film like Godfather offers a lot to the viewer to think about (like an art film would) but it also has the capacity to move him emotionally (like a commercial film would). Satya, too, can make an intellectual mind think, maybe raise an issue, but it also has the substance to shock the masses. They (masses) would feel for the characters even if they may not understand the intricate details and the film in its whole context. What I’ve basically done is to take the characters and locations on the realistic level and give the film a very real look but I’ve given it the pace of a mainstream cinema film. I’ve used the background score to dramatise the whole thing. The background music, sound effects and the cutting (editing) style are all of the kind used in commercial films. Art filmmakers have a very detatched way of showing things because of which the audience doesn’t feel involved.

How real have you tried to keep the characters of your story?

– As real as possible. I heard a lot of real-life incidents before beginning to shoot. But here I must add that a lot of credit for the realistic characters goes to my actors. For instance, Manoj Bajpai looks like a real gangster in the film. But I cannot deny that we also definitely had role models before us.

Except for Urmila Matondkar, there aren’t really well-known faces in the film. Why only Urmila among so many fresh faces? Or alternatively, why aren’t there other equally well-known actors, like Urmila?

– Right from the beginning, I had wanted to cast only new faces in the roles of gangsters. Had I shown known faces, it would have acted against the film’s authenticity. I also thought that if I would not include a love angle in the story, it may start looking like a documentary on the underworld, which my film isn’t. On the other hand, since the film basically deals with the underworld, I did not want to devote too much time to the love story. Since Urmila is the one in love with my hero, I could say a lot without giving too much footage to the love track. Besides, Urmila’s is the only character which is not from the police force or from the underworld, where I’ve used lesser known or new faces.

This brings me to my next question. Why was Mahima Chaudhry replaced by Urmila?

– When I signed Mahima for the heroine’s role, my script wasn’t complete. Once it was more defined, I realised that I needed a more established heroine. So, I wrote a letter to Mahima, explaining her the actual position and situation and informing her that I would want to replace her. Mahima wrote back to me to say that she, too, was not interested in doing my film.

How did you think of using four-letter words at so many places in your dialogues? Were you not scared of the censors or….

– …..Did I have an advance understanding with the censors, do you mean?

No, no, what I mean is, did you shoot with alternative dialogues too?

– No, I didn’t shoot the scenes with alternative dialogues. Right from the beginning, I and all the persons involved with the film were convinced that we were making an honest film. The four-letter words, used by the characters who mouth them, are a part of the language of such characters in real life. They (swear words) were never included to titillate the viewer. We were sure, our sincerity would be appreciated by the censors, and that’s what has happened. The censors have passed most of the four-letter words.

Where you somewhere driven by the fact that Shekhar Kapur got away with four-letter words in BANDIT QUEEN?

– I wouldn’t deny that this fact did cross my mind. I’m sure, Bandit Queen has influenced me as far as the four-letter words go, because I was also making a genuine film like Bandit Queen.

Who do you think is your target audience for the film?

– I sincerely feel, Satya will appeal to all. Its intellectual content may appeal only to the intelligentsia but its emotional appeal will be universal. I wouldn’t call it just an action film. It is also about what prompts the gangsters to take to action. In a film like Ardh Satya, there was a curiosity among the general public to know how the police functions. Satya takes a close look into the lives of gangsters. So the people will be curious to know about the functioning of the underworld, which they will be able to see in my film. Moreover, the love story in the film makes it one of universal appeal.

Notwithstanding the four-letter words?

– Yes, in spite of the four-letter words, the film has universal appeal.

What special care did you take for the fantastic sound effects in the film?

– We worked a great deal on the sound. I give a lot of credit for the excellent sound effects to Media Artistes. Shridhar and his team at Media Artistes have done a splendid job. Most of the sound effects in the film have been recorded specially for it, we haven’t used stock sound. Because the film is so realistic, the impact of sound gets enhanced. That is why the sound also looks so real in the film. We worked for a whole three months on the sound.

After taking so much pain on the sound, don’t you feel frustrated that many cinemas in smaller places do not have even reasonable sound facilities, what to talk of modern sound?

– Yes, it is frustrating, but that cannot be the reason for not working on sound. In our industry, people adopt new things, only after somebody tries it and proves successful. Like, Dolby sound became popular after Rangeela and DDLJ. If Satya becomes successful, more producers will insist on the sound effects of Satya. Without change, there can be no progress in any field.

Aren’t you scared of inviting the wrath of the underworld once your film hits the screens?

– No. I’ve neither glorified nor demeaned the underworld and so, I don’t think anybody should be angry after seeing the film. My effort is to make the underworld guys look inside themselves.

Did you have to show your film to the police?

– Not at all. The film doesn’t side with anybody — neither the underworld nor the police.

What is your next film?

– My new film will be a suspense thriller starring Manoj Bajpai and Urmila Matondkar. It is about a psychopath killer and a woman who is alone at home. The entire film has only two characters. It isn’t titled as yet. I’m planning to complete it in one schedule of less than a month. Mukesh Udeshi is presenting it.

KAMA SUTRA – A TALE OF LOVE
(Dubbed)

Mirabai Films Pvt. Ltd.’s Kama Sutra – A Tale Of Love (A), dubbed from English, is a film (set in the 16th century) which has a story knit around sex and more sex. A princess and her lowly servant grow up together as friends but the latter resents having to wear the former’s old clothes always and being sidelined everywhere even while the former gets the best of everything in life. The servant, who grows up to be very sensual, seeks revenge on the princess by seducing her (the princess) to-be husband just a little before their marriage. The casanova husband falls prey to the servant’s seduction. So much so that when he consummates his marriage with the princess, he can think of only his sexual escapade with the servant.

The servant, who is now banished from the palace, meets a court sculptor who takes her to a teacher who used to teach the princess and other girls lessons in Kama Sutra. The sculptor and the servant are attracted towards each other. In the meantime, the princess’ husband yearns to get back the servant and when he does find her, he makes her his chief courtesan, much to the chagrin of his wife (the servant’s childhood friend). Thus begins the emotional and sexual game with the four players viz. the princess, her husband, the servant and her beloved.

Sex has been very liberally shown and that’s the catchword in the entire film. It titillates the viewer, more so because so much sex has never been seen earlier in a Hindi film. Otherwise, the drama moves at a slow pace but that is often sought to be compensated by vivid sex, coming at regular intervals. Music is in the background and there are no songs in the film.

Indra Verma does a wonderful job as the servant, looking sensual and performing brilliantly. Sarita Chowdhury, as the princess, is quite good. Naveen Andrews looks and acts the sex-hungry husband of the princess beautifully. Ramon Tikaram is also extremely natural in the role of the sculptor. Rekha is restrained and truly effective as the teacher imparting Kama Sutra lessons. The rest of the cast, including Harish Patel, Pearl Padamsee, Arundhati Rao, Khalid Tyabji and others, lend admirable support.

If the sex scenes are vivid, the dialogues too are pretty bold at several places. Although the censors may have cut portions, they’ve also permitted a lot to be shown. Dubbing is excellent.

Direction (by Mira Nair) is exemplary because the erotic scenes are truly so and they succeed in exciting the viewer, which was the aim of the film. What’s more, the drama also holds appeal for the class audience. Photography is superb. Sets (Nitin Desai) are fabulous. Production values are very nice. Costumes of the various characters give the impression of the drama being set centuries ago.

On the whole, a film like Kama Sutra is visually one of the boldest ever seen on the Hindi screen and it is this novelty and shock value and, of course, abundant and uninhibited sex, which will see it succeed handsomely at the box-office. The craze for the film will not be limited to young adults or just menfolk, even women and the elite can be expected to patronise the film in a big way as days pass. Class A1.

Released on 6-2-’98 at Satyam and 15 other cinemas of Bombay by Shogun Films thru Shringar Films. Publicity & opening: very good. …….Also released all over, to bumper houses everywhere. Over-capacity crowds were witnessed in several cinemas in different circuits.

LATEST POSITION

The industry’s Idd has come this week with the bumper opening of non-star cast and songless KAMA SUTRA. The actual Idd festival last Friday could not do anything for star-cast and song-filled BANARASI BABU and VINASHAK. Instead, Idd proved bountiful for DTPH and ISHQ as their collections jumped up in the week under review.

Banarasi Babu has not been appreciated and will entail losses to its distributors due to its high price. 1st week Bombay 35,70,871 (67.84%) from 15 cinemas (8 on F.H.): Ahmedabad 3,16,454 from 3 cinemas (1 unrecd.), Rajkot 1,44,628 from 2 cinemas (1 in matinee), Jamnagar 96,272 from 2 cinemas (1 in matinee); Pune 8,10,681 from 5 cinemas (1 in matinee), Solapur 2,33,660 from 3 cinemas (1 in matinee), Satara 80,556; Belgaum 1,97,826; Delhi 29,09,218 (50.57%) from 11 cinemas (1 on F.H.); Kanpur 3,53,047 from 2 cinemas, Lucknow 2,88,717, Allahabad 1,59,000, Varanasi 1,95,495, Meerut 2,03,067, Bareilly 1,52,558 (60.54%), Dehradun 1,28,000, Hardwar 34,711; Nagpur 4,08,917 from 4 cinemas, Jabalpur (6 days) 1,78,062, Amravati (6 days) 81,220, Akola 1,27,922, Bhilai 1,45,128, Chandrapur 1,14,646; Indore 1,29,580 (4 on F.H.), Bhopal 4,10,189 from 3 cinemas; Jaipur 7,41,585 from 4 cinemas, Bikaner 1,34,900.

Vinashak dropped rather badly from 2nd day onwards at some places and from 4th day onwards at other places. Its only saving grace is its reasonable price in some circuits. 1st week Bombay 43,19,365 (69%) from 13 cinemas (9 on F.H.); Ahmedabad 6,17,036 from 7 cinemas, Rajkot 2,34,565 from 2 cinemas, Adipur 1,26,405; Pune 7,90,168 from 6 cinemas (1 in matinee), Solapur 3,49,261 from 3 cinemas (1 in matinee); Hubli 100%, Belgaum 1,35,845 (100%), Dharwad 100%; Delhi 29,39,616 (51.85%) from 12 cinemas (1 on F.H.); Kanpur 3,76,191 from 2 cinemas, Lucknow 3,03,033, Allahabad 1,82,500, Varanasi 2,39,601, Meerut (6 days) 1,61,808 (100%), Bareilly 1,46,845 (73.88%), Dehradun 1,36,316; Calcutta 23,03,921 from 22 cinemas; Nagpur 4,59,519 from 4 cinemas, Jabalpur 1,79,890, Amravati 1,93,233, share 1,35,300, Akola 1,49,848, Raipur 2,12,595 (45.96%) from 2 cinemas, Bhilai 98,267, Durg 88,891, Jalgaon 1,82,235, Wardha 62,409, Chandrapur 1,49,319; Bhopal 3,22,002 from 3 cinemas; Jaipur 4,97,553 from 3 cinemas, Jodhpur 3,00,000, Bikaner 97,500, Bharatpur (gross) 1,20,000; Hyderabad 32,09,820 from 17 cinemas.

…………

_________

Desh Re Joya Dada Pardesh Joya (Gujarati, TF) is still going great guns and proves a blockbuster. It has collected better this week than in the previous week at many places. 4th week Ahmedabad 7,21,313 from 4 cinemas, Asodar 1,01,341, 2nd week Baroda 1,47,948, 4th Rajkot 2,14,376, 2nd Jamnagar 1,65,858 (1st 1,40,676), Bhavnagar 1,93,621 (1st 1,86,425).

Laali (Punjabi) is doing well in the circuit in East Punjab.

COURT ALLOWS SHOGUN FILMS TO USE TITLE ‘KAMA SUTRA – TALE OF LOVE’

Rejecting the notice of motion taken out by B. Gupta against Mirabai Films Pvt. Ltd. and Shogun Films Pvt. Ltd., the producers of Kama Sutra – A Tale Of Love, for the use of the title Kamasutra which is being made by him, Justice A.T. Vaidya of the Bombay city civil court in a judgement passed recently has said that as the name Kama Sutra – A Tale Of Love had been registered by the Association of Motion Picture & TV Programme Producers, though rejected by the Film Makers Combine, the same could be used by the defendants (Mirabai Films). However, the judge said that the loss suffered by Gupta could be compensated by the defendants in terms of money. The court also held that the balance of convenience was in favour of the defendants as the plaintiff had approached the court at a belated stage.

YUNUS PERWAIZ TO CONTEST LS ELECTIONS

Actor Yunus Perwaiz will contest the forthcoming Lok Sabha elections from the East Delhi constituency. He will be a candidate of the Samajwadi Party.

