AGNICHAKRA

Jyoti Art Production’s Agnichakra (UA) is the usual story of good versus evil. An honest and upright police officer is killed by some terrorists whom he is out to exterminate. A new officer is appointed in his place to complete the unfinished task. There is also the murdered officer’s younger brother who swears revenge against the culprits. The third group of revenge-seekers comprises a co-officer of the murdered police officer, his beloved and another young man.

The story has absolutely no freshness whatsoever. Screenplay cares little for continuity and is a hopeless attempt at writing. Dialogues are commonplace. The film has taken many years in the making and it shows not only in continuity jerks but also in the appearances of the stars who come in varying shapes and sizes in different scenes.

Govinda does well in the first half. He, however, doesn’t impress thereafter and also gets less scope after interval. Naseeruddin Shah acts with a lot of sincerity. Dimple Kapadia passes muster. Vishal Khanna does not impress. Anupam Kher is okay. Pramod Moutho does an average job and so does Satish Shah. Raj Kiran, Beena, Brando Bakshi, Soni, Ruhi Sawant, Bindiya Gill, Somy Ali (she springs up from nowhere in a song sequence), Manmoujee, Birbal and the rest don’t add anything to the dull proceedings.

Direction is so-so in the first half but in the second, the aim seems to have been simply to complete the film any which way. Music is a letdown like the rest of the film. Photography and other technical values are average. Action scenes look outdated.

On the whole, Agnichakra is a poor fare.

Released on 26-9-’97 at Shalimar and 7 other cinemas of Bombay thru Solanki Movies. Publicity & opening: dull. …….Also released all over except C.P. Berar. In Calcutta, the film could not open on Friday due to the non-arrival of prints. It is likely to open there today (27th September).

DHIRUBHAI SHAH ARRESTED UNDER COFEPOSA

Music company owner, video distributor and producer Dhirubhai Shah was arrested under the Conservation of Foreign Exchange & Prevention of Smuggling Activities Act (COFEPOSA), 1974 on 23rd September night for his alleged involvement in a Rs. 22-crore hawala racket. The Bombay city police detained him for alleged violation of foreign exchange regulations. He has been committed to the Yerawada jail in Pune.

The order for his detention and committal was issued in April 1996 but Dhirubhai had been absconding since then. A metropolitan magistrate had proclaimed last month under the Criminal Procedure Code that his property be attached. Dhirubhai was also questioned by the crime branch of police in connection with the recent murder of Gulshan Kumar.

ANOOP KUMAR DEAD

Actor Anoop Kumar passed away on 20th September at 4.15 a.m. following cardiac arrest in a hospital at Juhu, Bombay. He was 72 and is survived by four daughters and a son. He had been ailing since almost two months.

Anoop Kumar belonged to the famous Ganguly family and teamed up with brothers Ashok Kumar and Kishore Kumar in Chalti Ka Naam Gaadi. He played the role of the eccentric brother who keeps popping into the frame with funny one-liners.

He made his debut in Zaraa Palat Ke Dekho in 1950. He also acted in Firdaus, Dekh Kabira Roya, Junglee, Prem Pujari and the recent Rock Dancer. He had also produced Aansoo Ban Gaye Phool in 1969. In 1991, he produced the TV serial Bhim Bhawani, featuring himself and Ashok Kumar.

SC ASKS SUBHASH GHAI TO PAY PENALTY

The Supreme Court on 22nd September asked producer Subhash Ghai to pay an additional Rs. 1 lakh as penalty to the Archaeological Survey of India for damaging the Fatehpur Sikri monument during the shooting of his Pardes there. According to the court, the producer had violated certain conditions of the agreement with the ASI for location shooting inside the monument at Agra. Ghai had already paid Rs. 1 lakh to the ASI.

A bench of Justice S.B. Majmudar and Justice S. Saghir Ahmad passed the direction on a public interest litigation by residents of Fatehpur Sikri, alleging that damage had been done by the film’s unit during the shooting. The court said that the additional amount of Rs. 1 lakh would be utilised by the ASI for the upkeep of the monument.

LABOUR STRIKE IN TWO BOMBAY CINEMAS

Regal and Capitol cinemas of Bombay are closed for three days since 26th September following a strike call given by the Bombay Labour Union to which the workers of the two cinemas owe allegiance. The main demand of the workers is for a hike in wages. The cinemas are owned by Sidhwas (Globe Theatres P. Ltd.).

‘BORDER’ 100 DAYS’ PARTY AT RAJKAMAL, AKOLA

A dinner party was hosted on 24th September at Rajkamal cinema, Akola, to mark the 100 days of Border. The cinema owners, Suresh Joharle and Vitthal Rathi, invited the proprietors, managers and staff members of all the cinemas of Akola and the entire Akola trade. The C.P. distributors of Border, B.N. (Laloo) Kabra (Vishwajyoti Films, Bhusawal) and Narendra Agrawal, could not attend the function as they were in Jaipur to attend the annual general meeting of the CCCA. A month’s salary as bonus was also distributed to the staff of Rajkamal, Akola as well as to A.V. Gawande, local representative of Vishwajyoti Films, Bhusawal.

Santosh Singh Jain Re-Elected CCCA President

Santosh Singh Jain was re-elected president of the Central Circuit Cine Association for 1997-98 at the first meeting of the newly elected executive committee held on 25th September in Jaipur at Ravindra Manch. Vijay Rathi was re-elected vice president. S.K. Surana and Ramesh Surekha were elected hon. secretary and hon. treasurer respectively.

Earlier in the day, at the elections to the executive committee, a total of 450 votes were polled. Of these, 48 were declared invalid. The following members were declared elected:

C.P. Berar Exhibition: Azad Laddha (polled 373 votes), S.K. Surana (368), Vijay Rathi (340) and Mahendra Jain (312).

C.P. Berar Distribution: The following were declared elected unopposed: Bharat Khajanchi, Ramkisan Kasat, B.N. (Laloo) Kabra and Dilip Mudliar.

C.I. Exhibition: Uttam Nahar (380 votes) and Ramesh Surekha (346).

C.I. Distribution: There was no polling and the following two were declared elected unopposed: Santosh Singh Jain and Vinod Malhotra.

Rajasthan Exhibition: Kishanchand Jain (267) and Mohan Godha (265).

Rajasthan Distribution: Nandkishore Jalani (354) and Mohan Godha (305).

Liyakat Ali was the most notable loser. Having contested in the Rajasthan Exhibition sector, he polled only 153 votes.

All the 16 candidates elected belong to the Santosh Singh Jain panel. Actually, Liyakat Ali was the lone strong opposition candidate, the other candidates in the fray standing bleak chances of winning. Ramdhan Mamoria and Rajendra Mamoria had withdrawn from the battle.

O.P. Goyal, Ramdhan Mamoria and Pramod Munot were co-opted to the executive committee.

Earlier, on 24th September, the CCCA’s annual general meeting was held at the same venue — Ravindra Manch — in Jaipur.

Both, the annual general meeting and the elections, were ‘cold’ affairs. Since there was no opposition worth the name, no heat had been generated this year in the CCCA elections. There was, therefore, a record low turnout for the AGM and elections.

BATTLE OF WORDS BEFORE ELECTIONS

At the luncheon party held on 24th September at Ravindra Manch, there was a heated exchange of words between Rajendra Mamoria and Naraindas Mukhija. The latter had allegedly secured withdrawal letters from Ramdhan Mamoria and Rajendra Mamoria (both opposition candidates) on the pretext that one’s letter would be deposited with the CCCA and the other would be taken on Santosh Singh Jain’s panel. But both, father and son, were kept out of the panel, which hurt Rajendra no end.

Rajendra blamed Sethji (Naraindas Mukhija) of playing games and resorting to dirty politics for no justifiable reasons. Of course, ultimately, Ramdhan Mamoria was co-opted on the committee on 25th. Maybe, he would not have been co-opted had it not been for the tantrum thrown by son Rajendra.

LUCKY LIYAKAT, UNLUCKY LIYAKAT

Liyakat Ali’s defeat in the elections came as quite a shock. More than the defeat, it was the huge margin by which he lost, that shocked the trade.

Just a fortnight back, Liyakat Ali had met with a terrible accident near Bikaner when the brand new Maruti Zen car, in which he was travelling, had a head-on collision with a truck. Although the car was smashed into a thousand pieces, Liyakat and Satyawan Pareek, who was travelling with him, had a Providential escape. This, incidentally, was the third accident Liyakat met with in the last three years.

So while Liyakat was lucky in personal life, he remained unlucky in public life.

WORRIED LOT

The mood at the AGM and elections of the CCCA was anything but upbeat. With films falling like nine pins, distributors and exhibitors were a worried lot. S.K. Surana, distributor and exhibitor of C.P. Berar, lamented that box-office attendance was declining because the benefit of reduction in entertainment tax was not being passed on to cinegoers. Rajasthan distributor and exhibitor O.P. Bansal remarked, “Artificial film prices had to come down to the real level. We will now hear of film prices being reduced at the time of delivery every week.”

LUNCH & DINNER

Dinner for the delegates at the CCCA elections on 25th September was hosted by Rajasthan distributor and exhibitor O.P. Bansal. CCCA president Santosh Singh Jain held a lunch party on 26th for a select gathering at his Jaipur residence.

PRODUCTION NEWS

‘Banarasi Babu’ Complete

With the conclusion of a 5-day stint in Bangalore recently, the entire shooting of Sapna Arts’ Banarasi Babu is complete. Govinda, Ramya, Asif Sheikh, Sanam, Shakti Kapoor and stuntmen participated. Directed by David Dhawan for producer Nandu G. Tolani, the film co-stars Bindu and Kader Khan. Writer: Rumi Jafri. Music: Anand Milind.

‘Dus’ Director Not Finalised So Far

Nitin Manmohan has clarified that no director has as yet been finalised to complete Neha-MAD Film Combines’ Dus which was being directed by late Mukul Anand.

YOU ASKED IT

When distributors, due to cut-throat competition, give several lakhs more than the price they originally offer for a film, why do they feel sad to increase a couple of thousands in cinema rentals?

– Perhaps, because they realise that they’ve paid too high a price for the film and, therefore, want to save as much as possible thereafter.

Why is there no heat in the elections to any trade association this year?

– Trade associations are becoming less and less important in a member’s life. Therefore, there’s no urge to serve the industry by getting elected to the executive committee of any association.

For a ‘hot’ film, how much can a producer cover from sale of theatrical rights for the various circuits in terms of percentage of a major circuit?

– Upto 550 to 600% (including Overseas rights and excluding audio rights).

Laughter, The Best Medicine

With Sanjay Gupta not having made it even with Hameshaa, a film about punar-janm (reincarnation), a wag remarked: “Now Sanjay Gupta must take a punar-janm, figuratively speaking, by changing his style of filmmaking if he wants to succeed.

* * *

Raveena Tandon has recovered from brain fever (meningitis). Before that, Neelam had also suffered from brain fever. So we have proof that at least two of our heroines have brains.

* * *

Q: What did Arshad Warsi tell Chandrachur Singh after the debacle of Betaabi?
A: “Chandrachur, tere mere sapne ho gaye chur-chur!”

* * *

After the release of Main Solah Baras Ki, Dev Anand will launch Main Ek Sau Solah Baras Ka. Dev himself will play the central character in the film.

* * *

Q: Why did Mere Sapno Ki Rani not fare well at the box-office?
A: Because the audience felt, Urmila was too heavily covered with clothes.

* * *

Q: Then why did Daud flop?
A: Because the audience felt, Urmila was too scantily dressed.

* * *

Q: Why are two films of David Dhawan (DD) being released together, on 10th October?
A: One film is DD1 and the other is DD Metro!

* * *

Q: Why are all big (cost-wise) films re-edited after release?
A: Because before release, the makers think of only their money spent on filming the scenes and songs. After release, they have to think of the bored public’s money.

* * *

Q: What did Rishi Kapoor tell his hero (Akshaye Khanna) and heroine (Aishwarya Rai) in the USA (where he is shooting) after the debacle of …Aur Pyar Ho Gaya and Mohabbat?
A: Aa ab (India) laut chalen!

* * *

Points To Ponder

What happened with the makers of Hameshaa two weeks back and with the producers of Mohabbat last week is suggestive of an emerging trend. We may now hear of more cases of distributors of one or the other circuits pleading inability to take delivery of the film at the contracted price. This is because film prices are false today and they have been so for the past two or three years. Producers made their money in these three years, now it’s their turn to panic. To panic because their share of profit has declined, not because they are making a loss. Not as yet, at least.

* * *

It’s good that Ishq has been postponed, although the reason why its release has gone ahead by four weeks (from 31st October to 28th November) isn’t good. Aamir Khan hurt his leg and hand while shooting for Mela, and since a song, which remains to be picturised for Ishq, would require the participation of Aamir (besides Ajay Devgan, Juhi Chawla and Kajol), the same (song picturisation) has had to be postponed. In a way, it’s good because there was too much of a rush on Diwali. There are now four confirmed releases on Diwali, viz. Dil To Pagal Hai, Ghulam-E-Musthafa, Grahan and Bhai. Incidentally, while on the song of Ishq, this same song was to have featured Amitabh Bachchan too. Why, Sudesh Bhosle even imitated Amitabh’s voice beautifully in the Mr. Lova song which, by the way, should soon become a hit with the masses.

* * *

Amitabh Bachchan’s next release will be K.C. Bokadia’s Lal Badshah, Amitabh himself said this, earlier this week in Jaipur when he was chatting with the press which had gone there to cover the films’ shooting. His Major Saab, he added, will be released early next year, after Lal Badshah.

* * *

Ram Gopal Varma has changed the leading lady of his new film, Satya. Pardes girl Mahima Chaudhry is out and in her place has come Urmila Matondkar. Don’t ask why — it could start a whole new controversy, and the industry has had more than its share of controversies in the last two months.

* * *

Plus Channel had unwelcome visitors on the morning of 26th September. The income-tax department carried out raids on its premises. I’m sure, they must have found Plus in minus.

* * *

The Meri Awaz Suno finals were held last week at a well-organised function at St. Andrews auditorium at Bandra, Bombay. Like last year, two participants — a girl and a boy — were declared winners. This television show, produced by Metavision, kept its promise last year when an audio cassette of the winner (male), Pradeep Somasundaram, was released by HMV recently. A solo cassette of the female winning voice, Sunidhi Chauhan, is due for an early release. Sanjeev Kohli, the active partner in Metavision, deserves praise for arranging an enjoyable evening where the finalists regaled the invited audience. While Annu Kapoor, who has been compering the show for the last two years, makes an excellent host, he must guard against shedding tears in front of the camera. The guy even cried (tears of joy?) in the finals function but, let me tell you, nobody was moved one bit. Hold back your tears, Annu, you are more appealing without them.

* * *

Producers and distributors should do some re-thinking on the topic of releasing films on Thursday in some circuits and on Friday in other circuits. If the public report of a film is poor on Thursday, exhibitors and sub-distributors, who usually wait till Thursday afternoon for making payments to distributors of the circuits in which the film is due for release on Friday, start making excuses. This lands the distributors into trouble. Why not release films on the same day in all the circuits — whether on Thursday or Friday.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Two Together

After a fairly long break, producer D. Rama Naidu will now start two Hindi films — the first in January ’98. Anil Kapoor has so far been finalised to play the hero in the first venture which will be a remake of the Telugu blockbuster Pavitra Bandham. The heroine is still to be finalised but, to quote Suresh, the dynamic young son of Rama Naidu, “That shouldn’t be a problem. It’s the kind of role any heroine would yearn to do. We have some heroines in mind and we’ll finalise the one who can give us priority dates.”

