KRODH

Ashok Honda Productions’ Krodh (UA), remake of the Malayalam hit, Hitler, is the story  of a young man and his five sisters. Having had to bring up his sisters since the time he himself was just a kid, he is over-protective about them. His over-protectiveness assumes the nature of madness and his strict disposition earns him the nickname ‘Hitler’. He does not even respond to the overtures made by his good friend’s sister, only because he is burdened by the fact that he is guardian to five sisters. His estranged father tries to help the family, but the children spurn his assistance because they believe, he was responsible for their mother’s untimely demise. As it turns out to be, there is a villain who has actually wronged the father and who also has an axe to grind with the young man (father’s son) for a separate incident. Coincidences like this (two tracks — one of the father and the other of the son — and just one common villain) are quite a few and they make the story implausible. The track of the brother not permitting his sisters to even speak to boys looks unbelievable in today’s times, especially because the treatment is not mature. There are some questions which crop up in the drama, but which are left unanswered, thereby further reducing the film’s appeal. For one, why does the brother only order around his sisters and never take them into confidence? Why does he object to the marriage of his sister with his good friend from a decent family? And after their secret marriage, why does he resent it so much as to feel cheated and humiliated? Why does he blame himself for the unfortunate incident involving the eldest of the five sisters, when he has never acted against their interests? How does his good friend as well as his sister not object to their father being slapped by him — this, even when the audience isn’t aware that the father is an evil guy?

This is not to say that there are only flaws and no plus points in the film. Comedy is quite a highlight and it makes the first half light and enjoyable. The second half has more of serious drama and that’s where the film drops because most of it doesn’t look believable. Romance is absent almost completely. Emotions hardly touch the heart because they are improper at places.

Sunil Shetty does a good job and gives a restrained performance. Rambha is her bubbly self. Apoorva Agnihotri is average. Sakshi Shivanand is fair. Johny Lever is just too superb and brings the house down at several places with his brilliant comedy. Kader Khan shines in emotional scenes. Mohan Joshi is average. Rami Reddy suffers on account of faulty pronunciations and monotonous dubbing. Ponnambalam is not really effective. Harish Patel and Himani Shivpuri lend able support. Shashi Sharma acts confidently. Puja Seth, Tanya and Dimple Ghosh are so-so. Others fill the bill. Dubbing of some of the characters is poor.

Ashok Honda’s direction is average. Anand Milind’s music is fair but the absence of a hit song is sorely felt. The best number is the ‘Kangna’ song. The romantic songs picturised as dream sequences is another drawback. Song picturisations are quite an eyeful. Cinematography (Teja) is effective. Background score is good. Action scenes (Bhiku Verma) have thrill and punch. Production and other technical values are of standard.

On the whole, Krodh looks like a dated film because of its regressive story. Comedy and action are its saving points, which should see it reach the average mark in some circuits. Its low price and the holiday period will help.

Released on 17-3-2000 at Dreamland and 18 other cinemas of Bombay thru S.P. Enterprises. Publicity: so-so. Opening: very good (due to Idd holiday). …….Also released all over. Opening was not up to the mark in some circuits despite Idd, because of the examination fever and cricket matches.

SULTAAN

Sangeeta Pictures’ Sultaan (A) is the usual good versus evil drama in which the former triumps over the latter. A police inspector, disillusioned by the system, resents it when his neighbour’s son, whom he had raised as his own child, also joins the police force. Fate plays a cruel joke on the young police officer; his entire family is wiped off by a pack of villains, which forces him to get equally disillusioned by the system. Thus dejected, the police officer decides to lead a commoner’s life after disfiguring the eldest son of the villain, but he is not allowed to live in peace. Finally, he eliminates the villains.

The first half is quite dull with too much emphasis on light moments of a single character (played by Tiku Talsania). The post-interval portion abounds in action and that is fairly engaging. Story and screenplay are dull, and the film’s mainstay is its action. Dialogues (Anoop Shrivastava) are witty at places.

Mithun Chakraborty does a good job. Shaina and Suvarna are average. Dharmendra is so-so and looks quite disinterested in his work. Tiku Talsania has too lengthy a role and, although he acts effectively, he manages to raise laughter only at places (the blame for ineffective comedy would go to the writer). Raza Murad acts quite well. Mukesh Rishi is pretty impressive. Jack Gaud, Shiva, Sanjeeva, Vikas Anand and Yunus Parwaiz lend fair support. Tej Sapru leaves a mark.

T.L.V. Prasad’s direction is functional and leaves plenty to be desired. Music (Bappi Lahiri and Aadesh Shrivastava) is average, a couple of songs being of the hummable variety for front-benchers. Song picturisations are ordinary. Camerawork (K.V. Ramanna) is average. Rambo Rajkumar’s action is old-fashioned, yet punch-packed.

On the whole, Sultaan is only for ‘B’ and ‘C’ class centres.

Released on 17-3-2000 at Super and 9 other cinemas of Bombay thru Dilsa Distributors. Publicity: dull. Opening: fair (due to Idd holiday). …….Also released all over except in South.

SHAHEED UDDHAM SINGH

Surjit Movies’ Shaheed Uddham Singh (UA) is a patriotic film about the life of martyr Uddham Singh and his fight for India’s independence from the British empire. An extremely authentic film, it has been beautifully made. But its Punjabi flavour and the liberal use of Punjabi dialogues dramatically limit its appeal.

Writer Atul Tiwari has done a splendid job of the subject. Dialogues (Surjit Pattar and Atul Tiwari) are masterly. The film does drop in its pace at times, but it picks up again after a while every time.

Raj Babbar gives a marvellous performance in the title role. Juhi Chawla, in a brief role, is restrained and impressive. She looks pretty. Gurdas Maan is wonderfully natural. Charlene Carswell acts pretty ably. Shatrughan Sinha leaves a mark in a brief but important role. Amrish Puri lends face value in a cameo appearance. Tom Alter is effective. Barry John shines. Ranjeet does well. Kavita Kamal, Brenda Carson, Gurkirtan, Dav Anderson, David Maclennan, Joe Lamb, Gurdayal Sirra and Vincent McReady lend admirable support.

Chitraarth’s direction is praiseworthy. The man has an eye for details. The Jallianwala Baug massacre has been effectively recreated. Music has too much of Punjabi flavour but is, nevertheless, good. Costumes have the period flavour. Camerawork (Rajesh Joshi) is good. Production values are of standard.

On the whole, Shaheed Uddham Singh is an enjoyable fare but its business prospects will be very limited due to the Punjabi flavour and dialogues (which make it a class film). It definitely deserves tax-exemption.

Released on 17-3-2000 at Metro (matinee) and 2 other cinemas of Bombay thru ABC Pictures. Publicity & opening: so-so. …….Also released in Rajasthan and Nizam.

LE CHAL APNE SANG

Jyoti Films’ Le Chal Apne Sang is the story of love between a poor boy and a rich girl, who ultimately unite as man and wife. It is a very ordinary story, that too of the kind one saw in films of the ’60s and the ’70s. The screenplay, too, is antiquated. Dialogues are commonplace.

Debutants Nishant and Aakanksha are misfits as love birds. Aakansha has the looks and sex-appeal but she needs to brush up on her acting. Nishant is so-so. Beena, Alok Nath and Raza Murad are okay. Baby Sonali is good. Babloo Mukherji, Suresh Chatwal, Raju Srivastava and Ajay Wadhavkar provide able support while Nanda Shinde, Sudhir Joshi, Resham Tipnis and Sachin Deshpande fill the bill.

Vijay Kondke’s direction is ordinary, like his script. Musically, all the songs are rehashes of old tunes. The only plus points are cinematography (Sameer Arya), editing (V.N. Mayekar) and background score (Anil Mohile) along with good production values.

On the whole, Le Chal Apne Sang is a poor fare with dim chances.

Released on 17-3-2000 at Central Plaza and 5 other cinemas of Bombay thru Kamakshi Film Combine. Publicity and opening: dull. …….Also released in C.P. Berar and Nizam.

LATEST POSITION

Examinations and cricket are adversely affecting collections. But wherever SSC Board exams got over this week, collections of KAHO NAA…PYAAR HAI jumped up dramatically.

Qayamat (dubbed) 1st week Bombay 1,27,500 (3 on F.H.); Ahmedabad 2,58,366 from 4 cinemas; Delhi (6 days) 7,32,853 (32.28%) from 4 cinemas; Lucknow 1,37,221; Calcutta (6 days) 58,507; Nagpur 2,43,015, Amravati (6 days) 93,663; Hyderabad (gross) 2,81,441 from 2 cinemas (3 unrecd.).

………..

Khauff crashes. 2nd week Bombay 7,65,432 (28.71%) from 5 cinemas (5 unrecd., 6 on F.H.); Ahmedabad 2,96,388 from 4 cinemas, Rajkot (matinee) 8,115, Jamnagar 40,038; Pune 3,00,578 from 3 cinemas (1 in matinee), Solapur 1,08,230; Delhi (6 days) 15,50,071 from 7 cinemas (2 on F.H.); Lucknow 1,01,047, Agra 75,000, Allahabad 88,162, Bareilly 38,742; Calcutta (6 days) 1,28,456; Nagpur 37,127, Jabalpur (6 days) 25,006, Amravati (6 days) 61,642, Akola 46,000, Raipur (6 days) 43,432, Jalgaon 74,120 (1st 1,78,266); Indore 60,000, Bhopal 60,000; Jaipur 4,20,567, Ajmer 70,925; Hyderabad (gross, noon) 63,436 (2 unrecd.); 1st week Vijayawada (6 days, gross) 60,606.

Hey! Ram 4th week Bombay 4,96,195 (30.30%) from 2 cinemas (3 unrecd., 4 on F.H.); Pune 2,79,667 from 3 cinemas (1 in matinee), Solapur 22,879; Delhi (6 days) 3,99,881 from 3 cinemas; Lucknow 63,831, 1 week Bareilly 24,335; 4th week Calcutta (6 days) 1,17,026; Nagpur 37,127, 1st week Jabalpur (4 days) 75,386, Akola 90,805; Vijayawada (gross) 2,25,673.

Badal 5th week Bombay 10,30,150 (49.61%) from 5 cinemas (4 on F.H.); Ahmedabad 40,034, 1st week Balasinor 91,621; 5th week Pune 60,645, Solapur 65,152; Delhi (6 days) 2,69,599 from 2 cinemas (1 on F.H.); Lucknow 1,89,011, Agra 1,75,000, Allahabad 68,110, Bareilly 79,887; Calcutta (6 days) 1,18,338; Nagpur 81,262, Jabalpur 59,184, 1st week Kamptee (4 days) 47,467, 5th week Amravati 80,302, Akola 52,377, total 5,89,036, Raipur (6 days) 1,01,272, 4th week Gondia (gross) 86,306, Chandrapur 59,292, total 5,25,706, 1st Yavatmal 1,83,787; 5th week Indore 89,000, Bhopal 66,408; Jaipur 1,55,069, Ajmer 70,000; Hyderabad (gross) 3,27,281 from 3 cinemas (1 in noon).

Pukar 6th week Bombay (TF) 4,71,750 (4 unrecd., 3 on F.H.); Ahmedabad 75,920 from 2 cinemas (2 unrecd.); Pune (TF) 4,30,747 from 3 cinemas, Solapur (TF, matinee) 25,680; Delhi (TF, 6 days) 8,82,291 from 6 cinemas; Lucknow 97,603, Agra 54,000, Allahabad 34,771; Calcutta (6 days) 1,01,681; Nagpur (TF) 1,13,030, Jabalpur (TF, 6 days) 40,716, Akola (TF) 63,926, total 5,92,849, Raipur (TF, 6 days) 35,396, Jalgaon (TF) 85,212 (5th 55,816); Indore (TF) 41,309 (1 on F.H.), Bhopal (TF) 46,451; Hyderabad (gross) 4,04,040 from 3 cinemas (1 in noon, 2 unrecd.).

Kaho Naa…Pyaar Hai is just too fantastic. 9th week Bombay 42,08,528 (94.35%) from 10 cinemas (5 on F.H.), 3rd week Vashi (gross, 6 days) 2,79,918, 8th week Vasai (gross, 6 days) 2,22,535; 9th week Ahmedabad 3,84,868 from 3 cinemas (1 unrecd.), Baroda 2,15,515, 3rd week Padra 1,88,868, 2nd week Cambay 1,64,668 (1st 1,98,906), 9th week Rajkot 1,12,800; Pune 9,16,645 from 3 cinemas (1 in matinee), Solapur 1,91,977; Delhi (6 days) 15,24,080 from 7 cinemas; Lucknow 2,92,167, Agra 1,46,000, Allahabad 91,233, Bareilly (6 days) 43,668; Calcutta (6 days) 7,07,151 from 5 cinemas; Nagpur 2,60,330 from 2 cinemas, Jabalpur (6 days) 1,15,122, 2nd week Balaghat 75,854, total 1,80,976, 9th week Amravati 1,50,664, Akola 1,42,845, total 12,91,504, Raipur 1,20,609, 7th week Durg 70,403, 9th Jalgaon 1,38,260 (8th 1,15,001), 4th week Wardha (nett) 94,827, total 5,08,947, share 4,16,947, 8th week Chandrapur 1,59,371, total 14,28,978, 7th Yavatmal 88,869; 9th Bhopal 1,92,584, total 18,31,574; Jaipur 3,24,159 from 2 cinemas; Hyderabad (gross) 5,57,302 from 2 cinemas (1 in noon, 2 on F.H.); Vijayawada 7 weeks’ total (gross) 16,73,530.

Derani Jethani (Gujarati; TF) 1st week Ahmedabad 1,88,211 from 3 cinemas (1 unrecd.).

FILM PROMOTION COUNCIL FORMED IN U.P.

The Uttar Pradesh government recently announced the formation of the long-awaited Film Promotion Council under the presidentship of well-known writer Kamleshwar. Formulated under the state government’s film policy, the Council will discuss and organise film activities in the state. Besides Kamleshwar, the Council has as its members the chief secretary to the government of U.P. (as associate president), Naushad Ali, Pahlaj Nihalani, Dr. Ramanand Sagar, Dr. R.K. Verma (U.P. Film Chamber of Commerce president), Muzaffar Ali, Ravindra Jain, Pt. Gautam Kaul, Surinder Kapoor, Sultan Ahmed, Shiv Kumar, Raja Bundela, Ashok Chand Jain, J.N. Srivastava and representatives of the NFDC, the FFI, the IMPPA, the Film & Television Academy of U.P., directorate of film festivals, U.P. Film Exhibitors Federation, entertainment commissioner of U.P., and other government departments.

CALCUTTA STUDIO GUTTED IN FIRE

A fire broke out in Calcutta’s oldest studio, Technicians Studio, in Tollygunge on 14th March. The studio’s floor no. 3 was gutted. Six fire engines were employed to put off the fire, but by the time they reached there, the floor had been reduced to cinders. The fire broke out during the shooting of Streer Maryada, being made by Swapan Saha. Fortunately, nobody was injured. Prasenjit and Rituparna Sengupta were participating in the shooting and were the first to notice the fire. Short-circuit is said to be the cause. The set was that of a village, constructed with pinewood and straw which burnt very fast, destroying everything within minutes.

CONFERENCE ON FILM INDUSTRY

An international conference on ‘The business of entertainment: India – Opportunities in the 21st century’ will be held at Hotel Regent in Bombay on March 30 and 31. Topics relating to films, television, music, radio and the government’s role, will be discussed in six sessions. Organised by the Federation of Indian Chambers of Commerce & Industry in association with the Film Federation of India, Indian Music Industry (IMI), Indian Broadcasting Foundation (IBF), Association of Motion Picture & TV Programme Producers, and other bodies, the conference will be inaugurated by Arun Jaitley, minister for information and broadcasting. It will be presided over by Maharashtra chief minister Vilasrao Deshmukh.

AJIT BARJATYA’S SON, RAJAT TO WED

Rajat, son of Ajit Kumar Barjatya, will wed Neha in Delhi on 23rd March. A reception to celebrate the wedding will be held on 25th March in Bombay at the RWITC (Members’ Enclosure), Mahalaxmi.

YOU ASKED IT

Is there any effective way of cutting down production cost without it being obvious on the screen?

– Plenty of ways! Pay the stars less and it will never show on the screen! Jokes apart, production values should be commensurate with the scene/song but producers often go overboard without it really being necessary.

It’s been a long time since a good woman-oriented film has been made. Here, I don’t mean films like Ramkali, Munnibai and the like. I mean films like Mother India, Seema (old), Bandini, Sujata, Aurat (old), Chandni… Will they not make viable proposals today?

– Of course, they would make exciting and viable proposals even today. Do you have a good woman-oriented subject?

Do film awards help in enhancing the market value of stars and technicians?

– Not in India. Here, box-office rewards are more important than awards.

DO YOU KNOW?

* With 15 cinemas currently being installed with DTS sound system, the total number of DTS cinemas in India would go up to 507. Andhra Pradesh has the maximum number of DTS cinemas (142), followed by Tamil Nadu (80) and Maharashtra (70). 

* Universal has released a private album, ‘Dil Kahin Hosh Kahin’, featuring songs penned by Nida Fazli, composed by Aadesh Shrivastava and sung by Lata Mangeshkar, Asha Bhosle, Jagjit Singh, Kumar Sanu, Alka Yagnik and others. The album is presented by Bharat Shah. So many top names in a private album? Well, this private album is different from the rest. The songs of the album were actually recorded for Chetan Anand’s feature film, HUSN. Following Chetan Anand’s demise, the film was shelved, and now, Universal has released the songs in the form of an album. 

* Kader Khan will return to stage after 15 years. He will appear in two plays on 26th March — Badi Der Ki Meherbaan Aate Aate and Local Train — directed by his son, Sarfaraz Khan.

CENSOR NEWS

Baba Films’ Dulhan Hum Le Jayenge (social) was given C.C. No. CIL/1/15/2000 (U) dt. 10-3-2000; length 3876.14 metres in 16 reels (cuts: 2.36 metres).

A.G. Films P. Ltd.’s Hera Pheri (social/comedy), seen on 14th, has been issued C.C. No. CIL/1/16/2000 (U) dt. 16-3-2000; length 4124.86 metres in 18 reels (minor deletion in sound only).

Ashok Honda Productions’ Krodh was given C.C. (in Madras) No. CIL/2/0138/2000 (UA) dt. 6-3-2000; length 4439.90 metres in 17 reels (no cut).

Sangeeta Pictures’ Sultaan was given C.C. (in Madras) No. CIL/3/0175/2000 (A) dt. 15-3-2000; length 3777.45 metres in 16 reels (with cuts).

3-E
Education-Entertainment-Enlightenment

Hrithikmania

While the whole nation is in the grip of Clintonmania these days, the school-going kids as well as the teeny-boppers are struck by Hrithikmania. A case in point is that of a 7th standard 12-year-old of Bhusawal. This girl goes to a school which strictly prohibits its students from bringing into the school any film magazine or photographs of film stars. Any student violating this rule could face a heavy fine or even be rusticated. At such a school, this girl was found to be in possession of more than a hundred pictures of Hrithik Roshan. When the school authorities brought this ‘offence’ to the notice of her parents, even they were shocked by their daughter’s obsession for the KN…PH star! Even the film’s C.P. Berar distributor Laloo Kabra’s school-going son is an ardent fan of Hrithik. He had been pestering his father for a telephonic conversation with Hrithik. The father had agreed to fulfil his wish on the condition that his Hrithik-struck son pass his annual examinations with flying colours. The son had started concentrating on his studies, which made Laloo yield to the pressure from his son even before the results are out!… In Bombay and elsewhere, youngsters have been repeatedly requesting cable-operators to screen KN…PH, even though each cable operator has screened it thrice or more times already. Madness at its height! But who is complaining?! Nobody, not even the parents of such star-struck children. One member of the Parent-Teacher Association (PTA) of a school in South Bombay suggested to us, “Since school exams are nearing, Hrithik should exhort students, through the media, to study for their exams and forget him for a while.” Kaho naa…Hrithik, “Exams hai, tumhe padhna hai!”

Hrithik: A Desi Leo?

Although the comparison may look a trifle too preposterous and far-fetched, one can’t help but draw a few similarities between Titanic and Kaho Naa…Pyaar Hai.

Both are huge hits (the former, of course, is too huge); both are love stories; both have super-hit music; both have the hero and the heroine’s love blossoming on board a luxury liner; in both the films, the lovers do not live happily ever after as in most other love stories (in Titanic, hero Leonardo DiCaprio dies, while in Kaho Naa…, one Hrithik Roshan is killed before the other makes the scene as the earlier hero’s look-alike). Both, Leo and Hrithik, became superstars over-night after the release of these films.

FROM PLEASING PUBLIC TO GOING PUBLIC

The production sector of the film industry is undergoing a sea change. Several top producers, who so far only concentrated on entertaining the public with their films, are now aiming higher and taking their companies pubic. The coming three to four months are likely to see at least five or six producers and music companies bringing out public issues.

With public funds coming into the production sector, the face of the industry will change. The manner in which business is conducted may undergo a radical change. With IPOs (initial public offerings) and corporatisation, the corporate culture will set in. In its wake will come more discipline, greater transparency and more organisation.

While all the public issues may not be lapped up with the same enthusiasm by the people, at least three or four of the several forthcoming public issues can be expected to be hugely over-subscribed. Entertainment and media companies are oven-hot today. Dot com companies command huge market capitalisation. Imagine then, a combination of media and dot com business. It will make for an explosive, effective and formidable synergy. At least a couple of production houses are also contemplating going online in a big way.

The excitement has started. The way film business is conducted is bound to change dramatically. So fasten your seat belts and gear up for the action!

– Komal Nahta

HAMARA DIL AAPKE PAAS HAI

S.K. Films Enterprises’ Hamara Dil Aapke Paas Hai (UA) is the story of a principled man (hero) and a conscientious girl, who happen to meet in a crowded street where a professor is sought to be killed by a gang of villains. The girl reports the crime to the police, for which she has to pay a heavy price — she is raped by the brother of the chief of the villains; disowned by her family and friends; and she loses her job. The principled guy gives her a place in his house and she soon occupies a pride of place in his heart too. However, his proposal for marriage is turned down by her as she finds herself unfit for the position of his wife. The man’s childhood friend comes on the scene and claims his love. In the meantime, the rape victim also starts loving the guy. The complex triangle and tangle are simplified in the climax by one girl sacrificing her love. The film is inspired by the Telugu hit, Pelli Cheskundam.

There is another track too in the story — that of the hero’s step-siblings, whom his father refuses to acknowledge as being products of his lust, but who are reared by the hero.

The story is quite interesting, and the screenplay has been written to accommodate a lot of incidents and happenings which keep the audience interest alive. However, a few drawbacks in the scripting and treatment of the drama rob the film of its merited business. For one, the rape victim is shunned by her father as if she were a girl of loose character; the right reaction of the father would be to sympathise with his daughter while pleading helplessness due to his poverty. Secondly, the girl’s suffering and humiliation are shown minimally after her rape — she, in fact, leads a far more comfortable life post-rape. Thirdly, there’s no romance between the hero and the rape victim and also between the hero and his childhood friend. This makes the film more appealing for the classes than the masses. The comedy tracks would meet with mixed reactions — while some would find them hilarious, others may find them boring or even repulsive. The comedy track has no relevance to the main story. In fact, while the comedy holds more appeal for front-benchers, the story is for the gentry. Therefore, the two are mismatched. Climax is fairly good but the pre-climax sermonising is lengthy and repetitive.

On the positive side, the novelty of the subject would appeal to the ladies especially. Secondly, the drama moves at a really fast pace and does not give the audience time to think. The first half is better.

Anil Kapoor plays the man of principles, with utmost conviction and delivers a fine performance. Aishwarya Rai looks pretty at places and not so pretty at others. Although she acts well, she is stiff at times. Sonali Bendre comes as a whiff of fresh air and impresses a great deal with her free acting. Puru Raaj Kumar is very natural in a negative role. Mukesh Rishi is good. Tanaaz Currim is extremely likeable as Aishwarya’s friend. Anupam Kher’s comedy is loud and will be enjoyed by some. Himani Shivpuri is also unrestrained. Johny Lever’s comedy has some appeal even though it is not hilarious. Jaspal Bhatti and Abid are very good. Upasna Singh, Rana Jung Bahadur, Shashi Sharma, master Yash Shah, baby Kirti Bhardwaj and the artistes playing Aishwarya’s family members lend fair support. Satish Kaushik has no worthwhile role to match his brilliant acting talent. Razzak Khan is alright. Smita Jayakar is effective. Anang Desai does an average job.

Satish Kaushik’s direction is good but his handling of some dramatic scenes leaves something to be desired. For instance, while the confrontation between Aishwarya and Smita Jayakar is very fine, the reaction of Aishwarya thereafter (in front of Anil Kapoor) is incomprehensible — she almost fights with him in frustration rather than breaking down emotionally. Music (Sanjeev Darshan) is good but needed to be much better. The title song and ‘Shukriya shukriya’ number are good. ‘Gham hai kyon’ is also well-tuned and lyrically (Javed Akhtar) rich, but its dull picturisation is a major drawback, making it a walkout item! Since the romantic songs are dream sequences, the impact on the viewer is lesser. Dialogues are effective. Action is ordinary. Kabir Lal’s camerawork is not as good as his earlier works. Foreign locations, however, are extraordinary and they’ve also been captured beautifully. Production values are rich. Other technical aspects are of standard.

On the whole, Hamara Dil Aapke Paas Hai will meet with varying responses from different circuits. It should prove a good earner in Bombay, Gujarat and Maharashtra (C.P. Berar too), where it has taken a great start. In other circuits, its opening is lukewarm and, although the film will pick up by word of mouth, the jump will not be enough to shout home about. It would not be able to even cover its cost in some circuits. The appreciation will come more from the ladies and gentry audience and less from youngsters.

Released on 25-8-2000 at Novelty, New Excelsior and 22 other cinemas of Bombay thru Vimal Agarwal (Aarushi Investments) and R.M. Ahuja & Co. Publicity & opening: excellent. …….Also released all over. Opening was extraordinary in Gujarat and very good in Maharashtra but average in Delhi-U.P., East Punjab and Nizam (also affected due to heavy rains in Nizam) and poor in C.I. and Rajasthan.

LATEST POSITION

The opening of this week’s release, HAMARA DIL AAPKE PAAS HAI, is mixed. While it is fantastic in Gujarat and parts of Maharashtra, it is rather dull in C.I. and Rajasthan. …The festival period (Saatam-Aatham) in Gujarat has been responsible for all-round fantastic collections in the state. 

Tera Jadoo Chal Gayaa 1st week Bombay 50,90,495 (91.37%) from 9 cinemas (11 on F.H.); Ahmedabad 19,49,599 from 4 cinemas, Baroda 100%, Padra 3,36,716, Vapi 6,21,540, Rajkot 3,53,300, Jamnagar (matinee) 39,274 (1 in regular unrecd.); Solapur 2,74,846 from 2 cinemas; Delhi 62,64,179 (65.32%) from 13 cinemas; Kanpur 3,86,986 from 2 cinemas, Lucknow 8,17,045 from 2 cinemas, Agra 5,03,000 from 2 cinemas, Allahabad 2,75,500, Bareilly 1,20,468; did ordinary in Calcutta; Nagpur 8,86,370 from 4 cinemas, Amravati 2,28,576, Raipur 1,94,618, Bhilai 3,73,034 from 2 cinemas (1 gross), Jalgaon 1,66,763, Jabalpur 1,38,502, Wardha 86,906, Chandrapur 2,44,596; Indore 3,43,545 from 2 cinemas (2 on F.H.), Bhopal 2,04,386 (1 unrecd.); Jaipur 8,74,574 (54.02%) from 3 cinemas, Bikaner 1,92,318; Hyderabad (gross) 29,64,353 from 10 cinemas (1 in noon).

……….

Dhadkan 2nd week Bombay 30,89,802 (63.41%) from 10 cinemas (7 on F.H.); Ahmedabad 16,59,966 from 6 cinemas, Baroda 3,09,314, Jamnagar 1,22,850; Solapur 1,87,465 from 2 cinemas; Delhi 26,19,007 from 8 cinemas (1 on F.H.); Kanpur 3,23,993 from 2 cinemas, Lucknow 3,43,995, Agra 3,75,000, Allahabad 1,19,500, Bareilly (6 days) 98,063; Calcutta 8,47,224 from 5 cinemas; Nagpur 3,94,174 from 3 cinemas, Akola 1,61,350, total 3,78,500, Durg 55,136 (1st 1,11,041), Rajnandgaon 70,414 (1st 1,16,433), Chandrapur 1,03,711 (1st 2,21,764); Jaipur 2,95,312 (33.87%) from 2 cinemas, Ajmer (gross) 2,11,542, Bikaner 1,09,735 (1st 2,29,378); Hyderabad (gross) 10,17,450 from 3 cinemas (1 in noon).