ADITYA CHOWKSEY’S WEDDING LARGELY ATTENDED

C.I. distributor Aditya Chowksey, son of distributor J.P. Chowksey, got married to Chhavi on 3rd February in Indore at Sayaji Hotel. The wedding reception was largely attended by the C.P.C.I. trade as also by Bombay trade personalities.

DO YOU KNOW?

* Besides Anil Kapoor and Salman Khan, there will be a third hero in Vashu Bhagnani’s BIWI NO. 1. His role will be small but important. Vashu and director David Dhawan have not yet finalised the guy.

* Sanjay Dutt plays a very important role in Raj Kanwar’s second home production, as yet untitled and starring Chandrachur Singh and Mahima Chaudhry. Raj prefers to call it a “dynamic role” although it is a guest appearance but a very, very lengthy guest appearance.

* Tips has got made attractive cards (in the style of picture postcards) of its forthcoming film, JAB PYAR KISI SE HOTA HAI, directed by Deepak Sareen. The card does not reveal the film’s name, it only shows Salman Khan and Twinkle Khanna in a song sequence, wearing similar clothes — red and green checkered shirt with blue jeans. Besides the main credit titles, the card announces: ‘Await the heart-throbbing music coming on Tips’.

RECORDS RE JOYA!

* Govindbhai Patel’s DESH RE JOYA DADA PARDESH JOYA (Gujarati, TF) is moving from glory to glory. The fourth week’s collections in most of the cinemas are better than or almost equal to those of the third week. The 3rd and 4th week’s collections respectively are: Amber, Ahmedabad 2,67,790/- (full) and 2,67,790/- (full); Anupam, Ahmedabad 2,68,392/- and 2,67,502/-; Anand, Naroda 90,016/- and 95,325/- (theatre records); Ashok, Ahmedabad 85,027/- and 90,696/- (theatre records); Vasant, Asodar 76,288/- and 1,01,341/-; Rajshree, Rajkot 2,14,878/- and 2,14,376/-; Galaxy, Bhavnagar 1,86,425/- and 1,93,621/-; Chitrakoot, Morbi 1,48,321/- and 1,51,151/-; Liberty, Junagadh 1,47,565/- (record) and 1,45,588/-. At Sadhna, Baroda, it collected 1,52,724/- in 1st week, and 1,47,948/- in 2nd week. The corresponding collections at Deepak, Jamnagar were 1,40,676/- (1st week) and 1,65,858/- (2nd week). The total for 2 weeks (3,06,534/-) is a city record. At Jaimeen, Botad, it has collected 1,42,161/- in 1st week.

Are Awards Losing Their Sanctity?

The recent film awards functions held by two big media groups have caused a lot of heartburns among industry people, giving rise to bickerings and allegations of partiality in the selection of winners. Since awards are subjective, there will always be such complaints, and history is witness to this fact because although one awards function was started as an annual affair only some years back, the other has been an annual ritual for many years now. But the foul talk that’s been generated this year after both the awards functions is, perhaps, the maximum. And that indeed is cause for concern not only because the industry participates in both the annual celebrations whole-heartedly year after year but also because the two media groups have their reputations to guard.

The funny part of the awards functions is that both profess to be popular awards and yet the winners in so many categories were absolutely different in the two functions. If the public, as is claimed, selects the winners, what does this imply? That there’s a different set of people selecting the award winners for one function, and another set of persons for the other function? Both the media groups had separate juries too but the wide variance in the winners makes one wonder whether it was finally the verdict of the jury alone and not of the public too. Or was it? Was even the verdict of the juries overridden in a bid to oblige people? That’s one major accusation being hurled at the organisers of at least one awards function. A top producer, wishing to remain anonymous for obvious reasons, felt that the winners were cleverly picked out so as to cover as many people and films as possible. Says he, “With the awards functions getting commercialised, the sponsors naturally insist that all top stars, producers, directors, music directors etc. should attend the function, to get the maximum mileage for their products. The organisers can ensure such attendance by honouring as many people as possible, whether or not they deserve to be so honoured. So we have popular awards and critics’ awards as also awards for new reasons and achievements.”

A natural corollary of having separate awards under the popular catgegory and the critics category is that the critics do not think like the normal public. While it is understandable in the case of one or two categories, how does one explain such differences in a line of categories? Obviously, the intention was to please too many people at the same time, some deserving, others undeserving.

A glaring difference in the two awards functions was the almost complete omission of Dil To Pagal Hai from even the list of nominations in one, and the sweeping of awards by the same film in the other. Even subjectivity has to have some basis and there cannot be so much difference when both the awards are public awards. Then, some awards went by the name of popular awards although the films for which the concerned persons won those awards were flops. There’s no harm in giving awards to persons associated with flops if the said persons have excelled in their fields, but how can such awards assume the character of “popular awards”? The dictionary meaning of the word ‘popular’ is: ‘of, carried on by, the people; adapted to the understanding, taste, or means, of the people’. When the people didn’t patronise the film, how could they have voted for a person associated with the film? One is not disputing that the winners deserved such awards. No, that’s not the point here. But what the point definitely is is that such awards cannot be called popular awards.

The third major awards function, that is still to be held, may give rise to more controversies. The nominations themselves are raising eyebrows. A lot of questions vis-à-vis the awards functions are remaining unanswered. For a free and fair awards ceremony, what is required is complete transparency. Unfortunately, none of the awards ceremonies has been able to give that feeling of transparency — neither to the general public nor to the industry people.

Little wonder then that some top names, again wishing to remain anonymous, are seriously considering boycotting one or the other awards functions from next year onwards. The rumblings have begun. The organisers of these major events cannot afford to ignore these sounds of discontent. So also the sponsors of these mega events.

– Komal Nahta

Honestly Speaking….

Exhibitors all over the country are panicking. With hardly any films sustaining at the box-office, cinemas will soon have to go abegging for films. That would mean jeopardising the position of exhibitors. With distributors coming into a commanding position vis-à-vis exhibitors, the former would be able to dictate terms to the latter. Of course, that itself wouldn’t be enough to get smiles back on the faces of distributors because they’ve also been reeling under losses due to films falling like nine pins. Kama Sutra has come like a belated Idd!.

Well, actually, if you ask me, I’ll say — even at the cost of sounding repetitive — that it is the prices which are failing sometimes, not the films. Producers should realise the importance of correct pricing because ultimately, in calculating whether a film is a paying proposal or a loser, one has to weigh its cost against its business. Unrealistically high prices of films are ruining the market. Distributors are dying a slow but sure death. And if distributors don’t come forward to buy films of producers, the situation in the coming months will become even more alarming than it is today.

The demonstration effect is killing the industry. Each one is getting influenced by what the other is doing. If he can price his film so high, why can’t I? That seems to be the new mantra. In the case of artistes, the guiding factor for fixing one’s price is: when he/she is charging so much, why shouldn’t I? Producers and artistes ask themselves these questions but, believe me, they don’t have the guts to accept the honest reply.

The honest answer to the two questions above is: Each film is different from the rest, every artiste is unique, there can be no mathematics or readymade formulae for price fixation. A Sunny Deol may command ‘x’ price but Sunil Shetty or Akshay Kumar cannot, simply because they are also action heroes like Sunny, demand prices equivalent to or even determined by what Sunny is asking for. Or just because a Subhash Ghai sells his film at ‘y’ price, it doesn’t mean that every producer can get that price. It also doesn’t mean that even if he can get that price, he should ask for it even if his project does not deserve that price.

A question — and a pertinent one — that arises here is: who will decide what is the deserving price? The honest reply is: the conscience of the producer or the artiste concerned. If one cannot be fair, one should take the help of knowledgeable people in the industry who are known for their unbiased and balanced approach. It may sound a ridiculous option but that’s if you don’t give it a serious thought. Think over this for two days and then ask yourself for an honest reply. Chances are, you will agree with what’s mentioned above.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Differential Admission Rates

A lot of concern is being expressed at the level of box-office collections of some recent releases. But while expressing concern, one must not forget that the high admission rates of cinemas, especially in major cities, are also responsible for the pathetically low collections. It is a fallacy to imagine that a cinegoer would be willing and even eager to pay the same ticket price for a lesser hero as he would, say, for Sunny Deol or Shah Rukh Khan. The latter may not be as hot in smaller centres, but in cities, where admission rates are sometimes prohibitively high, he is the darling. And if the films of lesser heroes are not up to the mark, the exorbitant admission rates act as a double deterrent. Alongside pricing of films and artistes, it’s time one gave a serious thought to the pricing of cinema tickets too.

Of Good Luck And Bad Luck

It is not without reason that the film line is called the most speculative line. For, when Lady Luck will smile at you, you never know. Take, for example, the case of Rajasthan distribution. Kama Sutra was originally with Chopra Jaggi Pictures for the circuit. When Chopra Jaggi relinquished the distribution rights, two distributors saw the film (only last week). One was Rajasthan distributor Baba Ramdeo and the other party was East Punjab distributors, Saraswati Films. After the trial show, while Baba wondered whether he should go for it or not, the Saraswati guys struck the deal. Thus, they had the film for East Punjab as well as for Rajasthan. Baba Ramdeo later even had a change of mind and offered to buy the film from the Saraswati guys after giving them profit. But do you know why they refused to let go the rights? According to Baba Ramdeo, “They told me, they couldn’t leave the rights as they had told Subhash Ghai that they were releasing the film in Punjab as well as Rajasthan!” Imagine, sticking to a commitment because it had been conveyed to Ghai who, in any case, was not otherwise connected in any way with the film or the deal. The Saraswati guys must thank Ghai for their luck. And also thank Kamdev, the sex God, for their double windfall with the sexy Kama Sutra.

In Bombay too, the film changed hands. It was first acquired by Ajay Devgan who then relinquished the rights, presumably because pirated video cassettes of the film surfaced in the market. It was then that all-India rights holder R. Mohan decided to release it himself thru Shringar Films.

Doubly Lucky

Delhi-U.P. distributor G.D. Mehta is a very lucky guy. After negotiations, the price of Kama Sutra for Delhi-U.P. was brought down dramatically last week. And when the collections of all the three releases of last week nose-dived on Saturday itself in Delhi, exhibitors made a bee-line for the office of G.D. Mehta to book Kama Sutra as that was the only release of this week. That’s what you call double luck.

Sexy Shringar

Bombay distributors Shringar Films are on a sexy trip. It started with Aastha which they distributed, but there was a long gap after that. The trip has restarted this year with Kama Sutra this week. In the pipeline are two more films — Deepa Mehta’s Fire and Trans Arts India’s Erotic Tales (Part I) — which have a good dose of sex. The latter film (cleared by the Appellate Tribunal) actually consists of two different films — Mani Kaul’s The Cloud Door and a foreign film, The Insatiable Mrs. Kirsch. It may be recalled that The Cloud Door, starring Anu Agarwal and Murad Ali, had attracted huge crowds in 1995 at the IFFI held in Bombay, obviously, due to its steamy sex scenes.

No Men Please

Apprehending that ladies may not readily and immediately come to cinemas screening Kama Sutra, Bombay distributor Balkrishna Shroff has decided to hold special shows for ladies only on Tuesday (10th February) at 3 p.m. at ten to twelve cinemas of Bombay city and suburbs. A good move which can be well emulated by distributors of other circuits since there were very, very few ladies in the house-full audiences on the first day throughout the country.

KOYLA

Filmkraft’s Koyla (A) is an action-filled revenge drama with a romantic track too. A money-hungry villain gets a labourer, working in a coal mine, and his wife killed for the lure of money. So that the only child of the victims should not identify the killers, the villain shoves burning coal down the poor child’s throat and makes him mute. The villain brings up the mute child (who is unaware of the fact that it is the villain who is responsible for his mute status) as his bonded labourer and the latter is ready to lay down his life for his master any time. The master is fond of girls one-third his age and his lust prompts him to marry one such girl. The mute boy rescues the girl from his master’s clutches when he realises the master’s fraud. The two then fall in love but are separated after a while. The mute boy gets back his lost voice and also gets to know that it was his own master who had rendered him mute. Obviously, he avenges the murder of his parents and the atrocities perpetrated on him and his beloved.

The story as such offers little novelty, and the screenplay is good in parts. At times, however, the writers have taken ‘convenience’ as the guiding factor and put logic or sound reasoning in the backseat. As a result, the film has some defects and flaws. For example, the child is rendered mute so that he may not give his witness in the court, but the same mute boy is asked to identify the killers, which he does! And this mute boy is the central character of the story, and his muteness, an important point in the story. The first half moves at a slow pace and it picks up well when the hero rescues the heroine. Even after interval, the really engrossing turns and twists are few and far between. Another drawback is that when the boy gets his voice back after years, there’s not much feeling of joy which the audience experiences, if only because they have not been made to suffer his pain. Comedy is crude and of the kind which would appeal to the masses but would not be quite liked by ladies and family audience. Romance has not been established. Dialogues lack the fire.