Four-Week Delay For ‘Ishq’

Producer Gordhan Tanwani has postponed the release of his Ishq by four weeks. Instead of Diwali, it will now come on 28th November. The reason for the rescheduling is the picturisation of a song which still remains to be done. Aamir Khan has hurt himself and will, therefore, not be able to participate in the picturisaton of that song. Yes, this is the same number in which Amitabh Bachchan was to have featured. But the latest news is that the makers will not be featuring Bachchan in the song which will be picturised on the four lead players — Aamir Khan, Juhi Chawla, Ajay Devgan and Kajol.

Well, actually, this seems to be a bad season for the community of artistes. A few days back, Raveena Tandon was hospitalised. A couple of months back, Rajesh Khanna burnt his legs rather badly in Delhi when a container of boiling hot water fell on them. Khanna had to undergo skin grafting to treat the burns.

Flop? Who Cares?!?

Believe it or not but Chandrachur Singh has no dates to give for at least a year. And the price he is quoting is too phenomenal to be true. This was before the release of Betaabi. After its debacle too, the scene hasn’t changed. That’s how the film industry functions!

Good Reports

A Bombay distributor recently visited pilgrim place Shirdi. He had undergone some blood tests, the reports of which showed that everything was normal. Said he, “These days, film reports are never good. Therefore, a good blood report is enough reason to visit Shirdi and thank the Lord.”

The Bigger Bombs

And to end this column with a joke.
Q: How did Plaza cinema in Bombay survive the bomb blast in 1993?
A: It had screened bigger bombs than the bombs of 1993 — that’s how!

LATEST POSITION

Bank and national holidays last week proved bountiful for the box-office.

Sarfarosh has done extraordinary in Bombay and Maharashtra. It is good in several other ‘A’ class centres, but collections started to drop at some places towards the end of the first week. 1st week Bombay 58,97,303 (93%) from 13 cinemas (8 on F.H.); Rajkot 1,67,292, Jamnagar 1,21,910, Adipur 1,13,698 (77%); Pune 15,79,591 from 5 cinemas (1 in matinee), Kolhapur 2,56,414, Solapur 2,22,178 (100%); Delhi (6 days) 46,34,526 (75.57%) from 11 cinemas (1 on F.H.); Lucknow 4,32,322, Kanpur 4,88,836 from 2 cinemas, Agra 4,35,635, Varanasi 2,62,788, Allahabad 1,93,525, Bareilly 1,99,402 (70.29%), Dehradun 2,69,500, Muzaffarnagar 1,35,000; Calcutta 23,67,220 from 14 cinemas (10 on F.H.); Nagpur 8,45,193 from 4 cinemas, Amravati 1,81,783, Raipur 1,83,503, Jalgaon 1,78,605; Indore 3,26,000 from 2 cinemas (2 on F.H.), Bhopal 2,57,792 from 2 cinemas (1 on F.H.); Jaipur 13,51,027 from 5 cinemas, Bikaner (gross) 2,90,565; Hyderabad (gross) 30,86,350 from 13 cinemas.

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King Kong (dubbed) did poor in 1st week in Bombay; Raipur (6 days) 25,600.

Jai Hind 2nd week Bombay (TF) 4,29,089 (40.10%) from 2 cinemas (5 on F.H.); Pune (TF) 50,435, Solapur (TF) 72,810; Delhi (6 days) 89,849; Kanpur (TF) 1,06,268, Lucknow (TF) 77,073, Agra (TF) 73,215, Varanasi (TF) 1,02,189, Allahabad (TF) 78,088; Calcutta 78,000; Nagpur (TF) 56,099 from 2 cinemas, Jabalpur (TF) 25,823, total 66,996, Raipur (TF) 28,346, 1st week Bilaspur (TF) 35,601; 2nd week Indore (TF; 6 days) 43,329 (1 on F.H.), Bhopal (TF) 40,000; Jaipur (TF) 1,36,717, Jodhpur (TF) 1,50,000, 1st week Bikaner (TF) 78,820.

Silsila Hai Pyar Ka 3rd week Bombay 10,23,071 (39.65%) from 6 cinemas (3 on F.H.); Pune 2,88,803 from 3 cinemas (1 in matinee), Solapur 27,260; Delhi (6 days) 4,60,243 from 5 cinemas; Kanpur 56,597 from 2 cinemas, Lucknow 95,823, Agra 45,852, Varanasi 39,603, Allahabad 22,218; Calcutta 3,13,510 from 3 cinemas; Jabalpur 57,825, total 2,14,969, Raipur 42,620, Bhilai 34,050; Bhopal 38,748; Jaipur 61,120.

Anari No. 1 4th week Bombay 18,08,669 (51.32%) from 9 cinemas (6 on F.H.); Pune 5,18,115 from 4 cinemas (1 in matinee), Kolhapur 75,065, Solapur 1,03,836; Delhi (6 days) 5,31,076 from 4 cinemas (1 on F.H.); Kanpur (6 days) 1,72,368 from 2 cinemas, Lucknow 2,20,093, Agra 39,152, Allahabad 40,075, Dehradun 68,251 (3rd 84,162), Muzaffarnagar 32,000; Calcutta 1,59,319; Nagpur 1,07,320 from 2 cinemas, Jabalpur (6 days) 1,25,653, Raipur (6 days) 68,360, Bhilai 35,400, 3rd week Durg 36,766, Jalgaon 1,01,380, 4th week Bilaspur 60,533; Indore 81,364, Bhopal 1,00,000; Jaipur 2,13,245 from 2 cinemas; Hyderabad (gross) 3,76,326 from 3 cinemas (2 in noon).

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‘SOLDIER’ SILVER JUBILEE

Tips Films’ Soldier entered 25th combined (silver jubilee) week on 7th May at Dreamland (matinee), Bombay and other centres of India. It is directed by Abbas Mustan and stars Bobby Deol and Preity Zinta. Music: Anu Malik.

‘HUM AAPKE DIL MEIN…’ CELEBRATES 100 DAYS

Producer D. Rama Naidu’s Hum Aapke Dil Mein Rehte Hain completed 100 days on 1st May at Novelty Cinema, Bombay and other centres of India. Satish Kaushik has directed the film starring Anil Kapoor and Kajol. Music: Anu Malik.

DEEP JAIN’S DAUGHTER WEDS

Marriage of Kavita, daughter of Deep Jain of Film Jagat Enterprises, Delhi, with Manish was solemnised on 5th May in New Delhi at Hotel Park Royal. The wedding was a lavish and well-attended affair.

GIGANTIC MOVIE WORLD COMING UP IN AHMEDABAD

A new cineplex, consisting of three cinema screens, will open next year on the outskirts of Ahmedabad city. Spread over an area of 4,30,400 sq. ft., Movie World will also feature other leisure and entertainment activities apart from cinemas. The cinema complex is being designed by architect Hasmukh C. Patel who has bagged a lifetime achievement award at the hands of the president of India. The complex is owned by Rajshri group of companies, whose other holdings include Rajshri (erstwhile Ajay cinema), Bhavnagar, Dharam cinema, Rajkot, Pradeep cinema, Junagadh, and Shalimar and Rajshri cinemas in Gandhinagar.

The multiplex will house, among other things, bowling alleys, food parlours, outdoor games, miniature golf courses etc. The multiplex-cum-entertainment park will be made on the lines of Universal Studios in the USA.

NAZIA HASAN IN COMA

Nazia Hasan, the Pakistani singer who shot to fame with the ‘Aap jaisa koi’ song of Feroz Khan’s Qurbani, is battling for life at a London hospital. She slipped into coma on 30th April. Nazia, who is in her late 30s, has been suffering from blood cancer since the last couple of years.

Tolanis Gear Up For Prestigious Release

No distributor can, perhaps, claim to have acquired as many big films as the Tolanis have for C.I. After firmly establishing Sapna and Sangeeta as two leading cinemas of Indore, Arjundas Tolani and his two sons, Sanjay and Rajiv, have now acquired a line of biggies for distribution in C.I. The first to be released from among their acquisitions will be Vashu Bhagnani’s Biwi No. 1. The line-up includes such films as Arjun Pandit, Chal Mere Bhai, Hadh Kar Di Aapne, Aankh Micholi and Bichhoo.

The Tolanis plan to release Biwi No. 1 with a record number of 21 prints. They have finalised a number of cinemas already at competitive terms and the response to the film in exhibition circles is “fantastic”, according to their manager, O.P. Goyal. The Tolanis have commenced the film’s publicity in their circuit in right earnest. The designer posters are said to be attracting a lot of public attention.

Sanjay Tolani told Information, “Besides starting distribution in a big way, we will also be upgrading Sapna and Sangeeta cinemas soon. Tube-lifts will be installed at both the cinemas. They will also be equipped with air-conditioners shortly.” So lucky have Sapna and Sangeeta cinemas proven for the Tolanis that they’ve called their distribution office, Sapna Sangeeta Distributors.

3-E
Education-Entertainment-Enlightenment

Boney In Rama Naidu’s Shoes

It was all of a sudden that Boney Kapoor on 7th May launched a film with Satish Kaushik as director. Actually, the film, a remake of the Telugu hit, Pelli Cheskundama, was to be made by D. Rama Naidu. Then how did Boney come to launch it? The story goes like this. Rama Naidu had promised to acquire the Hindi remaking rights of another Telugu hit for Boney. But when Naidu did not succeed in bagging those rights, he gracefully gave up the rights of Pelli Cheskundama and asked Boney to remake the film instead of himself doing it. Of course, Boney jumped at the offer and launched the remake even before Rama Naidu would have! Story of one hero and two heroines, it is planned as a quickie by Boney. Boney and quickie? Yes, this time, the guy has even announced the release date — first week of April 2000! And Boney seems to be taking no chances. He consulted an astrologer who advised him not to leave his home for the film’s muhurt before 12.45 p.m. And so, the muhurt earlier fixed for 11 a.m. was ‘delayed’ by 2 hours. Incidentally, while Anil Kapoor and Aishwarya Rai have already been finalised, the other heroine is to be finalised as yet. The role, according to Boney, is meaty. So who will be the lucky one?

Salman In Brief

Salman Khan stripped right down to his underwear during a dance routine at a stage show held in London on 3rd May. Salman performed the striptease amidst cheers from teenage girls in the audience while leaving older members quite aghast with his antic. It all happened when, in the course of dancing to a song, Salman threw off his jacket and then removed his trousers, too, to prance about the stage, clad only in his black brief and shoes. Amitabh Bachchan, Urmila Matondkar, Jaspinder Narula, Sunil Shetty and Tabu were among the other Bollywood personalities who attended the concert organised by Sony Entertainment Television and B4U.

Subsidy Amount Hiked

For the Marathi film industry, producer Satish Kulkarni’s contacts with ministers in the Maharashtra government have often proved useful. It was Kulkarni who had prevailed upon the government to increase the amount of subsidy payable by the state government to Marathi film producers from Rs. 12 to Rs. 15 lakh a couple of years ago. And this, in a purely personal capacity. Once again, Satish Kulkarni managed to convince the new chief minister, Narayan Rane, and deputy chief minister, Gopinath Munde, to further increase the subsidy amount — this time from Rs. 15 lakh to Rs. 16 lakh. This happened on 30th April at the Maharashtra state government awards function. Kulkarni seized the opportunity as both the ministers were together at the function and it took two minutes for him to convince them of the need to hike the subsidy amount! The CM and the deputy CM readily obliged and, therefore, the Marathi film producers are euphoric.

BIOSCOPE

BIWI NO. 1
Rib-Tickling Comedy

Vashu Bhagnani’s Biwi No. 1 is a rollicking comedy about extra-marital affairs. Salman Khan and Karisma Kapoor are blissfully married to each other for years. While Salman is a self-made advertising agency head and an ideal husband, Karisma is a caring wife who has supported her husband through thick and thin. She is also the quintessential Bharatiya naari who is content in living in her husband’s shadow. Their family is complete with two children who they dote on. However, after several years of living together, Salman begins to find a plain-Jane Karisma less attractive. He somehow begins believing that he needs a change. In walks Sushmita Sen, a model, whose only goal in life seems to be to marry a rich man so that she can live life in the lap of luxury. Salman happens to meet her and is instantly attracted to her. However, like any other erring husband, he fails to mention his marital status to Sushmita. Soon, they grow closer and Salman even takes Sushmita along on a business trip abroad. There, Anil Kapoor, who is the family doctor and a friend, spots them both together. Anil is on a holiday trip with his wife, Tabu. Salman somehow manages to convince Anil that he is only having a fling and that, he still loved Karisma too much to leave her for anyone else. Having been convinced that Karisma is not in any danger of being deserted by her husband, Anil leaves the matter at that.

Salman and Sushmita return to India, but their affair soon comes to the notice of Karisma. A hurt Karisma forbids Salman from entering their house. Salman, then, begins to have a live-in-relationship with Sushmita. When Anil Kapoor learns of this sudden turn of events, he apologises to Karisma for not having tipped her off about Salman’s erring ways earlier. He also exhorts her not to take the injustice meted out to her by Salman, lying down. Karisma then resolves to win her husband back. She devises a number of hilarious but effective ploys, in tandem with her children, her mother-in-law and Anil Kapoor, to create a negative impression of Sushmita in Salman’s mind.

This David Dhawan film boasts of a number of funny sequences and scenes that are expected to have the viewers rolling on the floor laughing. The film has a formidable star cast which includes Salman Khan, Karisma Kapoor, Anil Kapoor, Tabu, Sushmita Sen and Saif Ali Khan (playing a photographer who is in love with Sushmita). The music, scored by Anu Malik, is racy. The title track and Hai jawaani toh are the pick of the lot. The film releases in the middle of the cricket World Cup matches, on 28th May, and may still succeed in hitting the bull’s eye at the box-office, going by Vashu Bhagnani and David Dhawan’s 100% track record together.

SOORYAVANSHAM
A Father And Son Saga

Padmalaya Combines’ Sooryavansham depicts Amitabh Bachchan in the dual roles of a father and son. While the father is a rich and unflinchingly principled landlord, the son is more of the happy-go-lucky type. This becomes the cause for a great amount of friction between the two, which is aggravated by certain key incidents in their lives. The matter comes to such a pass that the son chooses to leave the comforts of his father’s house — a development which is well-exploited by the father’s villainous rival to further his own end. Eventually, however, the father and the son unite to destroy the villain, played by Mukesh Rishi. The romantic angle in the film is served by South’s Soundarya, who plays an IAS officer in love with the son. Jaya Kapoor nee Sudha plays the older Amitabh’s wife while debutante Rachana Chatterjee, Anupam Kher, Bindu, Shivaji Satam, Neelima Azim, master Anand Vardhan and Kader Khan comprise the rest of the cast.