Deewane 2nd week Bombay 16,10,823 (54.45%) from 7 cinemas (13 on F.H.); Ahmedabad 9,99,251 from 7 cinemas, Rajkor 2,15,355, Jamnagar 1,69,757; Solapur 35,771; 1st week Hubli (6 days) 2,37,856, Dharwad (6 days) 93,897; 2nd week Delhi 12,02,117 from 9 cinemas (3 on F.H.); Kanpur 1,49,334 from 2 cinemas, Agra 1,52,000, Allahabad 1,05,034, Bareilly (6 days) 62,136; Calcutta 1,82,786; Hajipur 57,939 (1st 88,000); Nagpur 99,843 from 2 cinemas, Akola 1,10,796, total 3,00,200, Jalgaon 84,500, Wardha 36,753; Jaipur 1,66,316 from 2 cinemas.

Har Dil Jo Par Karega 3rd week Bombay 38,11,326 (75.24%) from 9 cinemas (7 on F.H.); Ahmedabad 1,55,628, Vapi 95,810; Solapur 1,44,627; Delhi 10,47,440 from 4 cinemas (1 on F.H.); Kanpur 1,82,216 from 2 cinemas, Lucknow 2,10,008, Agra 1,80,000, Allahabad 80,000, Bareilly (6 days) 38,520; Calcutta 1,92,525; Nagpur 1,67,282 from 2 cinemas, Akola 64,146, total 3,80,754, Durg (6 days) 25,169, Jalgaon 46,692, Wardha 30,825; Jaipur 1,17,070 (23.88%), Ajmer (gross) 1,18,010, Bikaner 70,000; Hyderabad (gross) 8,41,757 from 4 cinemas (1 in noon).

‘KYA KEHNA!’ SCORES A TON

Tips Films P. Ltd.’s Kya Kehna! is completing 100 days of its run today (26th August) at Plaza, Bombay in matinee shows. Directed by Kundan Shah, the film is based on a script by Honey Irani. It has dialogues by Ranjit Kapoor, and stars Preity Zinta, Saif Ali Khan, Chandrachur Singh, Farida Jalal and Anupam Kher in principal roles. The film, produced by Kumar S. Taurani and Ramesh S. Taurani, has music by Rajesh Roshan and lyrics by late Majrooh Sultanpuri.

IFDA AGM ON 10TH SEPTEMBER

The annual general meeting of the Indian Film Directors’ Association will be held on Sunday, 10th September, at 10.30 a.m. at Hotel City Point, Imperial Mahal, Khodadad Circle, Dadar T.T., Bombay.

SHAH RUKH TO PRODUCE TWO SERIALS FOR B4U

Shah Rukh Khan has tied up with B4U to produce two exclusive entertainment shows for the network. These shows will be produced by Dreamz Unlimited, a company floated jointly by Juhi Chawla, Aziz Mirza and Shah Rukh Khan.

‘BARIWALI’ INVITED TO LONDON FILM FESTIVAL

Producer Anupam Kher’s Bariwali has been invited to the 44th London Film Festival, to be held from November 1 to 16. The film has already won the NETPAC award for the most outstanding Asian film at the Berlin International Film Festival (in February this year) and the best narrative film award in the 43rd San Francisco International Film Festival. It also fetched for Kiron Kher, who plays the female lead in the film, the National Award for the best actress, and for Sudipta Chakraborty, the National Award for the best supporting actress.

‘DDLJ’ COMPLETES 250 WEEKS

Yash Chopra’s Dilwale Dulhania Le Jayenge, with which Aditya Chopra made his debut as director, entered combined 250th week in matinee shows at Maratha Mandir, Bombay. The film is still going strong and has broken the longest run record of all first-run films except that of Sholay which had completed 265 weeks at Minerva, Bombay in regular and matinee shows combined.

MUKTA ARTS’ PRE-LISTING PRESENTATION TO BSE MEMBERS

Subhash Ghai, chairman and managing director of Mukta Arts, made a presentation to the members of the Bombay Stock Exchange at the pre-listing ceremony held at the Convention Centre of the BSE on 25th August. It was a rare honour accorded by the BSE to the company. Mukta Arts was only the second company to be invited for such an address.

The presentation by Ghai was attended by the movers and shakers of the Bombay broking community. Prominent members of the BSE governing board including Anand Rathi (president), Deena Mehta (vice president), A.N. Joshi (executive) and J.J. Bhatt (director, investor services & listing) graced the occasion.

The total revenue generation of the film industry is expected to grow from Rs. 6,215 crore in 1999 to Rs. 33,984 crore by 2005, and export earnings from film software are expected to increase from Rs. 665 crore to Rs. 14,700 crore by 2005. In this positive scenario, Mukta Arts has planned a leadership position. Outlining the company’s current projects and its future plan, Subhash Ghai invited BSE members and the general public to benefit from the entertainment boom by participating in it.

Mukta Arts, it may be added here, made a successful Initial Public Offering (IPO) of Rs. 100 crore in July this year. Its book-built portion was built 5.80 times in the institutional category and 3.51 times in the non-institutional category. This was at a price of Rs. 170 per share. In spite of such a good demand, the issue price was fixed at an investor-friendly Rs. 165 per share. The retail portion received an encouraging response from the market.

Mukta Arts proposes to set up an integrated studio complex-cum-research and training centre in order to be in line with the technological advancements in the world in the area of film production and to create a pool of new talent in filmmaking. The company is also expanding its existing studio facilities of Audeus from the present 13,000 sq. ft. to 26,000 sq. ft. and adding a music recording studio, a mixing theatre and editing suites. Mukta Arts also intends to acquire rights (viz. theatrical, television, satellite, cable, overseas, music, CD, DVD, internet etc.) of quality movies of other production houses and consolidate its library. It will also venture into production of television serials and production and marketing of music albums. It is setting up a portal for web broadcasting, covering various aspects of the film industry. The company is also in the process of setting up its own distribution centres and overseas offices in the US, the UK and the Middle East in order to optimise its overseas earnings.

PRANLAL MEHTA DEPARTS

Well-known producer and distributor Pranal Mehta breathed his last on the morning of 20th August at Lilavati Hospital, Bandra, Bombay, following a heart attack. It was the second attack that claimed his life. He had suffered the first attack just a little before the second one. Pranlal Mehta had been under great mental stress and was not keeping good health since a month. He was first admitted to the Arogya Nidhi Hospital, Juhu, Bombay and later shifted to Lilavati Hospital. He was shited to the hospital’s ICU last week.

Pranlal Mehta started as a distributor of Mysore with his father, Veljibhai’s concern in Bangalore. He shifted to Bombay in 1976 and entered film production with Gulzar as his partner. They (Pranlal Mehta and Gulzar) made Kitaab and Kinara. Both the films did not fare well at the box-office. Yet, Pranlal Mehta pursued film production with grit and determination. He set up his own banner, Prathima Films, named after his wife, Prathima. The first film under this banner was Hum Se Badhkar Kaun which was a success.

In the last 23 years, he had produced 24 films, including some successful films like Bezubaan (directed by Bapu), Marte Dam Tak (Mehul Kumar), 100 Days (with which director Parto Ghosh made a foray into the big league), Love 86, Police Public and Suryaa (all directed by Esmayeel Shroff), a Gujarati film, Garvi Naar Gujaratni, and a Kannada film. Among the other films he had produced were Dharm Aur Qanoon, Main Balwaan, Saatwan Aasmaan, Jawani Zindabad, Woh Phir Aayegi, Muskurahat, Zid, Mafia, Jiyo Shaan Se, Betaaj Badshah, Jungbaaz, Yugpurush and Tarkieb. His Chalo Ishq Ladaaye, starring Govindia, is nearly complete.

Pranlal Mehta endeared himself to his friends for his affable nature. He suffered financial setbacks in the early nineties. His Chalo Ishq Ladaaye has been long in the making.

Pranlal Mehta is the only producer to have made five films with Raaj Kumar — Marte Dam Tak, Jungbaaz, Suryaa, Police Public and Betaaj Badshah.

He was 62 and is survived by his wife and two sons, Vijay and Jay, who are also producers. Jay Mehta had been introduced as a hero in Muskurahat and also played the lead man in Zid.

A prayer meeting to condole his demise was held on 21st August at Arya Vidya Mandir at JVPD Scheme, Bombay.

SUJIT KUMAR HONOURED BY UTTAR PRADESH GOVT.

Actor-producer Sujit Kumar was honoured by the government of Uttar Pradesh on 14th August for his contribution to Bhojpuri films, Bhojpuri language and culture. He was felicitated along with other prominent personalities from various walks of life.

Sujit Kumar started his career as an actor and later produced and directed Bhojpuri films. As a lead man, his first Bhojpuri film, Bidesiya, released in the early ’60s, had proved a super-hit. His last Bhojpuri film was Paan Khaye Saiyyan Hamaar, which had also proved a big hit. He acted in 25 Hindi films as lead man before he switched over to playing character roles beginning with Aradhana. The Hindi films he has produced are Anubhav, Aasman Se Ooncha, Khel and Daraar. He is currently producing Champion, starring Sunny Deol and Manisha Koirala.

MAMTA KULKARNI ACQUITTED

Additional chief metropolitan magistrate (Bombay) K.H. Holambe-Patil on 25th August acquitted Mamta Kulkarni in the obscenity case filed against her for posing semi-nude in a glossy.

While passing the judgement, Mr. Holambe-Patil said, as the facts in the case against Mamta Kulkarni in the Andheri (Bombay) court and the present one were the same and as she had already pleaded guilty and been convicted by the Andheri court, Bombay, the present prosecution as far as Mamta Kulkarni was concerned was barred.

A case was registered by the city police in 1995 against the actress, the then editor of Stardust and photographer Jayesh Seth for publishing obscene pictures of Mamta in the September 1993 issue of Stardust. Proceedings will continue against the said editor and the photographer.

Advocate Peter Lobo, who appeared for the actress, had filed for a dismissal of the complaint under section 300 of the Criminal Procedure Code. According to this section, no person can be tried for the same offence twice.

YOU ASKED IT

With big films tumbling one after the other at the box-office in recent months, what corrective measures need to be adopted by the filmmakers?

– Just one, dear. Let the filmmakers devote time to writing scripts, and everything else will automatically fall in place. Our filmmakers are not being honest with the scripts and, therefore, the high casualty rate.

Which old comedy film can be remade successfully in keeping with today’s times?

– CHALTI KA NAAM GAADI, PADOSAN, PYAR KIYE JAA, to name some. They will have to be adapted to today’s times. 

Where is one’s investment the safest — in building a cinema hall or investing in production or in distribution?

– It’s not so simple to guess where one’s investment will be the safest. But investing in a tasteful cinema hall can be profitable today. 

CENSOR NEWS

The Culture Co. (India) P. Ltd.’s Fiza (social) was given C.C. No. CIL/2/28/2000 (UA) dt. 24-8-2000; length 4665.38 metres in 17 reels (cuts: 16.69 metres).

Bhushan Film Production’s Khooni Saaya (horror) was given C.C. No. CIL/3/80/2000 (A) dt. 16-8-2000; length 3033.98 metres in 16 reels (cuts: 58.71 metres).

R.D. Films’ Rani Mera Naam (revised; social) was given C.C. No. CIL/3/82/2000 (A) dt. 18-8-2000; length 3089.11 metres in 16 reels (cuts: 32.93 metres).

5001 Films’ Daku Ganga Jamuna (social) was given C.C. No. CIL/2/27/2000 (UA) dt. 23-8-2000; length 2548.72 metres in 14 reels (cuts: 2.36 metres).

Paramount Films’ Gladiator (Vijeta) (dubbed; historical) was given C.C. No. CFL/2/22/2000 (UA) dt. 22-8-2000; length 4251.96 metres in 16 reels (no cut).

SPE Films’ Jaanbaaz Jodi (dubbed; action), seen on 18th, has been issued C.C. No. CFL/2/23/2000 (UA) dt. 22-8-2000; length 3044 metres in 6 reels (no cut).

Promise Pictures 1997’s The Revenge Of Geeta Mera Naam has been passed for adults, with cuts.

R.N. Films’ Geeta Mera Naam (revised) has been passed for adults, with cuts.

NFDC Ltd.’s Kuchh Dil Ne Kaha (length 4091.07 metres in 15 reels), applied on 21st, was seen on 22nd.

Ajitabh Corporation’s Lal Haveli (3rd revised version; length 2271.32 metres) in 12 reels, applied on 23rd, was seen on 24th.

PRODUCTION NEWS

‘Aap Mujhe Achche Lagne Lage’ 14-Day Stint

Mohan Kumar and Emkay Films Pvt. Ltd.’s Aap Mujhe Achche Lagne Lage is currently being shot in a 14-day spell on a set of a bungalow at Filmalaya Studios. Hrithik Roshan, Amisha Patel, Kiran Kumar, Mukesh Tiwari, Nishigandha Wad, Sheikh Shamim, Moses Lever, Robin Bhatt and junior artistes are participating. The film is being produced by Rohit Kumar and directed by Vikram Bhatt. Story & screenplay: Robin Bhatt and Sanjeev Duggal. Dialogues: Girish Dhamija. Cinematographer: Pravin Bhatt. Lyrics: Ibrahim Ashq. Music: Rajesh Roshan. Dances: Raju Khan. Art: Gappa Chakraborty. Sound: Murari Krishna. Editor: Amit Saxena. The film is presented by Gautam Kumar.

Raj Kumar Kohli’s Film Launched With Recording

Shankar Movies’ Prod. No. 5 was launched with the recording of a song on Aug. 21 at Sunny Super Sounds. Penned by Sameer, the song was set to tune by Anand Milind and rendered by Sonu Nigam, Jaspinder Narula and chorus. The film is being produced and directed by Raj Kumar Kohli. It stars Sunny Deol, Akshay Kumar, Sunil Shetty, Manisha Koirala, Rambha, Aftab Shivdasani, Aditya Pancholi, Mohini Sharma, Arshad Warsi, Rajat Bedi and Monish Kohli. Nishi presents it

Rama Naidu Announces Two Films

Producer Dr. D. Rama Naidu has announced two films to be made under the banner of Suresh Productions. Venkatesh and Karisma Kapoor will play the lead roles in one of the films, which will go on the floors in October. The second will be a remake of the Telugu film, Kalasivundham Raa, made by the same producer. The film will be directed by K. Ravi Shankar. It has dialogues by Jainendra Jain. It will go on the floors in December.

IN & OUT OF BOMBAY

Producer Vashu Bhagnani and Abhishek Bachchan went on a whirlwind tour of Agra, Kanpur and Lucknow on 25th August, making appearances in cinemas screening TERA JADOO CHAL GAYAA.

Producer Boney Kapoor is in Delhi.

Producer-director Subhash Ghai returned from Delhi on 25th and is due to fly to London in a couple of days.

“Hum Chhod Chale Hain Mehfil Ko, Yaad Aaye Kabhi To Mat Rona”

KALYANJI BIDS ADIEU

GAJAA

Kalyanji Virji Sha of the popular Kalyanji-Anandji music duo breathed his last on 24th August at Breach Candy Hospital, Bombay at 5 p.m. following lung failure. The music director, who was a chronic asthma patient, was admitted to the hospital a fortnight back. Incidentally, a day before his demise, the evergreen Kalyanji-Anandji tune, Govinda aala re, from Bluff Master, dominated the air waves throughout the day as 23rd August happened to be the Gokul Ashtami day. Kalyanji was 73 and is survived by his wife and five sons including music director Viju Sha. He was cremated the same evening at Chandanwadi.

Kalyanjibhai, as he was referred to affectionately by everybody in the industry, was known for his good humour, good nature and good tunes which were mostly based on folk or classical music. Kalyanji-Anandji created their own kind of music which comprised uncomplicated tunes garnished with unobtrusive orchestration. Kalyanji had once said, “Simpler the tunes, more popular the songs. But it is difficult to make a simple tune.”

Born in a Kutchi business family, Kalyanji ‘strayed’ into the world of film music on his own. He began his career as a musician in 1952. The been music, innovated by Kalyanji on his clavioline for the famous song of Nagin, Man dole mera tan dole re, which was tuned by Hemant Kumar, brought Kalyanji into the limelight.

He began his career as a solo music director with Babubhai Mistry’s Samrat Chandragupta, released in 1958. In the same year came Post Box 999. The songs of both the films were a rage. These films were followed by Delhi Junction, Tera Kya Kehna and Chandrasena. Kalyanji formed a team with his brother, Anandji, in 1958 and their debut film once again was a Babuhai Mistry-directed film, Bedard Zamana Kya Jaane (1959), produced by Subhash Desai who repeated them in his next, Chhalia, which was the debut-making film of director Manmohan Desai. Kalyanji Anandji stood their own musical ground in their initial days despite competition of quality music from formidable veterans of the day like Shanker Jaikishen, Naushad, O.P. Nayyar, Roshan, Madan Mohan, N. Dutta, Chitragupt, Ravi, Salil Choudhry and Hemant Kumar.

Kalyanji-Anandji then hit big time with Himalay Ki Godmein and Johar Mehmood In Goa (1965), and Upkar (1967). In 1968, the duo won the National Award for its mellifluous score in Saraswatichandra. 1970 saw Kalyanji Anandji at the peak with Geet, Gopi, Johny Mera Naam, Ghar Ghar Ki Kahani, Vishwas, Holi Aayee Re, Kab? Kyon? Kahan?, Sachaa Jhutha, Purab Aur Pachhim, Priya, Safar and Yaadgaar. Twelve films — with all hit songs of that year, when they had stiff competition from Laxmikant-Pyarelal who were their musicians and assistants for six years, from 1959 to 1965 (from Homi Wadia’s Chandrasena to Vijay Bhatt’s Himalay Ki Godmein)!

The duo remained very active for two decades till the fag end of the ’70s. Thereafter, Kalyanji Anandji scored music only for films made by a few maker-friends like Arjun Hingorani, Prakash Mehra and Rajiv Rai. Their last film was B.R. Chopra’s Pratigyabadh (1991).

Kalyanji Anandji were conferred the Padma Shri in 1994, the Lata Mangeshkar award in 1996, and also the Sur Singar Samsad award in 1985. Besides the National Award for Saraswatichandra, they were presented the Filmfare award for Kora Kagaz.

The duo scored music for over 250 films which included three Gujarati films, Mehndi Rang Lagyo, Kasumbi No Rang and Akhand Saubhagyavati. All these Gujarati films had evergreen melodies which have become part of the Gujarati folklore. Among their 250-plus films, 40 had celebrated silver jubilees and 12 were golden jubilee hits. They were the first music directors to win the platinum discs — for their work in Muqaddar Ka Sikandar and Qurbani.

Kalyanji-Anandji were content with their musical contributions. They never displayed aggressiveness for adding to their assignments. Unlike the present-day music directors, they did not believe in going to a producer’s or director’s house and performing an ‘orchestra’ of their tunes! They preferred working in their own music room. In the eighties, with a majority of filmmakers having shifted to the suburbs, they found it too inconvenient to have music sittings at Kalyanji-Anandji’s music room at Peddar Road, which is in the hub of Bombay city. But that did not unnerve the duo. As Kalyanjibhai once joked, “We may not give songs, but we will give singers.” Kalyanjibhai imparted training to many budding singers. Among those who have been groomed by Kalyanji-Anandji are Sadhana Sargam, Sonali Bajpai, Manhar Udhas, Alka Yagnik, Sapna Mukerji, Hemlata and Aditya Narayan (son of Udit Narayan), besides many musicians who are all busy.

Kalyanji then launched a troupe — ‘Little Wonders’ — in 1993 to showcase the singing and music talents of prodigious kids aged between three and twelve. More than 200 shows of ‘Little Wonders’ have been performed so far. Sunidhi Chauhan, who came into limelight with Ruki ruki si zindagi (Mast) song, is a product of ‘Little Wonders’.

Kalyanji loved cracking jokes which had relevance to the topic of the day. He used to create humorous anecdotes himself, just to make people laugh. His wife, Sakarben, or he himself used to be the butt end of many of his jokes.

Kalyanji-Anandji always believed in holding musical shows for charitable causes, whether for their community or for the nation. In 1978, there was a severe drought in the Kutch district (Gujarat). Kalyanji-Anandji raised funds through a series of their stage shows and rehabilitated the inhabitants of the drought-stricken village. The people of the village, as a token of thanksgiving gesture, offered to rename the place as Kalyanji-Anandji Nagar. But the duo requested the villagers to retain the old name of the village as helping the villagers, they said, was “a part of the duty towards a humanitarian cause”.

Kalyanji’s contribution to film music (alongwith Anandji) will remain immortal in the minds of music lovers. Here are some of the gems of the genius duo: Chandan sa badan and Main toh bhool chali babul ka desh (Saraswatichandra), Tumhein yaad hoga kabhi hum mile thhe (Post Box 999), Chahe paas ho chahe door ho (Samrat Chandragupta), Mere toote huwe dil se (Chhalia), Kankariya maar ke jagaaya and Chand si mehbooba ho meri kab (Himalay Ki Godmein), Govinda aala re (Bluff Master), Kasme vaade pyar wafa and Mere desh ki dharti (Upkar), Waqt karta jo wafa (Dil Ne Pukara), Jis path pe chala and Ek tara bole (Yaadgaar), Ye do deewane dil ke (Johar Mehmood In Goa), Aaja tujhko pukare mere geet (Geet), Sukh ke sab saathi and He Ramchandra kahe gaye (Gopi), O babul pyare (Johny Mera Naam), Sama hai suhana (Ghar Ghar Ki Kahani), Dil ko dekho chehra na dekho (Sachaa Jhutha), Koi jab tumhara hriday tod de (Purab Aur Pachhim), Jo tumko ho pasand wohi baat karenge, Hum thhe jinke sahare and Zindagi ka safar (Safar), Do bechare bina sahare (Victoria No. 203), Khaike paan Banaraswala (Don), Peenewalon ko peene ka bahana chahiye (Haath Ki Safai), Ek batta do (Kalicharan), Pal pal dil ke paas (Blackmail), Samjhauta ghamon se kar lo (Samjhauta), Yaari hai imaan mera yaar meri zindagi (Zanjeer), Zubaan pe dard bhari daastan chali aayi (Maryada), Mera jeevan kora kagaz and Mera padhne mein nahin laage dil (Kora Kagaz), Humka aisa waisa na samjho (Adalat), Tumko mere dil ne (Rafoo Chakkar), Rote huwe aate hain sab (Muqaddar Ka Sikandar), Mere angne mein (Laawaris), Laila main Laila (Qurbani), Kya khoob lagti (Dharmatma)… the list can go on and on.

Kalyanji Anandji were the first music directors to perform shows abroad, with Amitabh Bachchan as the star attraction, and thereby setting off a trend of staging star-shows in foreign countries.

Pyarelal (of Laxmikant Pyarelal) paid homage to Kalyanjibhai thus: “We have been family friends. Whenever we used to have any music function or ceremony at our house, Kalyanjibhai and Sakar bhabhi‘s presence was a must. We shared a lot of affection for each other’s families. Kalyanjibhai was a self-made man. No one fully knows the sterling contributions these brothers have made to film music and to the society in general. They groomed the maximum number of leading playback singers of today. When we were their assistants, they used to insist upon the producers to give our names as ‘chief assistant music directors’ along with their names on the same card, in the film titles. May there be more people like Kalyanji and Anandji.”

Anandji was emotionally choked while expressing his sorrow, but managed to say, “I feel as if a roof has been blown off from our house. He was a father-figure to all of us in the family. I am feeling incomplete…” Anandji could not complete his sentence as he broke down mid-way.

Viju Sha, Kalyanji’s music director-son, was also overcome with grief as he said, “What can I say? He played a great innings. I was fortunate to have my father as my guru.”

While Kalyanji was being taken on his final journey, the hasta-hua-jo-jayega muqaddar-ka-Sikandar seemed like bidding adieu to his fans, with a faint smile which seemed to convey,

“Hum chhood chale hain mehfil ko,
Yaad aaye kabhi to mat rona”.

VEERAPPAN STICKS TO HIS GUNS:
IMPASSE OVER RAJKUMAR’S RELEASE

Uncertainty still looms large over the release of Kannada superstar Dr. Rajkumar who is being held hostage since July 30 by forest brigand Veerappan. All hopes of Rajkumar’s release “in a day or two” have thus been quashed once again. There is general despondency among the star’s fans. The disappointment is more palpable among cine workers in Karnataka who have been affected the most due to the Karnataka film industry’s ‘solidarity strike’. The Karnataka Film Chamber of Commerce (KFCC), in a compensatory gesture, has disbursed Rs. 1,000 to the most needy among the cine employees.

Some shootings, in the meantime, resumed on 23rd August on outdoor locations in Karnataka but not in the studios.

Veerappan has reportedly conveyed through Tamil Nadu CM Karunanidhi’s emissary, newspaper editor R.R. Gopal, that he (Veerappan) was in no mood to relent until all his demands were conceded to by the chief ministers of Tamil Nadu and Karnataka.

Veerappan has now also made fresh demands. Meanwhile, R.R. Gopal will be leaving on his third mission to Veerappan’s hideout on August 28. The bandit has set August 29 as the deadline for getting a response from the Tamil Nadu and Karnataka chief ministers.

SALE OF SATELLITE RIGHTS OF FILMS

FDC Refuses To Toe The CCCA Line

A meeting between representatives of the Film Makers Combine (FMC) and those of the Film Distributors Council (FDC) was held in the office of the Motion Picture Association (MPA) in New Delhi on 21st August to discuss the implication of the sale of satellite, video and cable TV rights by producers.

It may be recalled here that a meeting was held on 19th June in Bombay between the distributor-members of the CCCA (an affiliate of the FDC) and the producers (FMC). The meeting was chaired by CCCA president Santosh Singh Jain. At the meeting, it was agreed between the producers and the CCCA distributor-members of C.P., C.I. and Rajasthan that the producers can sell satellite rights within one year of the film’s theatrical release. This was a major shift from the earlier joint policy of the FDC and the FMC, under which producers were restrained from selling satellite rights for 5 years from the date of premiere theatrical release.

At the meeting held on 21st August in Delhi, the FDC made it clear that it would not toe the line of the CCCA as the all-India distributors were not taken into confidence before the CCCA signed the agreement with the FMC in Bombay in June. Tension prevailed throughout the deliberations and no consensus could be arrived at. Another meeting to discuss the same issue will now be held on 20th October.

In order not to ruffle more feathers, the FMC suggested that the members of the AIFPC also be invited (along with the FMC) to thrash out the issue in a cordial manner. The FMC also suggested that the IMPDA office-bearers be invited to participate in the proceedings to arrive at “an appropriate, mutually beneficial decision on this subject”.

The FDC was represented by Munnabhai, president of the EIMPA, Calcutta; Santosh Singh Jain, president of the CCCA, Bhusawal; Prabhat Bhushan, president of the BMPA, Patna; G.D. Mehta, president, and G.S. Mayawala, hon. general secretary of the MPA, Delhi; and Dharam Paul, president, and Yash Paul Mittal, hon. general secretary of the NIMPA, Jalandhar. The FMC was represented by its chairman, Shakti Samanta, hon. general secretary, Surjit Aujla, K.D. Shorey and vice presidents of the WIFPA, Sangram Shirke and Naresh Mohnot.

3-E
Education-Entertainment-Enlightenment

Fear Over ‘Fiza’

A statement by Hrithik Roshan in an interview of the hero, carried by a national daily recently, has had distributors of his forthcoming starrer, Fiza, panicking. In panic are also exhibitors who’ve paid hefty MGs and FHs for Fiza. Those exhibitors, who were on the verge of finalising the film on fancy terms, have stopped to reconsider their decisions. The statement which set off a trail of fear in the minds of the trade people was Hrithik’s declaration that he appears in Fiza only after the interval. The hype surrounding Fiza is, obviously, due to Hrithik and, of course, the hit music too. But with Hrithik hinting that Fiza is more Karisma Kapoor’s film (Fiza is her name in the film) than his, distributors and exhibitors of the film are now getting nervous. The nervousness will remain till September 8 when Fiza hits the screens.