On the positive side are: excellent and abundant action, fantastic chase scenes (in particular, the helicopter scenes), beautiful locations, exceptional sound effects (in DTS mixed prints) and a good music score. Some comedy scenes are even hilarious.

Shah Rukh Khan has, no doubt, done extremely well as the mute bonded labourer but it must be conceded that the role of the angry young man does not suit his image. An action hero was the need of the story. Madhuri Dixit lacks glamour and looks fat. Her performance is, however, good, as usual. Her kotha scenes are in excess and don’t appeal. Amrish Puri has got an unduly lengthy role, something which does not appeal. He has performed ably but there’s too much of him. Ashok Saraf and Johny Lever evoke laughter at places. Deepshikha leaves a mark and lends oomph with her uninhibited exposure. Salim Ghose is average. Mohnish Bahl is good in a very brief special appearance. Ranjeet, Jack Gaud, Shubha Khote, Suresh Chatwal, Kunika, Ram Mohan, Himani Shivpuri, Vikas Anand, master Mohsin and master Vicky lend able support.

Rakesh Roshan should have opted for a more substantive plot. Although his direction is good, he ought to have gone easy on the crude comedy. Music (Rajesh Roshan) is very good but the absence of a super-hit and evergreen number is sorely felt. The ‘Bhang ke nashe mein’ song can be deleted. ‘Saason ki mala pe’ also needs to be edited. Picturisation of ‘Hosh na khode kahin’ is very good. ‘Badan juda hote hain’ is musically very good but a sensuous song of this kind deserved a more appropriate picturisaton — it is picturised on a girl who is sensuously dancing in front of her parents! ‘Dekha tujhe to’ is musically very appealing. Bhikoo Verma’s action is splendid and mind-blowing. Production values are good but not as much as the price for which the film has been sold. Camerawork (Sameer Arya) and the Arunachal Pradesh locations complement each other wonderfully. Both are exceptionally good.

On the whole, an unduly high-priced Koyla has an initial value which is simply mind-boggling, but it does not have matching merits and the fire in it. Since it has to depend only on the masses for patronage, it may not cover its high price on the strength of its opening. Even if some distributors do cover their price, exhibitors and third parties, who have paid phenomenal terms, would, in all likelihood, stand to lose. Business in North India will be better. Collections of the first week will undoubtedly be historic.

Released on 16-4-’97 at Madhuban, Dombivli and on 18-4-’97 at Minerva and 22 other cinemas of Bombay thru V.I.P. Enterprises. Publicity: excellent. Opening: bumper. …….Also released all over. Opening was historic everywhere. 1st day East Punjab over-capacity in many centres, full in Delhi-U.P., Bengal, C.P. Berar, Rajasthan (approx. 12,50,000/- on 1st day on 32 prints), full in all 22 cinemas of Hyderabad and Secunderabad.

LATEST POSITION

The phenomenal opening of KOYLA this week has surpassed all expectations… The week that has gone by was good for the box-office due to the various holidays.

Ziddi has done very well and although it dropped at some places mid-week, its first week’s shares are excellent. 1st week Bombay 46,77,874 (83.22%) from 19 cinemas (6 on F.H.); Ahmedabad 6,24,674 from 3 cinemas (4 unrecd.), Vapi 2,95,462, Baroda 100%, theatre record, Padra 2,57,080, record, Bharuch (gross) 2,90,903, Jamnagar 1,57,442; Pune 11,44,928 from 6 cinemas, Solapur 2,72,771 (93.45%) from 2 cinemas; Delhi 46,19,166 (97.67%) from 12 cinemas (1 on F.H.); Kanpur 4,76,223 from 2 cinemas, Lucknow 2,46,603 (100%), Varanasi 1,89,156 (98.40%), Moradabad 1,91,932, city record, Bareilly 1,72,234 (87.31%), Gorakhpur 1,48,176 (100%), theatre record; Amritsar 54,165; Calcutta (6 days) 23,93,542 from 20 cinemas; Rourkela 1,50,000; Nagpur 7,03,340 from 4 cinemas, Jabalpur 2,25,502, theatre record, Amravati 1,27,865, Chandrapur 1,43,709; Jaipur 11,24,766 from 5 cinemas, city record, Jodhpur 7,29,426 from 2 cinemas, Bikaner 3,07,711, city record; Hyderabad 34,15,919 from 16 cinemas, share 16,26,688.

Kaun Sachcha Kaun Jhootha is a washout. 1st week Bombay 6,90,018 (33.03%) from 8 cinemas (8 on F.H.); Ahmedabad 1,43,494 from 4 cinemas (2 unrecd.), Rajkot 36,536 from 2 cinemas (1 in matinee); Pune 1,32,892 from 4 cinemas; Delhi 8,32,440 (22.64%) from 9 cinemas (1 on F.H.); Kanpur 42,641 from 2 cinemas, Varanasi 32,138, Gorakhpur 36,000; did poor in Calcutta; Nagpur 61,860, Jalgaon (6 days) 23,849; Hyderabad 2,75,341 from 7 cinemas (5 in noon).

Dil Ke Jharoke Main is also miserable. 1st week Bombay 3,66,327 (23%) from 7 cinemas; Pune 69,878 from 2 cinemas (1 in matinee), Solapur 34,780; Delhi 3,66,615 (28.24%) from 4 cinemas (1 on F.H.); Kanpur 34,118; Calcutta (6 days) 2,29,224 from 4 cinemas; Bikaner 38,135; Hyderabad 2,95,087 from 5 cinemas (3 in noon).

……….

Himalay Putra 2nd week Bombay 5,40,081 (45.33%) from 4 cinemas (4 unrecd., 4 on F.H.); Ahmedabad 72,081 (2 unrecd.), Baroda 57,920; Pune 2,51,032 from 4 cinemas (1 in matinee), Solapur (matinee) 19,232; Delhi 10,42,168 from 8 cinemas (1 on F.H.); Kanpur 1,24,303 from 2 cinemas, Lucknow 1,70,440, Agra 88,790, Varanasi 66,705, Bareilly 55,400 (30.94%), Gorakhpur 53,000; Calcutta (6 days) 2,37,314 from 3 cinemas; Nagpur 54,369 from 2 cinemas, Amravati 45,240, Akola 38,628, 1st week Bhilai 1,13,720 from 2 cinemas, Yavatmal 41,303; 2nd Ujjain 20,200; Jaipur 1,54,005 from 2 cinemas; Hyderabad 3,56,599 from 2 cinemas (1 on F.H.).

Judaai 7th week Bombay 11,15,818 (77.06%) from 3 cinemas (3 on F.H.); Ahmedabad 2,30,457 from 2 cinemas (2 unrecd.), Baroda 1,20,444, Rajkot 68,000, Jamnagar 78,739 from 2 cinemas (1 in matinee); Pune 3,00,141 from 3 cinemas, Kolhapur 79,000, Solapur 82,948, 3rd week Miraj 40,186 (1st 51,613, 2nd 45,429), record; 7th Belgaum 59,874; Delhi 2,77,823 from 2 cinemas; Kanpur (last) 1,00,748, Lucknow 81,936, Agra 48,756, Varanasi 65,082, Gorakhpur 47,000; Nagpur 1,16,363 from 2 cinemas, Jabalpur 49,624, total 4,85,792, 6th week Amravati 1,02,150, 7th week Akola 95,703, theatre record, Bhilai 50,217, 2nd week Wardha (6 days) 52,856, 4th Yavatmal 46,826, total 2,21,735; 7th Indore 99,837; Jaipur 74,066; Hyderabad 2,57,851, share 97,196.

Hero No. 1 8th week Bombay 6,49,559 from 3 cinemas; Baroda 38,713, Rajkot 54,400; Pune 1,96,055 from 2 cinemas (1 in matinee), Solapur (matinee) 43,021; Delhi 4,49,102 from 2 cinemas (1 on F.H.); Kanpur 88,505 from 2 cinemas, Lucknow 1,02,233, Agra 80,735, Varanasi 31,982, Gorakhpur (shifting) 32,000; Calcutta (6 days) 1,13,754; Nagpur 1,28,685 from 2 cinemas, Jabalpur 56,885, total 8,48,557, Akola 61,285, theatre record, 7th Bhilai 33,678, 4th Jalgaon 65,568; 8th week Indore 69,760; Jaipur 1,39,090; Hyderabad 4,08,362 from 3 cinemas (2 in noon), share 1,38,962.

Raja Hindustani 19th week Bombay 1,66,960; 22nd week Ahmedabad 70,130, Rajkot (matinee) 13,930; 19th Pune 2,96,222 from 2 cinemas, 18th week Solapur (7 shows) 59,297 (100%); 22nd week Delhi 1,99,384; 23rd week Kanpur 51,341, 22nd Lucknow 84,606, Agra 53,481, 23rd week Varanasi 25,015, Meerut 52,250, 22nd Bareilly 35,628 (19.14%), 23rd Gorakhpur 28,300; 20th week Nagpur 49,005, Jabalpur 70,919, total 31,43,068, 1st Balaghat 1,11,365, 4th Gondia 50,200; 22nd week Indore, 1,16,570; Hyderabad 1,92,181.

MEHTAB DEAD

Mehtab, yesteryears’ leading star and widow of producer-director-actor Sohrab Modi, died in Bombay on April 10. She was 70.

Mehtab’s last film, Jhansi Ki Rani, made by Sohrab Modi in Technicolor, was released in 1953. She joined the film industry during the silent era. She starred in scores of films, prominent being Kidar Sharma’s Chitralekha made in 1941, in which she appeared nude in a bathing scene, Father India, Stree Dharm, Sharda and Sanjog.

PEN OFFICE SHIFTED

Jayantilal Gada of Popular Entertainment Network Ltd. (PEN) has shifted his office, ‘Pen House’, to Asha Colony, Bungalow No. 3, Opp. Sea Princess Hotel, Juhu Tara Road, Juhu, Bombay. A get-together was held on the occasion on April 16.

YOU ASKED IT

For English films, which territories are hot and in what order?

– The hottest territory for English films is Tamilnad-Kerala followed by Andhra, Bombay (excluding Karnataka), Nizam, West Bengal, Delhi, East Punjab, C.P.C.I. Rajasthan and Karnataka in that order.

Who has scored the music in the English film, Fire, starring Shabana Azmi, Nandita Das, Javed Jaffri and Kulbhushan Kharbanda?

– It is a songless film but its background music has been scored by A.R. Rahman. The film is being dubbed in Hindi and from the reports of those who’ve seen FIRE, it appears that the film, if properly exploited, can do wonders in Hindi.

DO YOU KNOW?

* Overseas distributor Kishore Lulla had no words to express how much he had liked the seven songs of Subhash Ghai’s PARDES when he heard them, so he sent Ghai a giant-sized bouquet of flowers. Lulla feels, all the songs are surefire hits.

* There are just 4 Telugu films which have grossed more than 50 lakh from one single cinema. The films are: PREMALAYAM which collected 54,91,762/- in 175 days’ run at Urvasi 70mm, Vijayawada, and 52,67,819/- in 175 days at Chitralaya 70mm, Visakhapatnam; PELLI SANDADI which collected 55,49,866/- in 301 days at Swarna Palace, Vijayawada; BHARATIYUDU which collected 55,02,912/- in 102 days at Venkateshwara Palace, Vijayawada; and NINNE PELLADUTHA which collected 56,64,774/- in 161 days at Raj 70mm, Vijayawada.

* KOYLA has taken a mind-blowing opening in East Punjab. It has collected almost double the house-full capacity on the first day at Friends, Jalandhar, Sangeet and Laxmi cinemas of Ludhiana, Shakuntala, Jammu, Rachna cinema in Faridabad and at Bhatinda.

* KOYLA has taken a historic start and has created city records on the first day at the following centres and cinemas of C.P. Berar: Raj, Raipur (50,008/-), Jeet, Bilaspur (41,668/-), Vandana, Jabalpur (48,235/-), Anjani, Khandwa (24,297/-), Rajkumar, Pusad (40,224/-, gross). It has also created theatre records at New Basant, Bhilai (36,036/-), Gajanan, Khamgaon (21,484/-) and Janta, Itarsi (25,115/-). It drew all shows full on the opening day at three cinemas of Nagpur, viz. Smruti, Panchsheel and Sangam as also at Vasant, Amravati.

* KOYLA has created theatre records on the opening day at all the five cinemas of Indore by collecting: 50,522/- at Sangeeta, 52,208/- at Neelkamal, 35,360/- at Devshri, 35,675/- at Premsukh, and 43,434/- at Smriti.

* KOYLA has created theatre records on the opening day by collecting: 55,000/- at Roxy, Gwalior; 30,000/- at Basant, Morar; 30,000/- at Metro, Ujjain; 30,000/- at Sundaram, Ujjain; 40,000/- at Bharat, Bhopal; 35,000/- at Jyoti, Bhopal; 28,000/- at Darshan, Ratlam. It has created a city record by collecting 38,000/- on 1st day at Jhankar, Rewa.