This Hindi remake of the super-hit Tamil film, Sooryavamsam, is directed by the prolific Telugu film director, E.V.V. Satyanarayana. The film also marks the return of Padmalaya to Hindi films after a gap of 10 years. Anu Malik’s music and Sameer’s lyrics, both, combine to create a melodious score that is part-romantic and part-folk. The film is due for release on 21st May.

SIRF TUM
Love Story So Unusual…

Have you ever heard of a love story in which the lovers never meet? Well, that’s Sirf Tum. One may recall that when the Tamil film, Kaadhal Kottai, became a runaway hit, there was a scramble to acquire its Hindi remaking rights. The lucky producer was Boney Kapoor who, besides using his luck, had to also pay a hefty price for the rights. After buying the rights, he roped in Ahathian, the director who had made the original too. The remake may have taken a fairly long time in the making but Boney’s confidence in the project and its director was vindicated when Ahathian bagged the National Award two years ago for the same film.

Sanjay Kapoor and Priya Gill play the two romantics who never meet till the film almost ends. And yet, their romance blossoms. There’s a third angle to the story too. Sushmita Sen plays the ultra-rich boss of Sanjay Kapoor. She is head over heels in love with Sanjay, but will Sanjay agree to marry her? Not at all! Our man is in love with Priya Gill, so what if he hasn’t seen her and vice versa! A nail-biting climax sees the two love-birds unite. In the Tamil original, the audience is reported to have let out sighs galore for the hero and heroine. Will history repeat itself in Hindi? Sanjay and Priya fervently hope so. So does Sushmita Sen.

The music score by Nadeem Shravan is already very popular. In fact, Sirf Tum is one of the hot-selling albums today, not just in India but abroad too.

USHA KIRON BIDS ADIEU

Usha Kiron, the leading lady of yesteryears, passed way in Nasik on 9th March due to cancer. She was 71 and is survived by her husband, Dr. Manohar Kher, her actress-daughter, Tanvi Azmi, son-in-law, Baba Azmi (cinematographer), and a son.

Usha Kiron began her acting career with a Marathi play several decades ago. Thereafter, she acted in many Marathi and Gujarati plays and films. She made her debut in Hindi films with Amiya Chakravarty’s Gauna. Her performance in Amiya’s Patita, opposite Dev Anand, won her rave reviews. She made a place for herself even when Nargis, Madhubala, Meena Kumari and Nutan were the top leading ladies of the day. She acted opposite all top stars of those days: Dilip Kumar (Daag), Dev Anand (Patita) and Raj Kapoor (Nazrana) and opposite Rajendra Kumar (in the Gujarati super-hit, Mehndi Rang Laagyo). She also earned laurels for her versatile performances in Marathi films like Kanyadaan, Shikleli Bayko, Bala Jo Jo Re, Garib Gharachi Mulgi, Kanchanganga and Kalpana. The actress made a comeback in the seventies with character roles in Hrishikesh Mukherji’s Bawarchi and Chupke Chupke.

Usha Kiron was the sheriff of Bombay in 1997-98 during which period she forcefully campaigned against noise pollution. She had penned an autobiography, in Marathi, which was entitled Usha-Kal.

Usha Kiron was to be honoured  by a women’s organisation on the occasion of the International Women’s Day (8th March, 2000), but she had to keep away from the function due to her indisposition.

Since a month-and-a-half, she had been staying at her son’s house in Nasik to take rest. According to her husband, “She was fully satisfied with life.”

Usha Kiron’s funeral at Nasik was largely attended.

LATEST POSITION

Examinations and telecast of cricket matches are adversely affecting box-office takings.

Khauff crashed on 4th day where it took a reasonably good start; elsewhere, it was dismal from the beginning. 1st week Bombay 50,02,509 (48.81%) from 18 cinemas (10 on F.H.); Ahmedabad 11,76,278 from 8 cinemas, Rajkot 1,52,672 from 2 cinemas (1 in matinee), Jamnagar 1,00,838; Pune 11,00,844 from 6 cinemas (1 in matinee), Solapur 2,33,511 from 2 cinemas (1 in matinee); Delhi 29,59,112 (36.24%) from 13 cinemas (1 on F.H.); Kanpur (6 days) 3,68,739 from 2 cinemas, Lucknow 3,36,987, Agra 2,14,000, Allahabad 2,05,573, Bareilly (6 days) 1,03,896; Calcutta 18,89,285 from 21 cinemas; Nagpur 5,99,245 from 5 cinemas, Amravati (6 days) 1,85,237, Akola 1,41,524, Raipur (6 days) 1,08,917, Jalgaon 1,78,260, Yavatmal 69,572; Bhopal 2,57,022 from 3 cinemas; Jaipur 9,19,947 from 4 cinemas, Ajmer (gross, 29 shows) 2,11,877, Bikaner 1,63,045; Hyderabad (gross) 26,27,931 from 14 cinemas (2 in noon), Vijayawada 2,38,996.

Hey! Ram 3rd week Bombay 11,00,155 (41.46%) from 4 cinemas (2 unrecd., 6 on F.H.); Ahmedabad 76,072 from 2 cinemas; Pune 4,93,549 from 5 cinemas (1 in matinee), Solapur 61,064; Hubli 1,05,387; Delhi 9,98,757 from 5 cinemas; Kanpur 44,103 from 2 cinemas, Lucknow 1,06,769, Agra 28,500, Allahabad 31,000; Calcutta 4,31,178 from 3 cinemas; Nagpur 53,452, Raipur 61,622, 1 week Bhilai 56,300; 3rd week Hyderabad (gross) 4,02,718 from 2 cinemas.

Devi (dubbed) 3rd week Bombay 1,48,764; Solapur (matinee) 15,355; Calcutta 2,64,788 from 4 cinemas; Nagpur 48,564, good, Amravati (6 days) 36,098, Raipur (6 days) 16,770.

Badal 4th week Bombay 12,39,720 (54.27%) from 5 cinemas (6 on F.H.); Ahmedabad 2,45,142 from 4 cinemas, Jamnagar (matinee) 7,071; Solapur 1,07,794 from 2 cinemas (1 in matinee); 2nd week Bijapur 1,12,073; 4th week Delhi 5,81,426 from 5 cinemas (2 on F.H.); Kanpur 2,16,049 from 2 cinemas, Lucknow 2,77,653, Agra 2,50,000, Allahabad 1,05,000, Bareilly 1,02,551, Hardwar 35,000; Calcutta 3,96,463 from 3 cinemas; Amravati 45,026, Akola 61,704, total 5,36,659, Raipur (6 days, gross) 1,25,311, Bhilai 35,000, Durg 33,462, Jalgaon 54,438, Wardha 34,610; Indore 92,000, Bhopal 66,320; Jaipur 2,03,431 from 2 cinemas, Ajmer (gross) 96,910, Bikaner 92,074; Hyderabad (gross) 3,79,344 from 3 cinemas (1 in noon, 1 on F.H.).

Pukar 5th week Bombay 7,69,728 from 2 cinemas (1 unrecd., 3 on F.H.); Ahmedabad 4,94,958 from 5 cinemas; Pune 2,66,196 from 2 cinemas; Delhi (TF) 9,67,272 from 5 cinemas; Kanpur 1,32,766 from 2 cinemas, Lucknow 1,28,558, Agra 57,000, Allahabad 28,759, 1st week Hardwar 70,000; 5th week Calcutta 1,25,322; Nagpur 1,17,781 from 2 cinemas, Amravati (6 days) 56,815, Akola 48,527, total 5,28,922, Raipur (TF, 6 days) 50,740; Indore (TF) 45,833; Hyderabad (gross) 7,49,919 from 5 cinemas (1 in noon).

Phir Bhi Dil Hai Hindustani 7th week Bombay 6,19,123 (33.46%) from 5 cinemas (2 on F.H.); Pune (matinee) 17,497; Kanpur 13,279 (1 on F.H.), Lucknow (6 days) 70,360, Allahabad 50,000; Calcutta 85,968; Indore (TF) 38,000, Bhopal (TF) 42,912, 1st week Ujjain (TF) 42,000; 7th week Hyderabad (gross, noon) 26,728.

Kaho Naa…Pyaar Hai 8th week Bombay 42,62,999 (95.57%) from 10 cinemas (5 on F.H.), 2nd week Vashi (gross) 3,46,468, 7th week Vasai (gross) 2,27,927; 8th week Ahmedabad 9,90,201 from 4 cinemas, Baroda 2,15,381, 2nd week Padra 2,42,098, 1st week Cambay 1,98,906, 8th Rajkot 1,25,570; Pune 8,74,145 from 3 cinemas (1 in matinee), Solapur 1,87,490; Dharwad 59,847; Delhi 18,11,654 from 7 cinemas; Kanpur 1,78,063 from 2 cinemas, Lucknow 3,00,660, Allahabad 83,000, Bareilly (6 days) 49,254, Muzaffarnagar 25,000, 5th week Hardwar 37,000; 8th week Calcutta 8,47,928 from 6 cinemas; Nagpur 4,26,912 from 3 cinemas, 1st week Balaghat (3 days) 54,276, 8th week Amravati 1,42,812, total 12,84,595, Akola 1,30,266, total 11,48,659, Raipur 1,06,861, Bhilai 36,070, 6th week Durg 54,410, 8th week Jalgaon 1,13,001, 3rd week Wardha 1,17,175, total 4,14,120, share 3,45,120, 7th week Chandrapur 1,51,957 (6th 1,26,849), total 12,69,607, 6th Yavatmal (gross) 1,01,514, total 7,87,169, share 4,87,169; 8th week Bhopal 1,57,142; Jaipur 2,16,326, Bikaner 77,934; Hyderabad (gross) 6,98,572 from 3 cinemas (1 in noon, 1 on F.H.).

NUTAN DEPARTS

Nutan Govind Naik, associate editor of Film Information, passed away in the early morning hours of 8th March at a hospital at Dombivli, a far-off suburb of Bombay. He was 57 and is survived by his wife and three daughters. He had been keeping ill-health since the last few months and had gone to Goa, his native place, last month. His family brought him back to Bombay on 6th March when his condition deteriorated, and admitted him to hospital right away. His condition worsened around 3 a.m. on 8th and he breathed his last around 5.30 a.m. in the hospital. He was cremated at the Chandanwadi crematorium the same evening.

Nutan-ji, as he was commonly addressed by everyone in the film trade, was gentle and affable by nature. He was soft-hearted and used to come to the help of anyone in need. He worked in the film trade for nearly four decades. Nutan-ji started out in a humble capacity in Trade Guide under late B.K. Adarsh. He inched his way up to become its reporter and with his penchant for box-office figures, he used to later assess the films’ all-India business, and he did so with unabated passion. He was also fond of watching previews of important releases in order to test his judgement. When G.P. Sippy’s Sholay was being dubbed a flop by the industry at the time of its release, Nutan-ji was firm in his statement that it would prove to be a super-duper hit. He loved emotional films and used to weep like a child while watching sentimental scenes, especially the ones involving screen-mothers.

Late Manmohan Desai was among the many who trusted Nutan-ji’s judgement. When Man-ji kept the first preview of his maiden production, Amar Akbar Anthony, he insisted on Nutan-ji seeing the film and giving him his frank opinion. After the show was over, Manmohan Desai was taken aback when Nutan-ji exclaimed, “Definitely 1 crore!” Man-ji was surprised because producers and distributors then never imagined that a film, howsoever good, could touch the crore-mark, despite Sholay having done a business of more than a crore. For Nutan-ji’s unerring judgement in Amar Akbar Anthony, Manmohan Desai presented him a trophy at its jubilee function.

Even if Nutan-ji erred in his judgement on certain films, he would admit that he had failed, for, he never believed in arguing to just prove his point. He was indeed a man of few words, but when it came to discussions on a film’s collections, prices and terms to be offered, he would open up with great enthusiasm and excitement. When our late editor, Ramraj-ji, had joined Trade Guide to assist his brother, Adarsh-ji, Nutan-ji had struck a great rapport with him (Ramraj-ji). After Ramraj-ji founded Film Information in 1973, Nutan-ji joined Film Information and became its associate editor. He was an important and integral part of the Information family for over 25 years. Nutan-ji was especially very friendly with distributors and exhibitors of C.P., C.I. and Rajasthan trade. He used to liaise with producers on their behalf. His association with the film trade also made him dabble into distribution and exhibition businesses.

His ambition to produce a film was fulfilled when he co-produced the Rajasthani film, Ramkudee Jhamkudee, which became a hit. He also co-produced another Rajasthani film, Khoon Ro Teeko, and the Hindi film, Saajan Ka Ghar.

Nutan-ji used to hate wasting time on busy days, especially Thursdays and Fridays. He had a penchant for keeping his table clear of papers, which indicated his endeavour to finish the work on hand in time. When working, he used to detest disturbance of any kind and used to indulge in chatter or light gossip, only after finishing the work on hand. He used to love cricket and avidly followed every game of the sport that India played.

Over the years, Nutan-ji had maintained his physique and appearance. In fact, many in the trade used to jocularly ask him whether he ever aged! But the last four months of his life saw him age too quickly. His weight reduced drastically quite rapidly and the last month or so was rather difficult for him.

PROTEST AGAINST ‘GADAR’ SHOOTING

A section of Shia Muslims in Lucknow has protested the Uttar Pradesh government’s decision to allow producer Nitin Keni to shoot his Sunny Deol-Amisha Patel starrer Gadar at the local Imambara. Activists have demanded that the permission to shoot be withdrawn as Imambara is a religious place for Muslims. Leaders of Shia Muslims have threatened to immolate themselves if their demand was not met by the government soon.

VARSHA USGAONKAR WEDS

Varsha Usgaonkar married Ajay Sharma, son of veteran music director Ravi, in Goa on 9th March. The wedding, solemnised at Varsha’s sister’s house, was attended by close relatives.

KHUSHBOO MARRIES SUNDAR C.

Top Tamil film heroine Khushboo married Tamil film actor, producer and director Sundar C. on 9th March at a five-star hotel in Madras. The marriage was attended by a large number of South film celebrities.

NEW CINEMA AT HALOL

A new cinema — Jap — opened at Halol (Gujarat) last week. This is the second cinema of Halol.

FILMCENTER DECIDES TO CLOSE DOWN

Filmcenter, one of the oldest film processing laboratories of Bombay, is contemplating closure. The lab is refusing new films with the aim of ultimately downing shutters.

NEW CINEMA IN JALGAON DUE TO OPEN SHORTLY

A new cinema — Mohan Chitra Mandir — will open shortly in Jalgaon. Owned by Viththal Shivaji Sonawane, it is equipped with Photophone projectors and Dolby Digital sound system. Its screen size is 48′ x 21′. The air-cooled cinema has big foyers on the first and ground floors.

It has 3 classes — Balcony (with 311 seats), I Class (260 seats), and II Class (342 seats). The admission rates are Rs. 20, Rs. 12 and Rs. 7 respectively. The booking of the cinema will be controlled by Mohan Exhibitors (Vasant Talkies Building, Amravati).

GYANCHAND MEHTA DEAD

Well-known Rajasthan distributor Gyanchand Mehta (Mehta Film Exchange, Jaipur) expired on 4th March in Jaipur owing to heart failure. He was 67. Uthavna was held on 6th.

His distribution concern was being looked after by him as well as his only son, Dinesh.