Braveheart Bhagnani

One can’t help but admire the guts of producer Vashu Bhagnani. Like Biwi No. 1, he released his Tera Jadoo Chal Gayaa, too, himself in most of the circuits. East Punjab, Bihar and Nizam are the only three circuits which are not in his account in the case of Tera Jadoo Chal Gayaa. And although the magic hasn’t really worked, is Bhagnani unhappy? Not really, because, as Vashu puts it, “I’ve recovered my entire cost from only the sale of satellite, music and Overseas rights of the film.”

Hello, Brother Hrithik!

While the publicity blurbs of Fiza describe the film’s subject as “in search of her brother” (brother played by Hrithik Roshan), Raksha Bandhan this year saw girls of all age-groups in search of the brother in Fiza — that is, hero Hrishik Roshan! The proof of this was the record number of raakhis Hrithik received from his self-proclaimed sisters from various parts of the country. They totalled more than 3,500! Would he have received these many tokens of sisterly love had Hrithik not announced his marriage next year, to his girlfriend, Suzanne?

The Right And The Wrong

While some in the distribution trade would swear by good cinemas for their films, there are others who couldn’t care less for the quality of cinemas. Shares are what matter to them. One such distributor is P.P. Associates of Delhi-U.P. The concern was recently criticised for booking a poor chain of cinemas for its Bichhoo in Delhi. But Paul and Puri are quick to retaliate, “What is the sense of running after good cinemas when even they cannot guarantee a decent opening of a film? It is better to get good MGs and FHs even if it means screening your film in lesser cinemas because that way, you are at least safeguarding your interest as well as the interest of your producer. People, who are critical of our choice of cinemas in Delhi for Bichhoo, do not, perhaps, know that the share of Bichhoo from Delhi is barely 5 lakh less than the share of a hit film like Soldier from Delhi. This would never have been possible had we gone in for a chain of the so-called good cinemas. We can confidently say that we will give overflow to Guddu Dhanoa for Bichhoo. Now, will anybody fault us for ‘wrong’ selection of cinemas?” Point noted!

A 100 Marks To Mahesh Bhatt!

Though director Mahesh Bhatt seems to be content after having bid ‘bye to direction, he is very much concerned about the content — that is, content in today’s films. Commenting on today’s dazzling publicities and forceful marketing strategies of so many big star-cast films, several of which sadly have no worthwhile stories, he made a comment that should make filmmakers sit up and think. Likening publicity to handwriting, he said, “Merely good handwriting never guaranteed any student 100% marks!” A hundred marks to you, Mahesh. This thought has content in good measure!

JAANWAR

Shree Krishna International’s Jaanwar (UA) is the story of a child who falls into wrong hands and grows up to be a ferocious criminal. He meets a girl, falls in love with her and is about to get married to her and begin life afresh, leaving his past behind like a bad dream. But his past will not leave him so easily. Not just that, by quirk of fate, a little child falls in his lap and his upbringing becomes the criminal’s responsibility. The child grows up with the criminal, and the two of them grow very fond of each other. In the process, the criminal turns over a new leaf. After seven years, the child’s parents learn of the child’s whereabouts and seek his custody from the criminal-turned-guardian. The latter refuses to part with the child for sentimental reasons and, therefore, law has to step in. Finally, the child’s love for the guardian prompts his parents to request the guardian to stay with the family for the sake of the child.

Inspired from Mere Lal, the film has a weak and slow first half which has songs coming in quick succession of one another. The drama begins after interval, and the emotions of the child make the appealing part of the second half. Although dialogues (K.K. Singh) are well-written, they are, at many places, too flowery for the mood of the film. The screenplay (Robin Bhatt) is dull and it has some flaws too. For one, the ferocity of the criminal (Akshay Kumar) doesn’t come across in the first half to justify the title, because he has been shown as a criminal with a golden heart. Secondly, the criminal’s refusal to hand over the child to his parents looks a bit contrived. Even more surprising is the pleading of the lawful parents before the criminal-turned-guardian to give them back their child! Also, the criminal’s partner (Ashutosh Rana), who would rather die in prison than reveal the whereabouts of his friend (Akshay) to the police, has a change of heart at the drop of a hat — he begins to thirst for Akshay’s blood after being released from jail.

Akshay Kumar does quite well. He looks handsome in the first half but his get-up after interval is not very pleasing to the eyes. Karisma Kapoor is effective in emotional scenes but she is missing in a major part of the second half. Shilpa Shetty also scores in emotional scenes, which is all she gets to do. Mohnish Bahl gets limited scope and is alright. Ashish Vidyarthi, as the inspector with a mission, is okay. Ashutosh Rana does not have a role to match his talent. Master Aditya Kapadia looks cute and does a fair job. Johny Lever is just about funny at a couple of places. Shakti Kapoor is so-so. Kader Khan and Jaspinder Narula, both in guest appearances, lend face value. Malay Chakravorty, Viju Khote, Huma Khan, Dinesh Hingoo, Dolly Bindra, Jeetu Verma, master Mohd. Shanu, master Manjyot Singh and the rest lend ordinary support.

Suneel Darshan’s direction is quite good. He shows a marked improvement over his previous film, Ajay. Anand Milind’s music is the best thing in the film. Songs are all very well-tuned and the pick of the lot are ‘Mere yaar dildar’, ‘Mere sapnon ke rajkumar’, ‘Tujhko na dekhoon toh’, ‘Kasam se’ and ‘Chhamak chham’. Song picturisations, however, definitely needed to be more eye-catching to do justice to the lovely tunes. Camerawork (Sameer Reddy) is reasonably good. Tinnu Verma’s action is fairly exciting. Editing is loose. Production and other technical values are alright.

On the whole, Jaanwar has appeal for the masses (action) and ladies (emotions) but nothing for the upper classes. It should do fair business where is has opened well as in Maharashtra, U.P., West Bengal, Bihar, C.P.C.I. Rajasthan, mainly in ‘B’ and ‘C’ class centres.

Released on 23-12-’99 at Metro and on 24-12-’99 at 19 other cinemas of Bombay thru Niraj International. Publicity: excellent. Opening: fair. …….Also released all over. Opening was very good in U.P., Bihar, C.P. and Rajasthan.

LATEST POSITION

The good opening of JAANWAR this week in many parts of the country has brought joy in the trade.

Dahek is a complete washout. 1st week Bombay 12,56,070 (21%) from 11 cinemas (5 on F.H.); Ahmedabad 2,97,465 from 5 cinemas; Solapur 78,948; Delhi  6,07,035 (19%) from 6 cinemas; Kanpur 98,028 from 2 cinemas, Lucknow 62,878, Agra 98,000, Allahabad 60,360, Bareilly 34,918; Indore 32,864 (2 on F.H.), Bhopal 42,260.

………

Khoobsurat 4th week Bombay 19,49,893 (58.66%) from 7 cinemas (5 on F.H.); Ahmedabad 2,07,587 from 2 cinemas, Rajkot 78,000; Solapur 91,387; Delhi 6,56,064 from 3 cinemas; Kanpur 87,999 from 2 cinemas, Lucknow 1,06,464, Agra 62,323, Allahabad 33,800, Dehradun 70,122; Calcutta 1,50,652; Nagpur 1,02,503, Jabalpur (6 days) 72,089, Amravati (6 days) 1,16,854, Raipur (6 days) 77,696, 3rd week Jalgaon (6 days) 77,515, 1st week Wardha 90,558, 2nd week Yavatmal 45,613 (1st 1,03,745); 4th week Indore 95,393, Bhopal 72,607; Jaipur 1,37,678; Hyderabad (gross) 3,34,810 from 3 cinemas (2 in noon).

Collections of Hum Saath-Saath Hain have improved in 7th week over those in the previous week/s in East Punjab mainly. 7th week Bombay 10,23,043 (40%) from 4 cinemas (9 on F.H.), 3rd week Bhayandar (gross) 70,794; 7th week Ahmedabad 2,38,690 from 2 cinemas, Baroda 1,81,051, Surat 1,93,400, 3rd week Kadi 65,300, 7th Rajkot (14 shows) 73,488, Jamnagar 58,118, Bhavnagar 66,003, Surendranagar 34,385; Nasik 1,33,500, Solapur 1,69,931, Sangli 64,400, Ahmednagar 91,200; Hubli 93,893, Belgaum 91,234, 3rd week Nippani 51,144, Bijapur (6 days) 62,537; 7th week Delhi 7,47,461 from 4 cinemas; Kanpur 1,24,807, Lucknow 2,70,931, Agra 1,70,000, Varanasi 1,26,286, Allahabad 1,01,590, Meerut 86,000, Bareilly 68,108, Jhansi 64,948, Dehradun 1,07,681, Moradabad 53,779, Gorakhpur 66,549, Aligarh 62,436, 3rd week Hardwar 65,000; 7th week Ludhiana 2,46,050, Jammu 79,550, Patiala 83,845; Calcutta 6,39,098 from 6 cinemas; Patna 2,33,050; 4th week Guwahati 77,362; 7th Bhubaneswar 48,402; Nagpur 3,65,677 from 2 cinemas, Jabalpur (gross) 2,87,107; Amravati 1,60,902, total 17,55,463, Akola 1,19,213, Dhule 73,615, Raipur 2,27,497, Bhilai 71,626, 5th week Durg 58,542, 7th week Jalgaon 1,26,922, Bhusawal 87,777, 4th week Balaghat 68,317, 7th week Gondia 72,255, Wardha 35,207, Chandrapur 1,36,350, total 16,26,068, Yavatmal 68,018, Khandwa 1,12,856, total 13,96,222; Indore 1,61,037 (3 on F.H.), Sehore 43,750; Jaipur 5,95,480, Jodhpur (gross) 2,95,000 (6th 3,54,000), Ajmer 83,546 (6th 78,238); Hyderabad (gross) 7,87,254 from 3 cinemas (1 in noon); Aurangabad 1,58,836; Bangalore 4,06,389 from 2 cinemas; Madras 1,50,797.

Titanic (dubbed) was adversely affected due to Ramzan. 1 week Delhi 6,48,422 (32.79%) from 3 cinemas.

Maa Baap Ne Bhulsho Nahin (Gujarati; TF) 1st week Ahmedabad 7,19,175 from 5 cinemas; Rajkot 1,47,000. Very good.

Dariya Chhoru (Gujarati; TF) 3rd week Ahmedabad 1,66,873 from 2 cinemas; 1st week Bombay 5,56,077 (40.02%) from 3 cinemas.

‘HS-SH’: PRINT POSITION

Until two weeks back (that is, before the commencement of Ramzan), 316 prints of HUM SAATH-SAATH HAIN were in circulation in India. In the Ramzan period, about 100 prints were withdrawn in the last two weeks. The number of prints will be increased from Jan. 7 and brought back to the pre-Ramzan level on 14th Jan. A total of 130 prints have been taken out for Overseas.

MADHURI DIXIT’S WEDDING RECEPTION A SELECT AFFAIR

The wedding reception of Madhuri Dixit and Dr. Shriram Nene on 18th December at The Club was a select affair. Besides family member, relatives and friends, a limited number of people from the industry were invited for the reception in Bombay. Madhuri and Shriram had got married in Los Angeles on 17th October.

The couple, who had a short honeymoon soon after their marriage, were off on a trip to many countries on 22nd December. Madhuri will return to India in the second week of January 2000.

The actress, whose Pukar and Gaja-Gamini are ready for release, will continue to act in films. In fact, inside reports have it that she has already signed two films of top directors. In one, she co-stars with three heroes and in the other, she pairs with another heroine and a hero.

‘Q’ OF BOND MOVIE DEAD

Desmond Llewelyn, who played the eccentric inventor, Q, in 17 James Bond films, including the latest, The World Is Not Enough, died on 20th December in a car crash in South England. He was returning to London from a promotional campaign for a book about life, which had been released at the premiere of his film, The World Is Not Enough. He was 85.

AJAY DEVGAN GRANTED PERMISSION TO SHOOT

A division bench of the Madras high court, on 23rd December, granted permission to Ajay Devgan to shoot his Raju Chacha on the set he had constructed in the Udhagamandalam (Ooty) reserve forests. The bench, comprising Justice R. Jayasimha Babu and Justice P. Sathasivam, quashed the order of the district forest officer rescinding an earlier order, granting permission for putting up a huge set in the area.

YOU ASKED IT

Is Mela a rehash of Caravan?

– It draws inspiration from CARAVAN and MERA GAON MERA DESH. But, obviously, director Dharmesh Darshan must’ve added his touches.

How come, nobody has thought of registering titles like Y2K, Millennium, Saal 2000, and the like?

– You never know, enthusiastic producers may register the titles you’ve suggested before you even know it!

Can one buy the Indian remaking rights of a foreign film screened at film festivals here?

– Of course, if the foreign film’s producer is willing to sell them. If not, our producers have the knack of remaking them even without their rights!

PRODUCTION NEWS

‘Badal’ On Feb. 11

Mixing of Aftab Music Industries’ Badal is in progress. Produced by Salim and directed by Raj Kanwar from his own story, the film stars Bobby Deol, Rani Mukerji, Ashutosh Rana, Mayuri Kango, Kulbhushan Kharbanda, Ashish Vidyarthi, Johny Lever, Upasna Singh, Shahbaaz Khan, Neena Kulkarni and Amrish Puri. Music: Anu Malik. Lyrics: Sameer. Screenplay: Robin Bhatt and Sutanu Gupta. Dialogues: Santosh Saroj. The film is scheduled for release on Feb. 11.

‘Mission Kashmir’ 15-Day Spell

Writer-producer-director Vidhu Vinod Chopra started a fifteen-day shooting schedule of Vinod Chopra Productions’ Mission Kashmir on Dec. 13 on a set at Film City. Many scenes are being picturised featuring all the artistes. Starring Sanjay Dutt, Jackie Shroff, Hrithik Roshan, Preity Zinta and Sonali Kulkarni, the film has music by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonca. All the songs have already been recorded.

MULTIPLEXES IN GUJARAT

Government Clarification Causes Panic

The clarification, issued by the Gujarat government, in recent press advertisements regarding the tax exemption policy for new entertainment complexes in the state has sent shock waves among those planning such complexes. Although it is only a clarificatory notice and reiterates the position that already existed, people planning multiplexes in the state are panicking because they had interpreted the government policy on entertainment complexes insofar as it related to calculation of entertainment tax, differently.

The clarification mentions that the policy does not envisage that entertainment tax has been waived off but rather that tax exemption has been granted for the period of 10 years or till the investment in the multiplex is recovered, whichever is earlier. The clarification further provides for the maintenance of a pass book wherein the entertainment tax relief per week will be deducted from the total investment.

Since it is a tax relief, it implies that the multiplexes can neither collect entertainment tax from the paying public nor pay the same to the government treasury. This would imply that the admission rates charged by such multiplexes are the nett rates, and the tax to be deducted in the pass book would be calculated on the said rates. Multiplex owners would, on the other hand, interpret the policy to suggest that their admission rates were gross and only a part of that comprised entertainment tax collected but not payable to the government. In such an interpretation, the tax which is to be deducted from the investment in the pass book would be much lower every week.

At places like Gandhinagar, where tax is permitted to be compounded, the difference in the interpretations may not give rise to a very big difference in the tax calculations. But in places where tax is not allowed to be compounded, the entertainment tax calculated under the two interpretations would be very different — almost there times more by governmental interpretation than by multiplex owners’ interpretation.

3-E
Education-Entertainment-Enlightenment

Y3K… Not Y2K!

With the new millennium around the corner, the most commonly used term this last month of the old millennium is ‘Y2K’. An intelligent producer, wishing to remain anonymous, quipped, “While the concern the world over is the Y2K problem in computers, our film industry has another serious problem. It is called ‘Y3K’! ‘Y3K’ stands for ‘Why 3 Khans?’ That is to say, why is the industry so driven by only the three Khans — Aamir, Salman and Shah Rukh?” The producer further wondered, “Today, if you announce a film with any of the three Khans, music companies would fall over one another to acquire the music rights at crazy prices. Ditto, the Overseas distributors. But if your film does not have any Khan, no music company would even care to see who is your music director or how good is your music. For them, the three Khans are akin to sone ki khaan. But they would do well to remember that all that glitters is not gold! So, why so much importance to the three Khans? Y3K?” Any solution to the Y3K problem, anyone?!?

Out-Of-Tune Rumours

Rumours are rumours but they can sometimes harm the subject of the rumours badly. As the rumours concerning the singing career of playback singer Shailendra Singh are harming him. There was baseless talk of Shailendra having given up singing recently, but the singer, who shot to fame with Bobby, clarified, “I am shocked, and totally unaware about how these rumours emanated.” Rishi Kapoor telephoned Shailendra recently and expressed surprise that the singer did not partake in the Raj Kapoor celebration organised by Sony abroad last month. It is Rishi who told Shailendra Singh that he had heard rumours about him quitting singing. Surprised at the false talk, Shailendra informed Rishi that he could not participate, much as he would have liked to, because Sony had never contacted him for the same. “I’ve not quit singing,” the singer informed Information and added, “I’m lending my voice to a lot of songs for television serials and am also scoring music in films and serials.” So there!

Daddy Cool

Hrithik Roshan was a hit in Delhi among the youngsters on 22nd December during the screening of the songs of his launch pad, dad Rakesh Roshan’s Kaho Naa…Pyaar Hai. A live show with Hrithik Roshan and Amisha Patel dancing to the film’s songs, was choreographed by the film’s choreographer, Farah Khan. The lead pair was cheered by the youth among the invitees. All the adulation that the pair got at the show made Rakesh Roshan feel cool enough to calculate the response his film would get.

A ‘Moving’ Performance

An ardent activist, she has always believed in raising a voice of protest against various ills and injustices.

Shabana Azmi on 22nd December raised her voice in the Rajya Sabha too, but in doing so, she was moved to tears following sharp exchanges between her and Shiv Sena member Sanjay Nirupam. Her objection to a statement against a minority community, made by the Sena member brought tears to her eyes as she rushed towards the chair of the House to lodge her protest. The chair later reprimanded the Sena member.

INFORMATION MEETS

“Today, I am completely focussed on my film career.”

– ANJAN SRIVASTAVA

The lovable Mr. Wagle from the tele-serial Wagle Ki Duniya, Anjan Srivastava, is down-to-earth in real life just like the character which he made immemorable on the small screen. Even today, years after the serial made its first appearance, he is unable to shake the image of Wagle off completely. “Yeh ek character ne mujhe itna pareshaan kiya hai ki bas, poochho mat,” he admits. On his part, he has constantly strived to do all kind of roles in order to prove his versatility, notable among which are his negative role in Boney Kapoor’s Santoshi-directed Pukar and another in NFDC’s Chhuti Kar Doonga, both unreleased films.

Information recently met this widely-respected film actor, television star and theatre stalwart over a chat. Excerpts:

Some good roles in the past year or so. How does it feel?

– Good, I guess. Both, Bandhan and Pyaar To Hona Hi Tha, were successes. Khoobsurat has just released while the releases of Pukar and Phir Bhi Dil Hai Hindustani are around the corner. It is an exciting going right now. Yes, China Gate didn’t do too well, but I guess that happens sometimes….

Tell us more about your experience of working in CHINA GATE.

– If you were to describe China Gate in very simple terms, you can say that it was the fitoor (whim) of Rajkumar Santoshi. He realised that whenever one talks of the best films or the best actors, one invariably talks of Hollywood. It disturbed him that whenever we compare our films with those made in the West, we say, yes, they are the best films. Especially now, when filmmakers all over the world are looking to Eastern countries for subjects and actors. Sadly, the all too human tendency of not letting outsiders enter one’s own market is what prevents more Eastern talent from getting a break there.

Let me stray a little here. I remember working with Mira Nair in Mississippi Masala some years ago. She had to literally fight it out with her American colleagues in order to include Indian talent in the project. They used to often ask her why she insisted on casting Indian actors in the film. They went on arguing endlessly even after Mira explained to them that she needed Indian actors because her characters were Indian!

Coming back to the point I was making earlier, the Italian cameraman of Mississippi Masala used to often tell me how they had no fresh subjects in the West, especially woman-oriented ones. Given this, I quite appreciate Santoshi’s belief that Indian films had the necessary talent to compete in the world market. Of course, this talent had to be presented in a befitting manner. So, he took several good character actors and, regardless of their ages and looks, made them the heroes of his film. He made China Gate a commercial film with a twofold aim that it went down well with the audience here and yet, enabled us to show to the West that we had some of the best actors in India. All of us were very thrilled with Rajkumar Santoshi’s vision and the respect he gave us as actors. On my part, I thoroughly enjoyed working in China Gate and can say that this time, Raj gave full justice to my role — something he couldn’t do in Barsaat and Ghatak, where he was forced to chop down my roles as the films had become too lengthy. Raj also gave us actors the respect we deserved, treated us with a lot of maturity and made full payments to us, even when in doing so, he had to bear losses.

Why is it that even after leaving a mark in films like DAMINI and KABHI HAAN KABHI NAA, one doesn’t see you very often on screen? Is it because you are too selective or…

– …Actually, I have received a lot of appreciation for a number of roles that I have played before the ones you have mentioned. Even in my earlier films, be they Loha, Shahenshah, Main Azaad Hoon or K. Vishwanath’s Sangeet, my roles have been liked a great deal.

I have never had any qualms about acting in commercial set-ups. I have always accepted every role that has come my way. Of course, sometimes it so happens that I am offered a film, but can’t take it up — as it once happened with K. Bapaiah’s film — because I have already committed the dates required, to someone else.

Apart from that, one of the reasons I got fewer offers was the perception in the trade that I haven’t ‘struggled’ much, so to speak. Perhaps, that’s true. Another thing that may have gone against me is the fact that I couldn’t use the media to my advantage like other actors did to theirs. When I began to be appreciated in Damini, I couldn’t figure out how to use my new-found success to push my case forward. But, I guess, that is purely my fault.

Mr. Wagle’s is probably one of the most successful characters on Indian television. Comment.

– What can I say? I can only say that it was because of team effort. Everyone on the team worked very hard on the serial, and I have always believed that if every small person on a project gives his optimum inputs — like we did on Wagle Ki Duniya — then there is no way it will fail.

On the flip side, Wagle became a very strong image for me to break free from. I tried acting in a variety of roles, but the Wagle image continued to haunt me for some time. I even did negative roles in films like Yodha, Shahenshah, Ghar Jamai, Main Azaad Hoon and Ghulami just to shake off the image. In fact, only some time back, before Rajkumar Santoshi offered me Pukar, he told me that my character was developing into a negative one, and nobody seemed to want to accept me in such a role. But somehow, he decided on me eventually, and I am happy that both, the film and my character in it, have turned out very good.

And what else does the future hold in store for you?

– I am looking forward to doing films that — as you had mentioned earlier — I deserve. I had even said the same thing to Anil Pandit of NFDC during negotiations for the role of the Maharaja of Baroda in Babasaheb Ambedkar. I asked him why I should accept a film for Rs. 25,000 when I had, after years of hard work, succeeded in having my price hiked to Rs. 5,00,000 today. In spite of doing every film that the NFDC had offered me in the past, all I had been getting in return were lame excuses and very low remunerations, I argued. Finally, I said, “Aap log kab tak mujhe bewaqoof banaaoge?” Anil Pandit then told me that the NFDC was about to start a new film called Chhutti Kar Doonga, in which I would be given a role and remuneration suitable to my calibre. True to his word, Chhutti Kar Doonga, even though being directed by a new director, has given me ample scope for performance. What is so unique about the film is that it is made within the commercial format where even songs are picturised on me — one of them with my lip-synch! Needless to add, this is one release I am looking forward to at the moment. Besides Pukar and Phir Bhi Dil Hai Hindustani, both of which should release soon, there is ABCL’s Loveria, which is complete too and awaiting release. Presently, I have signed Dr. D. Rama Naidu’s Aaghaaz, apart from Rajkumar Santoshi’s next and Kundan Shah’s next. I have also done a guest appearance in Mansoor Khan’s Josh. I play a key role in Parto Ghosh’s Dil Ke Aas Paas.

Today, I am completely focussed on my film career. I  am trying not to repeat the mistakes that I have made earlier. Yes, I will continue doing theatre and television, but very selectively. Right now, I am aiming to win the National Award for the best actor in a film. I know, I can do it, but I am depending on the makers to give me roles that justify my capabilities.

– RAJ VAIDYA

Fortune Favours The Brave

We’ve often heard this one — fortune favours the brave. And just at the turn of the millennium, we’ve got proof that fortune, in fact, sides with the brave-hearted.

At a time when producers would shy away from releasing their films, producer-director Suneel Darshan dared to come with his Jaanwar. Ramzan has, for years, been considered a very dull period for the release of big and star-cast films as a lot of Muslims abstain from visiting cinemas during this month. But Suneel Darshan dared to be different. And look, what happened! Despite the dull period, the film opened to pretty impressive houses at most of the places. By Ramzan standards, the opening of Jaanwar can be described as lovely. At least as far as the initial goes, Suneel’s  gamble has paid off. What must have given Suneel confidence to release his film in Ramzan was the film’s hit music score which had grown in popularity over the last few weeks. Coupled with the melodious songs were the well-made promotional trailers of the film for theatrical screening and telecast on satellite channels. A word about the trailers — they gave the impression of what the film was and were in sync with the title. Of course, the Christmas holidays and the absence of release of a proper star-cast film since a couple of weeks also helped in ensuring a good start for the film.

One more brave producer who reaped the fortune of his bravado earlier this year was Vashu Bhagnani. He released his Biwi No. 1 right when World Cup cricket matches were being played with India as a participating team. Leave alone the World Cup, even other international cricket matches make produces and distributors jittery, but Vashu threw caution and tradition to the winds. His film, too, was backed by a brilliant publicity campaign. Despite the cricket, Biwi No. 1 bowled the industry over with its superb opening then.

Moral of the story: Don’t be scared of myths. If you have the courage and the conviction, you can well explode them.

– Komal Nahta

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!

PRODUCTION NEWS

‘Hindustan Ki Kasam’ Shooting Complete

The entire shooting of Devgan Films’ Hindustan Ki Kasam is complete following the conclusion of the last 10-day shooting spell in Los Angeles. The background score for the film will be recorded from March 15 at Sunny Super Sounds. Starring Amitabh Bachchan, Ajay Devgan, Manisha Koirala, Sushmita Sen, Prem Chopra, Shakti Kapoor, Gulshan Grover, Farida Jalal, Navin Nischol, Shahbaaz Khan, Pramod Moutho, Kashmira Shah, Johny Lever, Salim, Navin Bawa, Goga Kapoor, Ghanshyam, Brij Gopal, Pinky Chinoy, Noopur, Kader Khan and Mallika, it is produced and directed by Veeru Devgan. Dialogues: Tanveer Khan. Music: Sukhwinder Singh. Lyrics: Anand Bakshi. Cinematography: Ishwar Bidri. Action: Jai Singh. Choreography: Raju Khan. Art: Bijon Dasgupta. Editor: Suresh Chaturvedi. The film is presented by Bharat Shah.

LATEST POSITION

Examinations are affecting collections all over the country.

Lal Baadshah dropped a lot from 4th day onwards. Is very poor in Bombay and Delhi but quite good in U.P.. 1st week Bombay 37,40,310 (57.28%) from 14 cinemas (7 on F.H.); Ahmedabad 7,19,384 from 5 cinemas (1 unrecd.), Adipur 1,08,225 (66.69%), Patan 1,42,084; Pune 7,67,703 from 6 cinemas (1 in matinee); Delhi 26,09,032 (38.95%) from 12 cinemas (2 on F.H.); Kanpur 4,08,782 from 2 cinemas (1 on F.H.); Lucknow 2,73,512, Varanasi 1,98,836, Allahabad (38 shows) 3,11,000, Bareilly 1,76,066, Hardwar 55,000; Rohtak 30,000; Calcutta 32,71,062 from 27 cinemas; Nagpur 4,34,892 from 4 cinemas, Jabalpur 1,58,436, Amravati 1,58,641, Akola 1,51,208, Wardha 70,974, Bilaspur 1,63,073 from 2 cinemas; Indore 3,40,574 from 3 cinemas (3 on F.H.), Bhopal 1,35,470 (1 on F.H.); Jaipur 11,02,552 from 5 cinemas, Bikaner 2,27,650 from 2 cinemas; Hyderabad (gross) 7,24,578 from 3 cinemas (1 in noon), share 21,72,000 (including 14 fixed hire cinemas and Aurangabad).