3-E
Education-Entertainment-Enlightenment

Playing Safe

If Bombay distributors V.I.P. Enterprises today prefer selling the distribution rights of their films to sub-distributors for Gujarat, Saurashtra, Karnataka and Thane district, it is thanks to Prem Granth. They had found Prem Granth so good that they decided to release it in the entire circuit themselves. Added to this were producer Randhir Kapoor’s instructions to V.I.P. to not sell any part of the circuit at anything but a really high price. They burnt their fingers and learnt their lesson. Had they sold the rights for the various sub-circuits, they would’ve covered their risk. Even if the film would have clicked in a big way, they would’ve got something by way of overflow. As Anil Choksey of V.I.P. says, “It is better to repent after selling than to repent without selling.” Another Bombay distributor, Vimal Agarwal, supports the system of covering one’s risk by selling the rights for sub-circuits, with the following comment: “A trader must always trade.” Vimal feels that to guard against errant sub-distributors, you can insist on foolproof and precautionary clauses in your agreements with them.

All The Trouble For Just One Week!

It would surprise many to know that Koyla will be screened at the main cinema of Indore — Sangeeta — for just one week, after which the cinema has booked Mrityudaata. Obviously, Rakesh Roshan is irritated with his C.I. distributor who had not informed him of the limited run. Instead, his distributor, Ashok Tolani, and the owner of Sangeeta cinema (Indore), Sanjay Tolani, prevailed upon Rakesh Roshan to anyhow facilitate the installation of DTS sound system at the cinema (Sangeeta). Without knowing that his Koyla would be discontinued from Sangeeta after just a week’s run, Rakesh requested Jaya cinema (Borivli, Bombay) to urgently transfer its DTS sound system (which was till then not installed) to Indore and instead instal another system after a couple of days. Jaya cinema obliged, but Rakesh Roshan now feels cheated. Understandably so!

This Is Not Done

Rakesh Roshan’s son, Hrithik, who had gone to see Koyla on the opening day at Minerva, Bombay, was shocked out of his wits with what he saw. There were several boys stationed outside the cinema, wearing Mrityudaata boards on either sides of their bodies. These guys were hurling abuses at Koyla and were passing derogatory remarks about the film. Whose brainchild this was, nobody knows. But whoever thought of this style of publicising Mrityudaata must surely be sick in the head!

BAS ITNA SA KHWAAB HAI…

Rose Movies Combine’s Bas Itna Sa Khwaab Hai… (UA) is about the dreams and aspirations of a simple man living in a town in India and how he sets out to realise and achieve them. The young man idolises a media baron with political ambitions, and is thrilled to bits when the latter sets his eyes on him and takes him under his wings. From then on, life moves at jet speed for the simple lad who doesn’t realise the wily designs of the media man. It is only after his near and dear ones are affected by his changed lifestyle and by the dangerous path he treads that the guy realises his folly. He then decides to not just leave the company of the evil media tycoon but also exposes him in the public eye.

The story is very simple and devoid of novelty. It reminds a great deal of Raju Ban Gaya Gentleman. Screenplay is rather dull and the film turns out to be a flat narration. The media mogul is not shown doing anything vicious; he only sits in his palatial office, issuing orders and hatching conspiracies. How the evil guy is ‘using’ the simple man is not really made clear because what the simple man is made to do, anybody could have done. The concept of moulding public opinion through the medium of television makes the film more class-appealing than mass-appealing. What’s more, the climax, in which the hero exposes the baron on television, looks completely copied from Phir Bhi Dil Hai Hindustani and Main Azaad Hoon. Even otherwise, the climax is quite childishly handled.

The first half is fair and, although much doesn’t happen, the audience interest is kept alive, if only barely. After interval, the story meanders aimlessly, and incidents and scenes come and go without creating much of an impact. The polished media tycoon’s PA breaking into dance sequences in parties, when he sings, looks funny.

Abhishek Bachchan does quite well but, in the latter half, he has not been able to rise above the script. The actor needs to improve on two counts fast — one, loosening up a bit and carrying a smile on his face, and two, his choice of costumes. Rani Mukerji looks pretty and acts ably. Jackie Shroff plays the suave media king with ease but is let down by a characterisation that gives him little scope. Sushmita Sen looks sexy and plays his PA in a natural manner. Gulshan Grover is impressive. Sharat Saxena is also good. Smita Jayakar and Himani Shivpuri leave their marks.

Goldie Behl makes his debut as a director with an uninspiring subject about politics. The stale topic of reservation, which he tackles, does not hold so much interest for the common cinegoer that he’d enjoy and appreciate a film based on it. Goldie, however, has extracted good performances from out of his cast. His narration is fairly smooth. Aadesh Shrivastava’s music is quite appealing. ‘Ye hawaaein’, ‘Kuch aisa’ and ‘Dil nasheen’ are the more appealing songs. Sameer Arya’s camerawork captures the foreign locations pretty effectively. Dialogues (Tigmanshu Dhulia) are okay. Editing is loose. Action (Bhiku Verma) is functional. Production values are of a good standard.

On the whole, Bas Itna Sa Khwaab Hai… is a tame film with little entertainment value. Its poor post-interval portion will mar its prospects at the box-office.

Released on 6-7-2001 at Liberty and 19 other cinemas of Bombay by Popular Entertainment Network thru Ethnic Enterprises. Publicity: good. Opening: fair. …….Also released all over. Opening was dull in many circuits.

LATEST POSITION

The tight cinema position is the topic of discussion in every trade gathering, whether formal or informal. 

………….

Lagaan is super-strong in cities. Overseas is superb. 3rd week (21 shows all over) Bombay 65,89,511 (89.98%) from 13 cinemas (7 on F.H.), total for 3 weeks 2,09,84,216; Ahmedabad 18,10,436 from 5 cinemas, Rajkot (14 shows) 1,47,000, Jamnagar 68,806, total 2,97,298; Pune 14,46,904 from 4 cinemas, Solapur 1,34,000, Satara (gross) 91,460; Delhi 56,98,030 from 12 cinemas (2 on F.H.), total for 3 weeks 2,31,36,673; Kanpur 2,94,869 from 3 cinemas, Agra 2,60,000, Allahabad 1,33,000, Bareilly (6 days) 32,545, Jaunpur 10,000, total 80,000; Calcutta 13,09,034 from 6 cinemas; Nagpur 5,41,134 from 3 cinemas, 2nd week Jabalpur (6 days) 1,23,414, 3rd week Akola 75,896, total 3,72,737, Raipur (6 days) 1,25,667, Jalgaon 1,14,269 (2nd 1,52,340), Wardha 59,344, Chandrapur 1,37,392, total 5,04,650; Indore 1,70,000 from 2 cinemas (2 on F.H.); Jaipur 4,10,551 (69.13%), Ajmer 77,866; Hyderabad (gross) 21,71,283 from 6 cinemas (2 in noon, 1 on F.H.). Total of 3rd week: 2,21,02,411 from 70 cinemas.

Gadar Ek Prem Katha continues to create history with earth-shattering collections. 3rd week Bombay 81,23,225 (90.82%) from 16 cinemas (9 on F.H.), total for 3 weeks 2,40,62,340; Ahmedabad 20,13,105 from 7 cinemas (1 unrecd.), Jamnagar 1,99,950 from 2 cinemas (1 in matinee); Pune 24,71,366 from 8 cinemas (1 in matinee), Solapur (6 days) 3,16,584 (100%) from 2 cinemas, 1st week Barsi 1,39,567 (100%) from 2 cinemas (1 in matinee), 3rd week Satara 1,11,157 from 2 cinemas, Nasik 3,98,445 (98%), total 12,11,565, Nasik Road 2,00,000, total 6,56,594; Hubli 2,49,387; Delhi 94,12,756 from 17 cinemas (3 on F.H.), total for 3 week 2,87,79,230; Kanpur 8,59,328 from 2 cinemas, Lucknow 5,10,658 (100%), Agra 5,59,140 (100%), Allahabad 2,80,000, Bareilly (6 days) 1,58,995, Jaunpur 1,50,000, total 5,25,000; 2nd week Calcutta 28,60,802 from 14 cinemas, total for 2 weeks 66,39,570; 3rd week Nagpur 10,62,678 from 4 cinemas, Jabalpur (6 days) 2,99,210, 1st week Balaghat 1,26,644 (100%), 3rd week Akola 2,28,250 (99.43%), total 7,03,760, Dhule 2,27,015, total 8,05,885, Raipur 2,63,825, total 8,58,089, Jalgaon 2,52,260 (2nd 2,94,483), Wardha 1,67,897, total 5,36,657, Rajnandgaon (6 days) 1,00,920, Chandrapur 2,58,548, total 8,78,953,  share 7,55,000, Sagar 79,000, total 2,90,309, 2nd week Khandwa 1,77,491 (86.45%), total 3,70,897; 3rd week Indore 2,64,000 (2 on F.H.), Bhopal 2,89,876 (1 unrecd.); Jaipur 13,62,359 (95.14%) from 2 cinemas, Ajmer (gross) 3,99,046 (98.61%), Bikaner 3,62,627, city record; Hyderabad (gross) 16,48,868 from 4 cinemas (1 on F.H.); 1st week Davangere (4 days) 97,814, Mangalore 1,87,218; Vijayawada 1,50,366. Total of 3rd week: 3,70,20,377 from 108 cinemas.

‘GADAR’ SCREEN SET AFIRE IN SOLAPUR: FILM STILL GOING GREAT GUNS

The screening of Gadar in both the cinemas of Solapur, where it was running, viz. Meena and Chitra (daily matinee and morning shows), had to be suspended on Sunday (1st July) because an irate mob set the screen of Meena on fire in the night show of Saturday. The film, however, recorded full houses on the other six days.

In fact, looking to the pressure of the public, the film has opened this week at Gentyal (daily 4 shows) too. Therefore, in its 4th week, it is running at Meena, Chitra (daily 2 shows) and Gentyal.

BHARAT SHAH, NAZIM RIZVI FURTHER REMANDED

The special court in Bombay on 6th July further extended the judicial remand of incarcerated financier Bharat Shah till 9th July. The court also deferred until 9th July Shah’s plea for a medical check-up in a private hospital. It extended till 9th the custody of Chori Chori Chupke Chupke producer Nazim Rizvi and his assistant, Abdul Rahim Allah Baksh.

Meanwhile, the dean of J.J. Hospital, where Bharat Shah was admitted on 21st June following complaint of uneasiness, filed a report stating that Shah’s condition was normal.

VINAY KUMAR SINHA ON CBFC’S FILM ADVISORY COMMITTEE

Producer Vinay Kumar Sinha has been appointed a member of the film advisory committee of the Central Board of Film Certification. He is also on the telephone advisory committee of Mumbai Mahanagar Telephone Nigam Ltd.

AUDIO PIRATES RAIDED

Acting at the behest of the Music Association of India, the Punjab police conducted two separate raids, one each at Sirsa and Dabwali Mandi recently and seized a large quantity of fake inlay cards, pirated audio cassettes and duplicating equipment. Four persons were arrested under the Copyright Act.

PRODUCER PAYS RS. 8 LAKH TO AVTAR GILL’S BEREAVED SISTER-IN-LAW

New World Enterprises, producers of the Govinda starrer, on the sets of which Avtar Gill’s brother died in an accident, paid a sum of Rs. 8 lakh to the deceased’s wife, Kuldeep Kaur, on 15th June. New World have denied that late Kuljinder Singh Gill was ever engaged as assistant director or actor in their film. According to them, he had gone on the set as a visitor, when the accident occurred.

YOU ASKED IT

What must the all-India business of Gadar in 3 weeks be?

– About 17 crore! It is the fastest money-spinner of all times!!

How will so many films, lined up for release in July and August, make it when there are no cinemas available?

– Some will get postponed, some others will have haphazard releases. Most of them can’t be postponed because producers and distributors would not like to release their films in September (Ganesh festival).

Has any film been financed by the IDBI so far or are names being uttered just like that?

– D. Rama Naidu’s under-production film, KUCH TUM KAHO KUCH HUM KAHE, is being financed by the IDBI to the tune of Rs. 5 crore. 

DO YOU KNOW?

* The preview theatre at Ramnord Lab has been equipped with Dolby digital and DTS sound. This week’s release, BAS ITNA SA KHWAAB HAI…, has been processed at Ramnord which has done a fine job of it.

* Producer Ramdayal has urged Pakistan president General Pervez Musharraf to institute a film award in the memory of his father. Ramdayal’s father, Sardarilal-ji, had, many many years ago, produced Pakistan’s first film, TERI YAAD, as also GALAT FAIMEE, in Lahore.

