BADAL

Aftab Music Industries’ Badal (A) is a revenge drama. Story of a young man, who is forced to tread the path of terrorism, it is a masala film aimed to please the masses. A wicked and wily police inspector kills the entire family of a little boy in a village and he is, thereafter, picked up by a terrorist who brings him up. The boy grows up with just one desire — to kill the police officer who had made him what he was today. Circumstances lead him to live in an honest police officer’s house while on his secret mission to kill the villain. There, he is moved by the affection showered on him by the principled police officer’s family. But this does not change his heart enough to deter him from eliminating the villain despite a confrontation with the honest police inspector.

The film has a routine story and the screenplay, too, has several clichéd scenes. Dialogues are ordinary. Romance and emotions are almost absent. But comedy and action are aplenty. Further, hit music helps to a large extent in not letting the drama deteriorate. In fact, although several songs come up without proper situations, they are a welcome intrusion if only because the tunes are racy and very popular.

Bobby Deol looks extremely handsome and also acts ably. He, however, is over-enthusiastic — and, therefore, less graceful — in dances. Rani Mukerji plays to the gallery, looks glamorous but doesn’t really have any scene to leave a mark. Amrish Puri is superb in a positive role. Johny Lever and Upasna Singh are excellent with their comedy; at times, the double-meaning dialogues tickle a great deal. Ashutosh Rana has a dignified get-up and he performs very naturally. Mayuri Kango is average. Shahbaaz Khan, Ashish Vidyarthi, Vishwajeet Pradhan, Jeetu Verma, baby Sana and Kulbhushan Kharbanda provide adequate support. Neena Kulkarni is so-so. Akash Khurana does a fair job. Alok Nath, Dina Pathak, Harish Patel and Dinesh Anand are average. Mushtaq Khan is wasted. Suman Ranganath and Mink lend sex appeal in dance numbers.

Raj Kanwar’s direction is limited by the routine story (Raj Kanwar himself) and the ordinary screenplay (Robin Bhatt and Sutanu Gupta). No attempt has been made to provide something new to the viewer. Anu Malik’s music is a major plus point of the film. All the songs are assets, the best being ‘Main jatt yamla Punjabi’, ‘Jugni Jugni’, ‘Milne se darta hai dil’ and ‘Yaar mere’. Picturisations of the songs should have been better; the ‘Jugni Jugni’ dance (by Amrish Puri and others) is, nevertheless, vigorous and very appealing. Action scenes (Bhiku Verma and Pappu Verma) are thrilling although more fist-fights would have been better. Editing is not smooth. Camerawork (Harmeet Singh) is good. Other technical values are fair. Production values are good but do not befit the extremely high price at which the film has been sold to distributors.

On the whole, Badal has substance for the masses, but patronage of ladies and classes is doubtful. It should score well in East Punjab, Delhi-U.P. and Rajasthan, and remain average in other circuits owing to its high price.

Released on 11-2-2000 at Novelty and 21 other cinemas of Bombay by Aftab Group thru Friends Movies. Publicity: very good. Opening: fair. …….Also released all over. Opening was very good in Thane district (of Bombay), Delhi, East Punjab (exceptional opening despite rains), Rajasthan but just fair in C.I. and the M.P. belt of C.P. Berar.

LATEST POSITION

PUKAR has not found appreciation. It will entail heavy losses to its distributors except of the South territories and Bombay.

Pukar slid as the week progressed. 1st week Bombay 59,47,341 (82.82%) from 12 cinemas (7 on F.H.); Ahmedabad 19,99,010 from 8 cinemas, Vapi 2,24,640, Rajkot 1,87,582 from 2 cinemas (1 in matinee), Jamnagar 1,26,798, Adipur 1,19,590 (63.98%); Pune 17,56,749 from 7 cinemas (1 in matinee), Solapur 3,16,245 from 3 cinemas (1 in matinee); Delhi 51,80,422 (65.81%) from 12 cinemas (1 on F.H.); Kanpur 5,27,371 from 2 cinemas, Allahabad 2,20,504, Meerut (6 days) 2,21,519, Bareilly (6 days) 1,58,910; Amritsar 58,365; Calcutta 24,05,160 from 20 cinemas; Nagpur 8,30,534 from 4 cinemas, Amravati 2,72,822, Akola (27 shows) 1,96,781, Jalgaon (6 days) 1,95,027; Indore 3,16,633 from 2 cinemas (2 on F.H.), Bhopal 1,15,640 (2 unrecd.); Jaipur 7,23,780 from 3 cinemas, Bikaner (gross) 2,21,920; Hyderabad (gross) 21,82,088 from 7 cinemas (1 in noon).

Agni Putra is a disaster. 1st week Bombay 11,02,225 (43.12%) from 7 cinemas (4 on F.H.); Delhi 6,96,694 (22.72%) from 8 cinemas; Kanpur 61,146 from 2 cinemas; Nagpur 83,594 from 2 cinemas, Wardha 50,035; Bhopal 53,500; Hyderabad (gross) 2,60,020 from 6 cinemas (3 in noon, 1 on F.H.).

……….

The World Is Not Enough (dubbed) is good in C.P.C.I. 1st week Bombay 20,09,707 (39.45%) from 8 cinemas (8 on F.H.); Ahmedabad 6,50,577 from 4 cinemas, Baroda 1,80,176; Delhi 17,62,675 (45.34%) from 6 cinemas; Kanpur 2,20,621, Allahabad 1,81,798; Calcutta 9,44,459 from 12 cinemas; Jabalpur 1,22,366, Akola (27 shows) 1,43,815, Yavatmal 1,23,305, Bilaspur 94,635; Hyderabad (gross) 18,97,830 from 8 cinemas (1 in noon).

Phir Bhi Dil Hai Hindustani 3rd week Bombay 21,94,521 (52.50%) from 8 cinemas (5 on F.H.); Ahmedabad 1,68,523 from 2 cinemas; Pune 5,04,753 from 5 cinemas (2 in matinee); Delhi 8,29,266 from 7 cinemas (1 on F.H.); Kanpur 82,891 from 2 cinemas, Allahabad 69,872, Muzaffarnagar 25,000, Bareilly (6 days) 14,800; 1st week Amritsar 54,000; 3rd week Calcutta 5,72,736 from 3 cinemas; Nagpur 48,037 from 2 cinemas, Amravati 60,816, Akola (27 shows) 32,380, total 2,61,471; Indore 90,000 from 2 cinemas, Bhopal 50,311; Jaipur 1,85,348; Hyderabad (gross) 3,68,396 from 3 cinemas (1 in noon); 3 weeks’ Vijayawada total 5,38,410.

Kaho Naa…Pyaar Hai is AA in Bombay and South, and A1 in other circuits. 4th week Bombay 45,77,778 (99.73%) from 10 cinemas (6 on F.H.); Ahmedabad 2,88,027 from 2 cinemas, 1st week Bardoli 3,49,208, 4th week Baroda 2,44,007 (98.85%), 2nd week Valsad 1,83,061 (1st 1,80,591), 4th week Vapi 3,62,598, total 18,02,663, Rajkot 1,65,115, Jamnagar 81,199; Pune 14,35,824 from 4 cinemas (1 in matinee), 2nd week Satara 1,81,302 (1st 1,87,226, 1 cinema in matinee 100% in both weeks); 4th week Dharwad 69,384; Delhi 21,36,852 from 5 cinemas; Kanpur 3,09,260 from 2 cinemas, Allahabad 1,51,694, Muzaffarnagar 65,000, Bareilly (6 days) 83,143, 1st week Hardwar (5 days) 84,716; 4th week Calcutta 11,98,468 from 5 cinemas; Nagpur 2,66,453 from 2 cinemas, Jabalpur 1,54,045, total 6,62,198, Amravati 1,59,539, Akola (27 shows) 1,31,288, total 6,11,519, Jalgaon (6 days) 1,29,340, 3rd week Chandrapur 1,86,234, total 6,26,073, 2nd week Yavatmal (gross) 1,29,726; 4th week Bhopal 2,37,301 (3rd 2,39,029); Jaipur 3,85,077 from 2 cinemas, Bikaner 1,60,673; Hyderabad (gross) 13,23,732 from 7 cinemas (1 in noon); 2nd week Mangalore 1,37,318 (1st 2,13,649); Vijayawada 2 weeks’ total 5,93,431.

Hum Saath-Saath Hain entered 15th week at Liberty, Bombay; 14th week Pune 71,775 from 2 cinemas; Belgaum 35,267; Kanpur 60,823, Allahabad 30,485; Calcutta 97,700; Nagpur 59,618, 5th week Kamptee 29,282, total 2,79,418, share 1,44,418, 14th week Jabalpur (6 days, gross) 77,698, total 37,72,626, Amravati 74,360, total 25,55,353, Akola (27 shows) 49,670, total 18,41,709, share 13,88,510; Jaipur 3,81,805.

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Gaam Ma Piyaryu Ne Gaam Ma Sasaryu (Gujarati; TF) 4th week Ahmedabad 6,51,063 from 3 cinemas, 2nd week Rajkot 2,25,000, 4th week Jamnagar 85,500.

Maa Baap Ne Bhulsho Nahin (Gujarati; TF) 8th week Ahmedabad 1,40,472 from 2 cinemas.

The World Is Not Enough (E.) 1st week Bombay 14,40,599 from 5 cinemas; Calcutta 5,26,098; Nagpur 5,21,248 from 2 cinemas; Bhopal 1,95,000; Mangalore 1,87,349; Vijayawada 3,59,619. Good.

SHOBHNA SAMARTH DEAD

Veteran actress Shobhna Samarth passed away on 9th February in Pune at the Pune Cancer Hospital. She was cremated the same evening.

Mother of actresses Nutan and Tanuja, and grandmother of Kajol and Mohnish Bahl, she was a popular heroine of her times.

Shobhna Samarth played the lead in more than 50 films. Her first film was a Marathi film, Vilasi Ishwar. She later shifted to Hindi films with Nigah-E-Nafrat, released in 1935. Most of the films she acted in were mythologicals, like Mahasati Ansuya, Taramati, Narsimha Avtar, Nal Damayanti, Janmashtami, Jai Mahalakshmi, Shri Krishna Arjun Yudh and Urvashi. She shot into limelight with the role of Sita in Vijay Bhatt’s Bharat Milap (1942) and Ram Rajya (1943). Samarth also produced and directed Hamari Beti and Chhabili, introducing Nutan and Tanuja respectively.