‘KHOOBSURAT’ COMPLETES 100 DAYS

Sanjay Chhel’s debut directorial venture, Khoobsurat, completed 100 combined days of its run at Metro (matinee), Bombay on 4th March. Produced by Rahul Sughand and presented by Jhamu Sughand, the film stars Sanjay Dutt and Urmila Matondkar in the lead. Music: Jatin Lalit.

‘PUKAR’ TAX-FREE IN MAHARASHTRA, U.P.

Boney Kapoor’s Pukar has been exempted from payment of entertainment tax in Maharashtra for a period of one year from 9th March. The film is being screened at tax-free rates from 10th.

The Uttar Pradesh government has also exempted Pukar from entertainment tax with effect from 17th March. The exemption will be effective for 4 weeks.

‘KKHH’ TAX-FREE IN MAHARASHTRA

Yash Johar’s Kuch Kuch Hota Hai, directed by debut-making Karan Johar, has been granted tax-exemption in Maharashtra for a period of one year from 10th March. The entertainment tax exemption has come in the wake of the film bagging the National award for the best film providing wholesome entertainment. It is also tax-exempted in Delhi for 3 months from 25th February.

YOU ASKED IT

Do you think, the makers of Phir Bhi Dil Hai Hindustani erred in the publicity campaigns of the film?

– Yes, they did. Had they stressed on the nationalist feel of the film, in their pre-release promotional trailers, business would have been at least 20% to 25% better.

When will Esha Deol be launched? Is the launch film a remake of a South film?

– Boney Kapoor will start the film starring Esha Deol in April. It will be directed by Vinay Shukla and star Sanjay Kapoor and Aftab in the male leads, with Jaya Bachchan in a key role. The film is a remake of the Telugu hit, PELLI.

Despite Sanjay Gupta’s films bombing at the box-office, how does he manage to bag new films?

– He doesn’t come alone, he gets Sanjay Dutt with him. Any director, who has dates of the scarce commodity called ‘saleable hero’, has more chances of bagging films.

DO YOU KNOW?

* Premiere, the newly-opened state-of-the-art cinema at Parel, Bombay, allows children under the age of 18 to see an adults film at the cinema provided the accompanying parents of the children give an undertaking to the cinema that they will be responsible for the consequences if their children are caught watching adults films. But does this undertaking absolve the cinema from legal implications?

* A pop song of the toe-tapping kind, set to tune by Anand Milind, Shankar Mahadevan and Lezz Lewis and choreographed by Ganesh Hegde, was picturised for CHAL MERE BHAI under the direction of noted ad man Ashu Trikha who specialises in making promos for feature films. It was picturised on Shankar Mahadevan and Lezz Lewis (who have themselves rendered the song) on March 6 at Filmistan Studios. This song will be a part of the promotional campaign and it will also be utilised in the film’s titles.

* The shooting of producer-director Hussain Bloch’s Gujarati film, SAACHO SATHVARO SAAJAN NO, was interrupted for half an hour recently at Halol, due to the ’emotional breakdown’ of leading lady Sharmilee and Heena Upadhyay while enacting an emotional scene. The scene had Heena Upadhyay (playing a bhabhi) exhorting bride-to-be Sharmilee to be good and virtuous in her in-laws’ house. Whenever the two actresses were giving takes, they used to break down. The director suspended the shooting for half an hour until the emotionally-swept ladies regained their composure.

* Laloo Kabra, the C.P. Berar distributor of KN…PH, has started a scheme of distributing free T-shirts to winners of the lucky draws in every show at Jayant, Chandrapur and Manek, Akola. Collections at Chandrapur have shot up (6th week 1,26,848/-; 7th week 1,51,957/-).

COMMENTS

BONEY KAPOOR

City Pulse cineplex in Gandhinagar is the best thing to have happened to the industry in recent years.

SANJAY MEHTA (Bobby Art International, Delhi)

The menace of no. 2 prints in U.P. is killing the trade. The local authorities and the cinemas, which screen illegal prints, are hand-in-glove.

BRIJESH TANDON (Delhi-U.P. exhibitor-distributor)

The business of Delhi city is dismal these days.

MAVJIBHAI SHAH (Bombay distributor)

Unrealistically high admission rates in cinemas are killing the business. Now, people see a film only if it is really good. That is why, business of good films is extraordinary whereas that of poor films is dismal.

3-E
Education-Entertainment-Enlightenment

Well-Deserved Tax Exemptions

It is heartening to note that state governments are granting entertainment tax exemption to a well-deserved film like Pukar. That Boney Kapoor’s ambitious project tackles the Indo-Pak enmity quite boldly and bluntly is laudable. The exemption from payment of entertainment tax by state governments of Maharashtra, Madhya Pradesh, Uttar Pradesh and Delhi underlines the fact that all is not lost for purposeful films with a message. A couple of other states are expected to follow suit and similarly exempt Pukar from tax.

Delayed Exemption

While the state governments, including Maharashtra, have been reasonably fast to act on tax-exemption to Pukar, the Maharashtra government has shown unbelievable lethargy in granting tax exemption to Kuch Kuch Hota Hai. Although all National award-winning films are granted the tax-free status by the government of Maharashtra, one wonders why it took the government one year to put its seal on the tax-free order for KKHH. Oh, kya kya hota hai!

Govinda As No. 1 Distributor

Govinda, who fancies ‘No. 1’ in the title of his starrers, is now aiming to become the No. 1 distributor for Bombay! The star has jumped into the distribution arena and will be releasing Hadh Kardi Aapne on April 14. Know what he has named his distribution concern? It is named Govinda Yashvardhan No. 1 Distributors! Yashvardhan, his ‘partner’ in the concern, is his 4-year old son! For the time being, the office will be operated from floor no. 1 of Naaz Building.

Calling To Say, ‘Pyaar Hai, Kaho Naa…Kya Haal Hai?’

The jingle of cash registers is sweet music to any producer’s ears, including Rakesh Roshan’s. But what happens when the jingle of money comes together with constant ringing of telephone bells? Ever since the release of Kaho Naa…Pyaar Hai, Rakesh Roshan has been attending to calls after calls from friends and acquaintances from all over India and abroad. The telephones ring to bring compliments galore as also to enquire after his health. The Overseas calls come mostly in the middle of the night, thus forcing Rakesh to keep awake all night. The constant ringing of his phones has exasperated him so much that he could tear his hair apart (pity, he can’t, because he is bald!). The producer-director of the super-hit film has, therefore, hit upon an idea, although late: to have his old phones disconnected and to get new phone numbers. And he has done exactly that! Now, ring in the new number if you can! Or, ask him if you happen to bump into him, “Kaho naa…aapka naya telephone number kya hai?”

Not On Ground Level

Offices of almost all the leading distributors of Delhi-U.P., located in the Chandni Chowk area, are, by a strange coincidence, on the first and second floors of buildings. Since most of the buildings in the area are very old, the staircases are extremely steep. Resultantly, exhibitors and cinema controllers, who have to frequent the offices of distributors for booking films, must be getting out of breath even before they reach their destinations. MGs and advances asked for by distributors these days must be adding to the breathlessness of exhibitors!

HASEENA MAAN JAAYEGI

Rahul Productions’ Haseena Maan Jaayegi is a comedy about two carefree sons of a rich businessman. The two guys hate to work but love to flirt. They individually hook a girl each, and it turns out that the two girls are sisters. One brother impersonates the other’s uncle to impress the girls’ father about their position in society. The two brothers — or, if you please, the uncle and nephew — stay in the house of the girls. To finalise his own marriage with the other girl, the brother-turned-uncle plays a double role, sometimes appearing as the uncle, and, at other times, as the brother. How they generally fool the whole world to get their work done forms the major part of the film. It is inspired by Pyar Kiye Jaa.

The film has a weak story and a screenplay that cares more for convenience than logic. However, what still makes the film watchable and even enjoyable at several places are the performances and the witty dialogues (Rumi Jafri). There is no freshness in the story and it looks like a rehash of four or five earlier hits. But the comedy punches are quite enjoyable at several places.

Sanjay Dutt does fairly well in an out-and-out comic role. Govinda is just too brilliant in the role of the brother-cum-uncle. His sense of timing and performance are extraordinary. He is the life of the film and lifts even ordinary scenes to greater heights with his sheer acting prowess. His dances are a delight to watch. Karisma Kapoor, unfortunately, gets little scope for acting. She excels in dances. Pooja Batra does an average job in a minuscule role. Satish Kaushik is superb as the P.A. to the businessman-father of the two boys. His poker-faced comedy is wonderful, to say the least. Kader Khan also shines as the rich businessman. Anupam Kher repeats his previous act and, therefore, doesn’t really stand out except in a couple of scenes. Paresh Rawal plays the Nepali watchman with aplomb and evokes laughter at several places. Aroona Irani’s comedy is entertaining and credit for it goes as much to the writers as to the actress. Ashish Vidyarthi and Razzak Khan are effective. Mohan Joshi and Aasif Sheikh provide average support. Bindu and Asrani’s comedy episode is quite good.

David Dhawan’s direction is good, as usual. Music (Anu Malik) is appealing. ‘I love you bol dal’, ‘What is mobile number’ and the title song are the best. The other numbers also have racy tunes. All the songs have been imaginatively picturised and choreography is very good, but a major flaw is that most of the songs pop up without proper situations. Camerawork (K.S. Prakash Rao) is good. Editing is sharp. Production and technical values are of a good standard. Climax is different but effective only in parts.

On the whole, Haseena Maan Jaayegi has a fair dose of comedy, although without a cohesive story, and will, therefore, remain an average fare in some circuits and above-average in other circuits (where comedies are more patronised).

Released on 25-6-’99 at Minerva and 20 other cinemas of Bombay thru V.I.P. Enterprises. Publicity: very good. Opening: excellent. …….Also released all over. Opening was very good everywhere.

PYAAR MEIN KABHI KABHI…

Tyger Productions’ Pyaar Mein Kabhi Kabhi… is a youthful film about love and campus life. It gets philosophical at times and remains plain comical at other times. While the comedy in the first half is enjoyable and holds appeal for the class audience, the philosophical part gets boring. The post-interval portion, especially, is rather dull.

A college girl falls in love with her college pal but he loves another girl. A common friend does all he can to see that the two of them come together because he sincerely believes, they are made for each other. Much later, it is revealed that he, too, loves the same girl but, of course, he sacrifices his love for his friend’s sake.

The subject has been handled in a way which will appeal only to the youth among the elite and city audience. Many jokes are of the kind which will not be understood at all by audience outside those in metropolitan cities. Another drawback is that the film has no face value whatsoever. Except for two songs — ‘Mussu Mussu’ and ‘Woh pehli baar’ — the others pass muster. Considering that the film is a romantic tale, there should’ve been at least three or four really good numbers. But only ‘Mussu Mussu’ qualifies to be called a hit.

Performances of the entire cast are good. Although the lead artistes do not have the traditional requisites of hero/heroine, they have done well in this film. Rinke Khanna looks cute and does a natural job. Dino Morea is very effective and restrained. Sanjay Suri, as their good friend, does a fine job. Aakash Saigal, Manoj Dhanwani and Akash Karnatiki lend very good support. Shveta Salve, Melody Decunha and Tora Khasgir are alright. Longines Fernandes is okay. Mohan Kapur, Patrick Biswas and the rest are fair.

Raj Kaushal’s direction is good but of the kind which makes the film a fare for a very, very limited audience. Music should have been far better. The ‘Mussu Mussu’ song is, of course, excellent and its picturisation is also cute. Camerawork is alright. Production and technical values are fair.

On the whole, Pyaar Mein Kabhi Kabhi… is for the class audience among youth only. It has some chances in only a handful of cinemas in the entire country, but for the rest, it will meet with a disastrous fate.

Released on 25-6-’99 at New Empire and 7 other cinemas of Bombay thru SPE Films P. Ltd. Publicity: very good. Opening: fair. …….Also released in Delhi-U.P., East Punjab, Bengal, C.P. Berar and Nizam.

MANOHAR MUDKATTE NO MORE

Legal advisor Manohar Mudkatte passed away on 25th June in Bombay at S.L. Raheja Hospital following renal failure. He was 72. He was cremated the same day. He is survived by four daughters and a son.

Mudkatte had been hospitalised a month-and-a-half back. His condition deteriorated on 25th and he breathed his last at 11.35 a.m.

Manohar Mudkatte used to specialise in legal matters pertaining to the production sector. Many years back, he used to be the distribution manager of Rajshri Pictures P. Ltd., Bombay. He was extremely good at figures and used to remember shares to the last rupee. He also owned a telecine transfer unit.

YOU ASKED IT

What is the ratio of Mann? And of Taal?

– The ratio of MANN is 3 crore. That of TAAL is under finalisation.

What is ‘concept cinema’, as is being used by its makers to describe this week’s release, Pyaar Mein Kabhi Kabhi…?

– ‘Concept cinema’ is a term coined to describe films that are positioned to appeal to a specified target audience. In the case of PMKK…, the primary target audience is youngsters, particularly females, between 13 and 21 years of age, and the secondary target audience is adults, particularly females again, between 21 and 30 years of age. The film, according to its makers, has been made to appeal to the aforesaid target audience.

How many successes/hits/super-hits has David Dhawan given so far?

– A total of 13 so far — SWARG, SHOLA AUR SHABNAM, AANKHEN, RAJA BABU, BOL RADHA BOL, COOLIE NO. 1, JUDWAA, SAAJAN CHALE SASURAL, LOAFER, HERO NO. 1, DEEWANA MASTANA, BADE MIYAN CHOTE MIYAN, BIWI NO. 1! This week’s HASEENA MAAN JAAYEGI too has started well.

PRODUCTION NEWS

‘Champion’ 40-Day Marathon Schedule

The unit of Shree Shiv Bhakti Films’ Champion left for Hyderabad today (June 26) for a 40-day marathon shooting schedule at Ramoji Rao Studios. Sunny Deol, Manisha Koirala, Kashmira Shah, Deepak Parasher, Surendra Pal, Tom Alter, Johny Lever, Dina Pathak, Krishna Mishra, Charlie, A.K. Hangal, Anil Nagrath, Abhishek and Vikram Gokhale will participate. The fourth song will be recorded shortly in Bombay by music director Anu Malik. The film is being produced by Sujit Kumar and directed by Padam Kumar. Screenplay: N.K. Mahajan. Dialogues: Sanjay Masoom. Lyrics: Javed Akhtar. Cinematography: Thiru. Action: Tinnu Verma. Choreography: Ahmed Khan and Raju Sundaram. Editor: Chandan. Art: Raghavan.

‘Hindustan Ki Kasam’ First Copy Out

The first print of Devgan Films’ Hindustan Ki Kasam came out on June 23 from Prasad Lab. The film, produced and directed by Veeru Devgan, stars Amitabh Bachchan, Ajay Devgan, Manisha Koirala, Sushmita Sen, Prem Chopra, Gulshan Grover, Shahbaaz Khan, Farida Jalal, Johny Lever, Goga Kapoor, Salim, Navin, Bawa, Mallika, Shakti Kapoor and Kader Khan. Dialogues: Tanveer Khan. Lyrics: Anand Bakshi. Music: Sukhwindara Singh. Cinematography: Ishwar Bidri. Dances: Raju Khan. Action: Jay Singh and Norman Kent (from Hollywood). Art: Bijon Dasgupta. Sound: Rakesh Ranjan. Editor: Suresh Chaturvedi. Bharat Shah presents the film.