* GADAR has created a city record by collecting 3,98,445/- (98%) in 3rd week and 12,11,565/- in 3 weeks at Mahalaxmi, Nasik. It has also created a record by collecting 2,00,0000/- in 3rd week and 6,56,594/- in 3 weeks at Anuradha, Nasik Road. Three weeks’ total from the two cinemas: 18,68,159/-. Share: 13,64,418/-, city record.

* GADAR has created history by collecting 1,50,782/- in 3rd week at Anupam, Jamnagar. Three weeks’ total is 5,30,073/-. It has also created a theatre record by collecting 49,168/- in 3rd week in matinee at Galaxy, Jamnagar. Total for three weeks: 1,41,892/-. Total for 3 weeks from 2 cinemas: 6,71,965/-.

* GADAR has created a city record in Chandrapur in 3rd week, too, by collecting 2,58,548/- at Rajkala Mandir. 3 weeks’ total: 8,78,953/-, city record. Share: 7,55,000/-, city record.

* GADAR has created another record at Panchsheel, Amravati by collecting 3,15,728/- (100%) in 3rd week.

* GADAR has created a city record by collecting 3,38,417/- in 3rd week and 10,80,372/- in 3 weeks at Anand, Jabalpur.

* GADAR EK PREM KATHA has created another Raipur city record by collecting 2,63,825/- in 3rd week at Anand. Total: 8,58,089/-. 

* GADAR has created a city record by collecting 1,67,897/- in 3rd week and a total of 5,36,657/- in 3 weeks at Arati, Wardha.

* GADAR has created a record by collecting 1,77,491/- (86.45%) in 2nd week at Abhishek, Khandwa. 1st week’s collection was 1,93,406/- (93.76%).

* GADAR has created a city record by collecting 2,28,250/- (99.43%) in 3rd week at Vasant, Akoka. Total for 3 weeks: 7,03,760/-, city record. A total of 85 shows were full in 3 weeks.

* GADAR has created a city record by collecting 1,26,644/- (full) in 1st week at Shyam, Balaghat.

* THE MUMMY RETURNS has created a record by drawing all shows full on 1st day at Manek, Akola. Collection: 53,000/-.

* So immense is the craze for LAGAAN in Hyderabad-Secunderabad that it is being screened in regular shows at Ramakrishna 70mm in 4th week. It was being screened in noon shows only at the cinema in 1st, 2nd and 3rd weeks.

* Yet another Chhattisgarhi film to have clicked is MAYA DE DE MAYA LE LE (Cinemascope). It is doing very well in Chhattisgarh. At Dhamtari’s Prabhat cinema, people from nearby areas are flocking in large numbers to see the film. They come in trucks, jeeps and tempos. It is also doing extremely good business at Babulal, Raipur, Sapna, Bhilai, Sharda, Durg, Satyam, Bilaspur, Trimurti (Dolby), Champa and Ganesh, Balod.

* For the first time in the history of Hyderabad, a Rajasthani film, BABA RAMDEV, was screened simultaneously at Santosh 70mm (6 shows), Kumar 70mm (10 shows) and Vimal 70mm (4 shows). It ran successfully at all the three cinemas. 

* MUJHE KUCCH KEHNA HAI has created a theatre record by collecting a total of 29,27,194/- in 6 weeks at Novelty, Lucknow. Share: 20,41,122/-.

* MUJHE KUCCH KEHNA HAI has created a theatre record by collecting a total of 12,73,487/- in 6 weeks at Movie House, Kanpur. Share: 8,44,388/-.

* MUJHE KUCCH KEHNA HAI has created a theatre record at Vijay Picture Palace, Gorakhpur, by collecting10,81,885/- in 6 weeks. Share: 8,26,885/-.

* MUJHE KUCCH KEHNA HAI has collected a record 14,15,253/- in 6 weeks at Nandan, Meerut. Share: 10,90,616/-.

* MUJHE KUCCH KEHNA HAI has collected a record 14,27,026/- in 6 weeks and fetched a record share of 11,04,084/- at Shah, Agra.

* MUJHE KUCCH KEHNA HAI has created a record by collecting 10,17,157/- in 6 weeks at Vishwamitra, Allahabad. Share: 7,71,657/-.

* MUJHE KUCCH KEHNA HAI has created a theatre record by collecting1,00,187/- in 6th week at Uday, Akola. Total for 6 weeks: 9,90,650/-, theatre record.

HALF-YEARLY CLASSIFICATION: 2001

(Total Releases: 112 Films, including 35 dubbed films)

AAA (Super-Duper Hit)

GADAR EK PREM KATHA

AA (Super-Hit)

–

A1 (Hit)

LAGAAN (‘AA‘ in Bombay & South,
‘B1‘ in East Punjab and
‘BB‘ in Bihar & C.I.)

A (Semi–Hit)

MUJHE KUCCH KEHNA HAI
(‘A1‘ in C.P. Berar)

BB (Overflow)

–

Commission To Overflow

Jodi No. 1 (‘A‘ in Bombay, ‘B‘ in some circuits)

Chori Chori Chupke Chupke (‘B‘ in some circuits)

Kasoor (‘B‘ in some circuits)

B1 (Commission Earner)

Chhupa Rustam (‘BB‘ in some circuits, ‘B‘ in some circuits)

Coverage To Commission-Earner

Ek Rishtaa The Bond Of Love
(losing in some circuits, ‘BB‘ in Bihar)

Pyaar Tune Kya Kiya…
(losing in some circuits)

Coverage 

Farz

Mayavi Talwar (dubbed)

Devi Maa (dubbed)

The Rest

100 films

Forewarned Is Forearmed

That Gadar, Lagaan and Mujhe Kucch Kehna Hai have made the first half of 2001 very exciting is old story now. What seemed to be the worst half of a year till six weeks back, now looks like one of the best in recent years. Gadar is a sensational hit, smashing records everywhere. Lagaan, despite running in only three shows daily, is doing fantastic business in Bombay, Delhi, South and, of course, Overseas where it has elevated the position of Indian cinema. Mujhe Kucch Kehna Hai has given a new hero to the industry.

The surfeit of new releases is already creating problems for their distributors. Due to lack of availability of cinemas, it is exhibitors who are in a commanding position. Till recently, when films were failing and falling at the ticket-windows, distributors were dictating terms; today, the tables have turned on them. The upside, however, is that because of the euphoric mood in the industry, exhibitors are offering handsome terms to forthcoming films like Yaadein, which hold promise.

Business in the coming weeks will be adversely affected not only because of so many releases cutting into one another’s earnings but also due to lack of proper cinemas. Gadar and Lagaan have cornered the best cinemas in every circuit and they aren’t likely to be available for some more weeks. There are at least nine or ten big-budgeted films due for release in the coming six or seven weeks but there are hardly any cinemas for them.

The only way out is for some of these films to be postponed. Except for Yaadein and Dil Chahta Hai, all the other big films have had uncertain release schedules. Their release dates have been changing faster than the costumes of heroines in song sequences. It is such films which should be pushed back till cinemas become available. Otherwise, there’ll be chaos. Forewarned is forearmed.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Making Hay While The Sun Shines

The tight position of cinemas, thanks to the success of Gadar and Lagaan, has affected the release of Bas Itna Sa Khwaab Hai… and is likely to affect the forthcoming films too. In one major city, BISKH… has had to be screened at a couple of cinemas which generally go abegging all the year round for films. What’s more, these cinemas, which boast of huge false capacities, have for the first time in ages charged theatre rentals. Know how much are the weekly rentals? Double the usual weekly collections in these cinemas since years!!

Oh God!

Amitabh Bachchan is surely a welcome addition to the over-crowded list of deities — remember, Hindus have 64 crore Gods! — of India. At least, his Calcutta fans think so. Which is chiefly the reason why they deified him this week at the Calcutta suburb of Dum Dum. A wax idol of Amitabh Bachchan was installed at a make-shift temple by pious devotees of the superstar. The rituals lasted four hours and comprised an elaborate puja of the matinee idol, aarti and anjali. The ceremony concluded with the distribution of prasad among the believers. The deification of the superstar was conceived by Shatrugan Prasad Kamath who is an ardent admirer of the star as also the secretary of the 10,000-strong Amitabh Bachchan Fans Association. The puja also marked the beginning of a 3-month festival, Amitabh Bachchan Utsav 2001. It will conclude on 11th October, Amitabh’s birthday.

The deification of the superstar, however, is not really a ridiculous stunt, as it may appear to non-believers. The fans insist that it has greater purpose. Rajarshi Dasgupta, who won Rs. 25 lakh in the Amitabh-hosted television game show KBC recently, said, “We want to do something good for the society…. Amitabh is the guiding force, the motivation, the inspiration behind us.” To prove this, the Fans Association fed 200 poor people on 5th July. It has also roped in 800 people for a blood donation camp to be held on 8th.

Another Money-Spinner From Rathnam?

Producer A.M. Rathnam is born lucky, it would seem. He minted money in Indian (the Tamil original of Hindustani). His next, Mudhalvan, also proved a blockbuster. Then, he dubbed the Tamil super-duper-hit, Khushi, in Telugu and that, too, is a huge hit. Rathnam has now remade Mudhalvan in Hindi as Nayak. A screening of two songs of the film was held on 4th July at New City Light Cinema in Bombay at the start of the 6 p.m. show of Gadar. Both the songs are not just beautifully composed (by A.R. Rahman) but have also been picturised excellently by director Shankar. An indication that the songs will be loved by the masses was this: the sound system failed during the screening of the second song and by the time it was set right, it was a whole five minutes during which the crowds could’ve hooted to their hearts’ content, because they had come to see an established blockbuster like Gadar, no less! But no — they waited quite patiently for the technical snag to be corrected.

Anil Kapoor has managed to look young enough opposite Rani Mukerji too. She, on her part, has looked bewitching. …..The film’s music was released by Super Cassettes the same evening at The Regent.

GAIR

Released all over (in Bombay thru Dilsa Distributors) on November 7 (Sunday), Prakash Chitralaya’s Gair (UA) is a family drama. An orphan, found in a temple, is adopted by a poor lady. He grows up to become a top industrialist and in reaching the enviable position, he is helped by a benevolent industrialist. The jealous son of the benevolent industrialist resents his father’s assistance to the orphan, and adding fuel to the fire of resentment is the son’s maternal uncle. The jealousy reaches its zenith when the son accuses his father of being the father of the orphan too. In the end, the true identity of the orphan comes as a shocking revelation. Ultimately, the uncle is punished for his evil designs.

The story is routine and the screenplay relies on clichés. The revelation of the orphan’s identity has no relevance to the earlier part of the drama and if it does have relevance, the same is not clear in the narration. The situations to further the drama are those that’ve been seen umpteen times in innumerable films earlier. The pace is slow. Dialogues are good at places. The film has taken a long time in the making and it shows.

Ajay Devgan does quite well. Raveena Tandon does a fair job. Amrish Puri is effective as the kind-hearted industrialist. Paresh Rawal plays the usual villain. Reena Roy is alright. Ajinkya Deo performs quite ably. Kiran Kumar, Satyen Kappu, Sulbha Deshpande, Rajesh Puri, Guddi Maruti, Sunil Rege, Anil Nagrath and Achyut Potdar lend average support.

Direction (Ashok Gaikwad) is very routine. Two songs — ‘Dil chura liya’ and ‘Aankhon mein mohabbat hai’ — have a bit of an appeal. Song picturisations are ordinary. Anwar Siraj’s camerawork is good. Action scenes should have been more thrilling.

On the whole, Gair is an ordinary fare, for ‘B’ and ‘C’ class centres.

TITANIC
(Dubbed)

Released on 8th November in Akola (at Manek Talkies), Twentieth Century Fox’s Titanic (dubbed) is an extraordinary love story. A multi-millionairess falls in love with a commoner on board a ship. The girl’s fiancé tries his best to stall the love affair and, towards this end, he even blames the young boy of stealing a costly necklace. The girl’s beloved is hand-cuffed in an isolated room of the ship when catastrophe strikes. The ship collides with a gigantic iceberg and slowly begins to sink. There aren’t enough life-boats to save the sea of humanity aboard the luxury liner. While all the passengers are in a scramble to escape, the multi-millionairess sets out to search her poor boyfriend and then tries to set him free. By the time, she succeeds, it is too late. All the same, the two manage to desert the ship but the ice-cold water ultimately claims the boy’s life!

The story is very Indian in flavour. Dubbing is lovely. The drama is superb and the climax, nail-biting. The scenes of the ship sinking are mind-blowing.

Leonardo DiCaprio, in the role of Jack Dawson, looks extremely handsome and endears himself to the audience with his looks and superb acting. Kate Winslet’s bewitching beauty complements her spontaneous performance beautifully. Gloria Stewart is excellent. All the other artistes lend admirable support.