YOU ASKED IT

There are some people in the trade, who think that KN…PH recorded bumper collections because of public sympathy over the murder attempt on Rakesh Roshan. Do you endorse this view?

– The murder attempt has definitely given a boost to the film’s collections, but please don’t try to imply that the film has clicked only because of the attempt on Rakesh Roshan’s life.

By how much percentage does the telecast of a new film on Cable TV affect a hit film, average film and a flop?

– Cable TV can affect a hit film’s business by 30-40%, that of an average film by 10-15%, and of a flop, by 5% or even less.

The script of Water is approved by the Prime Minister of India, and then, it is not allowed to be shot in Varanasi by Hindu fundamentalists. What does one make of this?

– It exposes the farcical nature of democracy in our country.

Shooting Of ‘Water’ In Varanasi

AIFPC’S STRONG LETTER TO U.P. GOVERNMENT

With reference to the disruption of the shooting of Deepa Mehta’s Water in Varanasi recently, Pahlaj Nihalani, president of the All India Film Producers Council (AIFPC), has written a letter to Uttar Pradesh chief minister Ram Prakash Gupta, decrying the U.P. government’s failure to provide protection to the film’s unit from anti-social elements who disrupted the shooting.

Reminding the U.P. chief minister about a film policy formulated to promote film shootings in U.P. and to offer various incentives like entertainment tax-exemption to films shot in U.P., the AIFPC pointed out that under the film policy, worked out between the Bombay-based producers and the U.P. government, the state government was duty-bound to provide adequate security to film units in U.P., but “the government allowed the politicisation of the issue and actively involved itself in blocking the shooting of the film”.

The AIFPC letter concludes with a warning, “In the interests of the film industry and U.P. government itself, we plead with you to take immediate action to ensure that the shooting of Water is allowed to take place, because not doing so will lead to a situation where no producer will be willing to shoot his film in Uttar Pradesh.”

The unit of Deepa Mehta’s Water has since returned from Varanasi after not being allowed to shoot there.

Price-Wise? No!? Then, Pay The Price!

Price — this five-letter word has been the most hotly discussed and debated word in trade circles over the years. Whether it is film prices or star prices, discussions on them have evinced passionate claims and counter-claims from parties to the discussions. Nobody has been able to decide what correct pricing is and what should the ideal price of a film star/technician be.

But the price under discussion today is neither star remunerations nor film ratios. It is, instead, the price which the cinegoer pays to see the film or the artistes of his choice, on the silver screen — the price of a cinema ticket or, in other words, admission rates.

Actually, discussions on film and star prices have dominated the scene so much that the industry seems to have overlooked the impact which incorrect admission rates can have. In many big cities today, admission rates in many cinemas have become prohibitively expensive for the middle class and lower middle class group, not to talk of the poor. What is alarming is that while some cinemas provide amenities and facilities to match the high admission rates, there are others which don’t care about facilities while being quick to increase ticket rates.

In Delhi, some cinemas are charging more than Rs. 100 per ticket. If box-office collections are dull in the capital city today, the blame lies not just on the films but equally, sometimes more, on the unrealistically high rates of admission. If films alone were responsible for dull collections, how does one explain the bumper shares of a Jaanwar in U.P. as against dull shares in Delhi city? Agreed, Jaanwar is a film for non-metropolitan cities and mainly for ‘B’ and ‘C’ class centres, but the collections in Delhi were not expected to be so dismal in comparison to those in U.P. Phir Bhi Dil Hai Hindustani, which collected 78.32% of the house-full capacity at Priya cinema of Delhi in the first week, and 90.60% of the capacity at Chanakya, Delhi in the first week, could collect only 36% and 45% respectively in the second week! And Priya cinema was recently renovated at a huge cost.

If Delhi is bad, Bombay isn’t any better. The unhappy part is that admission rates are generally the same, whether it is a Shah Rukh Khan starrer that is showing in a cinema or a Mithun Chakraborty starrer, whether the music of the film showing is a huge hit or is average. Can any logic explain this foolhardiness?

Producers, distributors and exhibitors are ignoring an important aspect of a film’s business if they are not applying their minds to ticket pricing.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Of Rains, Clouds And Crowds

If Badal has come, can the rains be far behind? To give company to the clouds (badal), there were heavy rains in Northern India, particularly Delhi and Punjab on 11th February, the day of release of Badal in the two circuits. But it must be said to the credit of the film that in both, Delhi and Punjab, heavy crowds were witnessed in cinemas screening Badal which opened to full houses despite the dark clouds in the sky and the heavy rains there.

Promoting Common Sense

A film is essentially judged by what is publicised, or rather, by which aspect of it is highlighted. And with TV becoming a potent medium for promotion of films, it is but common sense to decide beforehand what aspect the producers need to highlight to lure the audience into the cinemas and ensure an excellent opening. But what is disturbing in today’s times is that incongruity has stepped into promotional trailers of many films. Even an action film with action heroes is increasingly publicised as being a musical film because the songs are highlighted. And that is generally because the music companies do the promotion and, naturally, they are apt to promote music more than any other aspect of the film, amounting to a square peg in a round hole. It’s fine if an action film is embellished with good music. One would describe it as sone pe suhaga, the sona being action and suhaga being the music. But in case of a musical film, the sona should be its music and other things therein, the suhaga. The bottomline is that a film’s promo should highlight that aspect which would bring in the audience.

Producers Propose…
Bajrang Opposes

Bajrang is one of the many names of Lord Hanuman. But the Lord seems averse to producers making a social/commercial on His name. And there are some instances to prove this point. Raju Mawani had launched Bajrang with Sunny Deol as the lead man, but it got shelved after just one brief shooting schedule. Nandu Tolani’s Bajrang, being directed by Tinnu Verma, is also stuck incomplete. And years back, Bapu was to produce and direct Bajrangi with Anil Kapoor and Madhuri Dixit in the lead, but the film could not be made. Had it been made, it may have been Madhuri Dixit’s first film as an actress. But mythological maker Chandrakant’s Jai Bajrang Bali was a super-hit. And that’s because it was a mythological film and not a social commercial. May be, Lord Hanuman does not approve of He being enacted in human form.

The Deciding Beats!

Who decided that the music of Taal was super-hit? The public, of course. And how do people, who wish to buy a good music system, decide on the best bargain? By listening to the music of Taal! This was the observation of a music-loving friend who recently went shop-hopping to buy an ideal music system. Almost all dealers, whom he visited in Bombay, chose the music of Taal to demonstrate the efficacy of the music systems they were selling. On enquiring, he learnt from one of the shop-owners that it was so because the music of Taal amplified clearly the entire range of musical beats and strains in perfect detail. A different kind of compliment for the composition and recording of the music of Taal, but compliment indeed!

Jolly Good January

The previous time Rakesh Roshan had a sweet taste of success was when Karan Arjun proved a super-hit. This was exactly five years before the release of Kaho Naa…Pyaar Hai. While Karan Arjun was released on 13th January, 1995, KN…PH was released on 14th January, 2000. Perhaps, this should inspire Rakesh Roshan to schedule his every release in the second week of January. If it’s got to be a super-hit, it’s got to be released in January.

So ‘Miff’ed!

The live telecast of the opening ceremony of MIFF 2000, the documentary film festival of Bombay, on 9th February on Doordarshan went into a blink a few moments after Homi Sethna was shown addressing the audience which included the Prasar Bharati and Doordarshan officials and bosses. Homi Sethna, who won this year’s V. Shantaram award for the best documentary, remarked, “The bosses of Prasar Bharati and the officers of DD should hang their heads in shame and work hard on a different concept to put the national channel on par with PBS — Public Broadcasting Service — in the USA or with the BBC… Just look at their programmes and again, hang your heads in shame…” So ‘miff’ed were the broadcasting bosses that they just blacked out the live telecast!

PHOOL AUR AAG

P.K. Arts Creations’ Phool Aur Aag is about misunderstandings and how they are cleared at the drop of a hat! It is the story of two villages. A kind-hearted landlord (Mithun Chakraborty) is revered like God in his village. Once, he visits the other village and gets beaten up there by the villagers because of a misunderstanding. The hero of the second village is a young and tough guy (Jackie Shroff). After the incident, Jackie realises the mistake on the part of his villagers and he goes to Mithun’s village to apologise to him. Even while he is doing so, Mithun’s villagers run riot in Jackie’s village to avenge the wrong done to their ‘God’. This infuriates Jackie who assumes that the havoc in his village has been wreaked at Mithun’s behest. In the riotous revenge drama, Jackie’s parents and some others are killed. Then starts Jackie’s revenge. He creates circumstances which force Mithun to marry a girl from Jackie’s village. The marriage is an eyewash as the girl has been planted to kill Mithun. She, however, has a change of heart. Ultimately, Jackie too realises the innocence and goodness of Mithun. And all ends well.

The film tries to over-dramatise everything, with the result that the whole drama looks unbelievable. What is worse is that characters have a change of heart one after another just because of a dialogue or two. Screenplay is poor. Dialogues (Anirudh Tiwari) are good. Emotions touch the heart only at a couple of places, the rest falling flat.

Mithun Chakraborty does quite well. Jackie Shroff has also performed ably although he does suffer because of a weak characterisation. Archana is just about fair. Dalip Tahhil is appealing. Mohan Joshi is okay in a comic-villainous role. Shiva is average. Aroona Irani does a fine job. Ayesha Julka and Harish appear in a song dance only. Rakesh Bedi is alright. Avtar Gill, Kishore Bhanushali, Adi Irani, Pramod Moutho, Shyam Solanki and the rest pass muster.

T.L.V. Prasad’s direction is mechanical and no better than his script. Music is a letdown. Song picturisations are dull. A few action scenes (like the lathi fight and the climax fight) are exciting. Photography and other technical and production values are so-so.

On the whole, Phool Aur Aag is a sub-standard fare, with bleak chances at the box-office.

Released on 14-5-’99 at Shalimar and 11 other cinemas of Bombay thru K.K. Enterprises. Publicity: fair. Opening: dull. …….Also released all over.

LATEST POSITION

World Cup cricket is here. As cricket fans enjoy the bowling and batting, the box-office may take a beating.