Laawaris is extremely poor at most of the places. 1st week Bombay 20,45,408 (46.80%) from 10 cinemas (7 on F.H.); Ahmedabad 1,70,014 from 3 cinemas (3 unrecd.); Pune 5,81,468 from 5 cinemas (1 in matinee), Solapur 1,02,240 (1 unrecd.); Delhi 14,92,807 (30.66%) from 9 cinemas; Kanpur 1,00,709, Lucknow 1,60,619, Varanasi 1,24,830, Allahabad (38 shows) 1,35,000, Bareilly 47,328; Calcutta 9,45,452 from 22 cinemas; Nagpur 1,76,473 from 4 cinemas, Jabalpur 75,293, Amravati 1,21,520, Akola 43,404, Gondia (gross) 82,762, Chandrapur 1,21,134; Jaipur 1,19,730; released this week in C.I. and Hyderabad.

Kaun is good only in Bombay and a few other centres. 2nd week Bombay 18,02,931 (81.80%) from 4 cinemas (4 on F.H.); Ahmedabad 2,12,647 from 3 cinemas; Pune 2,42,759, Solapur 63,052 from 2 cinemas (1 in matinee); Delhi 12,53,896 from 5 cinemas; Kanpur 49,456, Lucknow 62,554, Varanasi 41,132, Allahabad 40,100; Calcutta (27 shows) 1,47,322; Nagpur 1,59,125; Indore 28,691, Bhopal 39,282; Hyderabad (gross) 2,54,169; Davangere 87,318, 1st week Bellary (Telugu) 56,218.

Kachche Dhaage will fetch commission in some circuits and overflow in some. 3rd week Bombay 14,61,084 (55.95%) from 7 cinemas (6 on F.H.); Ahmedabad 3,05,473 from 4 cinemas (1 unrecd.), 1st week Kadi 1,08,518, 3rd week Jamnagar 46,775; Pune 4,88,895 from 5 cinemas (1 in matinee), Solapur 74,818, 1st Barsi 50,711; 2nd week Bijapur 80,000; 3rd Delhi 17,55,021 from 7 cinemas (1 on F.H.); Kanpur 1,79,000 (1 unrecd.), Lucknow 3,08,427, Varanasi 1,60,727, Allahabad 1,37,380, Bareilly (6 days) 1,03,417, Hardwar 31,552; Rohtak 18,129; Calcutta 4,89,130 from 6 cinemas; Nagpur 1,69,589 from 2 cinemas, Jabalpur 1,70,461, Amravati (6 days) 75,499, Akola 62,970, total 3,73,934, share 2,66,320, Dhule 57,250, Durg (6 days) 47,363, 1st week Bilaspur 64,277; 3rd week Bhopal (6 days) 79,645; Jaipur 4,73,312, Bikaner (gross) 94,626; Hyderabad (gross) 3,05,585; Mangalore 93,649, 1st week Shimoga 87,842.

Daag The Fire 4th week Bombay 3,18,793 (35.24%) from 3 cinemas (2 on F.H.); 1st week Padra 1,31,229; 4th Pune 1,27,790 from 2 cinemas, Solapur 48,830, 1st week Barsi 37,622; 4th week Delhi 90,880 (2 on F.H.); Kanpur 2,29,484 from 2 cinemas, Lucknow 2,64,285, Varanasi 1,48,246, Allahabad 96,000, Bareilly 72,938, Hardwar 37,000; Calcutta 1,18,518; Nagpur 64,423 from 2 cinemas, Jabalpur 62,055, total 4,54,363, Amravati 93,680, Akola 75,431, total 4,74,522, share 3,50,583; Indore 80,000, Bhopal 68,484; Jaipur 1,48,831, Bikaner 35,853; Hyderabad (gross) 2,84,542 from 2 cinemas.

Hum Aapke Dil Mein Rehte Hain 7th week Bombay 16,35,348 (49.95%) from 8 cinemas (3 on F.H.); Ahmedabad 2,44,729 from 2 cinemas (1 unrecd.), Baroda 80,611; Pune 3,84,027 from 3 cinemas (1 in matinee), Solapur (14 shows) 96,090; Delhi 2,16,389 from 2 cinemas; Kanpur 1,42,348 from 2 cinemas, Lucknow 1,84,217, Varanasi 1,02,101, Allahabad 40,100, Bareilly 18,827; Calcutta 1,47,322; Nagpur 1,10,161 from 2 cinemas, Jabalpur 36,900, total 5,97,719, Amravati 73,275, Akola 34,050, total 6,25,200, Dhule 32,325, total 4,77,021; Hyderabad (gross) 2,54,382.

‘MOTHER 98’ TAX-FREE IN U.P.

Producer-director Saawan Kumar’s Mother 98 has been granted exemption from payment of entertainment tax by the Uttar Pradesh government. The film has already been granted a similar exemption in Delhi.

‘GODMOTHER’ RELEASE PERMITTED

Santokben Jadeja, on whose life story Godmother is alleged to be based, has appealed to the Gujarat high court against an order passed by the Rajkot city civil judge, allowing the release of Gramco Films’ Godmother, with cuts in two scenes. Santokben Jadeja, a former MLA of Gujarat assembly and a self-styled lady don of Saurashtra, had earlier moved the city civil court with a petition, seeking a stay on the release of the film which, according to her, was based on her real-life story. She had stated in her petition that the character based on her (played by Shabana Azmi in the film) is shown smoking and consuming alcohol, which would damage her reputation beyond repair within her community. Gramco’s advocates counter-argued that the similarity, if any, between their film’s character and Santokben Jadeja was only coincidental. Upon hearing the arguments for both the parties, the city civil court judge viewed the film on 10th March. Subsequently, he passed an order allowing the release of Godmother, provided the producer suitably changed two scenes depicting Shabana’s character consuming alcohol and smoking.

STANLEY KUBRICK DEAD

Hollywood director Stanley Kubrick, well-known for his 2001: A Space Odyssey and Dr. Strangelove, died in London on 7th March. He was 70 and leaves behind his wife and three daughters.

Paying tributes to him, Warner Bros. chairman and co-chief executive officers Robert A. Daly and Terry Semel said, “We are deeply saddened by the loss of Stanley Kubrick, a towering figure in the world of films and a deeply loved and respected member of the Warner family for nearly three decades. Stanley’s unique vision and protean abilities as filmmaker have fascinated and inspired audiences and colleagues for almost half a century….. We are fortunate to have screened the just completed Eyes Wide Shut, Stanley’s final picture, last week.”

‘TVS SA RE GA MA’ SET COLLAPSES, 30 INJURED

Nearly 30 persons were trapped when a makeshift set of the popular TV programme, TVS Sa Re Ga Ma (Zee TV), collapsed at the Taj Mahal in Agra on 11th March. The incident, which occurred at about 10 p.m., resulted in injuries to a number of fans who were present on the set. None of the cast was present on the set when it collapsed.

AUDIO PIRATE NABBED

The MIDC, Andheri (Bombay) police raided the premises of one Ashok Kumar Baijnath Rai and seized over 7,000 fake audio cassettes (including over 2,000 duplicate cassettes of T-Series) and other materials and duplicating equipments, totally valued at more than Rs. 3,40,000 on 11th March.

JATIN, LALIT ARRESTED

Music directors Jatin and Lalit, accused of assaulting the lobby manager of Hotel Centaur, Juhu, Bombay, in 1989, were on March 9, 1999 remanded to judicial custody till March 23, by metropolitan magistrate of Bandra (Bombay) court, B.A. Shelar. They were sent to Arthur Road jail. While Jatin was arrested on 9th March, Lalit surrendered before the court on 10th. Both were declared absconding by the court last month after they failed to attend hearings.

On August 13, 1989, the Santa Cruz police had registered a case against four persons — Jatin, Lalit, Vinod Bhat and Salma Bihari — for assaulting Kishore Naik, the lobby manager of Centaur Hotel. All the four were arrested and released on bail the next day. The police later filed the chargesheet and the court framed charges against the accused on December 23, 1993. As the accused failed to attend most of the hearings in the case, and a non-bailable warrant, issued in November ’98, could not be executed as the accused had shifted their residences, the court declared the accused as absconding. Bhat and Bihari are yet to be traced.

‘JAIHIND’ TAX-FREE IN MAHARASHTRA, U.P., GUJARAT

Manoj Kumar’s Jaihind has been granted entertainment tax exemption for a year in Maharashtra. It has also been granted tax exemption for two months in Uttar Pradesh and for six months in Gujarat.

UNI TENDERS APOLOGY TO MUKESH KHANNA IN DELHI HC

As in his popular TV serial, SHAKTIMAAN, Mukesh Khanna proved the hero in real life too when one of the premier news agencies of the country, United News of India (UNI), tendered an apology to the actor-producer in court. Mukesh Khanna had filed a defamation suit against UNI for flashing false news about children immolating themselves after seeing his serial, in the hope that the serial hero, Shaktimaan, would come to their rescue. He had also filed a suit against Doordarshan which decided to take his serial off air (intimated vide DD’s letter dated 24-2-’99) despite a contract for 104 episodes. According to Mukesh Khanna, DD’s action to take his serial off air was based on the news items flashed by UNI.

The counsel for UNI, in a hearing of DD and defamation suits in Delhi high court in the courtroom of Justice M.K. Sharma on 11th March, admitted that the news reports about SHAKTIMAAN having inspired children to have set themselves afire, flashed by it (UNI), were incorrect and a bonafide mistake on its part for which UNI was tendering an apology and expressing regret.

In view of the admission of inaccurate reporting by UNI and in view of its apology for the same, which were recorded by the Delhi high court in suit no. 484/1999, additional solicitor general C.S. Vaidyanathan, appearing for Doordarshan, told the court that DD would reconsider its decision to take SHAKTIMAAN off air and, therefore, sought a short adjournment.

The matter will now come up for further hearing on 17th March.

Arun Jaitley, with Rajat Sethi, appeared for Mukesh Khanna. T.L. Garg appeared for UNI.

JAWAHARLAL BAFNA MISSING

Producer Jawaharlal Bafna, whose Aaag Hi Aag has been released this week, left his office on Friday (12th March) morning and is since untraceable. His family filed a complaint with the Oshiwara police station but his whereabouts was not known till late Friday night.

Bafna’s son, Deven, told Information on Friday night at 12.15, “Daddy was feeling very low and dejected since the last 2-3 days. He was unhappy with the behaviour of some of his distributors who took deliveries at reduced prices, saying that he (Jawaharlal Bafna) was in plus, when the fact is that my daddy was in heavy deficit even after all the deliveries were effected.” The C.P. Berar distributor did not take delivery.

Jawaharlal Bafna, instead of returning home, slept in his office on the night of 11th March (Thursday) after effecting all the deliveries. His Delhi-U.P. distributor was also with him that night. On Friday, he left his office without informing anybody. A hand-written note, found in his drawer, mentioned that he had been honest in his dealings but honesty and sincerity did not pay in life. The note also said that he was not fit for this world, that he was leaving his place and that nobody should try to search for him. A line was also mentioned for Mithun Chakraborty to the effect that he should not loot people. Mithun had allegedly agreed to work in Aaag Hi Aag at a price lower than his market price because Bafna had suffered losses in his earlier film, Dadagiri, which also starred Mithun. But, according to Deven Bafna, “Mithun refused to complete his dubbing unless he was paid more money although the contracted amount had already been paid to him.”

CCCA FOUNDER-PRESIDENT H.N.S. RAO DEAD

Industry Loses Honest, Sincere Leader

C.P.C.I. Trade Mourns Subbarao’s Death

C.P. Berar distributor and founder-president of the Central Circuit Cine Association, H.N. Subba Rao, breathed his last at 7.30 p.m. on 9th March at his Bhusawal residence after a brief illness. He was 89. The news of his demise spread like wild fire in the C.P.C.I. Rajasthan trade. The Amravati and Indore trades held condolence meetings on 10th. All the business establishments and the offices of CCCA at Bhusawal, Indore, Amravati and Jaipur remained closed on 10th in his honour.

Born on 25th August, 1910 in Mysore, H.N.S. Rao’s first brush with the film industry was when he joined Baburao Pai’s Famous Pictures in Bombay after matriculating and completing a course in typewriting and shorthand in 1927. Although he joined as a stenographer, his quest for learning saw him working in all the departments. He was deputed to the concern’s Delhi office for a few months and in 1932, he was elevated to the post of branch manager of the Calcutta office. He was called to Bombay again and asked to set up a new distribution office, Kolhapur Talkie Distributors. He also briefly looked after the production work when Famous Pictures branched out into film production. But since distribution was where Subbarao’s (as he was called) heart was, he was shifted back to film distribution where he continued till 1937.

On 1st January, 1938, Famous Pictures opened its Bhusawal office, and Subbarao shifted base there. He later became a partner in the concern and when the other partners retired, he took over the firm. His honesty and sincerity, which he was known for when he was employed at Famous Pictures, continued to be his greatest assets till he breathed his last. The tradition of sincerity and honesty is being carried on in the same vein by his sons, H.S. Pandurang Rao and Anant Rao.

H.N.S. Rao distributed over 200 films, many of which were jubilee hits. He was the regular distributor of films produced by Mehboob Khan, Raj Kapoor, K. Asif, Prabhat Film Company, O.P. Ralhan and Atmaram.

H.N.S. Rao was the founder-member of the first executive committee of the CCCA and was also the member of the committee which drafted the constitution of the FFI. In the CCCA, his opinions at annual general meetings and otherwise were always greatly valued. For his valuable contribution to the film trade of C.P.C.I. Rajasthan, in particular, he was honoured at the hands of then president of India, P. Venkataraman, on the eve of the 75th anniversary of the film industry, in Madras.

He also founded a number of educational, social, cultural and charitable organisations including the society which runs an arts, science and commerce college in Bhusawal. The computer lab, which was funded by him, at the college is named after him.

The cine trade of Indore and the staff of the administrative office of the CCCA in Indore on 10th March condoled the death of H.N.S. Rao, at Film Bhawan. The condolence meeting was chaired by the honorary treasurer of the CCCA, Ramesh Sureka, who, paying tributes to the departed soul, said that the sad demise had caused an irreparable loss to the CCCA and the film fraternity. G.S. Gupta referred to him as the Gandhi of the CCCA. Joharilal Jhanjharia recalled his association with H.N.S. Rao since the time the CCCA was founded and his heroic efforts for the growth of the film industry that had made him a living legend. M.L. Jain recounted that Subbarao was a man of principles and a no-nonsense leader. Govind Acharya gratefully acknowledged that he had learnt a lot from H.N.S. Rao. Uttam Nahar and Jitendra Jain appreciated the late leader’s humane qualities, open-mindedness and zest for the betterment of the film fraternity. J.P. Chowksey also paid glowing tributes to Subbarao.

The meeting adopted the condolence resolution moved by Ramesh Sureka, a copy of which was later sent to the bereaved family. The meeting ended after a 2-minute silence was observed. All the film offices of Indore as well as Film Bhawan remained closed on 10th.

A meeting of the Amravati cine trade was held on 10th under the chairmanship of CCCA vice president Vijay Rathi to pay homage to H.N.S. Rao. Glowing tributes were paid to the visionary and leader. His death was mourned and it was mentioned that the industry had lost a sincere and devoted worker. Two minutes’ silence was observed. A copy of the condolence resolution passed at the meeting was sent to H.S.P. Rao.

RAM UDAR JHA NO MORE

Bihar distributor and exhibitor Ram Udar Jha expired at Muzaffarpur on 4th March. He was 70 years old. He had also produced Hindi and Bhojpuri films.

Jha owned Jawahar Picture Palace, Muzaffarpur. A condolence meeting to mourn his demise will be held at Muzaffarpur on 15th March.

ANNOUNCEMENT & LAUNCHING

Bobby Deol, Ranee In Guddu Dhanoa’s ‘Bichhoo’

Guddu Dhanoa’s Bichhoo, being presented by Narinder Dhanoa and starring Bobby Deol, Ranee Mukerji and Raj Babbar, was launched on March 10 with a song recording at Sunny Super Sounds. The song, penned by Sameer and tuned by Anand Raaj Anand, was rendered by Jaspinder Narula and Harry Anand. Being made under the banner of Bhagwan Chitra Mandir, it will go before the camera next month with regular schedules every month. The film’s executive producer is Veena Sood.

YOU ASKED IT

Does Karisma Kapoor play a double role in Silsila Hai Pyar Ka?

– No, she doesn’t, although the promotional trailer of the film, on air on satellite channels, gives that impression.

What has happened to the unofficial ban on the release of dubbed Hollywood films in Bombay?

– The ‘ban’ continues. There’s been no settlement of the issue as yet. The foreign companies and the IMPDA, TOA, CEAI etc. have not yet met after the initial joint meeting.

Which heroine will Kajol’s marriage benefit the most?

– Karisma Kapoor, of course! Although Kajol will continue acting, she will definitely do fewer films.

MIX MASALA

CAR THEFTS

Anupam Kher’s car was stolen earlier this week, together with his cell-phone while he went to pray at a Hanuman temple at Tardeo, Bombay. The temple used to be frequented by Kher during his struggling days. Perhaps, this was God’s way of telling him that, may be, he doesn’t visit Him as often as he used to!

Incidentally, producer-secretary Rakesh Nath’s (Rikku’s) Tata Safari was also stolen from Andheri (D.N. Nagar) some days ago.

A SLANGING MATCH

Close on the heels of the news about the cricket match between Bombay distributors and exhibitors to be held today (13th March) comes another news that the match has now been cancelled. Producer Vashu Bhagnani was to present Biwi No. 1 trophies to the best batsman, best bowler, best fielder and the best team. He was to also display banners of Biwi No. 1 at the ground. This, it appears, became the bone of contention for a few distributors who raised a hue and cry over it. Their argument was that if everyone was required to pay Rs. 500 for participating in the match, why should the organisers single out Vashu for preferential treatment? The organisers, who have since dropped the idea of holding the match, argue that the sum of Rs. 500 was being charged only to keep the free-loaders out from the dinner and the cocktails after the match. The actual bill was to be footed by Vashu and once the match was over, the sum was to have been refunded to every participant, they conclude. It is difficult to ascertain what is true and in such a scenario, as always, a great deal of bickering, bitching and backbiting is being indulged in by both sides. Shall we call it Bitching No. 1, Bickering No. 1 and Backbiting No. 1?

DO YOU KNOW?

* At Ashok cinema, Patna, it was double celebration time. SOLDIER celebrated 100 days at the cinema in regular shows and FIRE celebrated 100 days in morning shows.

* Ashok cinema, Patna, completed its golden jubilee on 3rd March, 1999. The cinema was opened on 3rd March, 1949 by the first Indian governor of Bihar, M.S. Anney. He had then described the cinema as the best of Bihar. Since then, the cinema has been known as the pride of the capital (city).

* Music director and lyricist Anand Raaj Anand’s brother, Harry, made his debut in playback singing on 10th March. Harry Anand lent his voice to a song of Guddu Dhanoa’s BICHHOO alongwith Jaspinder Narula.

3-E
Education-Entertainment-Enlightenment

A News, Out Of Sur, Out Of Taal

The film industry woke up with a jolt last Sunday (7th March). Two persons (a male and a female), identifying themselves as Mukta Arts’ employees, phoned nearly 25 people from the industry, between 4 and 4.30 a.m. and informed them that Subhash Ghai had expired a couple of hours before. While some were told that he expired due to a heart attack at 2.30 a.m., others were informed that he was murdered. Obviously, the news spread like wild fire throughout the industry and within the next few hours, Ghai’s residence (it was a Sunday) was inundated with phone calls to verify the news because many of them believed the calls to be a hoax. Of course, Ghai himself answered many of the telephone calls. In fact, after attending the calls, he rushed straight to the shooting of his forthcoming Taal. Evidently, some miscreants had played a prank by spreading rumours of Subhash Ghai’s death. It was only by late afternoon that day that all in the industry learnt of the falsity of the news, and his mobile phone and the phones at Subhash Ghai’s residence stopped ringing.

While Subhash Ghai must have been greatly inconvenienced by the whole incident, he may, perhaps, take solace in the Hindu belief that several years are added to the life-span of a person in the event of rumours being spread about his death.

‘Biwi No. 1’ Right In Midst Of Cricket Fever

The period between 14th May and 20th June this year is taboo as far as new releases are concerned. With the World Cup cricket matches scheduled to be held at that time, producers and distributors are wary of releasing any big film in opposition. But Vashu Bhagnani is doing exactly what the rest of the trade may term as committing harakiri. He is moving full steam ahead to release his Biwi No. 1 on 28th May. And he has a strong logic for his plans. Says he, “By 28th May, the public will have had a good dose of cricket and will be yearning for a change. Since no major film is scheduled for release in that period, Biwi No. 1 will get the benefit of this desire for a change.” God willing!

Akshay And Action

The new promotional trailers of International Khiladi seem to have done the trick. Full of action and breathtaking stunts, the trailers have excited the exhibitors of U.P. in a big way. For, they are paying fancy terms to the film’s distributor. After all, like the audience, even the exhibitors are waiting to see Akshay Kumar in what he is best — action and stunts!

Heroine Changed

Karisma Kapoor has been replaced by Preity Zinta in Sajid Nadiadwala’s Har Dil Jo Pyar Karega. Although grapevine has it that the reason for Karisma walking out of the film was her fallout with choreographer Farah Khan (who will choreograph the songs of Sajid’s film), producer Sajid insists, it is purely due to date problems. That Karisma hurt her foot recently is common knowledge. Because of the foot injury, the talented actress could not shoot for several days, which resulted in postponements of her shootings. This, according to Sajid, was affecting his film’s shooting schedules from April onwards and he, therefore, opted for Preity. Coming back to Karisma and Farah Khan, the two were reportedly involved in an unpleasant encounter of the sad kind at a recent party. Propounders of the Karisma-Farah enmity theory as being the cause for the walkout by Karisma from Har Dil Jo Pyar Karega reveal that the actress made it clear to Sajid that she would not work with Farah Khan. The producer, they say, refused to replace Farah. Of course, Sajid refutes the entire story and maintains that the change in heroine was necessitated only because of date problems. Anyway, the film now stars Salman Khan, Ranee Mukerji and Preity Zinta.

Manoj Kumar’s Success Story: How It Began

The incident mentioned below was conveyed to us by Manoj Kumar earlier this week when the topic of discussion was Akshaye Khanna and his films. Like many in the industry, Manoj Kumar too felt that it was very sad that the films of a talented boy like Akshaye were flopping one after another. Expressing sympathy thus, Manoj Kumar related an incident of the time when he had joined the industry as an artiste. He too had a line of flops — six, to be precise, one after the other. Like Manoj Kumar today is feeling sad for Akshaye, (late) Om Prakash at that time felt sorry for Manoj. In one meeting with Manoj Kumar, the veteran actor told him, “You are so good-looking and you also act well, it’s a pity that your films are not doing well.” Saying this, Om Prakash advised Manoj to visit Haji Malang, a pilgrim place near Bombay. Manoj Kumar heeded Om Prakash’s advice and went to pray at Haji Malang. He recalled the long uphill walk to the dargah where he prayed for success. When he was climbing downhill, he heard a voice from behind him, which said, “Jaa, ikattees tareekh ko milenge.” He turned around and saw and old man dressed in clean white clothes and with a flowing white beard. Although he was standing where many beggars were stationed, Manoj Kumar recalled that he didn’t look like a fakir. When the unsuccessful actor asked him what he meant to say, the man in white replied, “You will taste success from 31st.” The premiere of Manoj Kumar starrer Hariyali Aur Raasta was held on 31st of that month and, sure enough, Manoj had the first taste of success with that film and how! Hariyali Aur Raasta proved a silver jubilee hit and from there began the success story of Manoj Kumar. The successful actor went to Haji Malang on many occasions after that “but,” he says ruefully, “I never saw that man in white ever again.”

Maybe, Akshaye can take a leaf out of this and visit Haji Malang.

Jai State Governments

At a time when entertainment tax is being considered one of the biggest evils in the industry, it comes as a perfect gift for Manoj Kumar that not one or two but a total of seven state governments have exempted his Jaihind from entertainment tax. The Maharashtra government has been the last to grant the film exemption but it has given the relief for one full year. The other states in which the patriotic film is tax-free are Gujarat, Delhi, U.P., M.P., Rajasthan and Haryana. This now should really excite the distributors. For, few films create such history even before they are released, right?!

‘Khiladi’ Ek, Films Anek

It is well-known by now that Akshay Kumar is the reigning hero as far as Khiladi films are concerned. He has already starred in Khiladi, Main Khiladi Tu Anari, Sabse Bada Khiladi, Khiladiyon Ka Khiladi and Mr. & Mrs. Khiladi while his International Khiladi is due for release on 26th March. What is, perhaps, less known is the fact that the word ‘Khiladi’ has been quite popular with producers for years now — much before Akshay came on the scene. The first of the ‘Khiladi’ films was Khiladi itself, made way back in 1945. Later, four more films were made with the same title, one each in 1950, 1961, 1968 and, of course, the Akshay-starrer in 1992! Then, there was Ek Khilari Bawan Pattey made in 1972, Do Khiladi (1976), Khel Khilari Ka (1977), Shatranj Ke Khiladi (1977), Paanch Khiladi (1986) and Khatron Ke Khiladi (1988). Moreover, the Hindi dubbed versions of four films were also titled Khel Khiladi Ka, Khiladi No. 1, Kanoon Ka Khiladi and Ek Anari Do Khiladi. All in all, a whopping 20 films have the word Khiladi in their titles. So, shall we say, “Well ‘play’ed, Khiladi!”?

Filmi Threats

A producer-director of ‘B’ grade film reportedly threatened the CBFC officials recently that he would have their whole office burned down if his film was not passed without cuts! The film in question was actualy made in the ’80s. Now, nearly a decade-and-a-half later, the man has applied for a certificate for the same film which includes all the portions originally ordered by the censors to be cut. Obviously, this producer-director thought that he could terrify the examining committee and also the censor chairperson. But, of course, nobody took him seriously and chose to simply dub the threats as part of his madness.

Naam — The Title

The fad of adding English words to Hindi film titles is catching on fast these days. Daag The Fire has already been released and Manoj Kumar’s Jaihind The Pride has been retitled just Jaihind. Even then, several under-production films have English words attached to their titles. Take a look at the following: Woh – The Killers, Khooni Ilaaka – The Prohibited Area, Kaaran – The Reason, Jadh – The Root Cause, Tabaahi – The Destroyer, Dal – The Gang and Tapish – The Burning Desire. Now, what do you say to this Paagalpan – The Madness?!?

Dream Merchant

Buraa Na Mano, Holi NAHIN Hai!

I received a call from BBC, London earlier this week. The caller asked me if I could speak about Bollywood’s Holi bashes this year, on their programme the next evening. I told them, there hadn’t been any major Holi celebration parties this year but having said so, I dreamt about Holi in Bollywood. I dreamt that….

….Aamir Khan had all the plans to have a Holi party. He had even booked Rajkamal Studio for it and was making sure, the studio floor would accommodate the invitees. He had taken details of the floor size and painstakingly calculated how many people it could comfortably hold. Since several of the invitees would be under the influence of bhaang or some alcoholic drink, he was making an allowance for more body space. He had asked his office staff to give him the exact details of how many among the invitees were fond of drinking, what they preferred to drink, whether they would come single or with their spouses etc. etc. The calculations and statistics were taking so long to compile that the earliest that perfectionist Aamir’s Holi bash could take place would be sometime around Diwali. And so the plan was abandoned.

Govinda almost had a Holi party. Except that his invitations reached exactly the way he reaches on producers’ sets — late! Everyone I contacted lamented, they received Govinda’s invitation for the 9 o’clock shift — sorry, party — at 2 p.m. on the Holi day.

Rajkumar Santoshi had decided on a unique Holi bash — only for senior citizens. The invitations had been sent to actors, actresses and technicians in the industry, who are more than 70 years of age. Insiders revealed, young Dev Anand refused to accept the invitation. Insiders also revealed, Urmila Matondkar was the only non-senior citizen lucky to have been invited for the Holi party and the Rangeeli heroine had agreed to make a brief 5-minute appearance. But this Holi party was cancelled at the eleventh hour as Santoshi was not santosh with his own concept of ‘senior citizens Holi’. In keeping with his spirit of re-shooting, he told his staff to re-arrange a new Holi bash, so what if it was delayed — this was in keeping with the delayed status of his films. I am told that the Holi bash, which ultimately never took place, was to have been presented by Bharat Shah, whatever that meant.