James Cameron’s direction is too good to be true. Camerawork is fabulous. Computer graphics are so amazingly realistic that they don’t look like graphics.

On the whole, Titanic has extraordinary merits.

LATEST POSITION

After a shaky start, HUM SAATH-SAATH HAIN picked up phenomenally. Ladies and family audience seem to have taken to the film in a big way and this class of audience will ultimately make the film class ‘AAA’. Cinegoers are repeating the film, and its music sales have also gone up. Second week figures are expected to be excellent, looking to the craze the film has generated and the excellent word of mouth that’s spreading.

Hum Saath-Saath Hain has been loved for its light first half and the tear-jerking second half. Is all set to write history. Is not up to the mark in Delhi-U.P. in 1st week; 2nd week opening is also less in Delhi-U.P. than in other circuits. 1st week Bombay 1,03,14,963 (91.47%) from 16 cinemas (10 on F.H.), Vasai (gross) 5,60,717, Virar 3,16,020; Ahmedabad 39,82,382 (90.25%) from 9 cinemas, Baroda 6,44,003 from 2 cinemas, Padra 3,80,810, Valsad 3,82,920, Palanpur 4,38,172 (91.10%) from 2 cinemas, Rajkot 2,48,413, Adipur 1,42,793, Bhuj 1,38,639; Pune 25,62,025 from 7 cinemas, Kolhapur 2,75,196 (1 unrecd.), Solapur 5,34,779 from 2 cinemas; Hubli 3,47,165, Belgaum 2,54,758, Dharwad 1,65,380 (71.92%); Delhi 66,76,057 (77.57%) from 12 cinemas (1 on F.H.); Kanpur 7,64,937 from 3 cinemas, Lucknow 9,59,262 from 2 cinemas, Bareilly (6 days) 1,61,185; Calcutta 29,68,702 from 14 cinemas; Nagpur 10,36,340 from 3 cinemas, Jabalpur (gross) 4,82,528, Amravati (29 shows) 3,25,536, Akola (29 shows) 2,13,457, Dhule (29 shows) 1,70,132 (92%), Raipur (29 shows, gross) 3,50,948, Bhilai (29 shows) 2,03,604, Jalgaon 2,46,937, Bhusawal 2,09,073, Gondia (gross) 1,46,935, Wardha (6 days) 77,353, Chandrapur 3,06,727, Yavatmal 2,72,457 (64.93%) from 2 cinemas, Khandwa 2,43,725; Indore 2,08,695 (3 on F.H.), Bhopal 1,74,736 (2 unrecd.); Jaipur 13,01,871 from 3 cinemas, Jodhpur 3,87,000, Ajmer (27 shows) 1,56,996, Bikaner 2,44,800; Hyderabad (gross) 31,56,815 from 7 cinemas; Bangalore 22,21,170 from 4 cinemas, Mangalore 3,49,887; Madras 4,70,983; is fantastic in the USA (1st 3 days US $651,575) and very good in UK (it has found a place in the Top Hits of the USA and the UK).

Shool has not quite been appreciated except, to an extent, by the gentry audience. It, however, did benefit due to Diwali holidays. 1st week Bombay 54,35,485 (75.33%) from 11 cinemas (9 on F.H.); Ahmedabad 11,61,251 from 5 cinemas, Rajkot 1,45,390 from 2 cinemas (1 in matinee), Jamnagar 78,458 from 2 cinemas (1 in matinee); Pune 8,23,599 from 6 cinemas (1 in matinee), Solapur 1,76,052 from 2 cinemas (1 in matinee), Barsi (gross) 1,22,737; Delhi 26,96,530 (45.83%) from 10 cinemas (1 on F.H.); Kanpur (3 days) 2,28,220 from 2 cinemas, Lucknow (3 days) 1,92,524, Varanasi (4 days) 1,26,973, Bareilly (3 days) 35,000; Calcutta 6,34,825 from 5 cinemas; Nagpur 4,84,080 from 4 cinemas, Jabalpur (4 days) 60,445, Amravati (3 days) 78,606, Akola (4 days) 65,184, Raipur (gross, 3 days) 1,33,782; Indore (4 days) 1,73,245 from 2 cinemas (2 on F.H.); Jaipur 3,22,204 from 3 cinemas, Bikaner 1,33,285; Hyderabad (gross) 10,38,354 from 5 cinemas.

Maa Kasam is dull. 1st week Bombay 15,20,557 (53.70%) from 9 cinemas (6 on F.H.); Ahmedabad 1,37,984 from 3 cinemas (2 unrecd.), Rajkot 65,980 from 2 cinemas (1 in matinee); Pune 1,94,185 from 2 cinemas; Delhi 14,01,093 (27.89%) from 10 cinemas (3 on F.H.); Kanpur (3 days) 84,514 from 2 cinemas, Varanasi (4 days) 60,283, Bareilly (3 days) 21,636; Calcutta collections were not disclosed; Nagpur 1,32,089 from 4 cinemas, Jabalpur (4 days) 28,912, Amravati (3 days) 36,102, Akola (4 days) 36,382, Raipur (3 days) 20,011; Jaipur 1,87,124, Jodhpur 1,00,000; Hyderabad (gross) 5,05,588 from 8 cinemas (2 in noon).

Gair reaped the benefit of Diwali holidays and then the collections plunged. 1st week Bombay (5 days) 29,31,608 (77.16%) from 14 cinemas (2 on F.H.); Ahmedabad (5 days) 3,99,537 from 4 cinemas; Pune (5 days) 4,27,520 from 5 cinemas (2 in matinee), Kolhapur (5 days) 95,093, Solapur (5 days) 1,70,934 from 3 cinemas (1 in matinee); Lucknow (3 days) 1,32,430, Varanasi (3 days) 87,553; Jabalpur (3 days) 73,528, Akola (4 days) 78,093, Raipur (gross, 3 days) 1,33,890, Durg (4 days) 38,378, Jalgaon (3 days) 62,000; Indore (4 days) 35,000 (3 on F.H.), Bhopal (4 days) 1,01,695 from 2 cinemas; Jaipur (5 days) 5,51,226 from 4 cinemas.

Vaastav continues to do excellent in Maharashtra. 4th week Bombay 25,43,934 (81.30%) from 8 cinemas (6 on F.H.); Ahmedabad 78,000; Pune 4,94,192 from 2 cinemas (1 in matinee), Solapur 1,45,226, 1st week Barsi (gross) 94,000; 4th week Delhi 2,04,560 (1 on F.H.); Kanpur 1,92,208 from 2 cinemas, Lucknow 1,45,078, Varanasi 1,40,676, Bareilly 48,703; Calcutta 1,77,765; Nagpur 1,62,992 from 2 cinemas, Jabalpur 71,918, total 3,19,142, Amravati 92,264, Akola 67,441, Raipur (gross) 95,422, 1st week Jalgaon 2,83,556, Chandrapur (3 days) 1,00,100, 3rd week Yavatmal 19,211 (2nd 18,344); 4th week Indore 32,000; Hyderabad (gross) 3,10,039.

………

‘BIWI NO. 1’ CELEBRATES SILVER JUBILEE

Puja Films’ Biwi No. 1, produced by Vashu Bhagnani and directed by David Dhawan, entered its silver jubilee week at Pratap, Thane (Bombay) in matinee shows on 12th November. Based on a story by Kamal Haasan, the film stars Anil Kapoor, Salman Khan, Karisma Kapoor, Tabu, Sushmita Sen, and Himani Shivpuri and Saif Ali Khan (both in guest appearances). Music: Anu Malik. Lyrics: Sameer. Screenplay & dialogues: Rumi Jafri.

THEY TOO OFFER TICKETS VIA INTERNET

Refuting the claim of Shyam Talkies, Raipur, that it had become the first cinema in C.P. Berar to book and offer tickets on internet, Prakalp Rathi of Smruti and Jayshree cinemas of Nagpur has stated that both his cinemas have also been offering tickets on internet on www.searchnagpur.com since the last 6-8 months.

INDORE NEWS

♦ Sanjay, a new cinema, opened on 8th November with Gair.

♦ Kastur and Astha cinemas have started advance booking of tickets on internet for Hum Saath-Saath Hain.

♦ Madhya Pradesh experienced power cut for four hours, from 9 a.m. to 1 p.m., on 11th November.

♦ Prem Chopra’s purse was flicked by a pickpocket at the Indore airport this week. He lost Rs. 5,000/-!

♦ Gopal Sharma, a local film agent of Mhow, passed away on 10th November.

DO YOU KNOW?

* B.R. Chopra’s mega mythological TV serial, MAHABHARAT, has made it to the Guinness Book of World Records as the “longest-running religious soap opera”. The most popular epic serial is mentioned in the year 2000 edition of Guinness World Records, according to a confirmation letter written by Guinness’ Amanda Brooks to B.R. TV.

* HUM SAATH-SAATH HAIN has become the first film ever to have crossed Rs. 1 crore mark in collections from Bombay city & suburbs alone (excluding Thane district). It has collected 1,03,14,963/- from 16 cinemas — an all-time high figure!

* HUM SAATH-SAATH HAIN has created a theatre record by collecting 11,04,539/- in 1st week (23 shows) at Liberty, Bombay.

* HUM SAATH-SAATH HAIN has created a theatre record by collecting 9,02,728/- in 1st week at Satyam, Bombay.

* HUM SAATH-SAATH HAIN has created a theatre record by collecting 11,56,191/- in 1st week at Chandan, Juhu.

* HUM SAATH-SAATH HAIN has created a theatre record by collecting 7,39,078/- in 1st week at Pinky, Andheri.

* HUM SAATH-SAATH HAIN has created an all-India record by collecting 15,00,283/- in 1st week at City Pulse, Gandhinagar. The film was simultaneously released at Rajshree, Gandhinagar, where also it is creating havoc.

* HUM SAATH-SAATH HAIN has created theatre records at 2 cinemas of Palanpur in 1st week: City Pulse 2,45,200/- (capacity: 2,48,000/-) and Roop 1,92,972/- (cap. 2,33,000/-). Total of two cinemas is 4,38,172/ (against a capacity of 4,81,000/-); 91.10%.

* HUM SAATH-SAATH HAIN has created a theatre record by collecting 3,85,601/- in 1st week at Aradhana, Baroda.

* HUM SAATH-SAATH HAIN has drawn all shows full on 8th day at Dreamland, Valsad. Collection on 8th day: 69,072/-. 1st week’s collection: 3,82,920/-.

* HUM SAATH-SAATH HAIN has created a theatre record by collecting 1,16,270/- in 1st week at Shivalaya, Anand.

* The management of Swaroop, Sangli has replaced the mirror and the front and back lenses of both the projectors with brand new ones for the projection of HUM SAATH-SAATH HAIN. The cinema building was also fully illuminated throughout the first week of the screening of HS-SH.

* The management of Novelty cinema in Lucknow organised a lucky draw in every show of HUM SAATH-SAATH HAIN on November 5, 6 and 7. The winners were presented a Tanishq gold locket of Lord Ganesh. The cinema’s sound system was upgraded for the film (7 nos. QSC amplifiers THX approved of 3,000 watts each) and other renovation work was also carried out.

* HUM SAATH-SAATH HAIN has created a circuit record by collecting 4,87,727/- in 1st week at Smruti, Nagpur. It has also created a theatre record at Panchsheel, Nagpur by collecting 3,45,561/-.

* HUM SAATH-SAATH HAIN has created a theatre record by collecting 4,82,528/- in 1st week at Vandana, Jabalpur.

* HUM SAATH-SAATH HAIN has created a theatre record by collecting 3,25,536/- in 1st week (29 shows) at Chitra, Amravati.

* HUM SAATH-SAATH HAIN has created  a theatre record by collecting 2,13,457/- in 1st week (29 shows) at Vasant, Akola.

* HUM SAATH-SAATH HAIN has created  a city record by collecting 3,06,726/- in 1st week (28 shows) at Jayant, Chandrapur.

* HUM SAATH-SAATH HAIN has created a theatre record by collecting 1,70,133/- (92%) in 1st week at Rajkamal, Dhulia.

* HUM SAATH-SAATH HAIN has created  an all-time district record by collecting 1,46,935/- in 1st week at Prabhat, Gondia.

* HUM SAATH-SAATH HAIN has created  a district record by collecting 2,43,725/- in 1st week at Abhishek, Khandwa (C.P. Berar).

* HUM SAATH-SAATH HAIN has yielded a distributor’s share of 5,25,000/- in 1st week from Kalpatru, Jodhpur. All 28 shows were full. This is the highest ever share from a single theatre in Rajasthan! …Kalpatru cinema has now acquired a new look. Equipped with a Dolby SR sound system, the cinema’s exterior boasts of three sprawling lawns and a spacious car park. Baba Ramdeo, who controls the cinema, is quite excited at the euphoria created by the film at his cinema.