Hogi Pyar Ki Jeet, as predicted last week, is good in U.P., C.P. and C.I. It is also fair in Bihar, Rajasthan and Nizam, but is below the mark in Gujarat, Delhi, East Punjab and West Bengal. 1st week Bombay 42,86,995 (66.32%) from 13 cinemas (9 on F.H.); Ahmedabad 5,95,183 from 4 cinemas (1 unrecd.), Rajkot 1,99,639 from 2 cinemas (1 in matinee), Jamnagar 1,38,512; Pune 5,20,195 from 2 cinemas, Solapur 2,31,362 from 2 cinemas; Delhi 25,90,863 (55.92%) from 9 cinemas (1 on F.H.); Kanpur 3,97,563 from 2 cinemas, Lucknow 1,98,206, Agra 2,06,710, Varanasi 2,18,288, Allahabad 1,93,000, Meerut 2,48,620, Bareilly 1,69,232 (55.84%), Dehradun 1,50,000; Calcutta 20,25,273 from 21 cinemas; Nagpur 4,66,014 from 4 cinemas, Jabalpur 1,78,033, Akola 1,37,619, Raipur 2,14,231, Jalgaon 1,63,907, Chandrapur 1,64,337, Yavatmal 80,589; Bhopal 1,12,752 (1 on F.H.); Jaipur 6,32,192 from 3 cinemas, Bikaner (6 days) 1,89,651; Hyderabad (gross) 26,24,528 from 12 cinemas (2 in noon).

Kartoos dropped after the first day at places, and after 3 days at other places. It has, however, fetched reasonable shares from several places. Is not up to the mark in Gujarat, Delhi, West Bengal and Bihar. 1st week Bombay 47,34,743 (82.64%) from 14 cinemas (7 on F.H.); Ahmedabad 8,17,262 from 6 cinemas (1 unrecd.), Rajkot 2,14,487 from 2 cinemas, Jamnagar (matinee) 37,278, Bhuj 89,722; Pune 11,31,263 from 6 cinemas (1 in matinee), Solapur 3,54,499 from 3 cinemas (1 in matinee); Delhi 39,65,059 (60.65%) from 12 cinemas (1 on F.H.); Kanpur 4,78,986 from 2 cinemas, Lucknow 4,01,174, Varanasi 2,52,863, Allahabad 2,17,517, Meerut 2,27,052, Bareilly 1,61,576 (72.27%), Dehradun 2,18,000 (76.79%); Rohtak 37,312; Calcutta 16,34,883 from 13 cinemas; Nagpur 6,08,929 from 4 cinemas, Jabalpur (6 days) 1,75,371, Akola 2,00,391, Raipur (6 days) 1,38,187, Durg 91,161, Jalgaon 1,28,385; Indore 1,78,000 (3 on F.H.), Bhopal (6 days) 3,02,381 from 2 cinemas; Jaipur 8,00,861 from 4 cinemas, Jodhpur 4,08,000; Hyderabad (gross) 30,12,076 from 12 cinemas (1 unrecd., 1 in noon); Vijayawada 2,16,000.

Avaidh Sambandh (dubbed) 1 week Bombay 38,403 (25.88%); 1 week Jaipur 1,14,537.

Sarfarosh is extraordinary in Bombay and Maharashtra. It is steady in some ‘A’ class centres of other circuits, but drops quite a lot in other centres. 2nd week Bombay 44,32,299 (88.74%) from 12 cinemas (9 on F.H.); Ahmedabad 3,66,309 from 3 cinemas, Rajkot 1,31,398, Jamnagar 76,000 (1 in matinee unrecd.); Pune 12,26,236 from 4 cinemas (1 in matinee), Kolhapur 1,90,000, Solapur 1,98,541; Delhi 27,76,252 from 10 cinemas (1 on F.H.); Kanpur 3,17,506 from 2 cinemas; Lucknow 3,76,363, Agra 2,56,318, Varanasi 2,05,092, Allahabad 1,60,000, Bareilly 80,001 (28.20%), Dehradun 1,80,000; Rohtak 8,000; Calcutta 12,37,630 from 8 cinemas; Nagpur 3,90,992 from 2 cinemas, Akola 1,09,837, total 2,81,812, Dhule (6 days) 78,969, Raipur 88,134, total 2,71,629, Jalgaon 1,19,319, 1st week Wardha (6 days) 96,280, 2nd week Chandrapur 1,14,735, Yavatmal 33,185 (1st 1,43,771); Indore 2,15,272 from 2 cinemas; Jaipur 7,57,592 from 2 cinemas, Bikaner (5 days) 1,20,056; Hyderabad (gross) 4,96,989, full.

ARCHANA JOGLEKAR WEDS

Actress Archana Joglekar got married to Dr. Nirmal Mulye on 30th April in Bombay. She will continue acting in films.

SC ASKS FOR PROGRESS REPORTS ON ‘FIRE’ CASE

The Supreme Court on 13th May asked the Union and Maharashtra state governments to file progress reports, within six weeks, on cases relating to violence which followed the screening of Deepa Mehta’s controversial film, Fire. Following the claim of the counsel for the victims that the state government was trying to cover up the case, the court ordered the governments to file copies of the FIR, chargesheets and other relevant documents. According to the counsel, out of the 400 people involved in arson in Bombay, only 25 had been arrested; and chargesheets were not filed in the court.

It may be recalled that the screening of Fire was followed by violence outside cinemas in Bombay and Delhi by a section of people, and several demonstrations were held by those objecting to the scenes of lesbianism depicted in the film. Among the people who suffered their wrath was thespian Dilip Kumar who, together with Mahesh Bhatt and others, petitioned the apex court for protection and the screening of the film without fear.

MULTIPLEX OPENS IN GANDHINAGAR

A three-screen multiplex, City Pulse, opened in Gandhinagar (Gujarat) on 7th May with the releases of KARTOOS and HOGI PYAR KI JEET. The third cinema will open shortly. Each of the three screens at the multiplex boasts of Sony Dynamic Digital Sound (SDDS), Dolby Digital DTS and Sony Stereo sound systems. Spread over 1,25,000 sq. ft. of land, the multiplex also houses a restaurant and an amphitheatre, apart from the cinema halls. Gaming halls, restaurants, an art gallery and a video games parlour will be added to the multiplex in its next phase.

YOU ASKED IT

What will be the next film from the R.K. banner?

– Rishi Kapoor is hearing a lot of stories but has not finalised any so far.

Why does our industry give so much importance to the luck factor?

– Because film business is speculative in nature. Speculation and luck, superstition etc. go hand-in-hand.

What gives the maximum joy and the maximum relief to a producer or director?

– Maximum joy comes when a producer’s/director’s film hits the bull’s eye. Relief comes when another’s film bombs. This is because the producer/director, whose film is due for release, starts comparing his film with the bombed film.

CENSOR NEWS

Puja Films’ Biwi No. 1 was given C.C. No. CIL/2/10/99 (UA) dt. 14-5-’99; length 4052.63 metres in 16 reels (cuts: 4.44 metres).

Padmalaya Combines’ Sooryavansham was given C.C. (in Hyderabad) No. CIL/28/34/99 (U) dt. 7-5-’99; length 5115.34 metres in 16 reels (cuts: 12.59 metres).

Shivam Chitrya’s (Bombay) Rajaji will be issued certificate on 17th.

IMPORTED FILMS

Warner Brothers’ The Matrix was given C.C. No. CFL/3/38/99 (A) dt. 10-5-’99; length 3735.07 metres in 7 reels (no cut).

20th Century Fox’s A Life Less Ordinary was given C.C. No. CFL/3/39/99 (A) dt. 14-5-’99; length 2842.25 metres in 12 reels (no cut).

Columbia Tristar Films’ Parent Trap was given C.C. No. CFL/1/8/99 (U) dt. 7-5-’99; length 3513.15 metres in 8 reels (cuts: 23.77 metres).

Aditya International’s Night Of The Scare Crow was seen on 14th.

Warner Brothers’ Analyze This, applied on 10th, was seen on 14th.

Indo Overseas Films’ Once Upon A Time In China & America was applied on 10th.

Paramount Films’ ED IV was applied on 13th.

20th Century Fox’s Bulworth was applied on 13th.

3-E
Education-Entertainment-Enlightenment

Brothers In Arms

Ever since brothers and C.P. Berar distributors Harikishan Laddha and Jaikishan Laddha parted ways about seven years ago, there hasn’t ever been a case when both have released new films on the same day. Until now, that is. For, the brothers are poised to release two big films simultaneously on 21st May. While elder brother Harikishan’s Laddha Bros. Films P. Ltd. is releasing Sooryavansham on that day, Jaikishan’s Jai Pictures will come out with Rajaji. Thus the two films will not only pit bade miyan against chhote miyan but also have the dubious distinction of pitting bade bhaiyya against chhote bhaiyya!

Gaana Aur ‘Sona’

As the Sona sona number of Biwi No. 1 is scaling up the popularity charts, our attention is drawn to the fact that almost every song, which has had the word sona in its mukhda, has been a hit in the past. Take for instance, O mere sona re (Teesri Manzil), Sona lai jaa re (Mera Gaon Mera Desh), Na maangoo sona chaandi (Bobby), Sona kitna sona hai (Hero No. 1), Sona sona, tera sundar roop salona (Hindustani), Sona sona (Major Saab) and scores of others. Each of these songs has been loved by the public and has, to some extent, added to the favourable fate these films have had at the box-office. Is this some sort of an indication for success? We hope not. Otherwise, our industry people, being the way they are, will soon start putting at least one Sona song in every film! That would be too bad, wouldn’t it?

Going Overboard

Even though the release of Biwi No. 1 (on 28th May) was still three weeks away, its publicity-savvy producer, Vashu Bhagnani, had already begun putting up the film’s posters and other publicity materials at Bombay’s cinemas (Metro, Chandan, Cinemax and others) since last week. This, in itself, may not be a wrong thing to do, but when a due-for-release film’s publicity overshadows that of a film currently showing at the cinema, then one is simply making tongues wag in the trade — even though unintentionally. The publicity of Biwi No. 1 at Metro has been so extensive that it appears as if the film has already released there! Apart from a stall selling Biwi No. 1 merchandise, the theatre sports a huge 60′ x 20′ hoarding and several other posters of the film. Luckily, at present, a repeat-run film is being shown there and so the publicity of Biwi No. 1 doesn’t really ‘harm’ anyone. However, the situation at Chandan cinema, Juhu (Bombay), which is currently showing Anari No. 1 and where Sooryavansham is due next week, is quite the opposite. Vashu’s extensive publicity for his film at this cinema has invited jocular remarks from the makers/distributors of the abovementioned two films who wonder whether it is their film/s which is/are running at the cinema or Biwi No.1.