Akshaye Khanna said, he had no reason to celebrate any festival, Holi or Diwali. And anyway, after the debacle of Doli Saja Ke Rakhna, the young actor is allergic to anything that even rhymes with ‘Doli’. “Please yaar, Holi se bachaa ke rakhna,” he pleaded.

Shah Rukh Khan, on the other hand, sent out invitations for a Holi gathering on — hold your breath! — top of a train. The invitees would be required to smear colours on each other’s faces while they danced atop a moving train. Shah Rukh had even booked the Rajdhani Express for the express purpose of the Holi get-together. But, but…. man proposes and Indian Railways disposes! The party got cancelled because the Rajdhani Express of 2nd March arrived in Bombay from Delhi in the evening instead of morning, as was scheduled.

Manoj Kumar decided to have Holi celebrations at his bungalow but said, he would restrict the colours to be used to just three — saffron, white and green. Even as everybody was appreciating the patriotic flavour of his Holi party, Manoj Kumar had to issue a cancellation notice because he had to rush to Gujarat with a print of his Jaihind for its tax exemption!

Aishwarya Rai declined to play Holi with colours. Instead, she said, she would burn Holika by consigning every piece of wood in her house to the flames. At least then, she thought, critics would stop calling her wooden. Touch wood!

Saif Ali Khan almost coaxed Salman Khan into hosting a Holi get-together. But the super-successful Khan told Saif, “Holi ko maar goli, chal shikaar khelte hain.” Saif hung up the telephone like a frightened kid and never stepped out of his house — neither to play Holi nor to shoot goli!

Mithun Chakraborty issued invitation cards for his Holi party. But since he insisted, everyone come to Ooty, nobody obliged. Well, almost nobody. T.L.V. Prasad and Jackie Shroff did go to Ooty but were disappointed to see Mithun playing Holi in four shifts. They soon shifted base to Bombay again, with a red face — not reddened by gulaal but due to embarrassment for having flown to Ooty and returned without playing with colours.

Vikram Bhatt scoffed at the very idea of playing Holi. I learnt later that the poor guy, fed on Hollywood films, simply didn’t know what Holi was and what it signified. When Aamir explained to him on telephone that one burns wood a day before Holi, Vikram couldn’t believe his ears. “Burn wood on Holi? You mean Holiwood in Bollywood?” Aamir disconnected the line.

Sridevi didn’t play Holi simply because she didn’t know that 2nd March was Holi day. She confessed to Rajkumar Santoshi’s wife the following day, “Aie aie yo, Boney-ji told me on 1st that it was Holi day on 2nd, but I thought, he meant to say that he won’t go to office. So I made plans to go on a picnic with him to a crowded place like Juhu Beach to feel like a commoner. After all, what do you do on a holiday?”

– Komal Nahta

 

 

 

JEANS
(Dubbed)

Amritraj Solomon Communications P. Ltd.’s Jeans (dubbed from the Tamil film of the same name) is a love story. A girl falls in love with one of a pair of twins, but the father of the twins will hear nothing of getting his son married to her because he is adamant that his twin sons must be married to twin sisters only. The father, who himself has a twin brother, is fooled by the girl’s grandmother into believing that the girl, too, has a twin. The girl, in keeping with her grandmother’s wish, pretends, she has a twin sister. But finally, the truth is revealed, and the boys’ father refuses to relent. Ultimately, the aunt of the two boys steps in to convince the father of the futility of his adamant stand.

The film may have a novel story-line but the director has neither been able to make it a comedy nor a tear-jerker, although he attempts to do both. As the drama progresses, it appears as if a David Dhawan kind of a subject was being given an L.V. Prasad kind of a treatment. The humour is too South Indian to be lapped up by the Hindi film audience. As for the emotions, they simply don’t touch the heart and look too synthetic. Computer graphics (done by Pentafour) are brilliant but they will be appreciated only in cities. The track of the twin heroes is somewhat interesting but that of their father and his twin brother is too lengthy and boring.

Prashant is too fat but acts well in a double role. In dramatic scenes, he needs to improve. Aishwarya Rai would do well to give up her Miss World (and model) hangover because of which she is too stiff to be true. She looks pretty in some scenes in which her costumes (Neeta Lulla) are attractive. But her acting leaves a lot to be desired. Both, Prashant and Aishwarya, dance well. Nasser is good in a double role. Laxmi is quite natural. Radhika does a wonderful job. Senthil and Raju Sundaram do not appeal to the Hindi film audience. Janaki Sabesh is quite nice. S. Ve. Shekhar is so-so.

Shankar’s direction is average. A.R. Rahman’s music is very good. ‘Hai re hai re hai rabba’, ‘Ajooba’ and ‘Columbus’ songs are appealing. Song picturisations on foreign locations, including the wonders of the world, are breathtakingly beautiful. Photography is top class. Technically, brilliant. Production values are very good. Dubbing is okay.

On the whole, Jeans has a body beautiful (locations, photography) but not a matching soul (story, screenplay, emotions). It will, therefore, not appeal to the Hindi cine goers and, except in select cinemas in a handful of cities, it will fail to create any mark.

Released on 15-5-’98 at Metro and 6 other cinemas of Bombay thru Metro Films. Publicity: excellent. Opening: fair. …….Also released all over. Opening was poor at most of the places.

HITLER

B.M.B. Productions’ Hitler is a tale of brotherhood, betrayal and the bad world. It is about an IPS officer who is posted as a jailor and who earns the nickname of Hitler because of his strictness. He has an educated but unemployed younger brother who almost worships him for his principles, an advocate-wife who has given up her practice, two younger sisters and a son. The jailor and the city’s high-profile don are in conflict with each other because the former does not succumb to the pressures of the latter. To teach the jailor a lesson, the don frames his (jailor’s) brother for a murder. While the jailor believes that his brother may have committed the crime, his wife wears the lawyer’s gown again, to prove her brother-in-law innocent. But when the jailor also realises that his brother is not the murderer, he tries to convince the police commissioner about his brother’s innocence. The commissioner’s unrelenting attitude, thanks to the don’s influence, forces the jailor to give in his resignation. Thereafter, he and his brother (who escapes from jail) alongwith a friend get the don arrested.

The revenge story is routine and there’s not even an attempt to offer anything new, neither in content nor in presentation. The first half is dull and boring. The film becomes a bit interesting after interval. Dialogues are ordinary. Emotions fall flat.

Mithun Chakraborty does well. Manik Bedi acts freely. Raghuvaran does alright as a sophisticated don. Hemant Birje is fair. Shilpa Shirodkar acts ably. Dipti Bhatnagar is passable. Johny Lever is funny at places. Mohnish Bahl, Shiva, Satyen Kappu, Aroon Bakshi, Sanjeeva and the others lend adequate support.

Direction passes muster. The film does not have the support of good music. Two songs have a bit of appeal but that’s about all. Song picturisations are routine. Photography is quite nice. Action scenes are not very thrilling.

On the whole, Hitler is an ordinary fare for small centres only. Its low price is about the only redeeming feature.

Released on 15-5-’98 at Alankar and 18 other cinemas of Bombay thru Dilsa Distributors Combine. Publicity: so-so. Opening: average. …….Also released all over.

LATEST POSITION

It was a normal week with an additional holiday for Buddha Poornima.

Duplicate has done well in most of the ‘A’ class centres. It should fetch commission in many circuits. 1st week Bombay 55,55,786 (90.89%) from 13 cinemas (8 on F.H.); Ahmedabad 10,63,323 from 6 cinemas (1 unrecd.), Baroda about 94%, Padra 1,95,288, Rajkot 1,74,535, Jamnagar 1,30,768 (1 in matinee unrecd.), Adipur 1,13,055; Kolhapur 1,80,000 (1 unrecd.), Solapur 1,61,744; Hubli 3,11,255, Belgaum 3,89,833 from 3 cinemas, Dharwad 1,46,831; Delhi 47,21,500 (75.94%) from 12 cinemas (1 on F.H.); Kanpur 4,92,002 from 2 cinemas, Lucknow 3,67,603, Agra 2,75,365, Allahabad 2,00,000, Meerut 1,76,262, Bareilly 1,34,292 (67.56%), Dehradun 1,75,000; Amritsar 52,156; Calcutta 20,22,553 from 12 cinemas; Nagpur 8,61,482 from 6 cinemas, Amravati (30 shows) 1,82,453 (93%), Akola 1,76,234, Bhilai 2,23,125, Yavatmal 1,82,422; Indore 4,06,038 from 2 cinemas (2 on F.H.), Bhopal 5,61,633 from 3 cinemas; Jaipur 12,55,375 from 4 cinemas, Bikaner 2,75,542; Hyderabad 37,40,023 from 14 cinemas, share 20,14,320; good in Mysore where it is expected to yield overflow; Vijayawada 3,07,050 (98%), Visakhapatnam 2,10,398 (98%).

Aunty No. 1 2nd week Bombay 14,83,014 (44.99%) from 8 cinemas (1 on F.H.); Ahmedabad 83,416 (1 unrecd.), Rajkot (matinee) 17,796, Jamnagar (matinee) 8,175 (1 in regular unrecd.); Solapur 42,933; Hubli 98,374, Belgaum 97,814; Delhi 15,91,074 from 10 cinemas (1 on F.H.); Kanpur 1,81,235 from 2 cinemas, Lucknow 1,45,860, Allahabad 71,800, Bareilly 65,329 (30.23%), Dehradun 51,295; Calcutta 2,76,927 from 3 cinemas; Nagpur 1,10,179 from 2 cinemas, Akola 49,868, total 1,56,483, Dhule 70,352, Durg 58,604 (1st 98,679), Jalgaon 76,404, Yavatmal (4 days) 10,679; Bhopal 1,43,494; Jaipur 2,44,204 from 2 cinemas, 1st week Jodhpur 1,99,000; 2nd week Hyderabad 3,35,751 from 3 cinemas.

Pyaar Kiya To Darna Kya 7th week Bombay 8,80,808 (49.38%) from 6 cinemas (6 on F.H.); Ahmedabad 98,451, Baroda (6 days) 78,744, Rajkot (mg. shows) 6,846; Kolhapur 63,000, Solapur (14 shows) 1,02,706, 1st week Barsi 62,369; 7th week Delhi 6,37,769 from 4 cinemas (2 on F.H.); Kanpur 1,04,282, Lucknow 2,30,841, Agra 82,500, Allahabad 56,000, Bareilly 50,000 (26.21%), Dehradun 69,000; Calcutta 1,73,196; Nagpur 97,909, Akola 70,394, total 7,99,394, share 5,88,946, Bhilai 50,762, 4th week Wardha 38,340, 7th Chandrapur 66,143, total 8,00,360, 1st week Sagar 93,144; 7th week Bhopal (6 days) 1,13,420; Jaipur 1,91,216; Hyderabad 4,79,061 from 3 cinemas (2 in noon).

Chhota Chetan (partly dubbed, revived, 3-D), 4th week Bombay (TF) 20,95,391 (98.28%) from 3 cinemas (1 on F.H.); Ahmedabad 1,62,073; 2nd week Kolhapur (TF, 6 days) 1,42,400, Solapur (TF) 1,29,390; 4th week Delhi 12,56,722 from 3 cinemas; 3rd week Kanpur 61,615, 4th Agra 67,000. Opened this week in Nizam (opening was very good in Hyderabad).

……….

RAMESH TAURANI BEREAVED

Parsram Shewakramani, father-in-law of Ramesh Taurani (Tips), expired on 11th May in Bombay.

SUBHASH GHAI TO LAUNCH HI-TECH STUDIO

Producer-director Subhash Ghai will soon launch a studio with post-production suites and a shooting floor in Bombay. The studio, located at plot no. A-18, New Link Road, Oshiwara, Andheri, is called Audeus and it is equipped with state-of-the-art equipments like Avid Media Composer 8000 with Film Option. Another plus point of the studio is its dubbing suite which boasts of Fairlights MFX3 Plus Digital Audio Work-station. Among the studio’s other features are an 8-track recording facility on MO disk, a single dedicated keyboard which controls both, audio and the Beta recorder, a non-linear editing system which allows single track on 8-track editing features, a Beta projection on 10′ X 7′ screen via Barco projector, an online UPS with 1-hour battery back-up, and a sound transfer room equipped with 35mm, DA 98, DAT, CD, etc.

Apart from these, Audeus also features an air-conditioned shooting floor that can be instantly converted into three to four types of offices, bedrooms or conference rooms. The floor has a ceiling with concealed lights.

MANOJ KHIVASARA TO WED

Marriage of Bombay distributor and exhibitor Manoj Khivasara (Mahalaxmi Film Distributors, Bombay, and Mahalaxmi Theatre, Nasik) with Neelu will be solemnised on 22nd May in Nasik at Nasik Club on Nasik-Pune Road.

GRAND-DAUGHTER FOR KISHINCHAND JANIANI

Prem Janiani, son of Kishinchand Janiani of Prem Films, Jaipur, was blessed with a baby girl on 7th May.

CINEMA TO REOPEN

Geeta Palace Cinema (previously known as Madhuban) is due to reopen shortly in Bareilly. The cinema has a seating capacity of 704 and a nett capacity of Rs. 3,409.38 per show. Its capacity for 28 shows is Rs. 95,462.64.

YOU ASKED IT

What is your personal opinion about the film industry being granted industry status by the government?

– It is not clear how many benefits of industry will accrue to the film industry or how much the film industry will be able to advantageously use the industry status. Power tariff for cinemas and studios will go down and that may be a great saving. Frankly speaking, ever since the government granted film business the status of an industry, it has become a fashion with the film industry people to simply express joy and excitement over the issue without really knowing what’s in store for the film industry.

What is the price at which Ramgopal Varma’s Satya is being sold?

– The producers expect 1 to 1.25 crore per major circuit.

Is it true that Aamir Khan and Manisha Koirala have been paired in Indra Kumar and Ashok Thakeria’s new film?

– Yes, they’ve been teamed together in Indra Kumar and Ashok Thakeria’s new film, titled MANN.

Delhi HC Restrains Cable TV Operators From Telecasting Vinod Chopra’s ‘Kareeb’

Producer-director Vinod Chopra is leaving no stone unturned to protect his Kareeb from the menace of cable piracy. He recently filed a civil suit in the Delhi high court and has succeeded in obtaining, even before the film’s release, an ex parte civil injunction which presents Indus In Media and Siti Cable Networks Ltd. from telecasting Kareeb in any form till 22nd July, 1998 (the next date of hearing).

This is, perhaps, the first time a producer has attempted to restrain cable TV operators from telecasting his film illegally. Cable TV operators usually show new films just days after their theatrical release although they do not hold the rights for them.

Golden Voice Talat Mahmood Is Dead

Aye mere dil kahin aur chal
Gham ki duniya se dil bhar gaya
Dhoondh le ab koi ghar naya

Renowned playback singer of the forties, fifties and sixties, Talat Mahmood’s hit song from Daag rings true today after the death of the singer on 9th May at 8 a.m. at his residence in Bombay following a heart attack. He was 75.

Talat had been struck with Parkinson’s disease some years ago and he was in hibernation for almost a decade. He is survived by his wife, son Khalid, who is a singer, and a daughter.

Trained in music in the Morris College of Music in Lucknow, Talat had a penchant for singing right from his adolescent days. He was picked up by HMV and he recorded private songs in Calcutta. One such number, Tasveer teri dil mera bahala na sakegi, written by Faiyyaz Hashmi and composed by Kamal Dasgupta, sold over one lakh copies in the late 1940s and turned Talat into a singing sensation.

Music director Anil Biswas gave Talat a break in Bollywood in Arzoo in 1951. Aye dil mujhe aisi jagah le chal, which he rendered for Dilip Kumar in Arzoo, marked the beginning of his long association with Biswas and Dilip Kumar. It also made him a sought-after name in Bollywood with music directors like Naushad, Sajjad Hussain, Shankar Jaikishen, S.D. Burman, Khayyam, Salil Choudhury and others recording songs in his voice. His speciality was love-lorn and melodious songs.

Tasveer banata hoon, tasveer nahin banti, Mera jeevan saathi bichhad gaya, Jaltein hain jiske liye, Itna na mujhse tu pyar badha, Shaam-e-gham ki kasam, Phir wohi shaam wohi gham, Aahaa rimjhim ke yeh pyare pyare geet liye, Rahi matwale, Man dheere dheere gaye re, Husnwalon ko dil na do, Shukriya aye tera pyar shukriya, Aisi chali hawa ki khushi dukh mein dhal gayee and Mitwa nahi aaye were some of his hit numbers. He also sang geets and ghazals with unparalleled skill. The beauty of his voice was the quivering silken touch.

Talat also acted in some films like Waaris, Tu Aur Main, Samapti, Dak Babu, Ek Gaon Ki Kahani, Malik and Sone Ki Chidiya. But he wasn’t successful as an actor as he was as a singer.

Talat Mahmood’s funeral was a private affair. Manna Dey and Naushad’s son, Raju, were among the few outsiders who were present.

‘Thai Saheb’, ‘Dil To Pagal Hai’ Bag Swarn Kamal

Girish Kasaravalli’s Thai Saheb (Kannada) has won the Swarn Kamal for the best film of 1997 in the 45th National Awards announced in Delhi on 9th May by jury chairperson B. Saroja Devi. Yash Chopra’s Dil To Pagal Hai also bagged the Swarn Kamal for the best popular film providing wholesome entertainment.

J.P. Dutta’s Border has won the Nargis Dutt Award for the best film on national integration. The Indira Gandhi award for the first film of a director has gone to A.K. Lohitdas for his Malayalam film Bhoothakannadi. Govind Nihalani’s Hazaar Chaurasi Ki Maa has won the National Award for the best Hindi film.

The best director award went to Jayaraaj for his Malayalam film Kaliyattam. The best actor award was shared by Balachandra Menon (Samaantharangal) and Suresh Gopi (Kaliyattam), both Malayalam films. Even the best actress award was shared by the two heroines of Dahan (Bengali), Indrani Halder and Rituparna Sengupta. The best supporting actor award went to Prakash Raj for Iruvar (Tamil). Karisma Kapoor won the best supporting actress award for Dil To Pagal Hai. Javed Akhtar won the award for the best lyricist for his song Sandese aate hain in Border.

Winners in the regional films category were: Dahan (Bengali) by Rituparno Ghosh, Shesh Drusti (Oriya), Main Maa Punjab Di (Punjabi), written and directed by Balwant Dullat and produced by Devinder Walia, Mangamma (Malayalam), Terrorist (Tamil), Moongarina Minchu (Kannada) and Sindooram (Telugu).

Other award winners were: best screenplay – Rituparno Ghosh (Dahan, Bengali); best music – M.M. Keervani (Annamayya, Telugu); best cinematography – Santosh Sivan (Iruvar, Tamil); best editing – Sreekar Prasad (Terrorist, Tamil); best audiography – Sampath (Ennu Swantham Janakikutty, Malayalam); best art direction – Ramesh Desai (Thai Saheb, Kannada); best costume designer – Vaishali Kasaravalli (Thai Saheb, Kannada); best choreographer – Shiamak Davar (Dil To Pagal Hai); best male playback singer – Hariharan (Mere dushman mere bhai in Border); best female playback singer – Chitra (Payale chun mun in Virasat).

Ramaayanam (Telugu), directed by Guna Shekhar, won the best children’s film award. Dhanraj won the best child actor award for his performance in Dhanna.

Jury’s special award for the best actress went to Jayamala. Deepa Gahlot won the award for the best film critic.

DO YOU KNOW?

* Lata Mangeshkar had never rendered a song under the direction of composer A.R. Rahman until recently. She has now sung under him for three films — Boney Kapoor’s PUKAAR, Nazir Ahmed’s Jackie-Shah Rukh starrer, and Mani Ratnam’s DIL SE.

* DTPH is the fourth film of Yash Chopra to bag the National Award for the best popular film providing wholesome entertainment. His three earlier award winners were CHANDNI, DARR and DDLJ. A great feat indeed!

* Javed Akhtar has won the National Award for his lyrics for the second consecutive year. He won it last year for SAAZ, and this year for BORDER.

* Following some differences between producer K.C. Bokadia and his financier, the deliveries of his HITLER this week could be effected only late. As a result, the film could not open on Friday in some circuits. In Bombay too, matinee shows of the film were cancelled on Friday. Bombay distributor Dilip Dhanwani had to reportedly pay more than his contracted amount for the delivery.

* Tips has decided to have a Friday release for its JAB PYAAR KISISE HOTA HAI all over. Even in U.P., C.P., C.I. and Orissa, the film will not open on Thursday, as is normal.

* While there’s no system of advance booking in Jaipur (or, for that matter, anywhere in Rajasthan), distributor Sunderdas Sonkiya tried it with an English film, TITANIC. He opened plans for the film at Prem Prakash cinema, Jaipur, on Wednesday and the response to the advance booking was very good! The film has opened this week at Prem Prakash and Mayank.

* It is noteworthy that a Gujarati film, Amar Kumar Jadeja’s BENI BAAR BAAR VARSE HUN AVYO, has been sold for Gujarat and Saurashtra on announcement itself. Its audio rights have been sold. …..The theme song for the film was recorded on 13th May at Ajivasan Sound live — that is, tracks and the voices playing simultaneously. The unusually long song has a duration of 24 minutes.

* Distributors of Bihar are seriously contemplating taking deliveries of films on Fridays and releasing them in their circuit on Sundays. This idea is the result of exorbitant film prices, poor fate of recent releases, and the invariable delay in the arrival of prints in Bihar.

* The Kannada remake of the Tamil super-hit KAATHAL KOTTAI, titled YARE NEENU CHALUVE, is dong very well in Karnataka and is poised to be a hit. It has been produced by Rockline Venkatesh and directed by D. Rajendra Babu.

MIX MASALA

TIT FOR TAT?

At the national conference on ‘Challenges before Indian Cinema’ on 10th May at The Leela Kempinski, Maharashtra’s deputy chief minister Gopinath Munde referred, in his speech, to star-MP Vinod Khanna as “Vinod Kumar”. Later, Dilip Kumar, in his speech, inadvertently addressed Gopinath Munde as “home minister”. A case of tit for tat? Well, that wasn’t all. FICCI chairman K.K. Modi addressed I & B minister Sushma Swaraj as “Shri” instead of “Smt.”!

IN & OUT OF BOMBAY

Mr. Ashok Tahirani of Ashoka Enterprises, Indore, is in town (634-2335) and will return to Indore on 17th May.

Producer and director Rakesh Roshan will leave for Australia to scout locations for KAHO NAA…PYAR HAI, on 20th May and will return after 10-12 days.

Mr. Balkrishna Shroff of Shringar Films, Bombay, will be back from Singapore on 18th May.

Mr. Ravi Machhar of Abhinay Cinema, Aurangabad, left Bombay for Bangalore today (16th May) and will be back tomorrow.

INDUSTRY STATUS FOR FILM INDUSTRY AT LAST

It was like a typical Hindi film. The best part came in the climax. Before that, the national conference on ‘Challenges before Indian Cinema’ had its highs and lows. But its climax was absolutely unexpected and unpredictable. Perhaps, it was because of that that the conference, organised jointly by the Federation of Indian Chamber of Commerce & Industries (FICCI) and the Film Federation of India (FFI) on 10th May at The Leela Kempinski Hotel, was such a grand hit.

The climax comprised the new BJP government’s I & B minister, Sushma Swaraj, granting industry status to film business. Amidst a standing ovation, Sushma Swaraj announced that she and her government had accorded the status of industry to the film business.

The film industry had been fighting for this status since years. In fact, so concerted had the fight become in the last few years that FFI president Santosh Singh Jain said, after the industry was granted recognition as an industry, that May 10 should be celebrated as the film industry’s Liberation Day. However, FFI general secretary K.D. Shorey felt, it was too premature to celebrate the industry status. According to Shorey, “The day even 10 producers can get finance from banks due to the industry status, will be the day for celebration.”

Although it may take some time before the actual benefits of an industry accrue to the film business, once that starts, it may be possible for film producers to borrow money from banks and financial institutions. What’s more, the power tariff of cinema houses may be brought down at par with the tariff of other industries. Besides these, a whole lot of other advantages will also accrue to the industry once the modalities are worked out. But there may also be some disadvantages attached to the industry status.

Sushma made it clear that the decision to grant industry status was not a momentous one or to win any applause, but that it was a well-thought of decision because it was needed for the betterment of cinema and for promoting good films. She informed that she had discussed the matter with finance minister Yashwant Sinha before attending the conference, and the modalities would be worked out soon and a notification, issued.

Sushma Swaraj, who had come well prepared for the conference, in a very business-like talk, dealt with every point raised in the earlier sessions of the conference. She said that the industry would be put on the concurrent list, and an amendment bill would be placed in Parliament in the next session for that. That would help the government tackle the thorny issues of the industry, she added.

On the demand for forming an export council for promotion of films abroad, she readily agreed to form a Film Export Council, considering it a necessary step to increase the export earnings from films, which had grown from a meagre Rs. 15 crore to Rs. 150 crore in the last five years, just on the industry’s own efforts.

NO ABOLITION OF CENSOR BOARD

Sushma refused to scrap the Censor Board as demanded by many members of the industry. However, she put forth her own idea of a green channel and another red channel of censorship, if the industry agreed to have self-censorship as it was doing in the case of film posters. She explained, “If the producer considers his film fit for universal screening and feels, it does not violate any censor guidelines, he can go through the green channel, which means, he can release the film without going to the Censor Board. In other cases, he can pass through the red channel, which means that he would have to obtain a certificate from the Central Board of Film Certification. But she warned that if anything objectionable was found in the films cleared through the green channel, stringent punishment would be imposed on the producer. She asked the members of the industry to think over it and discuss the matter with her.

On her own, the I & B minister also mooted the idea of forming a development council for films, under her own ministry. The council, she added, would also have leaders of the film industry as members. The council will discuss industry problems on a quarterly basis and thus, the industry would not have to run after the ministers, but would rather be invited by the ministers themselves, she explained. In this way, efforts would be made to solve the industry’s problems as soon as possible. She also said, she wanted to form a group of key advisors from the film world, and the advisors so selected would have to be ‘spotless’ people.

Earlier, welcoming the minister, FICCI president K.K. Modi repeated FICCI’s decision to accept filmmaking as an industry and to take the film industry in its fold.

He urged the government to change those policies which were not beneficial for the industry and remove all the impediments in the growth of the film industry. He said, finance was the life-blood of business, and the doors to get finance from banks and financial institutions should be opened for the film industry by recognising it as an industry just like FICCI had recognised it. He lamented the gross violation of intellectual property rights by indiscreet cable TV operators, as well as the other problems of the industry which needed urgent attention.

Shabana Azmi, tracing the history and development of the film industry in brief, right from the days of Dadasaheb Phalke, said that Indian cinema was the only cinema in the world which had not been affected by Hollywood films because “Indians love Indian films wherever they are”. She emphasised that the National Film Development Corporation had been established with the idea of promoting good films and it had done a lot of good work but it was changing track under some compulsion and that it should redefine its role now to make a fruitful contribution in the development of the film industry. She condemned the flogging of Hindi cinema by people from different walks of life, politicians included, without any rhyme or reason, just to get some publicity. Shabana urged the government to look into the problems of the industry urgently and sympathetically. She also emphasised the need for some soul-searching by the industry people.

HINDI: INDUSTRY’S GREATEST CONTRIBUTION

Shatrughan Sinha, in his forceful address, said that the major need of the industry was finance (and not lectures from ministers) for the promotion of the film industry, and even the fate of good films hung in mid-air for want of finance. He said, the film industry’s greatest contribution to the country was the Hindi language which had not only helped in national integration but had also attracted people of the other parts on the world to India. He urged the government to check piracy of films and also asked Indians not to copy films and music of other countries.

The representative of South Indian films, Gangadharan, presented a shawl to the I & B minister.

Inaugurating the conference in the morning, thespian Dilip Kumar lamented the conditions of the film industry due to cancerous taxation and lack of clean financial resources. He said, multi-taxation had killed about 25 great film institutions like Bombay Talkies, Prabhat Theatres and New Theatres and today’s filmmakers were suffering because of non-availability of finance from banks and financial institutions.

FICCI & FILM INDUSTRY

In his welcome address in the morning, FICCI president K.K. Modi first recognised filmmaking as an industry and the film industry as a partner of FICCI. Concluding his address, he announced that during FICCI’s annual awards function from this year onwards, a special award would be given to a person in visual media, for creativity.