‘Badal’ In Simla

A 20-day shooting spell of Aftab Music Industries’ Badal began on June 20 in Simla. Bobby Deol, Rani Mukerji, Mayuri Kango, Kulbhushan Kharbanda, Ashish Vidyarthi, Vishwajeet Pradhan, Harish Patel, Neena Kulkarni, Mushtaq Khan, Razzak Khan, Upasna Singh, Dinesh Anand, baby Sana, Ashutosh Rana, Johny Lever, Amrish Puri and Mink (special appearance) are participating. The film is being produced by Salim. Story writer & director: Raj Kanwar. Screenplay: Robin Bhatt and Sutanu Gupta. Dialogues: Santosh Saroj. Lyrics: Sameer. Music: Anu Malik. Action: Bhiku Verma. Art: R. Verman. Dances: B.H. Tharun Kumar and Chinni Prakash. Editor: Waman Bhosle. Masuda H.M. Ishaque presents the film.

3-E
Education-Entertainment-Enlightenment

Khans Ka Mela

Will Diwali ’99 be a test of strength for the Khan stars? Seems so. For, as of now, the three films being announced for release on Diwali (5th November) are all Khan starrers. Rajshri’s Hum Saath Saath Hain stars Salman Khan, Venus’ Mela has Aamir Khan, and Aziz Mirza’s Phir Bhi Dil Hai Hindustani is not just Shah Rukh Khan’s home production but it also has him in the lead. But while all the three films have been announced for release this Diwali, the question being asked in trade circles is: will the other two films come in opposition of Hum Saath Saath Hain? Well, if they do, at least the Khan heroes can well proclaim “Hum saath saath hain!”

Mast Music

Seven songs and all of them racy and foot-tapping. Well, that’s the music of Ram Gopal Varma’s new film, Mast. The film is composer Sandeep Chowta’s first full-fledged Hindi venture and, must say, all the seven songs of the film are really appealing. Like songs, like picturisations. Ram Gopal is leaving no stone unturned to make the songs a delight on the screen too. Mast, incidentally, will be released in late September or early October. A new handsome boy, Aftab, will be introduced in the lead in this film. He makes his debut opposite Urmila Matondkar.

Hit Gayee Or Pit Gayee?

Overheard the following conversation:

Producer to cinema owner where his film has opened. “What’s the report of my film?”

Cinema owner: “Public is not moving. It is glued to the seats. There’s pin-drop silence.”

Producer: “Wow! Does that mean that people are liking my film? It’s a hit?”

Cinema owner: “No, it only means that the audience is fast asleep. Your film is dead boring.”

BRIEF ENCOUNTER

“Hum Saath Saath Hain has not been inspired from any film — whether ours or somebody else’s. It has been Raj Babu’s concept right from the start.”

– KAMAL KUMAR BARJATYA

The shooting of HUM SAATH SAATH HAIN having now been completed, when should we expect the first copy of the film to be out?

It is true that the shooting phase of Hum Saath Saath Hain is complete and, at the moment, its dubbing is in progress. However, there has been a slight delay as we have had to find matching dates of 10 to 15 artistes for dubbing at a time. Fortunately, we have procured the required dates from the artistes and expect dubbing to be complete by mid-July. For this, we must take this opportunity to thank all our artistes who have been co-operation personified.

We will begin working on the background score by 21st July. Right now, however, we are completely concentrating on the dubbing. When that is over, we will have everything under our control to start planning to complete and release the film. We have scheduled to complete all post-production and other work in time for the first copy to be out in the first week of September. The film is slated for release during Diwali this year (5th November ’99).

So when shall we expect the music release of HUM SAATH SAATH HAIN?

We had earlier planned to have the audio launch in September, but we have now rescheduled it earlier to coincide with Janmashtami (1st week of September). You see, Hum Saath Saath Hain has a song connected with Janmashtami, which, we think, will be ideal for the audio release around the same time.

What is going to be the release strategy of HUM SAATH SAATH HAIN? Will it be anything like HUM AAPKE HAIN KOUN..!?

Our previous film, HAHK..!, was released in 1994 with a limited number of prints initially. We increased the number of prints as weeks progressed. The reason behind it was that we had induced the then state-of-the-art optical surround Stereophonic sound system, which existed in very few cinemas at the time. We first had it installed at Liberty, Bombay, prior to the film’s release. However, there was a little wait, after the release, while other cinemas in the country also upgraded their sound systems. Thus, we kept increasing the prints of HAHK..! with installations of the required sound system in cinemas. Today, there are nearly 500 cinemas all over the country, which have optical surround or other later sound systems, thanks to HAHK..!.

Today, distributors in smaller stations are insisting on a simultaneous release of HSSH with the A-class centres. Our effort will be to accommodate their demands as far as possible. In the case of Hum Saath Saath Hain, we are planning a release similar to that of any other big film nowadays.

How true are reports that HSSH has been inspired by earlier hits like KHANDAAN, DO RAASTE or some earlier Rajshri film?

There is not an iota of truth in such reports. HSSH has not been inspired from any film — whether ours or somebody else’s. In fact, it has been Raj Babu’s (Rajkumar Barjatya) concept right from the start.

Are you satisfied with the way HSSH has shaped up? Do you expect it to surpass the box-office record of HAHK..!?

Even as Hum Saath Saath Hain has as much entertainment value as HAHK..!, the former is more intense than the latter. While HAHK..! had more lighter moments, HSSH has more of the subject matter, emotional content and drama. Again, while HAHK..! had as many as 14 songs, HSSH has only seven. Therefore, we would not like to compare the two films, really. As far as we are concerned, we are happy with the job Sooraj has done. He has not only amassed a huge cast, but has used each of the artistes well in the story. He has also extracted a fine performance out of each and every artiste. So, yes, we are satisfied with the way HSSH has shaped up.

Finally, what is the length of HSSH?

Its length is about fifteen minutes less than the abridged (shorter) version of HAHK..!. That is, it is roughly 180 minutes long.

– GAUTAM MUTHA

DAAG THE FIRE

Inderjit Films Combine’s Daag The Fire (A) is the story of a criminal lawyer who uses his intelligence to shield and save criminals from the clutches of law and judiciary. He uses his legal prowess to support the evil designs of his father-in-law and his cronies. In one such case, he proves in court an honest municipal commissioner to be corrupt and has him imprisoned. His father-in-law then has the municipal commissioner killed in jail. This infuriates the son of the deceased and he sets out to kill the lawyer. But instead, it is the lawyer’s beloved wife who falls prey to his bullets. The lawyer loses his mental balance and it takes a nautch girl, who is a look-alike of his wife, to bring him back to normalcy. The lawyer takes her to be his wife but soon learns of his real wife’s death and he gets married to the look-alike to repay her for her sacrifices to cure him. What’s more, the lawyer, after treatment, becomes a noble soul and sets out to correct the wrongs done by him earlier. So while the municipal commissioner’s son is thirsting for the lawyer’s blood, the lawyer himself tries to prove, in the court of law, the late commissioner not guilty. Ultimately, the son and the lawyer join hands to eliminate the lawyer’s father-in-law and his evil friends.

The film has an unusual story coupled with incidents that’ve been seen earlier. But it must be said to director Raj Kanwar’s credit that his narration is fresh and the film’s tempo is so fast that it doesn’t give the audience a chance to think. It is because of this that several cinematic liberties are overlooked by the audience. The portion in which the lawyer loses his mental equilibrium is, however, a bit loose but the comedy scenes there save the film from falling too much.

The film has all the masala for every class of audience — there’s romance, sex, emotions, action, comedy and hit music. Further, all these ingredients are quite well balanced to make the film a truly enjoyable fare. Dialogues (Jainendra Jain) are very good at many places. Robin Bhatt and Akash Khurana’s screenplay is good.

Sanjay Dutt shines in action scenes and draws loud applause in several of them. His entry is superb. He acts quite well. Chandrachur Singh impresses a great deal in the first half and is fair after interval. Mahima Chaudhry is first-rate in a double role. She gets into the skin of both the characters and delivers a performance that’s remarkably brilliant. As the nautch girl, especially, she is superb, never once going overboard. Considering that this is only her second film, Mahima deserves to be applauded for such excellence. Her confrontation scene with Raj Babbar is clapworthy. Raj Babbar makes an effective villain. Mohan Joshi, Deepak Shirke and Harish Patel lend just  about average support as the other villains. Shakti Kapoor is so-so. Sushma Seth is lovable. Himani Shivpuri impresses in a brief role. Sachin Khedekar is very appealing. Shivaji Satam excels as the municipal commissioner. Neena Kulkarni is natural to the core. Vishwajeet Pradhan, Achyut Potdar and Arpita lend able support. Johny Lever and Kunika’s comedy is entertaining and provides wonderful relief.

Raj Kanwar’s direction is intelligent. Not only has he extracted excellent work from his main cast, he has also balanced the script ably and given plenty of masala to the audience. Rajesh Roshan’s music is hit. ‘Pyar humein pyar tum’, ‘Dil deewana’, ‘Dil dhadke’, ‘Pardesiya’ and ‘Lucky kabootar’ are all hit/above average numbers. Song picturisations are pretty lavish. Both, Chandrachur and Mahima, have danced gracefully. Editing is crisp. Sets (R. Verman) are eye-filling. Action (Bhiku Verma) is superb. Background score is very effective.

On the whole, Daag The Fire may have quite a few oft-repeated incidents but its music, performances, action and wonderful narration will see it fetch bountiful returns to its distributors and producers. Class A.

Released on 12-2-’99 at Eros and 17 other cinemas of Bombay by Inderjit Films Combine thru Shringar Films. Publicity: bumper (and very appropriate). Opening: very good. …….Also released all over. Opening outside Bombay was extraordinary.

BOMBAY BOYS
(Dubbed)

Film Works India’s Bombay Boys (A; dubbed from the English film of the same name) is the story of three guys who come to Bombay — one to become an actor, the second, to make it as a musician, and the third, to look for his lost brother. The film deals with their experiences in this crazy city. The drama is an exaggerated account of the happenings in the lives of the three guys. The story moves on three different tracks and skips between them at irregular intervals. The treatment is of the kind which would appeal to the class audience in big cities only. Obscenities are liberally thrown in and they could tickle the audience. The film is raw and that’s its biggest plus point. Comedy is subtle at times and hilarious at other times. The flavour of the film is totally ‘Bambaiya’.

Naveen Andrews is excellent. Rahul Bose, too, does a superb job. Alexander Gifford is quite nice. But Naseeruddin Shah takes the cake. As a film producer, he is splendid and immensely likeable. Tara Deshpande is natural to the core. Roshan Seth does fairly well. Other artistes lend good support.

Kaizad Gustad’s direction is excellent, given the theme he has selected. Music is appealing, again more for the Bombay audience. Camerawork is fantastic. Dubbing is very appropriate.

On the whole, Bombay Boys is good for Bombay, Maharashtra and Southwards mainly, but has dull chances in Northern and other parts of India.

Released on 12-2-’99 at Sundaram cinema of Bombay thru V.I.P. Enterprises. Publicity: so-so (for dubbed version). Opening: weak. …….Also released in Delhi-U.P. and Rajasthan.

LATEST POSITION

The bumper opening of DAAG THE FIRE this week has spread joy in the industry. Heavy rains in some parts of Maharashtra adversely affected the box-office.

…………….

Aa Ab Laut Chalen picked up in Delhi after tax-exemption. It is good in Nizam. 3rd week Bombay 22,78,564 (64%) from 7 cinemas (5 on F.H.); Ahmedabad 2,46,691 from 4 cinemas, 1st week Patan 1,43,507, 3rd week Jamnagar 77,890, total 3,30,385; Pune 6,36,627 from 4 cinemas (1 in matinee), Solapur 93,908; Delhi (tax-free from 8th Feb.) 18,40,558 from 6 cinemas (1 on F.H.); Kanpur 1,11,681 from 2 cinemas, Lucknow 2,02,229, Agra 85,250, Varanasi 81,676, Allahabad 68,600, Meerut 1,04,947, Dehradun 1,28,000, Hardwar 25,218; Calcutta (6 days) 4,15,709 from 5 cinemas; Nagpur 1,30,182 from 2 cinemas, Jabalpur 82,280, total 2,04,446, Amravati 1,01,751, Raipur 89,049, Bhilai 36,063, Jalgaon 64,048, 1st week Chandrapur 1,50,170, 3rd Bilaspur 52,424; Indore 85,000 (1 on F.H.), 1st week Bhopal 1,21,000; 3rd week Jaipur 1,64,773, 2nd Bikaner 26,370; 3rd week Hyderabad (gross) 9,25,969 from 6 cinemas (2 in noon); 1st week Guntur (gross, 5 days) 95,866.

Hum Aapke Dil Mein Rehte Hain is class A1 in Bombay and ranges from BB to A in other circuits except in Rajasthan where it is losing. 3rd week Bombay 36,36,373 (78.05%) from 10 cinemas (6 on F.H.); 1st week Vasai (gross) 3,08,329; 3rd week Ahmedabad 5,71,074 from 3 cinemas (1 unrecd.), Jamnagar 84,721, total 3,08,864; Pune 8,23,093 from 4 cinemas (1 in matinee), Solapur 1,90,788; Belgaum 87,968; Delhi 19,25,519 from 7 cinemas; Kanpur 2,65,855 from 2 cinemas, Lucknow 3,25,080, 2nd week Agra 2,10,000, 3rd Varanasi 1,14,776, Allahabad 1,12,216, Meerut 1,47,040, Dehradun 1,46,002, Hardwar 44,104, total 1,96,667; Calcutta (6 days) 6,37,611 from 5 cinemas; Nagpur 4,02,733 from 3 cinemas, Jabalpur 90,401, total 3,67,665, Amravati 1,40,290, Akola 1,05,577, total 3,87,440, Dhule 76,151, total 2,98,017, Bhilai 1,11,826, 1st week Jalgaon 1,60,047, 3rd week Gondia (gross) 74,240, Chandrapur 1,09,193, total 4,37,501, Bilaspur 1,07,015; Jaipur 2,25,152, Ajmer (gross) 1,03,984, 2nd week Bikaner 93,914; 3rd Hyderabad (gross) 6,79,357 from 4 cinemas (1 in noon).

…………….

Tej Raftaar (dubbed) ran for 1 week at Dombivli (Bombay), now opened in city; doing well in Gujarat and Saurashtra; 1st week Dharwad 41,957; Delhi 2,77,435 (59.78%); Kanpur 71,953, Agra 1,02,000; Nagpur 1,05,972, 2nd week Amravati 38,328, 1st week Akola 1,32,850; 2nd week Indore 94,000; 1st week Jaipur 1,90,831.