Guest Director

Not many may be aware that a song was recently added in Sooryavansham. This song was picturised not by the film’s director, E.V.V. Satyanarayana, but by Gurudev Bhalla. Amitabh Bachchan was reportedly impressed by Gurudev’s work in a couple of music videos and it was Bachchan who asked Gurudev to picturise the last song of Sooryavansham. Gurudev did so three weeks back in Hyderabad. The song features Bachchan and Soundarya. Gurudev, incidentally, is the director of Xavier Marquis’ Samna.

ANNOUNCEMENT & LAUNCHING

‘Main Prem Ki Diwani Hoon’ Launched With Song Recording

Rajshri Productions P. Ltd.’s Main Prem Ki Diwani Hoon was launched on March 10 (Holi) with a song recording at Spectral Harmony. The recording was completed on March 11. Penned by Dev Kohli and tuned by Anu Malik, the song was rendered by Sunidhi Chauhan.

Being produced by Kamal Kumar Barjatya, Rajkumar Barjatya and Ajit Kumar Barjatya and written and directed by Sooraj R. Barjatya, the film stars Hrithik Roshan, Kareena Kapoor, and Abhishek Bachchan in a friendly appearance. Regular shooting will commence in the last week of May.

Raj Kanwar To Introduce Arya Babbar

Producer-director Raj Kanwar has signed Arya Babbar, son of Nadira and Raj Babbar, to act in Inderjit Film Combines’ next. A new leading lady and other cast and credits are being finalised.

LATEST POSITION

The excellent collections of CHORI CHORI CHUPKE CHUPKE in Ahmedabad came as happy news about the revival of business in Gujarat after the earthquake.

Chori Chori Chupke Chupke dropped badly from 5th/6th day onwards almost everywhere except in Maharashtra, South and U.P. However, a sharp decline in collections was reported on 8th day in U.P. too. 1st week Bombay 76,40,383 (84.90%) from 16 cinemas (6 on F.H.); Ahmedabad 24,64,924 from 4 cinemas, Rajkot 3,37,230 from 2 cinemas (1 in matinee), Jamnagar 1,53,144; Pune 16,13,779 from 6 cinemas (1 in matinee), Solapur 3,23,219 from 2 cinemas (1 in matinee), Satara 1,60,118 (92.30%) from 2 cinemas (1 in matinee); Hubli 2,84,287 (87.68%); Delhi 76,46,611 (68.08%) from 14 cinemas (2 on F.H.); Kanpur (6 days) 5,90,273 from 2 cinemas, Lucknow 8,72,048 from 2 cinemas, Agra 5,50,000, Varanasi 3,00,163, Allahabad 2,41,000, Bareilly (3 days) 1,11,442; Calcutta 22,17,849 from 7 cinemas (other cinemas’ collections undisclosed); Nagpur 9,35,799 from 4 cinemas, Jabalpur (6 days) 2,47,328, Amravati 3,01,058, Akola 2,88,500, Raipur (6 days, gross) 2,98,600, Durg 1,13,062, Jalgaon 2,87,347, Wardha 1,21,667, Chandrapur 2,13,020, Yavatmal (29 shows) 1,42,780 (79.87%); Indore 3,67,079 from 2 cinemas (2 on F.H.); Jaipur 9,63,637 (59.95%) from 3 cinemas, Ajmer (29 shows) 1,59,719, Bikaner (gross) 3,00,801; Hyderabad (gross) 43,82,303 from 14 cinemas (1 on F.H.). Total 3,46,29,170 from 97 cinemas.

Vatsyayana Kamasutra is generally dull. 1st week Bombay 6,78,948 (37.22%) from 4 cinemas (1 on F.H.); Pune 2,21,331 from 3 cinemas; Delhi 11,12,997 (29.38%) from 6 cinemas; Lucknow 1,28,473; Nagpur 67,229, Akola 58,441, Raipur (6 days) 30,494; Jaipur 1,46,650 (29.92%), Bikaner 77,239. Total 25,21,802 from 19 cinemas.

Kaun Banega Crorepati… Bhoot Banglay Ke Andar (dubbed) is poor. 1st week Bombay 1,96,125 (28.58%; 3 cinemas unrecd., 2 on F.H.); Jabalpur 15,978.

Pyar Ka Josh (dubbed) 1st week Lucknow 97,416; Jaipur 71,935 (20.01%). Dull.

Daku Bhairav Singh 1 week Bombay 28,760 (11.75%). Poor.

Pyar Ki Umang 1st week Bombay was dull.

Officer 2nd week Bombay 6,01,671 (44.63%) from 3 cinemas (3 cinemas unrecd., 5 on F.H.); Pune 4,78,378 from 3 cinemas, Solapur 90,114; 2nd week Delhi 2,76,472 from 3 cinemas (3 on F.H.); Kanpur 1,44,844 from 2 cinemas, Lucknow 1,58,457, Varanasi 1,35,509, Bareilly (6 days) 94,070; Calcutta 4,74,432 from 10 cinemas; Nagpur 71,606 from 2 cinemas, Jabalpur (6 days) 33,127, Amravati 65,352, Akola 47,962 (1st week 1,29,613), Raipur (6 days) 79,916, Jalgaon about 64,000, Yavatmal 28,389 (1st 88,851); Jaipur 61,212 (12.39%); 1st week Mangalore 1,87,852.

Mohabbatein 20th week Bombay 7,93,641 (50.24%) from 7 cinemas (4 on F.H.), total for 20 weeks 5,08,90,255; Ahmedabad 1,19,683 from 3 cinemas; Pune 66,237, Solapur (7 shows) 11,001; Delhi 2,50,299 from 2 cinemas; Kanpur 90,940 from 2 cinemas (1 on F.H.), Lucknow 2,25,694, Agra 91,000, 2nd week Varanasi (revived) 58,888, 20th week Allahabad 41,204; Nagpur 30,730, Amravati 48,413.

CINEMA OWNER DEAD

Vithal Shivaji Sonawane, proprietor of Mohan Chitra Mandir, Jalgaon expired on 5th March in Jalgaon. He was suffering from lung cancer. He was 64 and is survived by his wife, three sons and their families. The cinema remained closed for the day.

AMPTPP PRESSES FOR ABOLITION OF ST LEVY

The Association of Motion Pictures & TV Programme Producers (AMPTPP) has, in a letter dated 9th March, urged Maharashtra chief minister Vilasrao Deshmukh to put an end to the raids conducted by sales-tax officials on the premises of music companies. It may be mentioned here that offices of several music companies, including HMV, Sony, Magnasound and Universal, were visited by the sales tax officials with search and seizure warrants last week. The tax officials also questioned the music companies with specific regard to tax due on copyright transactions in accordance with the levy of 4% sales tax on such transactions as per the state budget for the year 2000-2001.

AMPTPP points out in the letter that the action of the sales tax department has shocked the entertainment industry as it goes against the assurances given by the chief minister at a meeting last year with industry representatives to discuss removal of the new sales tax.

NIMBUS UNVEILS FILM PRODUCTION PLANS

Leading television content provider and a new entrant to film production, Nimbus Communications Ltd., will release its first film — Ek Hoti Vaadi (Marathi) — in May this year. The small-budget film, directed by Ajay Phansekar, stars Shivaji Satam, Reema, Dilip Kulkarni and Sheetal Kshirsagar. The release is part of Nimbus’ Phase I in film production during which it will invest Rs. 7.91 crore in a total of five feature films in Hindi, Marathi, Tamil and Kannada languages. The company intends to generate revenue of Rs. 28 crore in the year 2001-2002 from film business. Ek Hoti Vaadi will be followed by a medium-budget Tamil film, Sangeetham, being directed by Suresh Krissna. Other films at various stages of production and pre-production are: Sarhad Paar, directed by Raman Kumar and starring Sanjay Dutt and Tabu; Ram (Kannada), directed by Raam Shetty; and a big-budget romantic thriller, to be directed by Aziz Mirza.

Nimbus is also considering a couple of international co-productions, of which an Indo-French film in English, to be shot entirely in India, is at an advanced stage of finalisation.

SHASHI KAPOOR SELLS PROPERTY

Actor-filmmaker Shashi Kapoor recently sold the second floor of Prithvi House at Juhu, Bombay for Rs. 1.2 crore. The property owners are Shashi Kapoor’s Filmwallas and Prithviraj Memorial Trust.

‘Chori Chori Chupke Chupke’ The Flaw Chart

With the collections of Chori Chori Chupke Chupke falling faster than share prices do on the stock market, a number of theories are being propounded to explain why the super-hyped film failed to appeal to the public. A look at some of the plausible reasons:

* The film offers very little for the youth and the masses. Among the ladies audience, the response is divided — 50% like the film while the other 50% find the theme of surrogate motherhood too avant-garde for comfort.

* Abbas Mustan are specialists of thrillers and snazzy, stylish films. An out-and-out family drama isn’t their cup of tea. The script, with its glaring loopholes, bears testimony to their lack of expertise at handling such fares.

* The subject was so delicate and serious that whereas the screenplay writers should have taken extra care, the impression one gets is that the writing is the biggest stumbling block. At the end of the film, when Preity Zinta gets neither Salman Khan nor their baby, the audience feels, she has been wronged. The writers might argue that it was meant to be that way — the audience sympathy was supposed to go to Preity Zinta. But herein lies the catch. While it is all very proper that the audience sympathy must go to Preity, in so going, the audience also feels that Salman Khan and Rani Mukerji have ‘used’ Preity for their gain. When the film ends, the public gets up with the feeling that Salman and Rani have ‘cheated’ Preity. And we’re talking of Salman and Rani, who are the film’s hero and heroine.

* Yet another theory has it that there’s no build-up to Rani’s insistence that her husband, Salman, sire a child through another woman. There’s just one scene between her and her grandfather-in-law, Amrish Puri, which leads her to suggest the extreme and completely unusual step to her hubby.