* HUM SAATH-SAATH HAIN has created a record by collecting 8,88,104/-, the highest ever, in 1st week at Tarakarama 70mm, Hyderabad.

3-E
Education-Entertainment-Enlightenment

Raman’s ‘Ravan’ Observation!

While those who have seen (and those who haven’t) Hum Saath-Saath Hain have termed the film as ‘Modern Ramayan’, Raman Maroo of Shemaroo has made an additional bit of observation. He has described the film as ‘Ramayan without Ravan’! Rare observation indeed, Raman.

Generation Next

It was in 1979 that Ramesh Behl had made his debut as director with Kasme Vaade, starring Amitabh Bachchan. And now, twenty years later, it is the generation next in the same roles with Goldie Behl, son of late Ramesh Behl, making his directorial debut with Bas Itna Sa Khwab Hai, starring Abhishek Bachchan in the lead.

‘Taal’ Still Record-Holder In USA

Hindi films are slowly but surely making a mark in the international markets. Dil Se.., KKHH, Biwi No. 1, Taal and now HS-SH have all made it to the Top 10 or 20 charts in the USA and the UK. Why, HS-SH was on the 20th position in the US charts at the end of the first 3 days with a total collection of US $651,575 on 59 prints and a per-screen average of $11,043. This per-screen average was higher than even the average of any Hollywood film in the last weekend. But still, the per-screen average of Taal in its first weekend in the USA has not been surpassed by HS-SH. Taal had collected US $591,289 on 44 screens in the first weekend, thereby registering a per-screen average of US $13,438.

The Rajshri Experiment

The Rajshri experiment of flooding the market with the prints of Hum Saath-Saath Hain seems to have misfired, at least initially. Thankfully, the experiment was more pronounced in Bombay circuit although it was carried out in some centres of other circuits too. So, despite great appreciation for the film, the collections were extremely shaky in the first three days.

The Barjatyas must have been spurred on by the super-success of their previous Hum Aapke Hain Koun..! to have decided on an over-saturated released for HS-SH. In all fairness to them, anybody in their place would have been equally, if not more, over-confident. Then, there was also the fear of illegal VCDs of the film flooding the market and cutting into the theatrical business. But in their understandable enthusiasm, the Barjatyas failed to appreciate some things in ultimately arriving at a decision that has, in hindsight, shocked the trade.

The first thing the Barjatyas overlooked was the lacklustre publicity and lack of hype for the film. Perhaps, they assumed that after the runaway success of HAHK..!, there was no need to really go all out on the publicity front. Many in the industry had assumed likewise. But the assumption was erroneous. It would not have been a wrong assumption had the number of prints been limited. But, the publicity was so low-key as to befit a release of, say, 30 to 40 prints in the whole of India. However, in fact, the total number of prints released in India was 321. As if that wasn’t enough, the admission rates in a number of cinemas were hiked — at places, the hike was steep.

The second factor overlooked was that the music had not become a craze before the film hit the screens. The power of hit music cannot be under-estimated. The youth among the audience like to see a film in the initial days if its music is a rage.

Yet another point not considered was that the film, after all, is a family drama and not a youthful romantic tale. Family dramas, by their very nature, rarely take a flying start. More the number of prints, lesser the chance of a great start. A love story or an action drama would not have opened to as dull houses as the family drama opened.

The fourth factor was the pre-Diwali days which are known to be the dullest days of the year. The collections on the first three days of the week were dull not only because of too many prints, low publicity etc. but also because of the truly dull days.

Filmmaking is one aspect. But for fruitful business, a proper publicity and release strategy are also very important, as borne out by the case of Hum Saath-Saath Hain. The Barjatyas must take quick corrective action if they would like to see steady collections in the coming days. Pulling out the extra prints would be one step. BRINGING DOWN ADMISSION RATES TO MORE REASONABLE LEVELS WOULD BE THE OTHER. And yes, even now, the publicity needs to be spruced up. Post-release publicity is also very very important and we have the recent examples of Pyaar To Hona Hi Tha and Jab Pyaar Kisise Hota Hai to prove the point. Both the films benefitted a great deal at the box-office due to sustained publicity campaigns.

The faster the Barjatyas act, the bigger the hit Hum Saath-Saath Hain will ultimately prove.

– Komal Nahta

 

MOHABBATEIN

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

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

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

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

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

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

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

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

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

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

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

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

MISSION KASHMIR

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

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

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

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

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

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

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

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

CINE PLANET 2-SCREEN COMPLEX INAUGURATED

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

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

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

‘FIZA’ TAX-FREE IN MAHARASHTRA

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

JAYANTILAL GADA BUYS GIRDHAR MANDIR  CINEMA IN JODHPUR

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

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

R WORLD MULTIPLEX OPENS IN GANDHINAGAR

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

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

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

FIRST MULTIPLEX IN SAURASHTRTA

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

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

YOU ASKED IT

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

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

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

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

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

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

Multiplexes – A Complex Issue

Beginning Of A Boom

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

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

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

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

The Million-Dollar Question

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

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

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

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

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

Will The Old Order Change?

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

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

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

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

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

– KOMAL NAHTA

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

RELEASES

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

HITS & SUCCESSES

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

……..

THREATS TO LIFE

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

……..

NATIONAL AWARDS

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

……..

DIWALI SPECIAL

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

– RAKESH ROSHAN

GAJAA

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

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

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

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

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

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

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

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

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

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

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

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

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

Have you analysed what went wrong with KAROBAAR?

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

What is it that works in a film?

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

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

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

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

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

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

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

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

What kind of a son is Hrithik?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

How was the Overseas business of KN…PH?

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

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

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

That should be some Diwali dhamaka.

– So be it…

BAAGHI

Triple Aar Movies’ Baaghi (A) is the usual don drama. A roadside don is so ferocious that he talks with his fist and guns at the drop of a hat. A professor, who comes to stay with his family in his locality, refuses to acknowledge the don’s might, but his little child develops a liking for him (the don). Much to the consternation of his father, the child befriends the don and grows up in his company. But the don loves the young boy like an elder brother would, and refuses to let him tread the path he (don) has adopted in life. The young boy falls in love with a very rich girl who is the sister of another dreaded don. Both the dons are great friends and although the young boy’s don-friend tries to make the other don agree to the alliance, the latter refuses as he has fixed his sister’s marriage with another guy. There is a battle of bullets and the young boy is nearly killed in it. Not only does his don-friend save his life but he also ensures that he gets his love. Ultimately, the two dons die in a blood-bath.

The film takes a fairly promising start as the child is shown being impressed by the don. The child’s defiance of his father also makes for interesting viewing. But the film degenerates into a routine drama once the child grows up into a young man. While the child and the don’s sister become adults, the two dons seemingly don’t grow old at all. Save in the initial reels, the screenplay has no place for police officers whatsoever. Screenplay is as commonplace as the story. Some dialogues are good but some others are unnecessarily flowery.

Sanjay Dutt does fairly well as the don and the doting friend. Manisha Koirala has no role to write about and is almost an extra in the film! Aditya Pancholi, as the other don, is alright. Indra Kumar plays the romantic hero and does an average job. Tina Senn is no heroine material. Shivaji Satam is supremely sincere as the upright and unbending professor. Master Rohan is brilliant. Sanjay Narvekar leaves a mark. Shama Deshpande, Gulshan Grover, Mohan Joshi, Mahesh Anand, Shalini Kapoor, Aroon Bakshi, Dinesh Hingoo, Rana Jung Bahadur, Tej Sapru, Dipen Vartak, Jack Gaud, Gavin and the rest lend average support.

Rajesh Kumar Singh’s direction is dull although it shows sparks in the first few reels. Music (Sajid Wajid) is a letdown. Song picturisations are ordinary. Camerawork is so-so. Production values are average.

On the whole, Baaghi is a poor drama.

Released on 7-4-2000 at Novelty and 23 other cinemas of Bombay thru Dilsa Distributors. Publicity & opening: dull. …….Also released all over. Opening was poor almost everywhere.

LATEST POSITION

With examinations coming to an end, the box-office is in dire need of new releases which have merits.

Hera Pheri has done well in Maharashtra and Nizam but is very poor elsewhere. 1st week Bombay 52,62,036 (77.30%) from 12 cinemas (6 on F.H.); Ahmedabad 12,47,993 from 5 cinemas, Rajkot 2,20,547; Pune 14,25,769 from 5 cinemas (1 in matinee), Solapur 2,73,804 from 2 cinemas (1 in matinee), Satara 1,36,586; Delhi 37,94,547 (47.88%) from 12 cinemas (2 on F.H.); Kanpur 2,52,679 from 2 cinemas, Lucknow 4,16,784, Agra 2,32,000, Allahabad 1,31,421, Bareilly 99,849, Hardwar 60,000; Calcutta 11,03,898 from 9 cinemas (1 in noon); Nagpur 5,11,372 from 2 cinemas, Jabalpur (6 days) 62,173, Akola 1,74,505, Raipur (gross, 6 days) 2,45,489, Jalgaon 1,92,200; Indore 2,40,103 from 2 cinemas (3 on F.H.), Bhopal 2,82,157 from 2 cinemas; Jaipur 5,55,007 from 3 cinemas, Bikaner 1,61,409; Hyderabad (gross) 27,57,318 from 12 cinemas (1 in noon, 1 on F.H.), share including Aurangabad 19 lakh.

…………

Dulhan Hum Le Jayenge drops further, but is fairly good in Bombay and parts of Maharashtra. 2nd week Bombay 37,13,950 (86.13%) from 10 cinemas (9 on F.H.); Ahmedabad 17,54,294 from 8 cinemas, Rajkot 1,81,000, Jamnagar 91,349; Pune 9,90,769 from 6 cinemas (1 in matinee), Solapur 2,15,272, Satara 1,32,257 from 2 cinemas (1 in matinee); Bijapur 1,12,544; Delhi 46,70,860 from 12 cinemas (1 on F.H.); Kanpur 3,37,830 from 2 cinemas, Lucknow 4,69,212, Agra 2,45,000, Allahabad 1,97,000, Hardwar 50,000; Calcutta 7,79,436 from 3 cinemas; Nagpur 3,37,018 from 3 cinemas, Jabalpur (6 days) 1,54,229, Akola 1,20,500 (1st 2,30,000), Raipur (6 days) 89,734, Jalgaon (6 days) 81,000, Wardha 46,807, Chandrapur 83,083, 1st week Yavatmal 1,82,197; Bhopal 73,741; 2nd week Jaipur 6,30,069, Bikaner 1,80,130; Hyderabad (gross) 12,20,121 from 5 cinemas (1 on F.H.).

Kaho Naa…Pyaar Hai 12th week Bombay 21,47,829 (64.71%) from 8 cinemas (7 on F.H.); Ahmedabad 3,89,743 from 3 cinemas, Baroda 2,15,286, 12 weeks’ total in Rajkot about 17,00,000; 12th Pune 6,75,212 from 4 cinemas (1 in matinee), Solapur 1,45,387, 1st week Barsi 82,070, 10th Satara 1,17,449 from 2 cinemas (1 in matinee); 12th week Dharwad 51,286; Delhi 9,81,415 from 7 cinemas; Kanpur 1,29,918 from 2 cinemas, Lucknow 2,78,014, Agra 1,06,000, Allahabad 63,376, Bareilly (6 days) 37,964; Calcutta 7,43,654 from 4 cinemas; Nagpur 1,83,546 from 2 cinemas, Jabalpur 84,733, total 17,11,498, 5th week Balaghat 37,504, total 3,21,764, 12th week Amravati 89,331, Akola 92,491 (11th 87,224), total 16,09,052, Raipur 78,160, Jalgaon 80,039, 7th Wardha 44,200, 11th week Chandrapur 76,785, total 17,38,870, 10th week Yavatmal 55,687; 12th week Bhopal 1,19,793; Jaipur 1,58,712; Hyderabad (gross) 6,84,210 from 3 cinemas (1 in noon, 4 on F.H.).

Mahiyar Ni Maya (Gujarati; TF) 1st week Ahmedabad 2,36,354 from 4 cinemas.

Navra Mumbaicha (Marathi; TF) 1st week Bombay about 1,00,000 (60.23%).

Split Wide Open (English; partly in Hindi) is dull. 1st week Bombay 8,35,797 from 8 cinemas; Calcutta 1,54,909.

VINOD RATHOD BEREAVED

Poornima, wife of playback singer Vinod Rathod, expired on the morning of 6th April at her residence in Bombay, reportedly due to depression. She was 39.

A.P. CINEMA BANDH PARTIAL

Most of the cinemas in Andhra Pradesh remained closed on 5th April in response to a bandh call given by various film chambers of commerce seeking total exemption of entertainment tax for locally-made films and tax concessions for films produced outside Andhra Pradesh.