Maharashtra’s deputy chief minister, Gopinath Munde, announced that if the Union government created a kitty of Rs. 1,000 crore for financing films, the government of Maharashtra would contribute Rs. 100 crore in it as its share. Regarding tax concessions, he invited a viable proposal from the film industry.

In his keynote address, former chairman of the National Film Development Corporation, D.V.S. Raju, said that with this national conference, the film industry had opened a new chapter in its history. He pointed out the need to get financial support from banks and financial institutions, saying that till now, the film industry was depending on the resources generated internally for producing 850-900 films every year in 14 languages to cater to millions of audience through a network of about 12,000 cinemas. Finance was also needed to construct more theatres, he added. He pleaded for the abolition of entertainment tax or at least for bringing it down to normal sales tax level and for stopping illegal screening of films on cable.

Raju commented that AIR’s royalty being paid to Indian film songs was not only the lowest but also discriminatory because an English song was paid Rs. 10 whereas Hindi, Bengali, Tamil and other Indian songs were paid only Rs. 2 per song. He wanted it increased to Rs. 25 per song.

Shyam Benegal blamed the present system of film financing as being responsible for pushing cinema into today’s pathetic situation. Professionalism and creativity in filmmaking had had to take a second place to ensure the security of investment against risks, he added.

PUNITIVE TAXES

“Film industry is taxed in a manner that suggests that these are punitive in nature, designed, perhaps inadvertently, to discourage cinema rather than encourage the industry,” said Benegal and asked the government to be rational. He also said, filmmakers saw censorship as a needless sources of aggravation, unnecessary and undeserved, while the Censor Board looked at the filmmaker as some kind of a subversive, intent on polluting the cultural landscape. “A cat-and-mouse game is played between the censors and the filmmakers and that had made censorship infructuous and meaningless,” he concluded.

Vinod Khanna, now a member of Parliament too, in his volatile speech, pleaded to the government not to give a step-motherly treatment to films. He emphasised on the role played by the film industry in national integration. He pointed out some ways to get finance and develop the film world. He also emphasised the need for self-retrospection by the film industry.

EXTORTION MONEY, NOT ENTERTAINMENT TAX

Presenting a vote of thanks, FFI president Santosh Singh Jain hoped “the new government will not lack the necessary political will to study and understand the perpetual problems of the film industry and take suitable steps to solve them.” Jain pointed out that inadequate market was the greatest hurdle in the development of even regional films and thus more theatres were needed to be constructed in most parts of the country. Jain called entertainment tax a malady which was the mother of all ills, and termed it ‘extortion money’ rather than entertainment tax.

The first session of the conference was devoted to ‘Industry status for film industry’. P.G. Mankad, secretary, I & B, chaired it. Co-chairman Amit Khanna said that some states had granted a partial industry status to films, but not the government of India. Recognition as an industry was just the first step towards an organised growth of film entertainment business. Institutional finance on reasonable terms would go a long way in relieving the film industry which provides direct employment to 10 lakh people and indirect to 20 lakh others, he said.

Khanna suggested that a methodology be developed to value the intellectual property rights so that producers could offer these assets as collateral security for raising money from banks etc. He asked the government to involve industry professionals in all decisions which affected the smooth functioning of the film industry and to put the industry on its concurrent list. He also suggested that a Film & TV Promotion Council be established by the government.

SERIOUS BUSINESS

Subhash Ghai pointed to the insecure position of filmmakers who are affected more by loose perceptions and biased government officials. Until and unless the filmmakers were made secure, to expect good films from them would be futile, he explained. Film business was a serious business and it needed industry status for its survival, he added.

Arijit Dutta, an exhibitor of Calcutta, was critical of the government for using the film industry as the proverbial golden goose. In a well-worded speech, he said, the industry deserved to be given the status of other industries.

Mankad assured that he would put the industry’s viewpoint before the government.

P.R. Dasgupta, secretary, education, ministry of Human Resource Development, chaired the second session, on ‘Intellectual property rights and Indian film industry’. Speaking as co-chairperson, K.D. Shorey threw light on the Copyright Act and said, despite the Indian Copyright Act being one of the most comprehensive and fair pieces of legislation, copyright holders were suffering because of the utter apathy, indifference and, sometimes, the callous attitude of the executive, both, in the states and at the centre, and the enforcement agencies. He insisted that it was the duty of the state to ensure with diligence the protection of the arts and inventions. During the last 10 years, some 800-odd cases were made against pirates but even a minimum punishment had not been granted in a single case, the lamented.

Mrs. P.V. Valsala G. Kutty, registrar of copyrights, presented a paper on copyrights.

P.R. Dasgupta agreed with K.D. Shorey and assured help in the best possible manner.

The third session was devoted to ‘Taxation issues related to the film industry’. Former I & B secretary P. Murari chaired the session. Yash Chopra, dwelling on section 80HHC of the Income-Tax Act, said that with the introduction of the section in 1983 with the object of giving incentives to exporters of films, 100% exemption on export earnings was allowed. As a result, there was a remarkable jump in software exports from about Rs. 20 crore per annum to Rs. 150 crore per annum. However, suddenly, the I-T department changed its stand and held that export of software was not entitled to deduction under the section as films were not ‘goods’ or ‘merchandise’. The entire film fraternity had become the victim of a rather fanciful interpretation of the said section by a couple of assessing officers in the I-T department, he sighed.

Yash Chopra requested for a complete abolition of countervailing duty on import of raw stock and the unreasonable restrictions imposed on film producers for film shootings abroad.

HIGHLY DISCRIMINATORY

South’s L. Suresh informed that section 285B of the I-T Act, which makes it compulsory for the producer to file a statement containing particulars of payments of over Rs. 5,000 in the aggregate made by him or due from him to each such person as was engaged by him in the production, within 30 days of the completion of the film, was only for the film trade. It was highly discriminatory and should be removed, he added.

Sv. Rm. Ramanathan from South presented the entertainment tax structure in the various states and appealed to the government to abolish entertainment tax.

The chief commissioner of income-tax, B. Mishra, assured that he would look into the matter and do the needful.

INSURANCE FACILITIES

In the final session on ‘Institutional financing for film industry’, chaired by V. Subramaniam, executive director, Reserve Bank of India, and co-chaired by K.G. Dossani, problems in bank financing for films were discussed. Dossani pointed out that there was no National Film Policy till today though a working group on National Film Policy had made various recommendations in 1980. He said, banks treated film production as a low-priority and high-risk activity. Film industry needed concessional finance from institutions, for which appropriate surety in the form of pledges of Intellectual Property Rights could be provided. He said, insurance facilities must be made available, covering risk, as was being done in the cases of other industries.

K. Kannan, deputy chairman, Indian Banks Association, put forward the banks’ difficulties in providing finance for films.

Chairman Subramaniam informed that the Reserve Bank had not put any restrictions on banks for providing finance for films. When a suggestion was made that a committee should be formed to study film financing, he readily agreed.

FFI treasurer N.N. Sippy proposed the vote of thanks. FICCI general secretary Dr. Amit Mitra conducted the programme very efficiently.

Mixed Reactions To Industry Status

B.R. CHOPRA

I am more than happy with what we have achieved so far. The whole demand for the industry status was to gain respectability as far as film finance is concerned. Now that this demand is granted, we must show, by our future doing, that we deserve it.

BHARAT SHAH

I think, the move will only benefit five or six people in the industry. The change will remain only symbolic in nature as it will fail to achieve anything practically. The banks will only grant finance to those producers who can provide some kind of security. Very few producers will be able to do that. Hence some may bribe a bank official to get a loan approved. However, when the banks will be unable to recover such loans, they will become stricter and the whole scenario will revert to what it is today.

RAMESH SIPPY (Bombay distributor)

It is definitely a move in the positive direction, but how much it will achieve remains to be seen. We should be happy if we are able to derive even 10% of the total benefits expected out of this measure.

SAAWAN KUMAR TAK

It is difficult to say that the change will be for the better. In my opinion, the exercise will only help four-five people at the top. For the rest, it will not make any difference whatsoever. Of course, some producers will go on to bribe the bank managers to get loans approved and, as a result, the industry will earn a bad reputation. In a nutshell, the move will make the rich richer while the poor will remain as they are.

U.A. THADANI

All are very happy. Something will surely come out of it.

3-E
Education-Entertainment-Enlightenment

Figures Frighten Him; His Figures Frighten All

It does look like Dilip Kumar was not briefed properly before he delivered the opening speech at the National Conference on ‘Challenges before Indian Cinema’. How else could one explain the faux pas he committed during his speech? Dilip Kumar claimed that out of every Rs. 100 collected by a film at the ticket window, only about Rs. 4 or 5 comes to the producer! Such an erroneous remark leads one to wonder whether he meant that the rest of the earnings go to fill the government’s coffers? We do not think so. Maybe, he meant that the exhibitors/distributors take away a very large part of a film’s earnings as compared to the producers. But even if Dilip Kumar thinks so, what was the necessity to bring up this issue at the conference with the government. After all, the issue (of sharing a film’s earnings) is an internal one. Why drag the government into it? And Mr. Dilip Kumar should know that if the distributor keeps his share, it is because he has already given the producer an MG royalty amount even before the film has been released. It would have been wiser for Dilip Kumar if he had taken his self-confessed fear for figures more seriously and stayed away from playing with them. For, at the same conference, he revealed that Mathematics was his weakest subject and he used to score just 4 marks in a paper of 100!

Rather Funny

Distributors in Amravati are governed by a different Income-Tax Act, it seems. Although the income-tax rules provide that amortisation of MG royalty and cost of prints and publicity is allowed if the film is released at least six months prior to the year-ending, in reality, the Amravati income-tax office does not allow the amortisation if a film has not realised its cost, even if it is released 6 months prior to the year-end. In such a case (when a film does not recover its MG royalty, cost of prints and publicity), the I-T department allows each print cost to be allowed only if that print (the cost of which is claimed) has been screened for a stipulated number of weeks, which is too high. There’s no such provision in the Income-Tax Act or the Rules, and it is only the Amravati distributors who have to maintain a record of the print utilisation. Distributor Pramod Munot has won in the appeal against the department, before the CIT (A) as well as the Appellate Tribunal. But the department has now appealed to the high court.

‘Double Role’ Party

The Hindi dubbed version of Jeans was premiered at Metro Cinema, Bombay, on 14th May. The film’s all-India rights holders, Metro Films, also organised a grand party at the Taj Mahal Hotel after its premiere. Now, call it a coincidence or whatever, the wedding anniversary of Tolu Bajaj (who is one of the major partners in Metro Films) fell on the same day. In fact, he was married 23 years ago at the very venue of the Jeans party — that is, the Ball Room of Taj Mahal! And no, the party on 14th May, 1998 was not at all a planned coincidence. In keeping with the film’s ‘double roles’ flavour — it has double roles of hero Prashant as well as of Nasser — the premiere party had a double significance.

JHOOTH BOLE KAUWA KAATE

Tristar International’s Jhooth Bole Kauwa Kaate is a light romantic film with a wafer-thin story-line. A boy and a girl fall in love with each other but cannot get married unless the girl’s father gives his consent. Rather than tell him of their love, the boy adopts the round-and-about method — he comes to the girl’s house as a paying guest and tries to win the approval of the strict father. There are goof-ups galore and the biggest hurdle comes when the girl’s marriage is fixed with her childhood friend. When the father, who had all along been suspecting of something fishy going on, comes to know of the truth, he is livid. Ultimately, he relents.

Although there are entertaining moments in the film, the main drawback, besides the thin story-line, is that problems are created on purpose, to be ultimately solved. The drama drags in the second half due to some repetitive scenes. Further, although it is a love story, romance is sought to be expressed through songs only. Even the songs pop up at situations that look contrived. Dialogues (Z.D. Lari) are witty at places.

Anil Kapoor does a fantastic job and endears himself to the viewer. He is natural to the core. Juhi Chawla looks pretty and she too acts very ably. Amrish Puri, as Juhi’s father, is wonderful. Anupam Kher does a fair job. Reema is effective. Sajid Khan, who is known for his comedy punches on television shows, has unfortunately not been given comic scenes in the film. He does an average job. Harish Patel, Harpal, Renuka Israni and Anang Desai lend adequate support. Satish Kaushik and Nilofer leave a mark in friendly appearances. Shiamak Davar’s appearance in the title song is an attraction.

Hrishikesh Mukherjee’s direction is good but these type of clean and slow-paced films have very limited market now. Anand Milind’s music score is inspiring. The title song, ‘Dil ye dil’, ‘Aatta hai chawal hai’ and ‘Aankhon mein’ are hummable numbers but their picturisations are too simple. Camerawork (Jal Mistry) is eye-filling.

On the whole, Jhooth Bole Kauwa Kaate is a film for the ‘class’ audience in a few cities only, that too mostly in Bombay and South. But in the rest of the country, the film will meet with disastrous results.

Released on 4-12-’98 at New Excelsior and 13 other cinemas of Bombay by UTV Motion Pictures thru Shringar Films. Publicity: excellent. Opening: fair. …….Also released all over. Opening was poor in most of the circuits.

LATEST POSITION

While last week’s CHINA GATE did not pick up after a dull start, DOLI SAJA KE RAKHNA fared miserably almost all over. This week’s JHOOTH BOLE… has also opened to rather poor houses in most of the circuits.

China Gate has done fair business in Bombay, Maharashtra and Nizam in the first week but is dull or at the most average in the rest of India. It is expected to entail losses to its distributors. 1st week Bombay 47,74,747 (85.60%) from 11 cinemas (9 on F.H.); Ahmedabad 13,31,876 from 8 cinemas, Vapi 2,78,508, Rajkot 1,49,640, Jamnagar 1,38,801 from 2 cinemas (1 in matinee), Adipur 1,25,567; Pune 11,23,567 from 5 cinemas, Kolhapur 1,60,000 (1 unrecd.), Solapur 2,65,990 (from 2 cinemas); Delhi 31,91,078 (72.38%) from 10 cinemas (1 on F.H.); Kanpur 3,73,196 from 2 cinemas, Lucknow 3,25,816, Varanasi 1,92,226, Allahabad 2,30,585, Meerut 1,98,964, Bareilly 1,42,157; Calcutta 16,15,149 from 12 cinemas (11 on F.H.); Nagpur 3,37,194 from 3 cinemas, Amravati 2,19,001, Raipur (6 days) 1,55,142, Gondia 98,846; Indore 2,40,000 (45.41%) from 2 cinemas (3 on F.H.), Bhopal (6 days) 2,79,186 from 3 cinemas; Jaipur 7,07,103 from 4 cinemas; Hyderabad 26,65,618 from 13 cinemas (1 in noon).

Doli Saja Ke Rakhna is a total loss all over except in Bombay and Maharashtra where it is very slightly better. 1st week Bombay 10,76,991 (63.05%) from 5 cinemas (4 on F.H.); Ahmedabad 86,324, Baroda 58,466, Jamnagar 47,566; Pune 2,82,736 from 2 cinemas (1 in matinee), Kolhapur 75,000, Solapur 1,07,406; Hubli 1,27,519, Belgaum 1,12,799 (100%); Delhi 6,84,293 (25.27%) from 5 cinemas; Kanpur 74,321, Lucknow 1,35,053, Varanasi 50,822, Allahabad 50,000, Meerut 50,252, Bareilly 42,250; Nagpur 1,30,406 from 2 cinemas, Amravati (6 days) 63,261, Raipur (6 days) 61,437; Bhopal (27 shows) 59,890; Jaipur 1,98,722 from 2 cinemas, Jodhpur 1,75,000; Hyderabad 8,30,059 from 6 cinemas.

……….

Soldier has maintained excellent in U.P., East Punjab and Rajasthan. 2nd week Bombay 36,11,823 (81.18%) from 12 cinemas (8 on F.H.); Ahmedabad 4,28,189 from 3 cinemas, Rajkot 1,54,280, Bhuj 75,217 (1st 1,23,000); Pune 8,66,574 from 4 cinemas, Kolhapur 1,39,184, Solapur 1,20,916; Delhi 31,81,029 from 10 cinemas (2 on F.H.); Kanpur 4,70,912 from 2 cinemas, Lucknow 3,78,155, Varanasi 2,67,133, Allahabad 1,78,164, Meerut (6 days) 1,99,716 (100%), Bareilly 1,68,389, Hardwar 50,175; Calcutta 17,02,016 from 14 cinemas; Jabalpur (6 days) 1,06,188, Amravati (6 days) 1,08,327, Raipur (6 days) 98,781, Durg 69,751, 1st week Yavatmal 1,20,634, Bilaspur 1,46,383 from 2 cinemas (1 cinema for 6 days & the other for 5 days); 2nd week Bhopal (6 days) 1,42,495; Jaipur 5,20,719 from 2 cinemas, Udaipur 1,95,480 (1st 2,67,315); Hyderabad 6,85,582 from 2 cinemas (3 on F.H.); 1st week Vijayawada 3,32,530.

Fire (dubbed) 3rd week Bombay (5 days) 7,22,675 (96.53%) from 2 cinemas, English version (5 days) 2,49,427 (100%) from 2 cinemas; Ahmedabad (7 shows) 32,502; Pune (6 days) 1,84,226; Delhi 2,74,646; 1st week Kanpur 83,000, 3rd Lucknow 57,800, Allahabad 19,600; 2nd week Calcutta 1,61,760; 3rd Nagpur 1,24,352, 1 week Jabalpur (6 days) 46,278, 1st week Raipur 53,300; 3rd week Hyderabad 63,410.

Kuch Kuch Hota Hai 7th week Bombay 45,59,892 (85.47%) from 11 cinemas (6 on F.H.), 6th week Vasai 1,66,172, 2nd week Panvel (gross) 2,92,781; Ahmedabad 7,76,986 from 3 cinemas, Baroda 1,92,353, Vapi 1,48,702, total 24,41,410, Jamnagar 56,000; Pune 9,82,431 from 4 cinemas (1 in matinee), Kolhapur 1,80,000, Solapur 1,08,380; Delhi 20,20,645 from 8 cinemas; Kanpur 2,05,768 from 2 cinemas, Lucknow 3,32,964, Allahabad 90,050, Bareilly (6 days) 40,146, Hardwar 18,211, total 5,96,136; Calcutta 8,90,507 from 3 cinemas; 6th Nagpur 2,70,629 from 2 cinemas, 2nd week Jabalpur 2,27,871, total 4,86,101, 7th week Amravati (6 days) 1,13,036, Dhule 68,590, total 9,52,903, Raipur (6 days) 86,700, Jalgaon 93,119, 3rd week Wardha 90,141, total 3,75,024, 2nd week Yavatmal 1,45,008; 7th week Indore 2,08,904 from 2 cinemas; Jaipur 4,65,458, Udaipur 1,10,000; Hyderabad 6,09,195 from 3 cinemas (2 in noon shows); 4 weeks’ Vijayawada total 10,96,908.

STOP PRESS
‘FIRE’ TO BE RE-EXAMINED

Deepa Mehta’s controversial film, Fire, has been referred to the Central Board of Film Certification for re-examination, by the I & B ministry in view of the protests against the film in different parts of the country. It may be mentioned here that the film’s screening was first stopped by Shiv Sena members in Bombay and thereafter in other parts of the country (read details elsewhere in this issue). Some people had even petitioned the Supreme Court to look into the matter.

SANJAY KAPOOR TO WED

Sanjay Kapoor will wed model and actress Maheep Sandhu on 9th December at The Leela Hotel. A party will also be held on 6th at The Club, Andheri, Bombay.

AKSHAYE KHANNA VISITS INDORE CINEMAS

Akshaye Khanna has gone to Indore where his Doli Saja Ke Rakhna opened this week. The actor is making stage appearances in one or two shows at Regal, Alka and Devshri cinemas.

NANDED GURUDWARA DEMANDS JAVED JAFFRI’S APOLOGY

Actor Javed Jaffri’s remarks against the Sikh religion, in a recent interview published in a film glossy, has hurt the sentiments of the Sikhs. Copies of the glossy were burnt in the main gurudwara complex at Nanded, and the chairman of the Sachkhand Gurudwara board demanded Javed’s apology before the Shahi Imam of Delhi, for having made the “derogatory” comments.

PRODUCTION NEWS

‘Hum Aapke Dil Mein Rehte Hain’ Complete

Suresh Productions’ Hum Aapke Dil Mein Rehte Hain is now complete after the picturisation of its last song at  Treasure Island in Hyderabad. Anil Kapoor, Mink and 30 models and dancers from Bombay participated. The film stars Kajol in the female lead and co-stars Parmeet Sethi, Sudha Chandran, Smita Jayakar, Gracy Singh, Adi Irani, Rajoo Shreshtha, Sadhu Meher, Rakesh Bedi, Satish Kaushik and Shakti Kapoor. Producer: D. Rama Naidu. Director: Satish Kaushik. Story-screenplay: Bhupati Raja. Dialogues: Jainendra Jain. Lyrics: Sameer. Music: Anu Malik. Cinematography: Kabir Laal. Dances: Saroj Khan and Chinni Prakash. Action: Raju Master. Editor: Chetan Tanna.

‘Kaho Naa…Pyaar Hai’ Unit Returns

The unit of Film Kraft’s Kaho Naa…Pyaar Hai returned from Thailand on Nov. 28 after picturising two songs and scenes on board a cruise and on Krabi island near Phuket. Newcomers Hrithik Roshan and Amisha Patel alongwith Rajesh Tandon, Vrajesh Hirjee, Payal Malhotra and 35 dancers participated. The film also stars Anupam Kher, Mohnish Bahl, Dalip Tahhil, Ashish Vidyarthi, Satish Shah, Farida Jalal and master Abhishek. It is being produced and directed by Rakesh Roshan. Story-screenplay: Ravi Kapoor and Honey Irani. Dialogues: Sagar Sarhadi. Lyrics: Saawan Kumar and Ibrahim Ashq. Music: Rajesh Roshan. Cinematography: Kabir Laal. Art: R. Verman. Action: Tinnu Verma. Sound: Navin Zaveri. Dances: Farah Khan. Editor: Sanjay Verma.

‘Kunwara’ In Hyderabad

Tips Films and Geeta Arts’ Kunwara is being shot from this week in a 12-day stint in Hyderabad. Govinda, Urmila Matondkar, Naghma, Om Puri, Mohan Joshi, Aasif Sheikh, Johny Lever and Kader Khan are participating. The film, being directed by David Dhawan, is based on a story by Mag Babu and screenplay by Yunus Sejawal and Ikram Akhtar. Dialogues: Rumi Jafri. Lyrics: Sameer. Music: Aadesh Shrivastava. Cinematography: Chhota Naidu. Art: R. Verman. Dances: Saroj Khan. Sound: Vinod Poddar. Editor: A. Muthu. Producers: Allu Arvind, Mukesh Udeshi, Kumar S. Taurani and Ramesh S. Taurani.

DO YOU KNOW?

* In a fine humanitarian gesture, Nana Patekar rushed fight master Sham Kaushal to Nanavati Hospital in Bombay immediately after the latter’s appendix burst on 22nd November. Kaushal was successfully operated upon and later discharged on 3rd December. The action director can’t stop singing the star’s praises ever since.

* SOLDIER has created a record in 2nd week at Anand, Lucknow by collecting 3,73,155/-.

* SOLDIER has created theatre records by collecting 2,71,000/- and 1,99,812/- in 2nd week at Kanpur’s Nigar and Natraj cinemas respectively.

* SOLDIER has created a theatre record by collecting 2,68,768/- in 2nd week at Sanjay, Agra.

Who called this ‘Fire’ brigade?

The Fire controversy, that started in Bombay on 2nd December, spread to Delhi on 3rd and is spreading like wild fire in other parts of the country. Shiv Sena activists on 2nd disrupted the screening of Deepa Mehta’s film at New Empire and Cinemax cinemas of Bombay as they felt, the topic of lesbianism dealt with in the film was against Indian culture. The activists, most of who were women, broke glass panes and showcases at New Empire and Cinemax and forced the managements to refund the money to cinegoers. Even the monies collected for other shows by way of sale of tickets in advance had to be refunded.

A Jain organisation had some days back raised its voice against the film starring Shabana Azmi and Nandita Das. The Maharashtra government has so far not done anything to restore the film’s screening in Bombay. Of course, about 29 persons were arrested by the Bombay police and those arrested included municipal corporators. In Pune, its screening was withdrawn voluntarily at West End cinema from 3rd, following a call to boycott the film, issued by the Patit Pawan Sanghatana, a militant Hindu organisation. The film has also been discontinued from Ahmedabad.

The Shiv Sainiks’ vandalism became a topic of heated discussion in the Rajya Sabha in Delhi on 3rd and even as allegations and counter-allegations were being freely traded in the Upper House, some Sena activists stormed Regal cinema in the capital city and stopped the screening of Fire. They smashed glass panes of the cinema and tore up posters and billboards of the film. Shabana Azmi and Vinod Khanna, both members of Parliament, condemned the agitation.

The Sena leader in Delhi was arrested on 4th. In the meanwhile, industry veterans like Dilip Kumar, Yash Chopra and Javed Akhtar have written to the Supreme Court about the incidents. According to the film’s Bombay distributor, Balkrishna Shroff, “This is a danger-signal for the film industry. Such a thing has no place in a democratic society like ours. Every satellite channel today shows much more objectionable stuff than what is shown in our films. The point is, once the CBFC has passed the film, it should be left to the audience to decide whether they want to see the film or not. Fire found appreciation in Bombay alone, while in many places all over India, it failed to draw crowds. The protest is unfortunate and unwarranted. We have approached the Film Federation of India to intervene as what has happened to us today could well happen to anybody else tomorrow. The issue must be taken up by the industry with the government in a very serious way.”

It may be mentioned here that the film was doing excellent business in Bombay city before the suspension of its screening. Following its suspension and the nationwide coverage given to the incidents, by television and print media, the collections in the rest of the country where Fire is being screened have shot up. For instance, it opened at Jaipur’s Premprakash cinema on 4th and collected 13,973/- in the morning show on the opening day, and 16,000/- in the noon show. In normal circumstances, the film may not even have collected 10% of the above! So, while the anti-film wave has adversely affected the business of Fire in Bombay, other parts of Maharashtra and in Delhi, it has definitely helped its business in the rest of the country. Why, the Nizam distributor is said to be seriously considering increasing the number of prints in his circuit substantially. Sena activists, in the meanwhile, are said to have given 24 hours’ time to cinemas in a couple of stations of U.P. screening the film on 4th December.

Questions For The Self-Appointed Censors

The anti-Fire activists have been saying that their anger against the film is because it projects lesbian relationship which is against Indian tradition and culture. To stop the screening of the film, these activists resorted to goondaism and vandalism. Is this goondaism a part of Indian culture and tradition?

English films imported from abroad show much more than what is shown in Deepa Mehta’s Fire. Don’t those films corrupt our culture if Deepa Mehta’s film does?

If the government can’t do anything about the anti-Fire agitation, it is a shame. Shouldn’t the central government then abolish the CBFC because now we have bodies that are above the CBFC?

YOU ASKED IT

With Doli Saja Ke Rakhna opening to poor houses last week, do you think, it is the first sign that the audience are now getting tired of the family-based formula films?

– No, it does not mean so. What it definitely means is that music of such family films must become popular before they (films) are released, to ensure a good opening.

How do directors complete films in 10 and 12 days? Are such films economically viable proposals? What are their budgets?

– Such films are generally new star-cast films shot in a single schedule. Their budgets range from 10 to 20 lakh and several of them are commercially viable.

Is Mukesh Bhatt compensating his all-India distributors of Ghulam for having allowed its telecast on a satellite channel so early?

– The IMPDA has already ruled that no film of Bhatt will be permitted to be released until the sub-distributors of GHULAM for Thane etc. are adequately compensated. Likewise, almost every distributors’ association must’ve banned Bhatt’s forthcoming films.

RHYME TIME

Freedom On Pyre

Shiv Sena has targeted its ire
On Deepa Mehta’s Fire
Its “Culture Corruption” claim
Seems to be an excuse lame
And more of a political game
Will Deepa next make a political satire?

Hair Raising!

With Doli…. refusing to pick up
Akshaye’s career is unable to look up
His hopes are now pinned on R.K.’s film and Taal
But the public is more bothered about his failing baal

Not A Golden Rule

Is old really gold?
Not any longer, Santoshi has been told
For, his film with ten men old
Has had the distributors clean-bowled!