* The writers’ and directors’ recourse to the easy way out of difficult situations is evident in the gode-bharai scene in which Preity Zinta poses as Salman’s wife. To hide her identity, she is shown sitting through the function in a ghunghat. But barring that scene, Salman’s family is shown as being very modern and progressive. Salman’s wife is shown wearing jeans and T-shirts too. Would such a family let the wife sit in a ghunghat all through the function, even while posing for photographs? Even if the obvious answer is ‘no’, the writers/directors did not cook up a plausible reason to justify this. And this ghunghat is very important because, but for it, the secret pact between Salman, Rani and Preity would have been exposed. Treating such an important link in the drama so carelessly or casually with, what is known as, recourse to cinematic liberties, doesn’t quite work when we talk of an enlightened audience and very important or sensitive scenes.

* There’s another theory which says that the audience expects the secret pact to be exposed in front of the family in the climax. In place of the expectation of a melodramatic climax, the audience gets a rather tame and convenient mini-climax.

The film, despite the above theories, has managed to do very well so far in good cinemas in Bombay, Maharashtra and U.P. However, a big drop was noticed in U.P. on the 8th day.

YOU ASKED IT

Why are no films sustaining at the box-office? Has the film industry come under an evil eye?

– Why blame it on an evil eye? If producers concentrate on making proposals instead of films with tight scripts, what do you expect?

When will the first copy of Aamir Khan’s Lagaan be out? Is the film’s release on 1st June a certainty?

– The first copy of LAGAAN should be out next month. Aamir Khan will soon proceed to Madras for the film’s background score to be recorded by A.R. Rahman. As for the release date, June 1 is definite. Its music will be released on 6th April. 

Why does someone not make a political thriller on the lines of Tehelka.com’s expose of the defence ministry?

– It will be too elitist a subject for a film even though, as news, it interests everyone. 

Calcutta Cinema Employees’ Strike: Chances Of Materialisation 50:50

With not even a week to go before the cinema employees of West Bengal strike work in about 750 cinemas, the atmosphere in Calcutta and other centres of the circuit is a bit tense. If no amicable settlement is arrived at between the agitating employees and the Union (BMPEU) on the one hand and cinema owners on the other, cinemas may remain closed from 23rd March.

The BMPEU, pressing for a number of demands, including pay revision, has so far adopted a rigid stand. At a meeting between the Union and representatives of cinema owners, held earlier this week in Calcutta, an offer of a monthly hike in employees’ remuneration of Rs. 100 was turned down by the BMPEU. It demanded an increment of Rs. 400 per employee.

The possibility of the strike being called off at the eleventh hour is not ruled out. It is rumoured that the employees do not have the financial strength to go on a strike and are only trying to extract the maximum from cinema owners.

The West Bengal government, busy as it is with the ensuing Assembly elections, has also not been able to control the situation so far.

Observations.com

That film trade journals and the film industry share a love-hate relationship is common knowledge. Also well-known is the fact that producers and distributors generally inflate box-office collections of their films when supplying figures to trade papers. It then becomes the duty of the trade papers to counter-check the figures with the cinemas and publish the actual figures as against the fake/inflated ones provided by interested parties. While a few trade papers do everything within their means to present the true picture, other less scrupulous ones take the easy way out and print the incorrect figures supplied to them by the producers/distributors.

Chori Chori Chupke Chupke is not the usual film. With a court receiver appointed to monitor its release as well as business, the distributors, obviously, would not be interested in fudging figures, least of all in giving inflated figures to trade papers. For, if they did give incorrect and increased collections and if the courts were to rely on these inflated figures, they’d have to account for monies they never collected!

Resultantly, in place of inflated figures, the distributors of CCCC would be more interested that the actual figures got published in trade papers. Unlike in normal circumstances, when the distributor instructs the cinemas to not reveal the actual collections (of course, with trade papers having their own sources in cinemas, the distributor’s instructions often go unheeded — but, all the same, it’s the same story every week!), in the case of Chori Chori Chupke Chupke, the distributor would beg of the cinema to reveal the genuine collections. Very often, the trade paper wallahs impersonate the distributor’s men while trying to extract the true collections from the cinemas. To circumvent this, some distributors have wisened up to giving code words to cinemas. Only if a person repeats the code word is he let into the secret figure (that is, actual collections).

In the case of Chori Chori Chupke Chupke, the code word has given way to the ‘court word’! “Hello, I’m speaking on behalf of the court receiver!” This one sentence was enough to send shivers down the spines of cinema-wallahs who otherwise insist on the code word before revealing the true box-office collections. Why, this actually happened when a suburban cinema of Bombay casually mentioned to us that the 12 noon show of CCCC on Monday (12th March) was house-full. Fake information this — but, old habits die hard. Next, we telephoned the very cinema, posing as the court receiver’s assistant. And lo and behold! the cinema manager jumped in his seat and was oh-so-ready to help with “whatever figures you want”! As it turned out, the noon show had registered Rs. 11,000 against a capacity of Rs. 20,000 and odd. So much for the house-full collections!

There’s a joke doing the rounds of the industry. As against the congratulatory advertisements customarily issued by the various territorial distributors at the end of the first week in trade papers, the scenario in the case of CCCC will be just the reverse.

A typical congratulatory advertisement reads: “Congratulations XYZ (producer, artistes of the film etc.) on the grand success of ABC (name of film). We are confident of giving you overflow in the months to come. May our association remain lucky for all times to come.”

However, a typical advertisement of CCCC, goes the joke, would be issued by the distributors of the film and would read something like this: “Congratulations producer Nazim Rizvi on the AVERAGE BUSINESS of Chori Chori Chupke Chupke. We are confident, we will NOT pay you overflow. May our association NEVER extend to future films”!

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

The Eternal Flop

Everyone knows what a damp squib Jackie Shroff’s Grahan has turned out to be. The long-in-the-making film, released a few weeks back, barely managed to run for as many days as the years it took to come to the screen. But guess what? Twenty-five years ago, the scene was no different. Another Grahan, made then with Nutan and Subhash Ghai in the lead, found itself eclipsed by poor collections. In fact, the Latest Position column in Film Information‘s issue corresponding to this week in 1976, has this to say: ‘Grahan could hardly cover the theatre hire in Bangalore’.

Now, what’s it they say about history repeating itself?

Whither Prints

Looks like the Bangladeshis are in love with our films. But that still is no excuse for what they have done — or rather, not done, so to speak. Way back in January, the film festival authorities in Bangladesh invited Hindi films for inclusion in the fete held in Dhaka. Our producers responded enthusiastically to the invitation sent by the neighbouring country. Soon, prints of 5-6 films, including Taal and Kaho Naa…Pyaar Hai, were despatched to Dhaka. Little did the producers realise then that that could be the last they would see of those prints. For, over two months have passed since the films have been screened at the festival but the producers are yet to get their prints back. No amount of pleading with the Bangladeshi authorities has helped. Even the Film Federation of India (FFI) doesn’t seem interested in taking up the matter with the Bangladeshi authorities. Wonder, what the poor producers can do — besides cursing their fates, that is!

Kahani (Tera) Ghar (Mera) Ghar Ki

Director S. Priyadarsan, whose song picturisations are always very colourful and visually appealing, has made all his five songs in Ripples Picture Entertainment’s Yeh Tera Ghar Yeh Mera Ghar different from each other. The title song has been picturised on Sunil Shetty and Mahima Chaudhry on 20 different locations. A Govinda aala re song, showing street urchins breaking the dahi ki matki, was filmed in Hyderabad on Sunil, Mahima and Naghma (special appearance), besides 100 dancers and a crowd of 500 people. About 150 experts in matki-breaking were flown to Hyderabad from Bombay to partake in the song picturisation which needed them to form human pyramids, 100 feet high! There’s a romantic song which Priyadarsan has picturised on Mahima Chaudhry and — hold your breath! — Paresh Rawal. Another romantic duet was picturised on Sunil and Mahima on five sprawling sets including one of huge sail boats in a specially created pool depicting the sea. The fifth song, rendered by Shaan and Kay Kay, featured Sunil Shetty and Sanjay Narvekar, besides 15 gora dancers flown in from London, and model-actress Anupama Verma. This song was picturised on five sets erected at AVM and Vijaya Vauhini Studios in Madras.

Hrithik’s Holi Followed By Navratri

Guess, what Hrithik Roshan did on Holi? Not much, apparently. With wife Sussanne and a few friends in tow, Hrithik zipped off to Madh Island (in Bombay) to celebrate a quiet festival of colours, away from fans and the film industry. Now guess, what he did the next day? Celebrated Navratri!

Actually, Hrithik is participating in a 17-day shooting schedule at Mehboob Studios, of Mohan Kumar’s Aap Mujhe Achche Lagne Lage, part of which is picturisation of a Navratri song. Penned by Dev Kohli and composed by Rajesh Roshan, the song goes: Ori gori chaloji chori chori, piya ke milan rut aayee re. Sung by Udit Narayan and Pamela, it is an item song in the film. The eight-minute song, picturised on Hrithik Roshan and Amisha Patel, involves several costume changes as it is spread over all nine nights of Dandiya Raas. Hrithik’s costumes are, as usual, designed by Rocky S. And Raju Khan is entrusted with the choreography. Producer Gautam Kumar is confident that the song will be a major highlight in the film. He also informs, “The current schedule involves shooting of a major portion of the first half of the film. The way things are going, we are certain to complete the film in time for a Diwali 2001 release.”

This means, it will be Hrithik’s second release this year, after Subhash Ghai’s Yaadein which will open all over on 27th July. His third and last release in 2001 would be Karan Johar’s Kabhi Khushi Kabhie Gham, slated for a 14th December opening.

Titles To Match

Supposing one was asked to give film titles to the heroes and villains of the country in recent times, here’s how they’d read:

Bangaru Laxman: Khiladi 420.

V.V.S. Laxman: Khiladiyon Ka Khiladi.

George Fernandes: Main Azaad Hoon.

V.V.S. Laxman and Rahul Dravid: Jodi No. 1.

Indian cricket team: Jo Jeeta Wohi Sikandar.

Major Gen. M.S. Ahluwalia: Sharaabi.

Defence ministry: Hindustan Ki Kasam.

Mamata Banerjee: Nagin Ka Intaqam.

Tehelka.com: Mission: Impossible-2.

Atal Behari Vajpayee: Ek Bechara.

Jaya Jaitley: Paise Ki Gudia.

Jayalalitha, Mamata Banerjee, Mayawati, Uma Bharti: Manchali Ladkiyan.