Kuch Kuch Hota Hai 17th week Bombay 13,41,995 (43.59%) from 5 cinemas (2 on F.H.); Ahmedabad 1,48,203 from 2 cinemas, Baroda 88,507, 3rd week Cambay 79,543, total 2,52,232, 1st week Deesa 82,602; 17th week Pune 5,57,508 from 4 cinemas (1 in matinee), Solapur 33,553; Delhi 1,97,296 (2 on F.H.); Kanpur 1,28,125 from 2 cinemas, Lucknow 2,25,455, Agra 38,872, Allahabad 34,800, Dehradun 45,436; Calcutta (6 days) 1,37,310; Nagpur 68,491, 4th week Kamptee 38,282, total 2,38,533, 12th week Jabalpur 97,137, total 21,17,289, 17th week Amravati (6 days) 49,355, Akola 49,105, total 17,14,827, 4th week Durg (5 days) 33,082, 5th week Balaghat 40,384, total 3,16,206; 17th week Indore (6 days) 55,000; Jaipur 4,02,677; Hyderabad (gross) 4,40,999 from 3 cinemas (1 in noon, 1 on F.H.).

‘AA AB LAUT CHALEN’ TAX-FREE IN DELHI

Rishi Kapoor’s Aa Ab Laut Chalen has been granted exemption from payment of entertainment tax in Delhi. The collections in the capital city have shown a marked improvement following the tax-free rates of admission.

NEW CINEMA OPENS AT ANAND

A new cinema, Shivalaya, opened at Anand (in Gujarat) on 12th February with Tej Raftaar (dubbed). Air-conditioned and equipped with Dolby Stereophonic sound system, the cinema has a seating capacity of 391.

YOU ASKED IT

What, according to you, contributed to the bumper opening of Daag The Fire this week?

– Excellent promotion, hit music and Sanjay Dutt. The last few films of Sanjay Dutt may not have worked but if you remember, even his DAUD had taken a very good start.

Will Kajol continue to act in films after becoming Mrs. Devgan?

– Kajol is definitely committed to doing Rahul Rawail’s film. It will start some time in April.

Will Sarfarosh definitely be released in April? Any under-production reports?

– SARFAROSH is being readied for April release. John Mathew Mathan, an ad filmmaker of Bombay (not Delhi, as mentioned in an item in the 3-E column in our issue last week) has made a very good film, insiders say.

DO YOU KNOW?

* This is a strange coincidence. The Tamil film, UNNIDATHIL YENNAI KODUTHTHEN, was directed by Vikraman. And now its Hindi remake will be directed by Vikram Bhatt.

* For the first time in the history of Punjabi films, as many as 14 prints of a film — Manjit Maan’s SHAHEED-E-MOHABBAT BOOTA SINGH — have been released this week in Overseas (by Jupiter Enterprises). The film is doing very well in Punjab.

* The Gujarat-Surashtra distributor of TEJ RAFTAAR has been adding a fresh print every week. He started out with 7 prints, had 8 in the second week, 9 in the third week, and 10 in the fourth week. A rise every week with tej raftaar!

* Chandan cinema, Juhu, Bombay, has become the first cinema in India to install a 3-way Dolby digital sound system. It has been fully renovated and now has plush cushioned seats.

3-E
Education-Entertainment-Enlightenment

‘Kachche Dhaage’, Pucca Record

Ajay Devgan’s distribution office in Bombay has plans to release Kachche Dhaage next week in a total of 101 cinemas simultaneously in the entire circuit. If the target is met — and it seems very likely that it will be — this would be the highest number of cinemas in which a film is released in the first week. Incidentally, Ajay Devgan has his hands full for 1999, as distributor. Besides Kachche Dhaage, he will be releasing Sanjay Leela Bhansali’s Hum Dil De Chuke Sanam, his own Dil Kya Kare, Nitin Manmohan’s Chal Mere Bhai and Aankh Micholee and J.P. Dutta’s Refugee.

Lucknow Exhibitors Trying Luck Now In Distribution

Two big-time exhibitors of U.P. have become distributors and have jointly acquired two big films for Delhi-U.P. The two exhibitors are Ajay Gupta of Novelty cinema, Lucknow, and Vijay Kumar Sahu of Sahu cinema, Lucknow. They’ve purchased the distribution rights of Venus’ Shah Rukh starrers, Badshah and Josh, in their partnership concern, A.V. Films Combine. Let’s hope, these two exhibitors of Lucknow prove lucky now in distribution too.

‘Daag’: A 100% Spotless Record

With Raj Kanwar’s Daag The Fire having opened to full and over-capacity houses this week and the reports also being extremely encouraging, the title Daag has proved to be lucky for the third time. The first time a film of this title was made was in 1952. Directed by Amiya Chakraborty, the B & W Daag starred Dilip Kumar, Usha Kiran and Nimmi. Like its music (Shankar Jaikishen), the film, too, was a runaway hit. The second Daag (in colour) was made in 1973 by Yash Chopra. It too proved to be a blockbuster. This one starred Rajesh Khanna, Sharmila Tagore and Raakhee, and had hit music by Laxmikant Pyarelal. While the earlier two Daags had two heroines each, the new Daag has one heroine (Mahima Chaudhry) but in a double role; heroes are two — Sanjay Dutt and Chandrachur Singh.

CINEMA BANDH MAKES INTERNATIONAL NEWS

The cinema closure in Bombay, the nerve-centre of the largest film industry in the world, and in the rest of Maharashtra has made international news. Your editor was telephonically interviewed on the topic by BBC London for BBC World News (telecast on 8th January), by BBC Radio, by BBC Radio (Hindi) and by German Radio.

Cinema Closure In Maharashtra
Election Code Causes Stalemate
Govt. Goes Back On Its Word

The Maharashtra cinema closure entered its eleventh day today, with no early settlement in sight. A stalemate has developed over the issue of entertainment tax concession, which is the cause of closure, due to the applicability of the election model code of conduct in Maharashtra, which makes it impossible for the government to grant any concession, relief or benefit to anybody while it (code of conduct) is effective. The code has come into force from 9th January, ’97 and will remain in operation till 5th March, ’97 in view of the impending elections to nine municipal corporations, 30 municipal councils and 319 panchayat samitis. Technically, therefore, even if the government wants to give some relief to the industry, it cannot do so now until 5th March, ’97. No announcement or implementation of concessions or reductions can be made during this period, according to state election commissioner D.N. Chaudhary. Since the office of the state election commissioner is created under the constitution of India, it is an autonomous one. D.N. Chaudhary’s interpretation is thus absolute and the government can have no recourse to move in the matter.

It is a different thing thought that the government is not in a mood to grant any concessions or even extend the earlier concessional rate of entertainment tax of 50%. In fact, the action committee of the film industry (ACFI) met Maharashtra cultural affairs minister Pramod Navalkar on 6th January and submitted proposals to him on the granting of which they would call off the closure. The industry leaders and Navalkar arrived at a consensus formula whereby the 50% rate of entertainment tax would be maintained in case of nett admission rates upto Rs. 40, 62.5% tax would be charged for nett admission rates over Rs. 40 and upto Rs. 60, and 100% tax would be levied on nett admission rates in excess of Rs. 60. This consensus formula was to have been passed in the cabinet meeting the following day (7th January) after which the cinema closure was to have been called off. But the industry got a shock when the cabinet rejected the said proposal agreed upon by Navalkar himself.

The action committee’s hopes of reopening the cinemas from 8th January were thus shattered. Even as it decided to continue the stir with renewed vigour in view of the government’s apathy, came the news of the election code of conduct.

In the meantime, cinemas in the Marathwada region of Maharashtra, which did not fall in line with the cinemas in the rest of the state, are continuing to function even now. They are collecting entertainment tax at the new rate of 100% from 1st January, 1997.

Meanwhile, the cinema stir took a curious turn on 8th January with cinema employees owing allegiance to the Mumbai Labour Union alleging that cinemas made substantial profit even as cinema owners have declared that they would be forced to shut down if entertainment tax concession was not granted.

The workers complained that while cinemas raked in money, workers’ salaries were abysmally low. About 30 workers staged a dharna near Mantralaya to press their demands for more wages.

The action committee, on its part, dismissed the dharna as a failure and described it as more of an effort to gain some foothold in the labour movement and to prove its (Mumbai Labour Union’s) existence. According to a press release of the ACFI, workmen of 60 cinemas in Bombay are members of the Theatre Employees Union (TEU) which has appreciated that the ongoing agitation will even benefit their employees, and has assured the action committee of their full support to the cinema closure.

The press release also clarifies that salaries of all cinema employees were being paid during the closure and that no permanent employees had been retrenched or dismissed, as being made out in a section of the press.

Opinion is divided about whether the cinema closure should now be continued or not in view of the election code of conduct. Confusion prevails in the industry over the exact current position. From what the state election commissioner has stated (read box printed separately on this page), there should now be no room for confusion.

Well-known Marathi film producer Satish Kulkarni told Information, “We must open our eyes and take cognisance of the ground realities. The industry would do well to admit that no benefit can come from the government till March 5. There is, therefore, no sense in continuing the closure.” On the other hand, Satara exhibitor Kanhaiyalal Navandhar (Radhika cinema), feels, the closure should continue even though no relief can be granted till 5th March. Says he, “If the industry calls off the closure, it will in effect be accepting the rate of 100% entertainment tax and once it does so, it will be closing its doors to relief of any kind for the next 10 years. That will be suicidal.”

N.N. Sippy and Balkrishna Shroff maintained that the industry was not seeking any relief, it was just asking for status quo to be maintained and, therefore, the election code of conduct was not applicable to the industry. According to them, status quo would mean a 50% tax rate as before 1st January, 1997.

In the meantime, a delegation of distributors and exhibitors of C.P. Berar called on Maharashtra finance minister Khadse in Jalgaon on 10th January and pleaded for a concession in tax. He gave a patient hearing to the delegation which included S.K. Surana and Mahendra Lunkad and promised to arrive at a consensus formula. Khadse is expected in Bombay on 13th January when the members of the action committee are likely to meet him.

According to CCCA president Santosh Singh Jain, “Mr. Khadse reportedly asked the delegation to reopen the cinemas and pay 100% entertainment tax in view of the government’s inability to grant reliefs due to the election code of conduct.”

EFFORTS TO END STALEMATE ON

Even as the stalemate over the Maharashtra cinema closure continues, members of the action committee of the film industry (ACFI) are busy meeting ministers and other politicians in the state to arrive at some settlement. They called on BJP’s Bombay unit president Kirit Somaiya on 10th January to apprise him of the situation. Efforts were also being made to contact Maharashtra deputy chief minister Gopinath Munde.

In the meantime, FMC president G.P. Shirke met Shiv Sena leader Bal Thackeray on 9th January to seek his mediation to end the impasse. It is reported that Thackeray has asked chief minister Manohar Joshi to approach the state election commission and seek clarification regarding the demands of the cinema owners, and convince it of the need to end the deadlock despite the election code of conduct. According to Shirke, Bal Thackeray was in favour of 50% entertainment tax.

INCORRECT INTERPRETATION

There is a general feeling in the film industry that the election code of conduct in Maharashtra does not apply to the entertainment tax relief sought by the film industry since the industry is not asking for a new concession or relief but rather for an extension of the prevailing concession. But this is not correct.

The prevailing rate of entertainment tax with effect from 1st January, 1997 is 100%, and not 50%, as assumed by those who feel that the code does not apply to the industry. So what the industry is asking for from the government is a concession. Had the code come into force before 31st December, it would not be applicable in the case of entertainment tax on cinema admission till 31st December because till that date, the rate of tax was 50%. In that case, the government could have extended the 50% tax rate without attracting the provisions of the code of conduct. But even in that case, further relief, as being demanded by the industry (25% entertainment tax), could not have been granted.

In any case, until the code of conduct remains applicable (till March 5, 1997), no relief can be forthcoming from the government,unless, of course, an exception is made in the case of the cinema industry.

What The State Election Commissioner Has To Say

Film Information contacted the Maharashtra state election commissioner, D.N. Chaudhary, on telephone on 10th January for his comments on the reliefs sought by the film industry in entertainment tax.

According to Chaudhary, “No reduction or relief or concession in entertainment tax can be given by the government under the election code of conduct.” When asked to comment on the industry’s views that they were not seeking any concession but were only asking for the same rate of tax as existed, D.N. Chaudhary said, “The 50% rate of tax was in force, it is not presently in force. From 1st January, ’97, the rate of entertainment tax is 100%, and so any rate less than 100% would amount to a relief or concession. How then can the industry claim that it is not seeking a relief? And if it isn’t a relief, the government would have to explain so to the election commission.”

When asked about a report in a section of the press on 10th January that Bal Thackeray had asked Maharashtra chief minister Manohar Joshi to approach the state election commission and seek clarification regarding the demands of the striking cinema owners and somehow convince it of the need to end the deadlock, D.N. Chaudhary replied curtly, “Nobody has contacted me.” When further queried whether a settlement/relief was a possibility if the chief minister approached him, Chaudhary declined to comment. When pressed further for his reply, he said a trifle irritated, “Why should I talk in the air?”

D.N. Chaudhary summed up the discussion by saying that the industry must wake up to the realities and appreciate that no relief can be granted till 5th March, 1997.

Need of the Hour: Unity

So now what? This is the question uppermost in all minds, not only in Maharashtra but all over India. The industry has reached a dead-end, at least till March 5. It seems to have come to a no-win situation. Of course, miracles never cease and, you never know, the state election commissioner just might grant permission to give reliefs to the film industry in the matter of entertainment tax even while the election code of conduct is applicable until March 5, 1997. Or will he?

The exact position should be clear in a couple of days more. If no concession is forthcoming from the government, it may not really be practical to continue with the closure till 5th March. A better idea may be to reopen cinemas without further delay and, of course, pay entertainment tax at the enhanced rate of 100%. But the industry can make its stand clear that cinemas would once again down shutters after March 5, if the government did not give it substantial reliefs. And at that time, the erring Marathwada exhibitors could also be asked to support the bandh.

An alternative to this would be to continue with the closure but this is fraught with dangers. There is the risk of small exhibitors losing patience and threatening to reopen their cinemas. If they do so, it will be too embarrassing for the industry and, in that case, their dreams of obtaining reliefs from the government would undoubtedly be shattered.

The action committee should call an emergency general meeting of all exhibitors and distributors of Maharashtra to decide the future course of action. Small exhibitors would have a lot to say in this meeting and their words will carry a lot of weight.

Anyway, whatever is to be done, must be decided once and for all and soon. Nothing should be left ambiguous. For, ambiguity can be one sure cause of the industry’s unity starting to show cracks. And while the industry can, in the extreme case, afford to pay even 100% entertainment tax, what it cannot afford under any circumstances is to become disunited. Unity is the need of the hour, unity at any cost, at all cost.

– Komal Nahta

GOVERNMENT’S BLUFF

The 50% concession in entertainment tax in Maharashtra was given by the Congress government in September ’94. When it was first given, it was for one year. This concession was renewed for a further period of one year in September ’95 by the Shiv Sena-BJP government.

It is rather strange that the Shiv Sena-BJP government is now giving press statements that the concession was given to the industry for just one year as a cinema centenary gift, because it was never mentioned in 1994 that the concession was a gift, centenary or otherwise.

Cinema celebrated its centenary in 1995 and 1996, and it sounds strange that the government may have given a gift before the centenary year even started! Further, one wonders how the Shiv Sena-BJP government can term the concession granted by the Congress government, as a centenary gift when the latter never described it as such while granting it.

Is the Sena-BJP government just looking for an excuse to not renew the concession? Your guess is as good as ours. But the least the government could have done was to have come up with a more plausible and believable excuse, not a lame one like this, which on the face of it looks false.