Lessons To Learn

The lukewarm — at places, even dull — opening of China Gate last week should teach a lesson to producers, financiers and directors. Don’t over-burden a project with a price that doesn’t match its cast. Or, in other words, spend money on a project according to what its cast deserves.

Rajkumar Santoshi must have had the conviction to make a film with no saleable stars and not even a single young star. Good! But alongwith the conviction, he should have had the concern for the economics. Creativity and business acumen make strange bed-fellows. But if a director decides to turn a producer, he must give equal weightage to both, his creativity and the economics of filmmaking. This, because finally, he has to sell his film. His distributors who’ve bought China Gate were confident of Rajkumar Santoshi, the craftsman, the creative genius and the director. But they did not know that businessman Santoshi would go so wrong in the pricing of his film.They, perhaps, were in awe of his creative talent and thought, it would also translate into economic excellence. That is why, they paid Rs. 1.75 crore to Rs. 2 crore for a non-star cast film. They also assumed that Rajkumar Santoshi was the star, he would attract the audience to the cinema halls. But no, even successful Santoshi did not prove to be a crowd-puller.

If Santoshi did not fix the price, financier Bharat Shah may have. That would mean, Bharat Shah also erred like the distributors of China Gate. He too reposed too much confidence in Santoshi — in his creativity (rightly) and in his economic sense (wrongly). That creativity needs a free hand is true. But every film, after all, is a business proposal and if one were to only concentrate on the creative side, the business aspect would undoubtedly suffer. Santoshi should have made China Gate with the same conviction but with lesser expenses. He should have, at least in this non-star cast film, avoided re-shooting heavily. Anyway, he would do well to keep these lessons in mind for the future.

The makers of Doli Saja Ke Rakhna too must’ve learnt their lesson: a family film should not be released until its music gets time to grow. The songs of DSKR should have been given time to grow on the listeners. It would have definitely given the film a better opening. Secondly, proper/appropriate publicity is also very essential. Merely beaming songs of a film on television is not enough. The audience has to be given a feel of the film, which did not happen in the case of Doli…. Compare this with the publicity of Kuch Kuch Hota Hai, another film for the families. Although people had initially felt, the music of KKHH was weak, the makers publicised the music on a grand scale. So much so that the music began to be liked and even loved. This is not to say that the music had no merits and that only its extensive and intensive publicity helped. But the popularising of the film’s songs did go a long way in ensuring a bumper opening for the film despite the dull pre-Diwali days.

– Komal Nahta

Dream Merchant

News of Subhash Ghai and Salman Khan’s fight at Kailash Surendranath’s party last week had shocked me as it did many in the industry. In fact, the hatha-paai between the celebrated filmmaker and the successful actor was the topic of discussion in all filmi circles. And so, I naturally dreamt about the forgettable fight.

I dreamt last night that a producer-director and a star were arguing about the Ghai-Khan fight. The producer-director was taking sides with Subhash Ghai while the actor supported Salman.

The p-d said, “How come no FIR was lodged against Salman Khan for beating up Subhash Ghai? To which the star replied, “Oh, come on, it wasn’t such a crime to warrant an FIR. On several earlier occasions too, stars have resorted to using physical force on people they don’t like. Aditya Pancholi has beaten up several people. Dharmendra had also raised his hand on a journalist.”

“But,”  countered the producer-director, “shouldn’t such behaviour be condemned? Why can’t the police be allowed to act in the matter?”

The star wondered, “What do you mean? When Salman apologised the following day for his behaviour the previous night, where’s the question of the police coming in?”

“If an apology was enough,” said the p-d, “why did Salman have to be presented in court in Jodhpur in October this year when he killed black bucks? Why did the killing become a police case and then a court case?”

“Silly, that’s because the black bucks were killed while Ghai was only beaten,” replied the actor. “Besides, the black bucks are animals but Ghat is a human being.”

“Do you mean to say that one can beat humans without fear of the law?” queried the p-d.

“No, no, that’s not what I mean. But look, the black bucks are an endangered and a rare species and, therefore, protecting them is our duty,” shot back the by-now agitated star.

“Exactly, that’s what I also mean,” remarked the p-d coolly. “Protecting an endangered and a rare species is our bounden duty. And you must know, my dear, that successful directors like Subhash Ghai are also a rare species today. Their existence cannot be further endangered, right?”

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Premiere Show Of His Premiere Film

Rajkumar Santoshi may have made some brilliant films but he has not forgotten his early days when he was a newcomer in the industry and, what’s more, he doesn’t mind sharing his experiences of those days with anybody. In a recent chat with Information, the producer-director recalled how he had got ready on the day of the premiere of his first film, Ghayal. “I was at Metro cinema (Bombay) where the premiere was scheduled to take place, correcting a technical snag till the last moment. Tired and worn out, I finally left the cinema to get ready for the occasion even as guests had begun to flow in. I recognised the celebrities though nobody must’ve recognised me. I had carried my suit with me and I quickly went to the public bathroom near Metro, where I had a quick bath after paying Re. 1 or Rs. 2 to the attendant there. I changed into a formal suit and was back at Metro in 10 minutes.”

Dimaagwale Idea Le Jayenge

For a story-writer, anything can be an inspiration for a story or for a twist in the story. Fazil, who has written Doli Saja Ke Rakhna, got the idea for it from the last scene of Dilwale Dulhania Le Jayenge in which Shah Rukh Khan tells Kajol that he cannot marry her because her father does not approve of him as a son-in-law. That’s how Fazil got the idea of a love story in which the boy and the girl decide to sacrifice their love for the sake of their parents. Although this angle of the love story was novel, Doli… did not find acceptance among the public. Yet, its original Malayalam and remade Tamil versions were major hits!

Action Drama

The whole of Bombay film trade was discussing just three things on Saturday last — the dull opening of China Gate, the disastrous start of Doli Saja Ke Rakhna, and the action that took place between Subhash Ghai and Salman Khan on Friday (27th November) at ad filmmaker-turned-director Kailash Surendranath’s party. Following a wordy duel between Ghai and Salman, the latter beat up the former. But Salman, accompanied by dad Salim Khan, went over to Subhash Ghai’s home the following day and apologised to the filmmaker for his bad behaviour. Not only that, Salim Khan also invited Mr. & Mrs. Ghai over for dinner on Sunday at their (Khans’) residence, which Subhash Ghai accepted.

Sena Brigade As Fire Brigade

How intolerant are people getting? It is shocking the way members of Shiv Sena disrupted the screenings of Fire on 2nd December at New Empire and Cinemax cinemas of Bombay because they thought the film was against Indian culture. But then, these custodians of culture should have also known that when the government has appointed a body — the CBFC — to censor films, how can any other body/organisation/political party assume the role of super-censors? And why were the self-styled super-censors so late in extinguishing this Fire of lesbianism? The film was in its third week of screening when the Sena ‘fire brigade’ decided to douse the flames of passion projected in the film!

Culture Vulture

Maharashtra cultural affairs minister Pramod Navalkar must be as far removed from reality as anyone can get. For, the minister has proposed that Rs. 2 from every ticket sold in Maharashtra should be given to the state government. He proposes to use the money collected, for the cultural development of the state. Navalkar is either completely unaware of the dire straits in which the film industry is or he is feigning ignorance. Either way, it doesn’t help. If the minister takes a realistic view of the state of affairs in the industry, he may be forced to decide that the government should be contributing (to the industry) Rs. 2 per ticket sold. One hopes, Navalkar doesn’t prevail upon the government to make it compulsory for cinemas to donate Rs. 2 per ticket to the state treasury in the name of culture. If he does, the film industry would have to call the state government a culture vulture!

Used To Playing With Fire

While the blazing controversy over Deepa Mehta’s Fire refuses to simmer down, its Bombay distributors, Shringar Films, must not be losing too much sleep. After all, it is hardly a new thing for the concern to have one of its films run into hot weather. Here is a list of films, distributed by Shringar, which fired up controversy:

(i) Shahenshah (1987) — police protection had to be provided at cinema halls and Shringar office at the time of release; (ii) Bombay (’95) — police protection provided at cinema halls; (iii) Bandit Queen (’96) — got into censor imbroglio which was ultimately resolved by the Supreme Court; also witnessed strong protest against its screening; and (iv) Kama Sutra (’98) — ran into censor problems, court case before it was eventually released amidst strong protests. Apart from these, another of Shringar’s films, Kshatriya, also witnessed a little trouble though not of the same magnitude as the above four films and the current Fire.

Small Screen Versus Big Screen

While UTV may have carved out a niche for itself in the world of TV software production, its experience in filmland has been far from exciting. Its only production venture, Dil Ke Jharoke Main, bombed at the box-office. Its first distribution enterprise in Bombay — Prem Aggan — was also a damp squib. Jhooth Bole Kauwa Kaate, which is also being distributed in Bombay by UTV, has not started too well this week except in some good cinemas in a few major cities.

INFORMATION MEETS

“Planning is the key to everything connected with filmmaking. I have always relied on a detailed plan of action, readied much in advance, before beginning a schedule.”

– RAKESH ROSHAN

GAUTAM MUTHA & RAJ VAIDYA

In an industry where one is known (or forgotten) by one’s last work, producer-director Rakesh Roshan holds out on his own. His last film, Koyla, may not have been a success, but his reputation as a quality filmmaker remains intact. He has one of the most enviable records as a producer-director in recent times. Out of his six films as a producer-director, he has to his credit one blockbuster (Karan Arjun), one hit (Khudgarz) and two successes (Kishen Kanhaiya and Khoon Bhari Maang).

Rakesh Roshan is currently in the middle of completing his most lavish project so far, Kaho Naa…Pyaar Hai, which also launches his son, Hrithik, with a new heroine, Amisha Patel. The film, 50% complete already, is slated for September ’99 release and, going by his formidable reputation as a filmmaker who works according to a well thought-out plan, one is sure of the film releasing at the precise time.

We caught up with Rakesh Roshan at his Bombay office, where he seemed to be sandwiched between his return from Thailand and his departure for Mauritius to attend the premiere of Mother ’98 for which he faced the camera after a long gap. During our chat, he narrated one of the most fascinating experiences of his career — shooting aboard a cruiser and on a deserted island in Thailand which involved aerial as well as underwater photography. Excerpts from our chat….

You went through a great deal of trouble in finalising the location for KAHO NAA…PYAAR HAI. You went travelling all over the world before deciding on  Thailand. What was the difficulty?
– Well, my story required an important portion to be shot aboard a cruise ship. It so happens in KN…PH that the heroine drags along the hero (who is a struggling singer) on a cruise where both fall in love with each other. Thus, it was vital that this part be shot aboard a cruise ship. I first went to Australia in search of one, but I could not find any that I could use. Then, I went to Singapore and almost finalised a famous cruiser called ‘Sun-Leo’. But I didn’t feel fully satisfied with my choice because ‘Sun-Leo’, even though being a cruiser, looked more like a 5-star hotel in the sea. The more I thought about it, the more I realised that the multi-storeyed structure right in the middle of the ship, marred it of its visual appeal. Some time around then, I happened to come across a photograph of this cruise ship called ‘Star Clipper’ and almost immediately knew that it would be ideal for my film. I traced the ship’s ownership to a company in Miami, USA and corresponded with it, seeking details about the ship and permission to shoot on board. The company replied in the affirmative on the latter and I jumped headlong into the planning of the shooting.

How much importance do you give to pre-production planning, especially considering the fact that you were to embark on the most ambitious shooting schedule of your career?
– Planning is the key to everything connected with filmmaking. I have always relied on a detailed plan of action, readied much in advance, before beginning a schedule. This became all the more important in the present case where we were to shoot for 22 days, including nine days on a ship in the middle of the ocean, and that too, with a unit consisting of 85 people! And this wasn’t all, the shooting required aerial as well as underwater photography, too. Given the logistics involved, only an insane person would embark on such a shooting without due planning. Hence I spent months working out the nitty gritties of the shooting schedule and only when I was certain that nothing could go wrong did I finally begin shooting.

And what were these preparations?
– Firstly, I found out the route of Star Clipper which plied from Miami to Athens, then Colombo, Phuket and onward. My obvious choice was to shoot during the nine-day voyage between Colombo and Phuket, Thailand. Once I had decided on this, I went to Bangkok to arrange equipment and the required permissions for aerial and underwater photography. Next, I went hunting for a suitable island nearby, where I needed to shoot immediately after the schedule on the ship. I decided on Krabi, an exotic island off the coast of Phuket. Having worked out all due formalities, I returned to Bombay.

The entire shooting spell must be an experience of a lifetime for you…
– ….It certainly was. It is the biggest schedule I have ever done, be it in terms of expense or logistics involved or any other. Again, I must emphasise on planning beforehand. And by panning, I do not mean just arranging your requirements for the shooting, but envisaging any trouble that might crop up during the shooting and devising a thorough plan of action to counter it, if the need arose. Let me narrate to you the entire experience, which will help you understand what I mean. After getting permission to shoot aboard Star Clipper between Colombo and Phuket, I felt, it would be nice if I could shoot a few scenes involving people boarding the ship at the Bombay port. I accordingly asked the shipping company if it were possible for the ship to stop by at Bombay port on course to Colombo. The shipping company wrote back to me saying, Star Clipper would stop at Bombay for a maximum of one day. So on 29th October, Star Clipper berthed at Bombay and I took all the shots I required. I also loaded all my equipment on the ship in Bombay itself though I was to begin my actual shooting only after it sailed from Colombo. Luckily for me, it helped solve a very serious problem before it could jeopardise the entire schedule. You see, all the power fixtures fitted on the ship were designed for an electrical supply of 110 volts (which is the standard in the USA) while all our equipment needed 220 volts power supply. Now, this posed a real problem for us because the only option out of it would be to install a generator set on the ship. The ship’s authorities insisted that we use a 50 KW silent generator as the 150 KW gensets — the only kind available in Bombay — were too bulky. Eventually, we had to get a genset custom-made to suit our requirements and instal it on the ship together with other equipment. The ship sailed from Bombay the next day.

A week later, on 6th November, my entire unit and I flew to Colombo and boarded Star Clipper from there. The entire contingent of 82 people, including 35 dancers, could cause quite a commotion, especially if they are shooting. The passengers on the ship began to get a little irritable and understandably so, as they were there on holiday and our activity was robbing some of their pleasure. I had envisaged that something like this might occur and hence had told my dancers to be ready to bail us out if need be. So, on day 2, I asked the ship’s captain to announce a special entertainment programme for the passengers. Our dancers and artistes put up such a wonderful show that our fellow-passengers just couldn’t help having a great time. I even told the captain to serve them liquor on my account. In my own small way, I was asking them to bear with us for a few days and most of the passengers appreciated the gesture. They loved Indian music and dance so much that they requested us for repeat performances on subsequent nights. We obliged and soon found most of the passengers beginning to get really excited about our shooting. They became so co-operative that when it rained a couple of days later and we were forced to shoot indoors in the bar area (one of the most popular spots on the ship), everyone cleared the place for us without even a grumble. Here, I would also like to add a word or two about the ship’s captain who extended all possible help to us during the shooting. At the very outset, he had told me, ‘Rakkkesh, do what you want, just don’t sink the ship!’ I can recall a particular incident when I needed to shoot the side profile of the ship sailing the ocean. These shots could only be taken from another ship sailing alongside Star Clipper. When we got into the sea in a zodiac boat (a small boat kept on ships for emergency), we found it impossible to shoot since the water was rough and kept splashing on to our little boat. Finally, the captain advised us to wait a couple of days till Star Clipper left the Bay of Bengal and entered Andaman Sea as the latter had calmer waters. He turned out to be right and we got our required shots a few days later. In between, we continued canning on-board scenes. While everything else was going smoothly, I still had to can aerial shots of the ship in mid-stream, which would bring out the grandeur of the ship’s beautiful appearance. The logical thing to do would have been to hire a helicopter from Phuket (termination point of our journey) and shoot the ship a little before it reached the port — except that there are no helicopter services available in Phuket! The nearest place which offered helicopters on hire was Bangkok, but it took 5 hours’ flying from there to Phuket. This meant that we would be spending 10 hours commuting in order to shoot for just about half an hour. So, I looked at other options. Now remember, here is where the advance planning came to my rescue once again. On my trip to Bangkok prior to the shooting, I had worked out the problem by locating the small island of Maiton which was situated nearer to Bangkok. I had also surveyed the island and found a suitable place where a helicopter could land in the absence of a helipad. The makeshift landing place was some sort of concretised strip which the islanders probably played baseball on. Having done this much, all that remained to be done was to inform the helicopter crew about the exact time Star Clipper would sail past Maiton, so they could make all preparations for the aerial shooting. I found out from the captain that our ship would pass Maiton at 6 a.m. on 13th November. Accordingly, I instructed the helicopter crew to reach Maiton by 12th evening and start preparing. On the other hand, since I was to be in the helicopter during the shooting, I left detailed instructions for the shots with choreographer Farah Khan who would be handling things during my temporary absence. Come 13th morning and we all had our fingers crossed. With no other communication with the helicopter crew since issuing instructions, we just prayed that everything would go as planned. And sure enough, we spotted our helicopter at the precise hour. Just as Star Clipper neared Maiton, Kabir Laal (cameraman) and I got onto a speed boat and left for the island. When he reached ashore, we found the helicopter crew waiting in all readiness. We quickly got into the helicopter and took off. After gaining the required height, I signalled to Farah Khan that we were ready to take the shot. She positioned everyone as per my prior instructions. One by one, we canned all the required shots in quick succession and landed back on Maiton. Now, we had to get back aboard Star Clipper which had sailed quite a distance past Maiton. We got onto the speed boat again and raced after the ship. It took us nearly four hours to locate Star Clipper and finally, we boarded it again. We reached Phuket the next day.

Next, we had to begin our schedule at the Krabi Island — a deserted place where the hero and the heroine in the film get marooned by a quirk of fate. The shooting here required crane shots — we used the giant Phoenix crane — and a few underwater shots apart from the regular ones. The underwater shots were very tricky in the sense that Hrithik had to remain 30 ft. under the sea for nearly 45 minutes. Before the shots, a trained diving instructor explained the basics on diving to Hrithik — things like how to use the oxygen mask and so on. Fortunately, Hrithik had undergone a scuba diving course in Miami, USA, just for a lark a few months ago. So, he caught on pretty fast. Yet, at the end of the entire underwater sequence, I felt proud of Hrithik. Remaining underwater for so long required a great deal of guts more than anything else as anything could have gone wrong at any time. Anyway, in the next few days, we completed all our work and left for Bombay with an upbeat mood. Our insistence on proper advance planning had paid off — and paid off well.

Phew! That must have been some experience. It must have surely been pretty expensive, too…..
– Let’s just say that it was very expensive. In fact, it was my most expensive schedule ever. But let me tell you that unlike some of our other directors, who claimed to have spent 15 crores on their film, even 50% of which didn’t show in it, in KN…PH, you will be able to see every single penny I have spent on the film. There is absolutely no wastage in my film…..

…Which may justify its high price on the one hand, but couldn’t this also be the very reason why your regular distributors like V.I.P. Enterprises in Bombay shied away from buying the film?
– It is true that Bharatbhai Shah of V.I.P. did not show a keen interest in the film when I first negotiated it with him. In any case, the film will now be released by Yashraj Film Distributors on commission-MG basis for Bombay and Overseas territories. In my opinion, the commission-MG system will soon become the norm of the day.

Coming to music of KN…PH, given your ear to spot hit tunes and the music being integral to the story (Hrithik plays a singer), what are the songs like?
– The music of KH…PH is the best of all my films so far and you can quote me on that. In fact, you can judge it for yourself….(Makes us listen to a brilliant composition rendered in Lucky Ali’s voice, and we must admit that there is a lot of truth in the above claim.) There are altogether seven songs in the film, five of which have already been recorded.

Finally, how would you describe KN…PH?
– Well…..it’s a romantic thriller with Hrithik in a double role. The first half is full or romance, but with an underlying thread of thrills, which takes precedence during the second half. All in all, it is a fresh film with a fresh look.

LEGENDARY KIDAR SHARMA NO MORE

Veteran writer-producer-director and poet Kidar Sharma passed away on the afternoon of 29th April after a brief illness, at Hinduja Hospital in Bombay. He was 90 and is survived by two sons and a daughter.

The living legend was to receive the Raj Kapoor award on 30th April at a function to be held by the Maharashtra government at the Shanmukhananda Hall in Bombay. It was Kidar Sharma who had discovered Raj Kapoor, besides other yesteryear stars like Madhubala, Geeta Bali, Bharat Bhushan, Mehtab, Mala Sinha and many more.

Among the feature films written and/or directed and/or produced by Kidar Sharma are Devdas, Vidyapati, Sapera, Aulad, Chitralekha (made twice), Arman, Gauri, Kaliyaan, Dhanna Bhagat, Neel Kamal, Suhag Raat, Neki Aur Badi, Theis, Jogan, Bawre Nain, Bedardi, Shokhiyan, Sapna, Gunah, Hamari Yaad Ayegi, Jhanjar, Fariyad, Maikhana, Pehla Kadam, Ashram, Vishkanya, Mumtaz Mahal, Bhanwara, Duniya Ek Sarai and Bheegi Palkein. He also made more than a dozen films for The Children’s Film Society.

He made short films for Doordarshan, including Aise Log Bhi Hote Hain, Kagaz Ki Nao, Ham Honge Kamiyab, etc.

It was an irony of fate that Kidar Sharma never received any government recognition during his lifetime. His other accomplishments include publishing his first book of poetry, entitled ‘Panchhee’, which was even autographed by the greatest Indian poet, Guru Rabindranath Tagore.

The success of Chitralekha led to Chandulal Shah of Ranjit Studios inviting Kidar Sharma to come to Bombay in 1941 and make films for him. Kidar Sharma worked for Ranjit Studios and wrote and directed films with some of the biggest stars of that time, like Motilal and Shamim in Arman, Prithviraj Kapoor in Vishkanya and Gauri (where he cast the unknown Monica Desai opposite him). This film also marked Raj Kapoor’s break as an assistant director. Kidar Sharma also made Mumtaz Mahal with Khursheed and Chandra Mohan, and Bhanwara with K.L. Saigal, Arun Kumar (Govinda’s father), and Chand Chakori, Dhanna Bhagat and Duniya Ek Sarai in which Meena Kumari got her break as a child star.

Finally, he made Jogan for Ranjit Studios, which starred Dilip Kumar and Nargis and is considered an all-time classic even today. Bulo C. Rani really blossomed as a music director in this film.

In 1945, Kidar was chosen for the first film delegation to Hollywood and the U.K., where he met Cecil B. DeMille and Walt Disney and big stars like Gary Cooper and Paulette Goddard. On his return, he also started working as an independent producer-director and signed two complete unknowns as his leading stars, Raj Kapoor (who was working as an assistant to him) and Madhubala who was still a teenager, in a movie called Neel Kamal.

In the late ‘fifties, he was summoned by Pandit Jawaharlal Nehru who heard one of his lyrics and asked him to become director-in-chief of The Children’s Film Society. The first film he made for the society, Jaldeep, won the Venice Film Festival award.

In 1958, he was asked by the international producers, Shaw Brothers of Singapore, to come and direct films for them.

The films that have gone down in history as his all-time classics include Chitralekha, Jogan and Suhag Raat. Chitralekha was remade in the ‘sixties with Meena Kumari, Ashok Kumar and Pradeep Kumar.

As an outstanding poet, he has written most of the songs sung by the great K.L. Saigal, including Balam aeo baso more man mein, Main kya janu kya jadu hai, So ja raj kumari so ja, Dukh kay din ab beetat nahi, Panchhi kahe hot udas, etc. His other memorable songs include Teri duniya mein dil lagta nahin and a song that Madhubala once asked him to dedicate to her before she died: Radha ko na tarsa, shyam puchhtayega.

Kidar Sharma will remain the grand old man and a creative legend of Indian Cinema.

MOHAN GOKHALE DEAD

Character actor Mohan Gokhale died in his sleep on 29th April due to a massive heart attack in Madras. He was in Madras for the shooting of Kamal Haasan’s Hey! Ram.

Mohan was 46 and is survived by his wife, a daughter, parents, a brother and a sister.

A graduate in Arts from Fergusson College in Pune, Mohan started theatre from his school days. He acted in a number of television serials in Marathi (like Shwetambara) and Hindi as well as films in Marathi, Hindi and Gujarati. He was the founder-member of the Theatre Academy in Pune. He had directed actor Nana Patekar’s first play in Marathi, ‘Bhau Murarrao’. Mohan Gokhale shot to fame in the TV serial Mr. Yogi in which he played the title role. He was currently being seen in the serials Zanjeerein, Alpviram and Aashirwad. Among his better-known films are Bhavni Bhavai (Gujarati), Mirch Masala, Holi, Sparsh and Mississippi Masala. He plays Gandhi in Jabbar Patel’s film on Dr. Babasaheb Ambedkar. He had joined the film industry in 1977. He bagged the Maharashtra state government’s best actor award thrice for his roles in different Marathi films.

Mohan Gokhale was cremated in his home town, Pune, on 30th April.

SUDHENDU ROY NO MORE

Veteran art director Sudhendu Roy passed away on 25th April in Bombay. He was 78 and is survived by his wife and four children, one of whom is art director Sharmishtha Roy.

Sudhendu Roy had started his career with New Theatres, Calcutta. He migrated to Bombay in 1953 with Bimal Roy. He worked with such talented filmmakers as Bimal Roy, Hiten Choudhary, Gemini Productions, D. Rama Naidu and Yash Chopra. Among the films for which he had erected sets were Madhumati, Bandini, Sujata, Devdas, Kabuliwala, Biraj Bahu, Ram Aur Shyam, Kala Patthar, Lamhe and Darr. So sought-after was the art director at one time that the industry had to impose a ceiling on the number of assignments he undertook. Sudhendu Roy also directed two films, Saudagar (with Amitabh Bachchan and Nutan) and Uphaar (Jaya Bhaduri). Uphaar was India’s official entry to the Oscars.

Sudhendu Roy had an eye of a cinematographer. His sketches used to incorporate light and shadow in a manner that was almost photographic. He had a knack of visualising realistically and could say exactly how much of the set needed to be exposed. He had had no formal study in art but trained himself to draft and sketch. He was also extremely self-disciplined.

AUDIO CASSETTES SEIZED IN POLICE RAIDS

The police this week raided three premises in Bombay and seized duplicate audio cassettes of T-Series and other companies, inlay cards, a rewinding machine, empty cassette boxes and other property totally valued at Rs. 4,07,300. Two persons were arrested and cases registered against them under sections 51, 52A, 63, 65 and 68-A of the Copyright Act, 1957.

SHAAD SUES PUNJAB GOVERNMENT

Veteran Punjabi film producer, director and writer B.S. Shaad has filed a case in the Punjab high court against the Punjab government for recovery of subsidy amounting to Rs. 12 lakh due to him for his Punjabi film, Laali. It may be recalled that he had on 19th January sent a legal notice to the government, which evoked no response.

Shaad made Laali and also completed due formalities for claiming subsidy from the government. However, the government appeared to be ignoring his claim. Subsequently, he pursued the matter through CHAMPP, IMPPA and FMC, but to no avail. Driven to his wits’ end by the government’s silence on the issue, Shaad filed the case.

RAID ON TOURING TALKIES

A raid conducted recently on Vaibhav Touring Talkies, Alas, district Kolhapur, resulted in the  arrest of the cinema owner, Ram Upadhye, for screening Yeshwant illegally. Although the print could not be seized, the owner confessed in his statement to the police that a print of Yeshwant was screened by him illegally for two days. An FIR was filed and the cinema owner was later released on bail. According to him, the print was supplied to him by one Ram Bhosale of Miraj and smuggled from the Karnataka border. The police is investigating the case.

‘BORDER’ DIGI-BETA TAPES STOLEN

Kewal Suri’s Maruti Zen was stolen on 24th April from the crowded Lokhandwala area in Andheri, Bombay. There were three Digi-Beta cassettes of Border in the car, and they too were stolen alongwith the car. Kewal Suri holds the all-India video rights of the film.

CHANDRACHUR SINGH WEDS

Actor Chandrachur Singh got married to Avantika on 27th April in Delhi.

JALIANWALA BAGH AWARD FOR ‘SHAHEED-E-MOHABBAT’

Gurdas Maan and his wife, Manjit, were recently felicitated in London by a local cultural organisation, Jalianwala Bagh (UK), for making Shaheed-E-Mohabbat. Gurdas Maan was presented the best actor award, and Manjit Maan, the best film award for Shaheed-E-Mohabbat.