KUCH KHATTI KUCH MEETHI 

Saboo Films Pvt. Ltd. and Bharat Film Works’ Kuch Khatti Kuch Meethi, inspired from Parent Trap (English) and Do Kaliyan (Hindi), is about two girls who are identical twins and whose parents were separated before they (twins) were born. While one girl stays with the father, the other lives with the mother. But neither the two girls nor the parents are aware of the existence of the other daughter/sister. The two girls meet by chance in Glasgow and decide to bring back their estranged parents together. For this, they trade places. After they do so, the film draws heavily from Ram Aur Shyam and Seeta Aur Geeta.

Not only is the subject an old and trite one, the screenplay writer (Raju Saigal) has also done a shoddy job. Nothing is established and scenes come and go in a jiffy, as a result of which they create little impact, especially in the first half. For instance, the break-up of the couple looks too hurried and the reasons given for the separation of the two kids, just too kiddish. It is because of the poorly scripted first half that the inherent emotional appeal of the drama doesn’t come through at all. The second half may not be without its glaring flaws but, nevertheless, its light scenes do entertain. A fair deal of credit for this would also go to the performers and the dialogue writers (Bholu Khan and Aman Jafri). An example of faulty scripting post-interval comes in the scene when the twins decide to trade places. The girl staying with her father confesses to her twin sister that it was their father’s step-sister who had ruined their father’s life. Pray! if she knew that, why had she, all her life, been rude and insulting to the father. Further, she tells her comparatively tamer sister to go to her father’s house in her place and teach her devilish aunt a lesson. Why couldn’t she have done it all these years?

While the comedy portions are good after interval, the climax is a letdown.

Kajol plays the double role very well despite being let down by a weak script. But she looks out of shape. Sunil Shetty impresses in comedy scenes, with a restrained performance. To his credit, it must be said that he doesn’t go overboard in a single comedy scene. Rishi Kapoor has no role in the first half except to gulp down liquor and fall asleep. In the first half, he looks too much of a drunkard — a sight not very pleasant. However, he is natural in the second half. Rati Agnihotri stages a successful comeback with a refreshing performance. Mita Vashisht is natural but a more glamorous aunt would have been more appropriate. Razzak Khan is very entertaining. Pramod Moutho and Mayur are alright. Dinesh Anand, Dinesh Hingoo, Guddi Maruti and Jaspal Sandhu are average. Parmeet Sethi impresses in a guest appearance. Pooja Batra is just too cute.

Rahul Rawail’s direction looks like a job hurriedly done. For instance, no care has been taken to clearly define the characters of the twin sisters so that they could appear different. Resultantly, there’s not much difference between the two — something which would’ve made the drama interesting. Nevertheless, the director has managed to make the second half light and a bit entertaining. Anu Malik’s music comprises four good songs (‘Saamne baith kar’, ‘Tumko sirf tumko’, ‘Aise na mujhe dekho’ and ‘Chup chup aankhen char karenge’) and a couple of really weak numbers. Background score (Anjan Biswas) is average. Cinematography (Nirmal Jani) is appreciable. Foreign locations are well-captured. Computer effects are of a good standard.

On the whole, Kuch Khatti Kuch Meethi has some masala for circuits like Bombay, Maharashtra, Nizam and cities like Delhi. But its overall dull opening (except in Bombay where the opening was fair) will mar the box-office prospects because the pick-up will happen only on weekends. Despite a very reasonable price, the film will remain an average fare in some circuits and in the red in others.

Released on 19-1-2001 at Eros and 16 other cinemas of Bombay thru Anugraha Entertainment. Publicity: very good. Opening: fair. …….Also released all over. Opening all over was as cold as the cold wave in North India.

ZUBEIDAA

F.K.R. Productions’ Zubeidaa (UA) is the story of a pretty Muslim girl who dreams of becoming an actress but whose orthodox filmmaker father instead forces her to get married to a Muslim boy of his choice. The marriage is annulled on the day she delivers her first child, a baby boy. After a few years, a Hindu prince of Fatehpur falls in love with her and proposes marriage to her. This, even while her father decides to get her married off to a Muslim guy. Much against her father’s wishes, she marries the already-married Hindu prince but she has to leave back her little son in the care and custody of her mother as her strict father will hear nothing of letting her take away his grandchild. Once in Fatehpur, she realises over the years how lonely she is as her husband gets busy in his work and with his other wife. She has also to cope with sexual advances made towards her by her lecherous brother-in-law. Driven by dejection, jealousy and over-possessiveness, she encounters her husband one day and literally pushes out his other wife to be able to fly with him. The private plane, in which they are flying, crashes and the two are killed.

The entire story is told in flashback as the woman’s only son tries to unravel the mysterious life of his mother. His main source of information is his granny, with whom he lives, and the personal diaries his mother used to write and which have been in the grandmother’s possession.

The film has a dull start but becomes interesting as the drama unfolds in the first half. The latter part of the first half is quite interesting, especially when the girl’s budding career of a heroine is nipped by her father, she is married off, she delivers her child and then is divorced from the husband. The drama takes a dip thereafter and the second half becomes very boring and tedious. Several portions of the film’s screenplay have been written in a docu-drama style, which fail to keep the audience’s interest alive. The scenes after the dissolution of the princely states are too overtly historical for audience’s liking and the language of the dialogues is also difficult.

A major drawback of the film for the Indian audiences comes when the mother opts for her second marriage to the prince even at the cost of leaving her little son behind. So unmotherly is her choice that a good section of the audience will lose all sympathy and respect for her after this scene. This would be bad for the film because she is, after all, the heroine.

Zubeidaa, the character, is Karisma Kapoor and Zubeidaa, the film, is also Karisma Kapoor. The actress has never looked so gorgeous and the pains taken in giving her a Muslim look are worth their while because Karisma looks very inch a Muslim in the film. Her performance is outstanding and the wide gamut of emotions she portrays in the two-and-a-half hours is marvellous. Rekha, playing the prince’s other wife, is restrained and very natural but she looks a bit too old even in the earlier reels. Her role is not of much significance. Manoj Bajpai does not fit into the character of the prince. He acts fairly well. Surekha Sikri-Rege is natural to the core as Karisma’s mother. Rajit Kapur also acts well. Amrish Puri plays his part with the utmost sincerity. Lilette Dubey is effective. Farida Jalal, Shakti Kapoor, Parzaan Dastur, Ravi Jhankal, S.M. Zaheer, Smriti Mishra, Rahul Maharya and Vinod Sharawat lend able support.

Shyam Benegal’s direction is limited by the single-track story and documentarish screenplay (Khalid Mohammed and Shama Zaidi). His treatment of the subject will appeal only to the elite audience. Dialogues are appropriate to the mood of the film, but simpler words at places would have been in order. Music (A.R. Rahman) is very good. The ‘Piya’ song is the pick of the lot. Other melodious numbers are ‘Rangeeli ho’, ‘Mehndi hai rachne wali’ and ‘So gaye hain’. Camerawork (Rajen Kothari) is eye-filling. Technically, well made. Costumes (Pia Benegal) deserve special mention. Sets are realistic.

On the whole, Zubeidaa, a class film, has chances only in some cinemas of some big cities.

Released on 19-1-2001 at New Excelsior and 8 other cinemas of Bombay thru Yash Raj Film Distributors. Publicity: very good. Opening: fair. …….Also released all over. Opening was dull everywhere.

HC UPHOLDS BHARAT SHAH’S PLEA FOR F.I.R. COPY

Film financier Bharat Shah’s plea for being given copies of the FIR and remand application was upheld by the Bombay high court on 18th January. This is the first time that an accused under the MCOCA (Maharashtra Control of Organised Crime Act) will be given a copy of the FIR and of the remand application. Justice S.S. Parkar deemed this a constitutional right of a citizen. The judge also held that Bharat Shah was entitled to meet his lawyers while in police custody.

The main prayer in Shah’s application was for grant of bail. But Shah’s lawyers, headed by Ashok Desai, did not press for it as they contended that it would be “meaningless” to seek the bail without knowing the grounds of arrest and the details in the FIR against him. Justice Parkar, therefore, rejected the bail plea as “not pressed”.

The court directed that on receiving a copy of the documents, Shah was at liberty to plead for bail before the special court designated to hear MCOCA cases. It also clarified that Shah could apply for bail even before the police investigations were complete. The direction set aside the restriction clamped on Shah by special judge A.P. Bhangale who had said that bail could be applied for only after the investigation was complete.

The remand of Bharat Shah, in the meantime, was extended by the high court to January 22. The special court had, on January 8, remanded Shah to police custody till 18th January. The topmost film financier was arrested by the crime branch on 8th for his alleged links with the underworld. It is believed by the police that Shah used underworld funds to make Chori Chori Chupke Chupke and other films.

SHAH’S FILMS PROGRESSING

In the meantime, shootings of films presented by Bharat Shah are progressing at full speed. Sanjay Leela Bhansali’s Devdas is being shot at Film City. Shootings of Rahul Gupta’s Hum Panchhi Ek Daal Ke and Bubby Kent’s untitled film, and post-production work of K.C. Bokadia’s Hum Aapke Hain Sanam are to begin shortly. Another Bharat Shah presentation, Kasoor, is being readied for release on February 2.

‘CCCC’ RELEASE

As regards Chori Chori Chupke Chupke, there now seems to be a possibility of its release. On 15th January, the prosecution told the high court that a court receiver may be appointed to release the film and the proceeds may be deposited in the government treasury. Until then, the police had maintained that it would not permit the release of CCCC. As producer Nazim Rizvi and presenter Bharat Shah on 15th January made counter-claims in the special court on the seized negatives of the film, the special public prosecutor urged the court not to accept their claims but to instead appoint a receiver so that the film could be released and the interest of innocent distributors and exhibitors was not jeopardised.

RAIDS CONTINUE

Earlier, on 13th and 14th January, the Enforcement Directorate raided offices and residential premises of Nazim Rizvi, Bharat Shah and the latter’s chartered accountant. The special court on 19th January further remanded Nazim Rizvi to judicial custody until 22nd January.

AKSHAY, TWINKLE TIE THE KNOT

Akshay Kumar and Twinkle Khanna became man and wife on Wednesday (17th January) evening following a wedding ceremony held at Arya Samaj, Bombay. The wedding had been kept a closely-guarded secret. The marriage was held in the presence of family members and close friends.

While their engagement, held in December, was much publicised, their marriage had been kept a secret. Even Twinkle’s mother, Dimple Kapadia, was unaware of the plans and was surprised to learn at the last moment of the hurriedly-decided wedding date.