The associations had earlier decided to go on an indefinite strike but it was later decided to restrict it to a one-day strike. The strike was almost total in Nizam and Ceded areas. Only a few cinemas in Hyderabad, showing Hindi films, were functioning on the day of the strike. The Andhra region, however, did not participate in the one-day strike.

KETAN, VIVEK ANAND REMANDED TO POLICE CUSTODY

Late filmmaker Chetan Anand’s sons, Ketan and Vivek, who were arrested by the Bombay police on the night of 4th April in connection with the murder of former actress Priya Rajvansh, were produced before metropolitan magistrate P.P. Shiroshe of the Bandra holiday court, Bombay, on 5th April. The Anand brothers were remanded to police custody till 10th April. Two other accused, the maid servant, Mala Choudhary, and her accomplice, Ashokan Swami, were also remanded to police custody. The accused have been charged with conspiracy and murder.

Priya Rajvansh, who was a close friend of Chetan Anand, had died in mysterious circumstances on 28th March in the Ruia Park (Juhu, Bombay) bungalow of the Anands. Her funeral was held on 6th April.

NEW KOHINOOR CINEMA IN JODHPUR INAUGURATED

A new cinema, New Kohinoor Upper, was inaugurated on 1st April in Jodhpur at the hands of the Rajasthan Housing Board president, Man Singh Deora. City MLA Jugal Kabra and Bhanwar Bali of Sur Sagar were the chief guests at the function. The cinema is owned by Noor Mohammed.

RAJASTHAN TRADE TO OBSERVE DAY’S CLOSURE IN PROTEST AGAINST NEW FORMULA FOR ENT. TAX

A meeting of the Rajasthan film trade, convened by the Central Circuit Cine Association (CCCA) on 7th April in Jaipur, decided to observe a day’s token strike on 20th April if the state government did not withdraw the new formula of calculating the minimum entertainment tax at 25% on capacities of cinemas. The new tax, calculated at a minimum of 25% of the capacity per show (and not per day or week), came into effect from 1st April, 2000. CCCA president Santosh Singh Jain presided over the meeting held behind Moti Mahal cinema. Surendra Kumar Golechha, Kushal Chand Surana, CCCA executive committee members Trilok Singh, N.K. Jalani and Kishanchand Jain attended the meeting. Kishan Chand Janiani and Ramdhan Mamoria organised the meeting alongwith others.

In the meantime, writ petitions against the new tax have been filed in the Rajasthan high court on behalf of Samrat cinema, Jaipur and Ajanta cinema, Ajmer. While the former writ will come up for hearing on 10th April, that of Ajanta cinema will come up for hearing the following day (11th April).

As far as the cinema closure goes, the opinion in the Rajasthan trade was divided. While some wanted an indefinite closure of cinemas across the state, there were others who felt a token strike would suffice.

YOU ASKED IT

Does it make a difference if a hero distributes a film starring himself?

– To a small extent, it does make a difference among the exhibition community. There is something known as star charisma. As far as the public is concerned, it doesn’t make any difference.

What do you think of so many producers floating public issues in the forthcoming months?

– Public sentiments for media and entertainment companies are high, so producers want to ride on that wave. Like our films, in public issues too, 20-25% of the producers will succeed, others won’t.

Does a new hero click when people are tired/bored of the existing ones or do people get bored of the existing heroes when a new hero clicks?

– This is like asking me, what came first — the hen or the egg?

3-E
Education-Entertainment-Enlightenment

Endangered In Africa

One is filled with dread as one reads the pathetic and frightening state which cinemas in Nairobi have been reduced to. A 12-column report in a Nairobi daily, Daily Nation, reveals the following hard facts:

Embassy cinema, Nairobi, which has 850 seats, hardly attracts 5 people a day!

Another cinema, Nairobi Cinema, attracts only 20 to 30 per cent of its 850-seat capacity. This, despite the cinema having the largest screen in East Africa and being equipped with Dolby Digital sound system.

Sun City and Eastlands cinemas, which are video cinemas, offer 6 films on one ticket. But there are hardly any buyers!

Fox Drive-In and Kenya Cinema are on the verge of closure. …..Almost all East African cinemas tell the same sad story.

Many Nairobi cinema-owners are letting out their cinemas to churches on Sundays. Globe, Shan and Rainbow cinemas have been turned into churches!

The reasons for such a depressing state of affairs are: failure of the government to crack down on abusers of Copyright Act; crime and insecurity in the areas neighbouring the cinemas; poor economy; screening of new films by television and video outlets, showing of contraband films on the licensed cable TV channels….. Is the situation not quite similar here at home? It would be better to take stock of the scene in our country and take corrective action before India goes the East African way!

Jaldi Kar Di Aapne

The dances of Govinda in Hadh Kar Di Aapne once again prove that he is the best dancing hero the industry has. The grace with which the guy dances cannot be matched by any other hero. That apart, Rani Mukerji’s matching panache, Anand Raaj Anand’s music, and the song picturisations are also very good. In fact, the songs are so nice that one really feels, their popularity today does not match their potential. Despite T-Series doing a good job of the television publicity of the film, the songs have not reached the peak of their popularity for whatever reason. Producers Rajeev Anand and Rakesh Malhotra and director Manoj Agarwal would surely find solace in the fact that their songs are immensely likeable, but one surely feels, they have hurried up with the release. April 14 is almost around the corner. A release at least three weeks from now would have been more desirable because the catchy songs would’ve got more time to get popular before the film hit the screens. That would have ensured on opening better than what the film can now hope to get. A little bit of jaldbaazi, this!

INFORMATION MEETS

“The basic concept of filmmakers in Bombay is wrong!”

– R. MOHAN

Dr. SHIVAJI SEN-GUPTA

Sometimes our actions are not answers but questions. And it was with numerous questions that a young electrical engineer from Trichy, R. Mohan, came to Bombay in 1974. The answers came slowly and anything but easily. After working for companies like Kotak and Batliboi for around 3 years, followed by a stint of trading independently, he turned into an entrepreneur by setting up a modest plant at Vasai. It took him another three years to launch ‘Good Knight’, a pioneer in mosquito repellents, in the market. The Good Knight coil more than lived up to its name and Mohan was quick to market an entirely different product — Snuggies (diapers for babies) and this, too, was a runaway success. The answers had — well, more or less — all fallen into place for the man brought up in a typical middle-class family and fifth in the hierarchy of seven siblings.

His next foray took many by surprise. He made a Malayalam film, Isabelle (1987), on a modest scale but his tally at present is impressive by any count. Thirty-two films in Malayalam, 2 in Tamil, 2 in Hindi with several in each language either waiting for release or under-production.

Excerpts from our conversation:

I recall first meeting you at a special screening of WAHEM in the mid-’80s at Hotel SeaRock where ‘Good Knight’ mats and machines were being given as complimentaries to all invitees. How were you involved in this particular film?

– Well, I was not involved as such in Wahem! But I did get an opportunity to dabble with the medium at close quarters. Further, my primary motive was to promote my product ‘Good Knight’ through imaginative in-film advertising. In fact, along with the neon signs and hoardings of ‘Good Knight’, it was pretty deftly woven into the plot as well. It was a pity that the film of A.V. Mohan was not successful! I spent around Rs. 4-5 lakh on this.

What made you enter this line in the first place? Was it the financial cushion provided by ‘Good Knight’ by any chance?!

– No no, not at all. If this was to be the criterion, then the house of Tatas would have been the leading producers. A strong inclination, a taste for the fine arts must be there within you. I recall seeing not less than 400 films per year during my college days. Also, I remember my passion to become an actor in my youth. Indeed, me and some of my friends had run away to Madras in pursuit of this nascent dream! Mercifully, this phase was short-lived, it died a natural death. Nowadays, I don’t feel like essaying even a small role in my own films! Incidentally, I was one of the first to predict that the corporate sector will enter the arena of entertainment.

Can you enlighten us about the business trends in Malayalam cinema and how they differ from Hindi cinema?

– The strange aspect about Malayalam films is that the entire financial burden has to be shouldered by the producer. There is no MG royalty system. The distributors release films only on commission basis. If the film is a hit, the producer hits the ceiling, but if it is a flop, then he is drowned.

Even in the exhibition sector, things are different. Exhibitors follow what is known as a daily holdover system. If a film is not able to register collection up to the level fixed by the exhibitor, then the theatre owner can legally discontinue your film and replace it with some other.

As we all know, there is a large expatriate population of Malayalees all over the world in general and in the UAE in particular. How much is it possible for a producer to recover from the Gulf?

– It depends largely on the star cast of a film. If one has a Mohanlal or a Mammootty starrer, then Rs. 15 lakh is easy to get. To put it in a nutshell, the range is from Rs. 5-15 lakh. For a non-star cast film, one can expect Rs. 5 lakh, and for an average star cast film, Rs. 10 lakh. Considering that the average cost of making a film with Mohanlal or Mammootty is in the region of Rs. 2-2.5 crore and even an average film costs around Rs. 75 lakh to 1 crore to make, this amount that one recovers from the Gulf is not particularly significant. All the more, since the distributor in the Gulf markets the film all over the world through video cassettes, VCDs, LDs or DVDs or whatever!

What about satellite rights and Doordarshan’s Movie Club — are they attractive alternatives?

– The market for satellite rights has been rising and I feel that it will soon be equivalent to one territory. Asianet and Surya TV are the leading satellite channels in Malayalam. Asianet is, without doubt, the most popular channel with the largest viewership. In the initial stages, I used to get around Rs. 1-2 lakh per film from Asianet but today, I am offered anything in the region of Rs. 10 to 15 lakh. Again, the star cast does play a role in determining the price. Yet, though I have made many films with Mohanlal and Mammootty, I also made 2 films with fresh faces, which became runaway hits.

Surprisingly, in Tamil cinema, although there is respite in film distribution — distributors there buy films on MG royalty basis — the TV channels do not offer as much as the Malayalam ones. I really can’t understand this!

Since you are active in regional and Hindi films, what are the major differences that strike you?

– The basic concept of filmmakers in Bombay is wrong! They are more concerned about booking the dates of a star and then weaving a story around him. In the South, we first sit on the story for 4-5 months. Then and only then do we decide on the stars. That is the reason why film production in the South is not only more disciplined but also of superior quality.

Reams have been written on the delay in completing RAJA KO RANI SE PYAR HO GAYA. How has it shaped up, in your opinion? Also, what are the other projects on the anvil?

– While making Raja Ko Rani Se Pyar Ho Gaya, I encountered a unique superstar — a baby elephant. There were times when the entire unit would sit twiddling their thumbs waiting for the elephant to wake up! I have a feeling that this film will run. I have noticed that films with animals in pivotal roles always go down well with the audience. And the film is well-made and engaging — the delays have not affected the end result. Besides, promotion and publicity, I believe, do make a noticeable difference.

I am very excited about my next two projects. The first is titled Pagalpan and has a fresh star cast — Rakesh Nath’s (Rikku’s) son is the hero, and a girl from America, called Aarti, is the heroine. The director is Joy Augustine, the maker of ABCL’s Tere Mere Sapne. Once I complete Pagalpan, I have a fascinating subject about the girls working in the beer bars of Bombay. Tabu palys a stellar role, and this film — we have not yet finalised the title — is being directed by Madhur Bhandarkar, an associate of Ram Gopal Varma.

I am very ambitious about this film and I intend entering it in every major film festival all over the world. Atul Kulkarni plays an interesting role in it. I intend starting it by July — subject to Tabu’s dates being available. I have a hunch, this will be a landmark film in Tabu’s already distinguished career!

I must not fail to mention that I have bought the rights of a fantasy film for children as the target audience. The next year promises to be a rather eventful one for me.

A few years ago, you had launched a company to make software for television and before one could say “Jack Robinson”, the project had vanished! Are your sights set solely on the big screen?

– Not quite. I do agree that I had started Shogun Enterprises and shelved it, but now, I have plans of reviving it in a big way. I plan to make software only in Hindi for leading channels like Zee, Sony, Star Plus etc. I must lay stress on one aspect. I am open to new talent, fresh talent, discarded talent and what have you, as long as they are armed with novel ideas and subjects. And this applies as much to my TV serials as to my films.

Finally, an observation. Is there an inherent streak of violence hidden in your personality — first, Good Knight, and then, Shogun. Quite a curious choice of names for your banners, wouldn’t you agree?

– I agree, I agree. But when you become successful, there are friends and well-wishers who start making you believe in certain things which, according to them, are lucky mascots. I was advised that ‘Knight’ is a warrior in the West and my next banner should be named after a warrior from the East. Hence we decided on the name ‘Shogun’. These are minor compromises that one has to make in business.

For instance, although I am still addressed by the press as ‘Good Knight’ Mohan, the fact is, I have sold ‘Good Knight’ to Godrej. A lot of people ask me if I was emotionally disturbed in parting with my baby. Well, all I can say in reply is that there is really no room for emotions in business!