THEMATIC CLASSIFICATION OF INDIAN FEATURE FILMS CERTIFIED DURING 1996

Social/Crime 625
Action/Thriller/Stunt 12
Horror 10
Devotional 08
Mythological 07
Children’s 05
Historical 04
Fantasy 03
Comedy 02
Political 02
Adventure 01
Legendary 01
Biographical 01
Social-comedy 01
Social-mythological 01
Total 683

INDORE DIARY

””• In every office of C.I., there’s one common discussion — that of the sky-rocketing prices of films. Distributors in the Film Colony of Indore wonder where these prices will stop. In the alternative, they will have to stop buying films, they say.

• The Kapoors of Bharti Film Distributors have almost stopped buying new films because they find the prices too prohibitive. Their last major release was DDLJ. Says veteran Laxminarayanji Kapoor, “We’ve distributed about 750 films in 48 years, but the prices today are beyond our comprehension.”

• The Tolani family is passionate about its business, as is evident from the money they’ve spent on their twin cinemas, Sapna and Sangeeta. Despite dad Arjundas Tolani and illustrious sons Sanjay and Rajiv being stationed in Bombay, the cinemas are well-maintained and are the most sought-after for prestigious films. Impeccable sound system is another hallmark of the cinemas which have a huge common lobby. Raja Hindustani is in its 8th week at Sapna and, believe it or not, all shows so far have been house-full! O.P. Goyal, who controls the cinemas, is constantly on the lookout for quality films to match the quality of the cinemas!

• The CCCA’s Film Bhawan is a big building which reminds of the ceiling penalty which had been imposed by the CCCA on its erring distributor-members. The penalty generated enough funds for the building so that it ought to be rightly called ‘Ceiling Bhawan’ or, better still, ‘Penalty Bhawan’. The CCCA has rented out a good portion of the Bhawan to a hospital and earns handsomely every month. There’s an open land at the backside of the building which may soon house a club etc.

• The Cine Club of Indore is the best thing about the Indore trade. It is a meeting place for distributors, exhibitors and bookers, and the camaraderie among the members has made it achieve an enviable place for itself in the trade. President Ashutosh Shukla, fondly called Chhota Pahelwaan, organised a function of the Cine Club on 6th January to felicitate Komal Nahta and Gautam Mutha of Film Information and Vinod Mirani of Box-Office. J.P. Chowksey, Ratanlal Garg, Ramesh Sureka, Govind Acharya (Rajshri), O.P. Goyal, Joharilal Jhanjharia and Ashutosh Shukla made brief speeches.

• Sunil Enterprises, Indore, has reason to celebrate. Not only has its Raja Hindustani surpassed DDLJ wherever it is running, it is also ahead of HAHK..! so far. The concern’s next is Hero No. 1.

• The biggest buyers of 1997 in C.I. are undoubtedly Shri Bableshwar Films. The Advani brothers have for release such big films as Itihas, Ishq, Maharaja, Deewana Mastana, Karobaar, Pyar Kiya To Darna Kya…. In fact, the new year began on a lucky note for Sunil Kumar Advani when his wife delivered a baby boy on 1st January at 1.26 a.m.

• Hemant Vyas has come a long way. Starting out as manager of Darshan Sabharwal’s distribution office, Hemant ventured into independent distribution by buying small films. Today, Hemant is as big as the big films he buys. He released Sabse Bada Khiladi and Khiladiyon Ka Khiladi recently. He has just acquired Venus’ Mela.

• J.P. Chowksey has left behind his unlucky days. He was lucky in Prem Granth and now, his Maachis is doing record business. It is expected to do over 30 lakhs in C.I.

• Jitendra Jain has ably trained his son, Bittu, who now manages the show at Sanman Films. The concern has been lucky in their deals with ABCL (Bandit Queen, Bombay, Tere Mere Sapne).

• Ashok Chaudhary of B.R.A. Enterprises considers the Maharashtra cinema closure a blessing in disguise because his Judwaa has had to be postponed due to the bandh. In the meantime, the music of Judwaa has really caught on.

– Gautam Mutha

SIRF TUM

Narsimha Enterprises’ Sirf Tum is a unique love story in which the boy and girl in love meet only in the end. The entire love story progresses without the protagonists meeting each other. Since they have not even seen one another’s photograph, the two don’t recognise each other when fate brings them face-to-face on more occasions than one. The story is excellent but the same cannot be said of the screenplay. While the first half is slow and also boring, the post-interval portion is quite interesting.

Remake of the Tamil super-hit Kaadhal Kottai, the film deals with the romance between a middle-class girl and an orphan boy who is an engineer. The two get to know each other through letters they exchange, and they even decide to get married. Since their love does not start with the usual boy-meets-girl episode, they also decide that they should not even exchange photographs but rather meet in person whenever. Several obstacles come in the way of their meeting and, at times, it almost appears as if the two are not destined to ever meet.

The impact of an extremely novel and wonderful story has been diluted by average performances and poor handling by the director. A subject of this kind required the girl and the boy to be so innocent and lovable that the audience’s hearts would bleed for them. But neither the hero nor the heroine evoke that kind of sympathy or love. The viewer, therefore, doesn’t move with the drama. It is then that thoughts like the hero and heroine exchanging letters in today’s age of internet and e-mail disturb the mind and don’t let the viewer enjoy the way one should in such a film. Too much of Malayalam dialogues in the first half will not go down well with the non-Malayalee audience.

Sanjay Kapoor and Priya Gill are okay. Sushmita Sen does justice to her role and exudes glamour. Kader Khan’s comedy is loud and hardly makes anybody laugh. Johny Lever has also been wasted. Mohnish Bahl does quite well. Guest Jackie Shroff, as the autorickshaw driver, is good. Salman Khan is alright in a brief special appearance and serves to lend star value. Tej Sapru, Shagufta Ali, Shubha Khote and the rest provide fair support.

Ahathian’s direction is devoid of the sensitivity the subject deserved. A tale which could have been narrated in a heart-rending way has been told in quite a flat manner. Even the climax is not as exciting as it should have been. The feeling of helplessness of the heroine (when searching for her beloved) because of torrential rains doesn’t come across if only because there isn’t even knee-deep water on the streets. Perhaps, the only place where the film does strike a chord is in the very last scene when the two lovers meet on the railway platform. That scene is truly fantastic.

Nadeem Shravan’s music is wonderful. The title song, ‘Dilbar dilbar’, ‘Panchhi sur mein gaate hain’, ‘Pehli pehli baar’ and ‘Ek mulaqat zaroori hai sanam’ are all beautiful songs with melodious tunes. Picturisation of ‘Dilbar dilbar’ on heavenly Houston locales is breathtaking. Camerawork complements the beautiful locations. Production values are grand. Technically, of a high standard.

On the whole, Sirf Tum has a unique story and excellent music as its saving points. It lacks universal appeal and will be appreciated by the class audience in cities. Major releases in the coming weeks will also affect its prospects.

Released on 11-6-’99 at Eros and 4 other cinemas of Bombay by Vimal Agarwal thru R.M. Ahuja & Co. Publicity: extraordinary. Opening: excellent. …….Also released all over. Opening was very good.

CENSOR NEWS

Bhansali Productions’ Hum Dil De Chuke Sanam, seen on 8th, has been issued C.C. No. CIL/2/17/99 (UA) dt. 11-6-’99; length 5160.01 metres in 23 reels (no cut).

Inega International’s Hote Hote Pyaar Ho Gaya was given C.C. No. CIL/2/16/99 (UA) dt. 10-6-’99; length 3684.10 metres in 16 reels (cuts: 37.15 metres).

Tyger Productions’ Pyaar Mein Kabhi Kabhi…, seen on 7th, has been passed with U certificate, with cuts.

Star International’s Shaitan Tantrik has been refused certificate.

Well Make Films’ Chudail No. 1 (revised), seen on 7th, has been passed for adults, with cuts.

S.A.S. Movies’ Shaitan No. 1 (dubbed), seen on 7th, has been passed for adults, with cuts.

Rahul Productions’ Haseena Maan Jaayegi was seen on 9th.

H.S. Films’ Shaitani Darinda (length 2666.24 metres in 13 reels), applied on 7th and seen on 8th, has been passed for adults, with cuts.

Cine Images’ Akeli (length 5258.41 metres in 18 reels), applied on 9th, was seen on 11th.

DO YOU KNOW?

* Tabu will act in a Marathi film, ASTITVA. It is actually a Marathi-Hindi bilingual being directed by Mahesh Manjrekar and produced by him jointly with Jhamu Sughand.

* Naghma, who is very keen to make it in Hindi films now, has shed a lot of weight. She looks prim, slim and pretty. Maybe, producers and directors would like to give the actress a second chance.

* Exhibitors of Aurangabad have evinced a keen interest in the multiplex policy of the Maharashtra government, which grants an entertainment tax holiday for up to five years to cinemas housed in a multiplex. At least two exhibitors are seriously weighing the possibilities of constructing cineplexes in Aurangabad.

Magic Of Marketing & Music

The unexpected happened this week again. Boney Kapoor’s Sirf Tum, despite having a negative face value, opened very well everywhere. The film’s hero, Sanjay Kapoor, has been going through a terrible professional low. Heroine Priya Gill’s position is worse still. The only ‘saleable’ actress in the film is, perhaps, Sushmita Sen — she too has become ‘hot’ only after the success of Biwi No. 1 in which she has won wide appreciation. But heroines are generally known to not contribute to the initial value of a film. Of course, in the case of Sirf Tum, Sushmita can take some credit for the opening because her performance in Biwi No. 1 is fresh in people’s minds. Moreover, her song in Sirf Tum — Dilbar dilbar — was already very popular before the film opened.

What, besides Sushmita, contributed to the noteworthy opening of the film? The answer lies in the two Ms — Music and Marketing. Not just the Dilbar dilbar song but the entire album of Sirf Tum is a listener’s delight. Nadeem Shravan’s music had begun to mesmerise the audience, and the film’s release insofar as the timing vis-à-vis the popularity of music is concerned was appropriate.

But, perhaps, the most important factor which contributed to the enviable opening is producer Boney Kapoor’s marketing of the film. The importance of marketing cannot be gainsaid. Not caring about the poor star-cast, Boney spent lavishly on the film’s publicity — as lavishly, or even more than he had spent on its making. Whether it was street publicity or television or publicity in the print media, Boney spent heavily to make the film desirable among the audience. The film has a novel story and, realising its worth, Boney informed the potential audience of its novelty though the extensive publicity campaigns. The idea of falling in love with someone you’ve never met must’ve appealed to the young generation which thronged to the cinemas on the opening day.

Just two weeks back, we had Vashu Bhagnani’s multi-starrer Biwi No. 1 opening to bumper houses due, again, to its wonderful marketing. The impressive initial which Sirf Tum has taken this week underlines the important role of appropriate marketing in today’s times. Boney Kapoor, too, needs to be patted on his back for a splendid display of his business acumen in the face of the worst of circumstances.

– KOMAL NAHTA

Happy Days Are Here Again

The success of Sarfarosh and Biwi No. 1 have boosted the morale of the film industry. Sarfarosh was perceived as a ‘city film’ and if it has managed to keep its distributors happy despite its ‘class’ appeal, it bodes well for the industry, especially because it proves again that films with novelty do have a market today even if they have a ‘class’ appeal. The success of Biwi No. 1 is exciting not just because distributors will earn handsomely in the film but also because it was released at a time that was considered suicidal. Yet, despite the World Cup cricket fever, the film not only opened to a bumper response but also held on well all through the first week and also in the second week.

Now that the industry’s good times have started, it looks like these are going to continue for some months at least. Hum Dil De Chuke Sanam is carrying good pre-release reports and all those who’ve seen it opine that it is a good tear-jerker.

The songs of Haseena Maan Jaayegi give a feeling that this will be yet another winner from David Dhawan. Especially because Biwi No. 1 has clicked, the belief that HMJ too will do well is further fortified. The music of Mann is also doing tremendously well and looking to the track record of Indra Kumar and Ashok Thakeria on the one hand and of Aamir Khan on the other, the odds are in favour of Mann winning the audience’s hearts. Veeru Devgan’s maiden directorial venture, Hindustan Ki Kasam, already has exhibitors swearing by its trailer alone (prepared, incidentally, by Rajtaru Videosonic). With a thinking actor like Ajay Devgan in command (it is Devgans’ home production), this Kasam definitely looks promising.

The month of August will start with Subhash Ghai’s Taal and it doesn’t need to be reiterated that Ghai still has a good feel of the public pulse and is in perfect sur and taal. The songs, composed by A.R. Rahman and written by Anand Bakshi, are excellent, as Ghai’s music always is. If Taal will start the month of August for the industry, the month will conclude with Venus’ prestigious Baadshah. Besides the deft direction of Abbas Mustan (who delivered a hit in Soldier with a hero who had almost been written off by the industry), Baadshah also has Shah Rukh Khan to boot. Between Taal and Baadshah, we will have Mehul Kumar’s Kohram, which despite the poor fates of Amitabh Bachchan’s recent releases as also Nana Patekar’s last few films, does give good vibes.

So it seems, happy times are here again. One never knows, the coming three months (beginning next week) may be the best period for the industry in a long time! This should get a smile on everyone’s lips and a shine on our faces, right?

– Komal Nahta

 

GHULAM

Vishesh Films Pvt. Ltd.’s Ghulam (A) is the story of a small-time thief whom circumstances force to become the messiah of the basti in which he lives. This basti is almost ruled by a local dada whom the small-time thief challenges and finally has the entire basti, hitherto petrified of him, revolting against him and his atrocities. Aamir Khan plays the thief-turned-messiah who is brought up by his elder brother.

The first half moves at a good pace and has interesting and enjoyable moments. The romantic track of Aamir Khan and girlfriend Ranee Mukerji may not be novel or fresh but all the same, it does appeal to the viewer, if only for the sincerity and spontaneity of Aamir Khan. The film switches tracks after interval and becomes grim and serious. Trying to establish Aamir Khan as a toughie does not quite jell with his lover-boy image. What’s more, Aamir is shown succeeding over a rough-and-tough villain like Sharat Saxena — something which won’t be digested by the audience even though pains have been taken to make it seem plausible.

The story, especially the post-interval portion, reminds of films like Parinda, Ghatak and Boxer. Still, Anjum Rajabali’s effort in writing is quite good; the film at least moves logically and does not appear patchy. However, once the tense drama begins, the romantic portion seems to have been forgotten. The scenes between Aamir and his brother, in the second half, have more of class appeal.  Moreover, the issue tackled in the film is on too small a level (a basti), thereby robbing the film of grandeur. Dialogues definitely needed to be better and much more hard-hitting. Climax is dull and the audience expects the film to wind up in the courtroom but it gets over in the basti. The climax fight is too lengthy.

Aamir Khan does a splendid job, getting into the skin of the character and taking care of the smallest of nuances. Although his physique and chocolate looks let him down as a toughie, his performance is fabulous. Ranee Mukerji has very limited scope and is alright. She does not look too glamorous. Sharat Saxena, as the main villain, is weak. He shouts more than acts. Rajit Kapoor, as Aamir’s brother, plays the villain’s sidekick ably. Meeta Vashishta impresses a great deal with her acting but she does not get much scope. Deepak Tijori is quite nice. Akshay Anand is convincing. Dalip Tahhil (in a guest appearance) and Ashutosh Rana are effective. Bobby Saini, Raju Kher, Madhu Malhotra, Javed Rizvi and the rest lend fair support.