SHAKILA HOSPITALISED

Actress Shakila, who was suffering from a heart ailment, was admitted to Lilavati Hospital in Bombay last week. Dilip Kumar, Johnny Walker and other veteran artistes have been visiting the ailing heroine of such films as C.I.D., Raj Mahal, Alibaba & 40 Thieves, Halla Gulla, Post Box 999, Guest House, Kali Topi Lal Rumal, Reshmi Roomal, China Town, Tower House, Kahin Pyar Na Ho Jaye (1963) and Ustadon Ke Ustad. “She is now fine,” said Mrs. Johnny Walker to Information. It may be mentioned here that Mrs. Johnny Walker is close to the veteran actress of over 60 films.

S.K. KAPUR DEAD

Producer-director S.K. Kapur breathed his last at Hinduja Hospital in Bombay on Thursday (19th January) following failure of lungs. He was 72 and is survived by his wife, a son and daughter-law.

Siri Krishan Kapur, besides producing a number of films and directing a couple of them, also had distribution offices in Delhi-U.P. and East Punjab. Among the films he had produced were Night In London, Inspector, Dharma, Durga, Shankar Dada, Maan Gaye Ustad, Seetapur Ki Geeta and Sazaa. He had directed Heeron Ka Chor, besides producing it. In all, S.K. Kapur had produced 20 films under the banner of Kapur Films International. His distribution concern was called Kapur Film Distributors and its offices were in Delhi, Gorakhpur and Jalandhar. He had distributed about 100 films in the two circuits.

Kapur Sahab, as he was respectfully referred to, had been on the executive committee of the IMPPA for more than 25 years. He was the honorary treasurer of the Film Makers Combine at the time of his death. He used to be the hon. treasurer of the IMPPA too. The offices of IMPPA and FMC remained closed on 19th.

S.K. Kapur was cremated in the afternoon of 19th. His funeral was largely attended by industry veterans.

Chautha will be held this evening (20th January) at ISKCON, Juhu, Bombay, between 4.30 p.m. and 5.30 p.m.

HAT-TRICK OF SILVER JUBILEE FOR SAJID, SALMAN

Nadiadwala Grandson Entertainment’s Har Dil Jo Pyar Karega entered combined silver jubilee week on 19th January at Alankar, Bombay. The film marks a silver jubilee hat-trick for its producer, Sajid Nadiadwala, and lead man, Salman Khan. The two earlier films of Sajid and Salman, which celebrated jubilees were Jeet and Judwaa. Har Dil Jo Pyar Karega stars Salman Khan, Rani Mukerji and Preity Zinta in the lead. Directed by Raj Kanwar, it is scripted by Rumi Jafri. Music: Anu Malik. Lyrics: Sameer. Cinematography: W.B. Rao. Choreography: Farah Khan.

YOU ASKED IT

I want to remake an updated version of a vintage Hindi film classic in Hindi. Do I need to buy the remaking rights of that old film?

– Yes, you do need to buy the remaking rights. 

Has any villain of a Hindi film been applauded by the audience for his cruel acts or for mouthing a dialogue challenging the hero?

– The audience generally does not applaud the villain for his cruel acts on the screen. It does applaud the villain for his challenging dialogues. A few instances: Amjad Khan in SHOLAY; Sanjay Dutt (as a negative hero) in KHAL-NAYAK; Sunil Dutt (as a negative character) in MOTHER INDIA; and Pran in most of his old films. 

In the event that the court appoints a receiver in the case of Chori Chori Chupke Chupke, will any exhibitor screen the film knowing well that the box-office receipts will have to be deposited with the court?

– Why not? It doesn’t make a difference because not all exhibitors have the motive of withholding the box-office collections from distributors. 

DO YOU KNOW?

CENSOR HIGHLIGHTS: 2000

* A total of 855 feature films in 21 Indian languages and English were certified in the year 2000. Of these, 273 were certified with clear ‘U’ while 174 were given ‘U’ certificate, with cuts; 38 were issued clear ‘UA’ certificates and 73, ‘UA’, with cuts; among adult films, 75 were given clear ‘A’ while 222 were certified ‘A’, with cuts. In all, 386 films got clear certificates while the remaining 469 were subjected to cuts.

* 243 Hindi films were certified in 2000, which constituted 28.42% of the total number (855) of certified films. There were 157 Tamil films (18.36%), 143 Telugu films (16.73%), 87 Malayalam films (10.17%), 76 Kannada films (8.89%), 43 Bengali films (5.03%), 29 Gujarati films (3.39%), 23 Marathi films (2.69%), 11 English films (1.29%) and 10 Nepali films (1.17%). The number of films made in the other 12 languages/dialects is in single digits. 

The Underworld: A Nightmare For The Dream Merchants

(Following is an article, written by your editor and the abridged version of which appeared in The Economic Times in its issue dated 16th January, 2001 in the Debate section. Your editor was one among the three guest writers invited to write on the topic ‘Can we clean Bollywood?‘ The other two writers were Tanuja Chandra and Amit Khanna.)

The Bombay film industry is once again in the public eye but this time, for undesirable reasons. To assume that all of Bollywood is linked with the underworld is too cynical as also a simplistic view. As in other industries, there are some black sheep in the film industry too. Talking figures, of the 143 Hindi films (excluding those dubbed in Hindi from other languages) released in 2000, barely 5 to 7 producers of those films may be linked to the underworld — that, too, is for the police to investigate and ascertain. By no stretch of imagination can 4 or 5% be taken as representing the entire production sector.

Viewed differently, of the 143 Hindi films released, barely 17 managed to prove profitable. With a success ratio, therefore, of barely 15%, is the underworld foolish to invest money in as many films as being made out? The underworld looks for guaranteed returns but the highly speculative film industry offers no guarantee, thanks to the ever-changing preferences of cinegoers. On the other hand, let it be clarified here that big-budget and star-cast films generally assure huge under-production profits to their producers. But how many star-cast films are made in a year? And even out of those, some remain losing propositions for producers after all rights — distribution, music, satellite and Doordarshan — are sold!

The underworld’s earlier brushes with the industry have been hawala transactions for foreign shootings, star presence at foreign parties thrown by dons, and extortion. Perhaps, the glamour is too much to avoid.

In the recent cricket match-fixing scandal, the media didn’t drag the entire cricket team of India and the BCCI into it even though the percentage of the tainted names was far more than 5! Still, the same media, which, very rightly, kept the names of cricketers like Sachin Tendulkar out of the scam, lost no time in generalising when it came to the film industry. The Barjatyas, Chopras, Kapoors and Ghai are an integral part of the film industry but, with one stroke of the pen (in the case of the print media) and one click of the camera (in the case of the more potent electronic media), the image of the entire film industry took the severest beating in its 103-year history.

Black money in Bollywood is yet another black spot on its face. Having said this, it required neither the knowledge of a Chartered Accountant (which I happen to be, by qualification) nor the insight of a film trade analyst (which I am, by choice) to add that black money exists in every industry. As with the underworld nexus, so also with dealings in black money, only the transactions in the film industry get blown out of proportion because

(a) they make sensational reading or viewing material;

(b) Bollywood personalities are role models for millions and under constant public scrutiny; and

(c) there exist umpteen film gossip magazines and satellite chancels which thrive on films but don’t bat an eyelid before painting the very industry black.

Here, it must be added that the percentage of black money dealings in Bollywood, too, has now gone down tremendously because of the reduction in income-tax rates.

So, both, black money transactions and underworld nexus, do exist in the Bombay film industry. But not anywhere close to what is imagined! While lowering the income-tax rates a little more (the human species is never content, right?) and income-tax raids would go a long way in further reducing black money dealings, the issue of breaking the underworld involvement in films is a different ball game altogether. It would require concerted efforts by both, the film industry and the law and order machinery in the country. Of the people who are linked, there may be some who join hands because they fear for their lives. The state needs to be sure that such gullible people are not penalised at any cost. It is people like these whose confidence the police needs to win. If the industry feels secure with the police, at least these gullible people will not link themselves with dons. Then, the police would have to tackle only those who join forces for profit.

If the industry somewhere needs to shoulder part of the blame for succumbing to either pressure or profit motives and, in the process, falling prey to underworld advances, the police too can’t absolve itself of the responsibility for letting Bollywood land itself in the murky state of affairs. How the police now breaks the nexus is for it to decide. On its part, the industry must also set its house in order. It has embarked upon corporatisation which is a step in the right direction. This will enable filmmakers to obtain institutional finance — a sure way to free the industry from the stranglehold of the mafia, howsoever limited. Why, if the industry were to be cleansed, it would also attract foreign and NRI finance.

Finally, I think, the task before the film industry and the government may be difficult but it definitely isn’t impossible. Honest and sincere efforts to wipe out the underworld from the film world can never go in vain. As Sunny Deol, playing a patriotic and spirited Punjab police officer posted in Bombay (make that Bollywood), says, in last week’s release, Farz: Where there’s a will (pause), there is a way.

Yes, there is a way for the film industry and the police. There now seems to be a will too. Only thing, the pause between getting the will and the way to meet has been a bit too long. Consequently, those who sell dreams are today seeing a nightmare.

Let’s Celebrate The Success And His Steely Nerves

Now that Aditya Chopra’s Mohabbatein has clicked all over — beyond doubt — it would be interesting to recount how, once again, the public opinion has been at variance with the trade verdict. Almost everybody in the film trade had been quick in dismissing the second directorial venture of Aditya Chopra as a flop. Its length (running time of over 3½ hours) was considered the biggest drawback which, people in the trade felt, would spell its death-knell. But the public patronised the film and made it a hugely successful one too. Of course, not everyone in the audience felt, it was a great film but then, mixed reports are always there. What was important was that the majority voted in favour of Mohabbatein even if they may have found it a bit too lengthy. Several in the industry had opined that the love story sent wrong signals to the youth as it encouraged romancing in school premises. But what such industry people, perhaps, overlooked was the purpose behind the encouragement given to romancing. Shah Rukh Khan’s intentions were extremely noble and to achieve his aim, the audience didn’t mind even if he ‘used’ three young love pairs. It cannot be denied that Amitabh Bachchan and Shah Rukh Khan elevated their scenes to great heights but one cannot help lauding Aditya for his conviction. After all, how often do you come across a film in which the topmost heroine of the country (Aishwarya Rai) plays merely a ghost; in which one superstar (Amitabh Bachchan) has no heroine opposite him and another superstar (Shah Rukh Khan) has a ghost and mere memories as his co-star? And how often do you come across a director who throws economics to the wind and opts for screening his film in 3 shows daily while paying theatre rentals for 4 shows rather than sacrificing the length of the film by making a slight compromise in the story? While lauding the success of Mohabbatein, one must also praise young Aditya’s courage of conviction. 

– Komal Nahta

‘JUDWAA’ 100 DAYS

Sajid Nadiadwala’s Judwaa has completed 100 days of its run today (May 17) at Liberty, Bombay, and other places. It stars Salman Khan in a double role with Karisma Kapoor, Rambha, Anupam Kher, Shakti Kapoor, Satish Shah, Kader Khan and others. It is directed by David Dhawan and its music is scored by Anu Malik. Purshottam K. Agarwal presents the film.

DISTRIBUTOR RAMBHAI MURDERED

Bombay and Delhi-U.P. distributor Rambhai Patel (Sheetal Films, Ahmedabad-Bombay-Delhi) was brutally murdered on the night of 12th May at Savli near Baroda. His partner in another business, Ramjibhai, was also murdered simultaneously.

Rambhai and Ramjibhai had a flourishing angadia business and had to reportedly recover several crores of rupees from the Somani brothers. When the latter went on postponing the payment, Rambhai and Ramjibhai had an altercation with the brothers a few days before the murders.

It seems that the murders were planned in great detail because Rambhai and Ramjibhai had been summoned by the Somanis to Salvi at the factory of Somani Cement to collect part of their payment. The Somanis, it is learnt, telephoned Rambhai on 11th May and asked him to come to his factory the following day. A reminder phone call was made on 12th too.

The two partners were taken to the godown of the factory on the night of 12th when they reached Somani Cement. By then, the goondas of the Somanis had taken their places in the godown and overpowered the two who least suspected foul play and, therefore, went unarmed. They were beaten with iron rods and wooden sticks, kicked and finally shot dead in true filmi style. Both, Rambhai and Ramjibhai, died on the spot as they could offer little opposition to the gang.

The dead bodies were put in their car and a goon of the Somanis was to set the car on fire at a distance from Savli. But even while preparations were being made to set the car afire at Parthampura village, a police van was passing that way. Sensing danger, the killers fled the scene. The police recovered visiting cards and diaries from the pockets of the two dead persons and, after investigations, arrested the Somani brothers on 15th May. The police suspect that three other persons were also involved in the horrendous murders, but they are still at large.

Rambhai had distributed Deewana, Bewaffa Se Waffa, Mehboob Mere Mehboob and Mashooq in Bombay circuit, and Phool Aur Kaante, Saajan and Sadak in Gujarat. He had also released a film or two in Delhi-U.P.

Rambhai was only 45 years old and is survived by his wife, a son and two daughters. His 13-year old son was away in Ooty on a holiday when the murder took place. The funeral took place at Rambhai’s native place, Balol, on 14th. A post mortem was conducted on 13th.

IN & OUT OF BOMBAY

Producer-director Indra Kumar is on a holiday abroad and will return in the first week of June.

Producer-director Rakesh Roshan left for a holiday abroad on May 13 and will return after a month.

Mr. Raman Maroo of Shemaroo Video will return to India from abroad on 27th May.

Mr. Rajesh Chowdhary of Modern Movies, Jaipur, returned to Jaipur on 16th May.

Mr. Baba Ramdeo of ABC Enterprises, Jaipur, is expected in town after a couple of days and will stay at Royal Inn (649-5151).

Producer Dinesh Salgia is in Indore and will return on 20th May.

Mr. Ashok Tharani of Ashoka Enterprises, Indore, will reach Bombay (634-2335) on 19th May.

Producer Mahendra Dhariwal, presently in Bombay, will leave for Jodhpur (46196) today.

Mr. Kamaldeep Singh Lamba of Kanwaljit Enterprises, Secunderabad, will be in Bombay (98200-74761) from May 19 to 23.

YOU ASKED IT

Jai-Kishen was released recently as Khiladi Hindustani. Anjaam has become Nafrat. Does this title-changing game help?

– In rare cases, it does. By the way, titles of only unsuccessful films are changed, generally speaking. Nobody has tried it with an old hit.

Video pirates have become super-active again. The latest Hindi films are telecast on cable TV channels all over, just two to four days after their theatrical release. Why doesn’t the industry take serious action against such pirates?

– The industry can do nothing till the government decides to help it. So helpless is the industry feeling that it has stopped contemplating taking any action whatsoever, which also is not right.

In 1995, when the government extended the benefit of 50% entertainment tax in Maharashtra for a further period of one year, it did so with the intention that the benefit should be passed on to cinegoers. Is there a similar intention in the current relief?

– No, this time, the government has reduced entertainment tax from 100% to 60% for the benefit of the industry only. Even then, where ticket rates are too high, it would be in the interest of all concerned to pass on at least a part of the benefit to the audience. If the industry does not do so, it may end up killing the hen that laid the golden eggs. For, if admission rates are not brought down in some cinemas, attendance, which is already low, may come down further.

Why? Why? Why?

Some stray thoughts have been crossing my mind for the past few days, which is good food for thought.

Like, why do distributors put the following line in their advertisements in newspapers: ‘To show or see this film on video/cable is illegal’. Has any distributor succeeded in taking action against anybody who shows or sees the latest films on video/cable?

Like, why do we refer to a film’s launching as its muhurt. A muhurt, by its very nature, must be held at the auspicious time. For film muhurts, the auspicious time is not that governed by the stars above but only that when the stars here on earth arrive for the launch. Then, what’s so muhurt-ish about the launching?

Or why do many producers ‘celebrate’ 100 days or silver jubilee of their films even though they run in deficit?

Why do producers flaunt the entry of their songs in countdown shows on the various television channels as a passport to success of their films when the two have no correlation whatsoever?

Why do distributors, when reviving old films, announce that the same have been revived ‘due to public demand’? Does any channel exist for public demand to reach the distributors?

Why, in the interviews on different satellite channels, do the producer/director/actor/ actress always harp on one thing — that my film/role is very different — when the fact is not so. Why can’t they just say that it is entertaining and leave it at that because nobody must be taking this “very different” bit seriously any longer.

Or why do music companies present Platinum and Double or Triple Platinum Discs to music albums when there’s no transparency at all about the album sales and when such Discs have become so common that they do little — or rather nothing — to augment the album sales or brighten up the prospects of a film if the album happens to be a film album?

Why do several producers announce that their films “can be enjoyed on the big screen only” and, yet, sell the video rights of such big-screen entertainers?

Why does the CBFC give ‘A’ and ‘UA’ certificates to films when practically all the films can be seen in cinemas by non-adults or by children unaccompanied by their guardians or without their consent? And these very adult films, after some days, are telecast on channels which have no censorship rules!

Or why do stars make the producers pay their personal make-up man, hair dresser, spot boy, driver? I’m sure, our stars are not so poor that they can’t afford to pay their personal staff adequately. No other profession provides scope for such payment from the person hiring the professional’s services to the professional’s servant, cook etc. etc.

Any why do distributors always cry that the industry is finished, that if prices don’t come down, there’ll be no buyers left, that times have never been as bad as they are today — and, after and in spite of all this, rush to buy films at fancy prices?

Or why do distributors crib that stars don’t run, rather, the film runs, but when it comes to buying films, they want only stars-cast films and will never touch a non-star cast project?

Why does everyone keep saying that the industry is fighting for its very survival even though this ‘dying’ industry has completed 100 years?

And finally, why am I writing all this? Is anything going to change?

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Piracy Of A New Kind

The menace of video piracy has raised its ugly head once again. And this time, with more force than ever before. Although illegal, the latest films are telecast on cable TV throughout the country barely four or five days after their premiere theatrical releases. The video cassettes may be pirated and of poor quality but their telecast and wide reach do make a dent in box-office collections. This piracy is most pronounced in Delhi where pirated video cassettes are openly available. As if this isn’t bad enough, we now have cases of piracy of video CDs too. The pirated video CDs, like the pirated video cassettes of Raja Hindustani, are already available in the market. There is reliable information that due to be out in the market very shortly are video CDs of HAHK..!, DDLJ, Rangeela, Bombay and Judaai. Pertinent to note that official (legal) video cassettes of none of the above films have been released as yet. Piracy of video CDs has spread panic among legal video distributors who used to recover at least a lakh or two from sale of video CD rights. With pirated copies out, this market may be as good as lost now!

Quality-Conscious

The quality-conscious producers and directors taking personal interest in the production of music cassettes of their films is not new. But a music director doing so! Viju Shah deserves a pat on his back for the pains he took in the mastering and duplication of Gupt audio cassettes. He visited the audio plants of Tips outside Bombay and spent hours and hours till he was completely satisfied with the quality. All this, so that the public gets impeccable quality.

And if Viju Shah needs to be complimented for the above, Rajiv Rai also deserves to be congratulated. For, although Gupt is due for release on 4th July, its first copy will be out by the end of May. Reportedly, Rajiv wants that about 10 prints of the film be taken out daily so that complete check can be maintained on their quality. Compare this with the cases of 99% of the films released. Hundreds of prints of such films are prepared in one week!

Madhuri Magic Again?

For those who feel, it’s the end of the road for Madhuri Dixit who has had four failures in a row (Yaraana, Rajkumar, Prem Granth and Koyla), there’s news to the contrary. Madame Dixit, who has not been looking as beautiful as she used to earlier, is, it is heard, looking her glamorous and slim self in Yash Chopra’s Dil To Pagal Hai. Maybe, Madhuri and Chopra’s magic will work, and this Diwali, the actress will have the audience go pagal over her all over again.

‘Sapnay’ Crushed

In Bombay, HMV had tied up with Crush (soft drink) for the publicity of its Sapnay. Hoardings, sponsored by Crush, sprang up all over the city, advertising both, Sapnay and the soft drink. Catchy captions caught the attention of the public. Captions like: ‘Love hurts but a little Crush never hurt anyone’ or ‘Bet you never had a Crush like this’. With the collections of Sapnay coming crashing down day by day in majority of the cinemas, Crush may now well put up hoardings with the following captions: ‘Love hurts but a Big Crash hurts everyone’ and ‘Bet you never saw a Crash like this’.

THE LAST LAUGH

** What are the distributors of Mrituydaata singing in chorus?