Vikram Bhatt’s direction is good at times but not always so. He has handled the first half with maturity but the second half is loose and too dry. Jatin Lalit’s contribution is the best after Aamir Khan’s. The ‘Aati kya Khandala’ song is a hit. ‘Aankhon se tune ye kya keh diya’ and ‘Jaadu hai’ are also melodious numbers. Picturisation of the ‘Khandala’ song is lovely. Dharma Teja’s camerawork is reasonably good. Action scenes (Abbas Hanif) are fair. Editing is a bit loose. Production values are okay.

On the whole, Ghulam has a hit song, an entertaining first half and an endearing Aamir Khan to more than offset the boredom that creeps in in the tense second half. Considering its lovely opening almost all over, it should keep its distributors quite pleased. Business in Bombay, Maharashtra and South should be better.

Released on 19-6-’98 at Novelty and 20 other cinemas of Bombay thru Veekay Enterprises. Publicity: very good. Opening: excellent. …….Also released all over. Opening was very good everywhere except in East Punjab and C.I., where it was fair.

LATEST POSITION

The fantastic opening of GHULAM has brought happy tidings in the industry.

Gharwali Baharwali is good in East Punjab  and C.P. Berar and fair in C.I. and Nizam, but started dropping from 4th/5th day onwards elsewhere. Is poor in Gujarat and Bengal. 1st week Bombay 34,00,800 (79.71%) from 9 cinemas (8 on F.H.); Ahmedabad 3,23,244 from 2 cinemas (3 unrecd.), Rajkot 1,55,280; Pune 7,88,325 (86.99%) from 4 cinemas (1 in matinee), Solapur 1,99,216 from 2 cinemas (1 in matinee, 1 unrecd.); Delhi 32,74,245 (71.11%) from 10 cinemas (1 on F.H.); Kanpur 3,08,417 from 2 cinemas, Lucknow 3,90,324, good, Agra 1,84,253, Allahabad 1,38,000, Varanasi 1,47,770, Meerut 1,51,000, Bareilly 99,875 (44.71%), Dehradun 1,30,000, Hardwar 70,000; Rohtak 28,109; Calcutta 12,73,538 from 15 cinemas; Nagpur 4,40,216 from 4 cinemas, Jabalpur 1,65,143, Amravati 1,77,528, Akola 1,68,770 (98%), Raipur 1,92,405 (79.45%), Durg 1,10,697, Yavatmal 1,19,682; Indore 1,46,987 (3 on F.H.), Bhopal 3,72,966 from 3 cinemas; Jaipur 6,64,480 from 4 cinemas, Jodhpur 2,55,000, Ajmer (29 shows) 1,31,400, Bikaner 2,38,600; Hyderabad 15,75,018 from 7 cinemas.

Achanak has not found appreciation. 1st week Bombay 31,57,587 (61.61%) from 12 cinemas (8 on F.H.); Ahmedabad 1,30,176 (3 unrecd.), Rajkot 1,53,942 from 2 cinemas (1 in matinee); Pune 8,78,882 from 5 cinemas, Solapur 1,91,850 (78.14%); Hubli (noon) 44,552; Delhi 16,80,320 (53.61%) from 9 cinemas (1 on F.H.); Kanpur 2,45,203 from 2 cinemas, Lucknow 2,65,173, Allahabad 89,000, Varanasi 1,27,470, Meerut 1,57,048, Bareilly 88,034 (40.75%), Dehradun 96,000; Calcutta 9,92,751 from 10 cinemas; Nagpur 4,13,204 from 4 cinemas, Jabalpur 54,069, Amravati 1,19,756, Raipur 1,10,051 (43.27%); Indore 2,38,000 from 2 cinemas (2 on F.H.), Bhopal 2,10,433 from 2 cinemas; Jaipur 3,38,516 from 2 cinemas; Hyderabad 14,48,909 from 8 cinemas (1 in noon).

Humse Badhkar Kaun has been rejected. 1st week Bombay 19,53,988 (42.42%) from 15 cinemas (5 on F.H.); Ahmedabad 85,090 (3 unrecd.), Baroda 96,935, Rajkot 52,854 (1 in regular & 1 in matinee unrecd.); Pune 3,67,265 from 4 cinemas; Delhi 15,88,055 (41.31%) from 9 cinemas (1 on F.H.); Kanpur 2,21,796 from 2 cinemas, Lucknow 1,05,344, Agra 1,10,315, Allahabad 95,000, Varanasi 1,04,886, Bareilly 38,731 (19.49%); Calcutta 5,43,634 from 7 cinemas; Jabalpur 66,748, Amravati 88,469, Wardha 57,194, Yavatmal 81,766, Bilaspur 54,022; Jaipur 1,74,720 from 2 cinemas.

Dushman 3rd week Bombay (TF) 11,44,458 (60.10%) from 5 cinemas (4 on F.H.); Baroda 48,760, Rajkot 47,272; Pune (TF) 4,15,923 from 5 cinemas (1 in matinee); Delhi (TF) 2,85,396; Kanpur 60,521, Lucknow 71,838, Varanasi 57,128, Dehradun 40,000 (2nd 79,000); Calcutta 1,20,661; Nagpur (TF) 59,376 from 2 cinemas, 2nd week Jabalpur 1,14,706, total 2,95,048, Amravati (TF) 79,752, 3rd week Akola (TF) 52,069, total 1,58,537, Raipur 52,424, 1st week Bilaspur 61,140; 3rd week Indore 30,000, Bhopal 54,732; Jaipur 91,730; Hyderabad 2,36,403.

Jab Pyaar Kisise Hota Hai is very steady in Delhi, C.I., Rajasthan and Nizam. 4th week Bombay 14,73,278 (69.42%) from 5 cinemas (5 on F.H.); Ahmedabad 1,20,270 from 3 cinemas, Jamnagar (15 shows) 44,405; Pune 3,52,301 from 3 cinemas (1 in matinee), Solapur 63,828; Delhi 20,29,440 from 6 cinemas; Kanpur 1,03,912, Lucknow 1,16,483, Agra 99,500, Allahabad 46,800, 3rd week Varanasi 96,021, 4th week Bareilly (6 days) 55,115 (28.57%), Dehradun 1,07,786 (3rd 1,46,000); Calcutta 4,42,247 from 4 cinemas (1 in noon); Nagpur 1,56,566, Jabalpur (6 days) 1,09,026, Akola 55,176, total 3,17,120, 3rd week Raipur 73,746, 4th week Jalgaon (6 days) 46,432, Chandrapur 97,393, total 4,96,226, 2nd week Yavatmal 31,225, 3rd week Bilaspur 78,003; 4th week Bhopal 1,72,495; Jaipur 2,63,321, better than 3rd week, 3rd Bikaner (6 days) 76,545; 4th week Hyderabad 4,89,997 from 3 cinemas (2 in noon).

MYSORE DISTRIBUTORS FEEL PINCH OF SHOW TAX HIKE

The distributors of Mysore circuit have been feeling the pinch of an unreasonable hike in show tax for the past few months. It may be recalled that the state government increased the show tax from Rs. 80 to a steep Rs. 300 with effect from 1st April, 1998. The 15% surcharge on the tax remains. As a result, the distributor has had to pay a tax of Rs. 345 per show against Rs. 92 previously.

Given that a hit film runs for at least 400 shows in Mysore circuit, the show tax alone adds up to a whopping Rs. 1,38,000 — a very high figure, especially keeping the small size of the territory in mind.

FIRST AIR-CONDITIONED CINEMA IN KOLHAPUR

Saraswati Chitra Mandir in Kolhapur is now rechristened Saraswati Deluxe. After its purchase by Vijendra Shenoy (of Milap cinema, Bombay) and others, it has been fully renovated and equipped with Dolby SR sound. It is the first air-conditioned cinema of Kolhapur. With admission rates of Rs. 15, 20 and 25, it has a nett weekly capacity of Rs. 1,98,000. Its weekly hire is Rs. 50,000.

YOU ASKED IT

At what ratio has this week’s release, Ghulam, been delivered to its distributors?

– At the ratio of between 1.10 and 1.35 crore.

What is better — a bumper opening or pick-up by word of mouth?

– A bumper opening is definitely better because there’s nothing like initial business. Pick-up is generally never 100%.

To what do you attribute the lovely opening of Ghulam?

– To the Aati kya Khandala song and Aamir Khan.

‘Major Saab’ Cleared For June 26 Release

ABCL’s Major Saab, after four days of tension in Delhi, was finally cleared by the chief of army staff on 18th June. Objections to several scenes in the film had raised serious doubts about whether the film would be released on 26th June, as scheduled. The uncertain situation had sent exhibitors all over India panicking about their release schedules. Distributors of Major Saab in different circuits had a tough time convincing exhibitors that the film would get the army clearance and would, therefore, be released on schedule. Suspecting exhibitors held back their MGs/advances, putting distributors to further trouble.

But with the clearance having been obtained, all that is past now. Major Saab is set for release on June 25/26 all over. The defence ministry officials and the top brass of the three defence services saw the film at a preview in Delhi early this week. They reportedly objected to the wrongful and distorted portrayal of discipline in the armed forces, especially in the National Defence Academy (NDA), Khadakvasla. Amitabh also met army chief Ved Prakash Malik on 15th June.

According to a press release of ABCL, the no-objection certificate of the ministry of defence and the army was presented to the CBFC which gave the film a ‘UA’ certificate dated 19-6-’98. All recommended changes and cuts have been duly executed and presented. The release adds: Major Saab is a commercial film and, like all commercial cinema in India, is in the realm of fiction and make-believe. The events and episodes depicted in the film Major Saab are also fictitious and make-believe. The film needs to be looked at in this context. Even though the story is set partially at the National Defence Academy in Khadakvasla, the incidents that are shown in the film do not factually happen at this institution. Certain sequences may appear to be violative of the ethos and tradition of the National Defence Academy, but we mean no disrespect either to the institution or any units or regiments of the Army and the Army personnel. We respect the sanctity and integrity of this premier institution of the country. We take great pride in the discipline, the sense of responsibility, the patriotism that is inculcated by the Academy in the future officers of the Armed Forces, whom we hold in high esteem.

DO YOU KNOW?

* Ramgopal Varma is contemplating dubbing his SATYA in English. He has already approached UTV which is likely to handle the dubbing, if finalised, on his behalf.

* In Goldie Behl’s ANGAARAY, Gulshan Grover plays an underworld don. Whenever Gulshan appears on the screen, a continuous humming sound intersperses the dialogue. The hum could have been produced through a musical synthesiser or by a dubbing/mimicry artiste. But director Mahesh Bhatt hummed and hawed at the idea as he wanted the hums exactly the way he had mentally conceived them to be. The fastidious Mahesh Bhatt finally himself hummed it out with all his lung power.

* GHULAM has created a city record by collecting 51,403/- on the opening day at Chitra, Amravati.

* TITANIC has yielded a share of over 7.25 lakh in 5 weeks from Premprakash, Jaipur.

* NADIYA KE PAAR has yielded a share of 91,000/- in the 1st week of its 4th run at Payal in Jamshedpur (Tatanagar area). The second week’s share is expected to be 30,000/-. The film will then be shifted to Shyam cinema at Haldwani (another suburb of Tatanagar).

What’s The Scene?

In finalising the price of Major Saab, Amitabh Bachchan Corporation Ltd. has considered the losses its distributors made in its earlier films, Mrityudaata and Saat Rang Ke Sapne. As a result, the price of Major Saab is a reasonable 1.25 crore to 1.50 crore. Good for the distributors.

Sunil Shetty needs to do some serious thinking about the projects he signs. His Humse Badhkar Kaun had to be discontinued from Jaipur’s Moti Mahal cinema after just a 2-day run.

Till two years back, David Dhawan was the magic man. But his last few releases, including Mr. & Mrs. Khiladi, Banarasi Babu, Deewana Mastana and now, Gharwali Baharwali, have failed to create the magic of his earlier hits. Is it over-confidence or over-commitment? Either way, it’s bad and sad.

3-E
Education-Entertainment-Enlightenment

Initial Value

At last, there is some respite for the industry which has been craving for a film to take a fantastic opening at the box-office. Ghulam has opened to fantastic houses almost all over the country this week, much to the relief of the industry troubled by a spate of films failing to record even decent openings irrespective of their casts, makers or publicity campaigns. This favourable run of luck is expected to continue with the release of Major Saab next week (on 26th June). The publicity of the film has already generated a tremendous response among all and has come to be regarded as the year’s best publicity campaign so far. The fantastic poster and banner designs give an impression that the film has depth, and they are going a long way in creating the right mood for the film. Moreover, the film’s attractive promotional trailers have been well-received by the public.

The ‘A’ Factor

With the fantastic opening of Ghulam this week, and Major Saab expected to open to bumper houses next week, one cannot help but observe an interesting point of similarity between the two films — the ‘A’ factor. While Ghulam boasts of Aamir Khan in its cast, Major Saab has two A’s — Amitabh Bachchan and Ajay Devgan — not to mention ABCL which has produced the film! It sure looks like the ‘A’ factor is all-important……

Amitabh Bachchan ‘Controversy’ Limited?

With the release of Major Saab next week, ABCL has once again lived up to its reputation of being involved in pre-release controversies. Mani Ratnam’s Bombay (the all-India rights of which were held by ABCL) ran into rough weather over censorship. Shekhar Kapur’s Bandit Queen, an ABCL production, got into a major censor imbroglio not once but twice — the second time, it was resolved only when the Supreme Court granted the film a clearance for release. True to ABCL’s tradition, even Major Saab is reported to have upset the army which initially refused to clear the film for release. Fortunately for ABCL, the film was ultimately cleared by the army after minor changes were effected, but in good time for the release to not have had to be postponed. In view of the fact that each one of ABCL’s releases gets into unlimited problems while getting clearance from various agencies, it may help to change the company’s name to Amitabh Bachchan Clearance Limited! Or would Amitabh Bachchan Controversy (Un)Limited be a more appropriate change?

Hearing What And Signing What?

Nowadays, one often hears every other star waxing eloquent on how he never signs a film without hearing its complete story. If this were really true, our stars must be the worst judges of a film’s potential, in light of the fact that such a large number of films starring these very stars flop at the box-office! But the reality is not that they are poor judges. The fact is something else. In many cases, the stars hear only some scenes of the film instead of the complete story and, excited by them, sign the film without hearing the rest of the story. At other times, a star gets carried away by his role and, without knowing the whole story of the film, signs on the dotted line. As a result, it has become extremely easy for a clever, eloquent and articulate director to sign top stars up by narrating just three or four interesting scenes to them! Ultimately, what happens in such cases is that the rest of the film doesn’t match up to the narrated scenes and hence the film fails at the box-office. It must be borne in mind that a handful of scenes or a strong character for the hero alone do not make a film, and if our stars are under such an impression, they are fooling no one but themselves.

Who’s Copying Whom?

And here’s an incident that should make you laugh.

A 4-year old was watching Qila on cable TV. After a while, the little one, pointing at Dilip Kumar in the film, quipped, “Papa, papa, this old man is copying Shah Rukh Khan.”