Gurdas Maan and his group performed stage shows in a number of cities of the UK from 31st March to 21st April.

PRODUCTION NEWS

‘Kohram’ Negative Cutting

The first negative of producer-director Mehul Kumar’s Kohram was cut on April 29 at Adlabs. Dilip Sen Sameer Sen will record the background score from May 12 at Saba Studio. The film stars Amitabh Bachchan, Nana Patekar, Jaya Prada, Tabu, Mukul Dev, Ayesha Julka, Mukesh Rishi and Danny with Jackie Shroff and Kabir Bedi in special appearances. It is scheduled for release in July. Dialogues: Iqbal Durrani. Lyrics: Anand Bakshi & Dev Kohli. Cameraman: Rasool Ellore. Action: Bhiku Verma. Editing: Yusuf Sheikh.

‘Chal Mere Bhai’ Bangalore Spell Complete

An 8-day shooting stint of Neha Arts’ Chal Mere Bhai was completed in Bangalore on April 29. Two songs and scenes were picturised on the entire cast including Sanjay Dutt, Salman Khan, Karisma Kapoor, Dalip Tahhil, Sushma Seth, Shakti Kapoor, Himani Shivpuri, Satish Kaushik, Asrani, Javed Khan, Ghanshyam, Suresh Bhagwat, Shiva, Rajoo Shreshtha and Shahbaaz Khan. The film is being produced by Nitin Manmohan and directed by David Dhawan from a story by Ikram Akhtar and screenplay written jointly by Ikram Akhtar and Yunus Sejawal. Dialogues: Rumi Jafri. Music: Anand Milind. Lyrics: Sameer. Cinematography: Harmeet Singh. Choreography: Ganesh Acharya. Art: R. Verman. Editor: A. Muthu. Gaurav Digital presents the film.

‘Hadh Kardi Aapne’ 10-Day Spell In America

The final 10-day shooting spell of R.R. Productions’ Hadh Kardi Aapne will commence on May 8 in America. The film, being produced by Rajeev Anand and Rakesh Malhotra and directed by Manoj Agrawal, stars Govinda, Rani Mukerji, Nirmal Pandey, Ritu Shivpuri, Helen Brodie, Paresh Rawal, Satish Kaushik, Johny Lever (in a double role), Avtar Gill, Tanaaz Currim, Navneet Nishan, Himani Shivpuri, Smita Jaykar, newcomer Kanchi Kaul and Tinnu Anand. Story-screenplay: Satish Jain. Dialogues: Aadesh K. Arjun. Music: Anand Raaj Anand. Lyrics: Anand Bakshi.

‘Haseena Maan Jayegi’ Shooting, Dubbing Complete

The entire shooting and dubbing of Rahul Productions’ Haseena Maan Jayegi are complete. Recording of background music will commence on May 6. Produced by Smita Thackeray and directed by David Dhawan, the film stars Sanjay Dutt, Govinda, Karisma Kapoor, Pooja Batra, Aroona Irani, Paresh Rawal, Kader Khan, Satish Kaushik, Mohan Joshi, Aasif Sheikh and Anupam Kher with Bindu and Asrani in guest roles. Story-screenplay: Yunus Sejawal and Imtiaz Patel. Dialogues: Rumi Jafri. Music: Anu Malik. Lyrics: Sameer. Cinematography: K.S. Prakash Rao. Editor: A. Muthu. Action: Mahendra Verma. Choreographer: Ganesh and B.H. Tharun Kumar. Bharat Shah presents the film.

‘Pyaar Diwana Hota Hai’ Major Schedule Complete

Super Good Films’ Pyaar Diwana Hota Hai was shot in a 23-day stint till April 23 at Ramoji Rao Studios, Annapurna Studios and on locales in Hyderabad. Govinda, Rani Mukerji, Apoorva Agnihotri, Deepak Tijori, Farida Jalal, Kishore Bhanushali, Pramod Moutho and Om Puri participated. The film, which is almost complete, is being produced by R.B. Choudhary and directed by Kirti Kumar. Story: Sasi. Screenplay: S.M. Ahale. Dialogues: Javed Siddiqi. Lyrics: Anand Bakshi. Music: Uttam Singh. Art: Gappa Chakraborty. Cinematography: Peter Pereira. Dances: Ganesh, Raju Sundaram and Chinni Prakash. Balram Sharma is the film’s co-producer.

YOU ASKED IT

Will the entry of foreign production companies, in Bollywood augur well for us?

– Their entry may well change the face of Bollywood in the years to come.

What do you think of the producers who will release their star-cast films while the World Cup cricket matches are on?

– These producers had to choose between getting their films in opposition of other big films or cricket matches. They opted for the latter. A lot depends on how the matches progress.

Among producers, distributors and exhibitors, who, according to you, are the most harassed lot?

– The producers, because there’s no unity in the production sector. Everybody seems to be taking the producer for a ride and, in the absence of a strong trade association of producers (thanks only to lack of unity), the producer has to bear with all the tantrums and humiliation.

Will the concept of multiplexes succeed in a city like Jaipur?

– It will succeed wherever people have spending power, and Jaipur is no exception.

3-E
Education-Entertainment-Enlightenment

Power Of Good Music

The opening of Sarfarosh in several circuits took the industry by surprise. It is a commonly known fact that Aamir Khan acts in a very limited number of films. This, coupled with the film’s publicity, had raised hopes in the trade that the film may open well. Besides, the film was the solo major release of this week, implying thereby that it did not have to vie for public attention. And it is vacation time in many parts of the country. But despite all these points in favour of Sarfarosh, the film opened to ordinary houses in circuits like C.I., East Punjab and Rajasthan. The reason: the film does not have popular music. Which gets us to the important role music today plays in ensuring a good initial. Like it had happened in the case of Shah Rukh Khan’s Duplicate, it has once again happened with Sarfarosh. Even Duplicate took a decent opening only in Bombay but in the rest of the country, the initial was far from encouraging. This, because its music was not up to the mark although it was definitely better than the music of Sarfarosh.

Dancing Surprise

Trust Boney Kapoor to spring surprises. After having got melody queen Lata Mangeshkar to make a cameo appearance in his Pukaar, Boney is at it again. This time over, he has roped in Prabhu Deva for a dance item for Pukaar. Initially, the song was planned to be picturised on Madhuri Dixit and a robot. No sooner did Prabhu Deva happen to hear A.R. Rahman’s composition, he, of his own accord, expressed a desire to choreograph the song. While Boney and director Rajkumar Santoshi were only too happy with Prabhu’s keenness, they went a step ahead and asked him not only to choreograph the number but also dance alongwith Madhuri for it. So the robot is out and Prabhu Deva is in. Rehearsals have begun in right earnest in Madras, and shooting may commence next week on several sets being erected for the song picturisation in Hyderabad. But what is it that prompted Prabhu to make a special appearance for the song. Well, wait till you hear the song. Que sera sera sera (a well-known Latin phrase) goes the song and is it good? No, it’s too good!

Manoj Kumar: Analysing Failure

It requires guts to admit one’s failure and Manoj Kumar is a gutsy man. Not only does the maker of many a hit concede that his latest, Jai Hind, has not fared well, but he has also analysed the reason for the audience rejecting the film. Jai Hind was started more than five years ago and the delays in completing the film seem to have taken their toll on the project. “When Jai Hind was launched, the Kashmir issue affected every Indian, but the problem had been solved by the time the film hit the screens,” reasons Manoj Kumar. “My well-wishers did caution me to scrap the film when artistes like Manisha Koirala started troubling me for dates and when the Kashmir problem got solved in the meantime. But I refused to do so as it was a question of the reputation of my banner. I’ve learnt a lesson from the failure of Jai Hind — never make a film on a temporary problem because if the problem is no longer there, the audience will not feel for the project. You can’t serve dry fruits in summer. You want fresh fruits. Even paneer masala or chicken moghlai will be abhorred by people if they are stale, but simple dal, if fresh, will be relished,” says Manoj Kumar. Very true, Manoj-ji.

Diaries For Sale

Producer Vashu Bhagnani seems to get better and better with each of his films. Take for instance, his novel publicity idea for his forthcoming Biwi No. 1. He has had a large number of Biwi No. 1 diaries made (a cheaper version of the one which we wrote about a few weeks back) to be sold to the patrons inside main cinemas in main cities of every circuit. In fact, he is currently busy setting up the stalls to sell these diaries at various places all over India. The diary,  containing eye-catching pictures and autographs of the Biwi No. 1 team, is priced at Rs. 125 and should be a good buy for avid cinegoers, except that the price is a bit on the higher side. “Actually, Rs. 125 is itself the cost price of the diary for me”, explains Vashu. “The objective behind selling the diaries is not to make money, but to create awareness about my film as well as give the patrons something of sentimental value.”

The Slap That Echoed Far, The Slap That Launched A Star

As legendary director Kidar Sharma departs to meet his Maker this week, let us savour an interesting memory that truly brings out the character of the man. The incident dates back to the ‘forties when a young Raj Kapoor was still a fortune-hunter in the film world and was working with director Kidar Sharma as his assistant. Raj Kapoor’s main responsibility at that time was to sound the clapper-board before every shot. Raj, who even then was fixed on the idea of becoming an actor, would invariably try to push his face in front of the camera for a few seconds before sounding the clapper-board. Once, it so happened that Raj was, as usual, preoccupied with himself in front of the camera, so much so that when he sounded the clapper-board, the false beard of the performing artiste got stuck in it and came off. The very next moment, the entire crew was in peals of laughter. Kidar Sharma, being the short-tempered man he was, walked straight up to Raj Kapoor and gave him a resounding slap on his cheek. Everyone in the unit was aghast. After all, Raj was the son of one of the foremost stage and film actors of India. However, the incident served as a blessing in disguise for Raj’s acting career which was yet to take off. For, Kidar Sharma was so impressed with the pain he saw in Raj’s eyes after being slapped that he instantly made up his mind to bring him in front of the camera. And soon enough, he began Neel Kamal (1948) with Raj Kapoor in the lead. The rest, as they say, is history.

INFORMATION MEETS

“People tell me, ‘Vashu, you are a very blunt businessman’. But, let me tell you that I am a very sentimental person. If someone speaks ill of me,
it hurts me a lot.”

– VASHU BHAGNANI

RAJ VAIDYA

He is arguably one of the most successful producers on the scene today. Having switched vocations barely half a decade ago, he scored an instant hit with his debut production project, Coolie No. 1. Just four films later, he is in a position to demand what he terms as ‘munh-maanga daam’ for his multi-starrer, Biwi No. 1. Yet, Vashu Bhagnani appears far from being flattered, and he doesn’t even get carried away with the industry’s growing expectations from him. In fact, he has decided to keep the film for many of the circuits with himself. He says, he is willing to take the risk more because ‘I don’t want to lose people today’ (in case the film flops) than for any business considerations.

We caught up with Vashu Bhagnani on a typically hectic day at his office. Biwi No. 1 is close to releasing, and its publicity materials and promotional trailers are in the process of being despatched to the various distributors. Amidst the flurry of activities, Vashu spent time with us and shared with us his thoughts on relationships in the industry, his disappointments and his astute business sense.

You have a 100% successful track-record, which could be both, a blessing (as it means that it is the distributors who run after you to buy your films and not vice versa) or constant pressure of having to live up to everyone’s expectations. How do you look at it?

Actually, it is both. If the expectations grow with every film you make, then it will also drive you to achieve higher and higher every time, isn’t it? I started with Coolie No. 1 and then went on to make Hero No. 1, Pyaar Kiya To Darna Kya, Bade Miyan Chote Miyan and now, Biwi No. 1. With each of my films, I have gone better than the previous. People say that BMCM didn’t do very well, but I would beg to differ. Businesswise, it was better than PKTDK. (Perhaps, Vashu is not taking into account the prices of the two films while comparing them.) Anyway, the point is, I have grown commensurately with the rise in people’s expectations in my abilities as a producer. Of course, a time may come when I may feel that a certain film of mine hasn’t been up to my usual standards. But then, I will be forthright about it rather than bluff the audience into believing that it is as big as say, Biwi No. 1. I’ll tell them through the media, ‘Look, even though this is my film, it isn’t Biwi No. 1. It is a good film, nevertheless, and do see it. But please don’t come to the cinema expecting it to be a Biwi No. 1 or BMCM or whatever’. Luckily, this hasn’t happened so far.

Making a bigger film than my previous one has never been a criterion whenever I have embarked on a project. I basically look for a good plot and for good artistes who would be perfect for it. I would never do something like signing, say, Shah Rukh Khan just to increase the business prospects of a plot ideally suited for, say, Govinda. I will only take those who fit the requirement of the plot. I don’t want to cheat my audience. I have laboured to create my place among the audience, which I don’t want to lose overnight. It has taken me six long years to get here and I don’t want to lose it all in a day’s time. I have seen people in this very industry, who have not achieved success even after decades. Fortunately, I have tasted only success ever since I have entered the industry. I firmly believe that this has been possible solely because of some divine grace. I don’t want to lose this opportunity by being ungrateful. I don’t want to exploit people. Yes, it is possible that I could get whatever price I want by going around telling people how much I have spent on my film. But I do not want that kind of money. In fact, I am releasing Biwi No. 1 myself in almost 60% of the territories. It doesn’t matter to me if I get less money that way.

But isn’t there a huge risk involved in it? After all and with due respect to your track-record, no one is infallible….

But that’s precisely my point. I don’t want to exploit anyone, like I said earlier. If the film works with the masses, the money will naturally follow. But if it doesn’t, I don’t want to lose my distributors by giving them big talks and extracting an exorbitant price from them. Another reason why I have turned down distributors for Biwi No. 1 is the fact that my expectation from the film is much greater than theirs. Their price can never match mine because I know exactly how much money I have spent on the film. Supposing our prices matched, even then, it is said that bahut zyada price lena bhi bura lagta hai. Today, the film is complete and the hype surrounding it is making a lot of distributors approach me. I am getting more offers than I need, but I am turning them down. This is simply because, if the film flops, no matter who loses money, ultimately, it would be I who would get bad-dua. I do not want to lose people today.

And yet, when a number of distributors approached you for Gujarat-Saurashtra, you quoted them fantastic prices and terms. Why?

That is true. Kyon ki ya to mujhe bahut bada paisa chaahiye ya kuchh bhi nahin. Either I take a lot or I don’t take anything at all. But when I take, people should say ki Vashu ne kya paise liye! Or, that he asked for so much that nobody was willing to give him. I am willing to accept both.

That is all very well but couldn’t the current trend among distributors, to shirk from paying overflows, be the real reason behind your decision of keeping the film with yourself?

No, no. That’s not the reason. It isn’t what I am talking about. What you are saying is the business aspect of it. As a businessman, you are free to choose something if it suits you and reject what doesn’t. What I am talking about is interpersonal relationships. I don’t care for anyone when it comes to business. No one at all. Yet, it is also true that I have always put relations over and above business.

Talking of relations, you seem to have a very good working relationship with director David Dhawan. Barring PKTDK, all your films have been directed by him.

Firstly, David-ji ke saath mere ghar ke relations hai. I have always thought of him as an elder brother. I had already made Coolie No. 1 and Hero No. 1 with him, when he began working on BMCM for another producer. But some time through the project, circumstances developed in such a way that I had to enter the project. As far as Biwi No. 1 is concerned, I had selected the subject myself after seeing a film (Sati Leelavathi in Tamil) in Madras, three years ago. I came back to Bombay and told David about it. I also gave him a VHS of the film and suggested that he remade it. When he saw the film, je hust loved it and asked me if I would produce the remake. So I went and bought the rights of the original. Then we spent a lot of time working on the script and deciding who fits perfectly in which role. Eventually, we launched the film.

David and I have spent so much time working together that we share an excellent rapport. After all, we have made four films together, and if each film has taken about 90 days to make, it simply means that we’ve had meals together for 360 days. Ab jis ke saath insaan 360 din namak khaayega, woh dost toh ban hi jaayega, na!

To change tracks, isn’t it sheer bravado that you have decided to release BIWI NO. 1 thick in the middle of the Cricket World Cup?

You could say that but then, you couldn’t be any farther from the truth. Let me explain. Firstly, whenever I release the film, be it two weeks from now or after the World Cup, someone from the industry will lose some money if his film is competing against mine. Why should I do that? Why should I bite the very hand that has not only fed me but has also given me so much more? I’d rather take away from another industry that either the film industry or I are not concerned with. Hum log aapas mein industry ko kyon divide karein?

Secondly, I feel, this whole talk of the World Cup majorly affecting movie collections is a myth. As per my calculations, the maximum it could affect is by 10-20%. You may think, I’m being unduly optimistic, but let me tell you that if you print my calculation in your issue, I’m sure that it will receive many replies. I am ready to change my name if it doesn’t. It goes like this — we run films in 4 shows daily. Since the World Cup matches will begin only at 3.15 p.m., the 12 o’clock show will remain unaffected. The 3 p.m. and 6 p.m. shows will, of course, be affected. The 9 p.m. show, contrary to popular belief, will not be affected. Let me explain how. Even though the matches will officially end at 9.15 p.m., sometimes, the matches may end earlier than that, or the interest in the match may be over before its end. So, all in all, a maximum of two shows will be affected, that too only on the days of the matches. And to what extent? Let’s say, 20%. Even then, the tally at the end of the day will still read: 12 noon show – 100%; 3 p.m. – 80%; 6 p.m. – 80%; and 9 p.m. – 100%. Average collectoins for a day will still read 90%. And if I am scoring 90% on a match-day, then I am definitely a winner. This, when I am not even taking into account the fact that not all the matches in the World Cup are going to generate an equal amount of interest. I could lose much more if my film were to be pitted against another. But since no other major films are releasing during the World Cup, my film will get a clear field for three straight weeks. This should prove advantageous to it, don’t you think?

And finally, if the World Cup boasts of many a good team, even I can say that I have an excellent team. I mean, what would you call a combination of Salman Khan, Anil Kapoor, Saif Ali Khan, Karisma Kapoor, Tabu, Sushmita Sen, David Dhawan, Anu Malik and the title value of Biwi No. 1?

Coming to one of your most-known passions — publicity. How much importance do you give to publicity?

You have rightly termed it as ‘passion’, I strongly believe that koi bhi kaam karne ke liye shauq hona chaahiye. I am constantly thinking of ways of doing things better and better. I don’t like to compromise on anything that is within my powers. Maine kabhi apne aap se dhokha nahin kiya. Sometimes, when I go abroad and see the way things are publicised, I realise that there are so many things that I haven’t done yet. I see the ads everywhere, in papers, on TV, etc., and there are so many ideas that I would like to incorporate in my publicities, for example, I would love to do something on the lines of the Liril ad, but often, my budget doesn’t allow me to. So, I do the maximum I can under the circumstances. For example, today, a particular poster of Biwi No. 1 costs me Rs. 35,000, which means about 40 such posters would set me back by approximately Rs. 10 to 15 lakh. This is a big sum in today’s times, but I spend it because I am trying to derive creative satisfaction out of my work. Otherwise, you could make 10,000 or even a lakh posters in Rs. 15 lakh. Par uss mein phir woh satisfaction waali baat nahin hogi.

Similarly, as a producer, I hold nothing back every time I make a film. I cannot direct, so I don’t waste my time interfering with that. Whatever creative input I can add, which is within my mental capacity and powers, I do. I am constantly striving to stretch my abilities and that only happens because I am extremely passionate about my work.

Five films in six years. What has the experience been like?

To tell you the truth, right now, I am very confused. Mera dil karta hai ki mujhe ab zyada din industry mein rehna hi nahin hai. I just can’t understand the way people deal here. I can swear that I have never ever worked with anyone with a malafide intention and yet, I hear a lot of people spreading all kinds of lies about me. I have failed to understand who to trust and who not to. I have no other interests, besides my work and my family. I just happen to love my business and dealing with people, and my family. So, I get hurt quickly when I hear that someone has spoken rubbish about me. I am the kind of person who starts loving someone even if I have had a single meal with him. So, I feel I do not deserve this.

People tell me, ‘Vashu, you are a very blunt businessman.’ But let me tell you that I am a very sentimental person. If someone speaks ill of me, it hurts me a lot, but I prefer not to talk about it. Instead, I ask myself why the person did so. Like I said earlier, I have always put relationships over and above film business. That’s why a loss in business never affects me as much as a breach of faith does.

I have never cheated anyone. I don’t ever bargain. My friends tell me, ‘Vashu, now that you have become a big producer, you should not pay your stars so much.’ But I don’t agree. Why should I agree? Today, it is because of the stars that I’m selling my film. Vashu Bhagnani cannot sell. I sell because I have a Salman or an Anil or such. Eventually, it is the product that sells. So, I turn back to my friends and ask, ‘Agar Vashu Bhagnani chalta hai toh woh kisi bhi aire gaire ko hero lekar film hit kar ke dikhaaye.’ They cannot reply to that.

SHOWBIZ TODAY

THE MAKING OF A MULTIPLEX

Maharashtra Government Approves G2000 In Pune

KOMAL NAHTA & RAJ VAIDYA

The word is finally out. The Maharashtra government has very recently given a nod to the construction of multiplexes in the state. It may be recalled that a couple of years ago, the state government had negotiated a proposal for multiplexes with the US-based Warner Bros. However, nothing came of it and the proposal was scrapped after a few meetings between the two parties. Sources say that that may have been due to the inability of the Warner officials to cope with the tremendous amount of red tapism involved in interacting with the government. Be that as it may, the government policy on multiplexes remained on ice thereafter. Until now, that is.

In its first-ever policy decision on the subject, the Maharashtra government has approved a proposal for an entertainment complex which also includes a multiplex, to come up in Pune soon. The government has broadly defined its tourism policy (multiplexes have been made a part of the tourism industry) and paved the way for future multiplexes in the state by providing a number of incentives for projects of the same nature.

The construction work of the abovementioned complex, G2000, is already under way in Pune. When completed, it will have a business hotel, a cultural centre, an exhibition hall, bowling alleys, a video games parlour, restaurants and so on, apart from a multiplex comprising four screens.

We met the brain behind the project, Hemant Manmohan (brother of producer Nitin Manmohan), to find out more about the venture, the government policy and the future of multiplexes in India. For, when the history of multiplexes in India is written, the name of Hemant Manmohan shall be written in golden letters.

Firstly, how did the idea of setting up a multiplex come to you?

In my opinion, multiplexes will become the order of the day very soon. Today, several small cinema halls that have come up in Bombay, have brought back the audience to cinemas. The bottom line is to provide quality service — good projection and sound, comfortable seating and a few other value-additions — which is what has made these cinemas viable recreational spots for people. However, increasing costs, taxes and other difficulties prevent most other cinemas from providing facilities of a similar standard. But imagine a cinema complex with a number of screens under a single roof and decidedly smaller seating capacities — that becomes a viable proposal for both, people and the trade.

That’s true. But, why Pune and not Bombay?

I believe that Pune has tremendous potential to generate tourist traffic. Being an industrial city, it continues to attract a large number of people from all parts of India. These people have nearly the same spending power as those in Bombay. I have a number of business interests in Pune and constantly shuttle between Bombay and Pune. I have personally known of a number of business ventures that have succeeded in Pune despite the skeptical view about the spending power of Puneites. Take the case of Domino’s Pizza. They run 17 parlours in Pune and, at any given time, the waiting period at these parlours is two hours! Having been convinced so, I hired a marketing company to do a survey to ascertain the viability of my project and, as expected, the findings were favourable.

Another reason in choosing Pune over Bombay was that I already had a plot of land on prime location there. Years ago, I had bought it with the intention of setting up a business hotel on it. Due to certain reasons, that project hadn’t taken off and I was looking to using it in some way. So, when the survey results reiterated my instincts, I quickly got the project report of the venture made, and applied to the Tourism Finance Corporation Ltd. for finance. They approved my application and I began the construction work.

Even before getting an approval from the government? That is surely putting the cart before the horse…

…You can say that, but the truth is that I was always convinced of the viability of the project. Likewise, I was also sure of getting the government to approve it. You see, even though I didn’t have a formal approval from the ministry, I had won the support of a few dynamic bureaucrats therein. They had given me to understand that they were looking at the proposal in a very positive manner. That was enough for me to begin work.

And how did the final approval come about?

Oh, that was a long process. I had applied for the permission to set up an entertainment complex way back in August ’98. My earlier experiences had proved to me that whenever one approached the government with a proposal for a cinema hall, one had to face a lot of negative attitude from the people concerned. Since my project was much more than a cinema complex alone, I decided to approach the tourism ministry. Sadly, when I first applied, there was no clear state policy on tourism. So, I went to Gujarat, which had a fairly decent tourism policy, especially in regards to development of entertainment complexes. I gathered all details of the policy and presented it to the Maharashtra tourism ministry. Slowly, I could see that the people concerned were beginning to see sense in what I was proposing. I must add here that I particularly paid attention to the paperwork throughout the process, which must have gone in my favour. My proposal was approved over similar ones submitted by two big groups in the field.

Can you briefly describe the complex?

Sure. The complex will be called G2000 and will have several levels, each devoted to a specific purpose. The main features of G2000 are a cineplex with four screens and a total seating capacity of more than 1,400; a business hotel with 64 suites, which will be managed by the Taj Group; a cultural centre consisting of an exhibition hall; a rooftop auditorium which can be used to stage plays as well as screen films; bowling alleys; a video game parlour; a MacDonald’s outlet; a 2-level underground parking lot, and so on. We plan to have G2000 in operation by April next year.

MAHARASHTRA GOVT.’S POLICY FOR CINEMA MULTIPLEXES

The Maharashtra government has announced the policy for cinema multiplexes valid all over Maharashtra including Bombay city. The policy for multiplexes is actually a part of the Tourism Policy announced to coincide with the Year of Tourism. The Tourism Policy has four components of which the third component relates to the package for multiplexes.

Excerpts from the policy:
“The multiplexes will have criterion for minimum number of screens for Bombay city and outside Bombay, and can have tourism related amenities within the multiplexes.

“The multiplexes shall be eligible for exemption from entertainment duty for a period of 4-5 years. They will also be entitled to stamp duty relief if they are located outside the municipal limits.

“For the projects of Indian entrepreneurs, joint venture projects and 100% projects of foreign companies, there shall be different norms within the multiplex policy.

“The cinema houses in the multiplexes will be exempted from sales and purchase tax for the cinematographic equipment purchased by them.

“Existing cinema houses can also convert into multiplexes under the policy.”

The Tourism Policy shall be implemented by a single-window clearance system.

LOHA

Jockey Films’ Loha (A) is a crime film. A suspended police officer vows to avenge his sister’s murder by a don who has the complete support of a corrupt minister and a corrupt police officer. A forlorn army officer and a patriotic don join hands with the suspended police officer and help him in his mission. The army officer’s wife has been killed by another don. One by one, the villains are eliminated and, in the climax, the don too is finished by the police officer.

The screenplay provides scope for a lot of confrontation scenes between the dons, between the police officers and also between the hero and the main villain. The impact of several of the confrontation scenes is good mainly because of the hard-hitting dialogues (Bashir Babar) spoken in the language of the streets. The sarcasm at today’s politicians and times makes many scenes enjoyable. However, the action scenes are hardly as enjoyable. Rapes have been incorporated anywhere and everywhere to titillate the masses.

Dharmendra plays the iron-man with gusto and wins applause from front-benchers whenever he shows his fist as a mark of his strength. Mithun Chakraborty, in a subdued role, gives good support to Dharmendra. Sujata Mehta has a small and insignificant role. Shabnam Mala, Meghna and Pinky Alfanzo hardly get any scope. Mohan Joshi is quite good. Ishrat Ali does very well. Pramod Moutho acts ably. Shakti Kapoor, Deepak Shirke, Kiran Kumar, Harish Patel, Rajesh Vivek, Rami Reddy and Rajan Khan lend fair support. Govinda and Manisha Koirala entertain in special appearances and they are provided able support by Dinesh Hingoo.

Direction is alright. Music has hardly any appeal. There’s a sad song too, which looks out of place in a film of this genre. Photography and other technical values are below the mark.

On the whole, fast-paced Loha has enjoyable dialogues as the biggest asset, which, to an extent, make up for a routine story and technical drawbacks. It should give some returns to its distributors on the strength of business in ‘B’ and ‘C’ class centres.

Released on 17-10-’97 at Dreamland and 14 other cinemas of Bombay thru Tridev Movies. Publicity & opening: fair. …….Also released all over. Opening was impressive in C.P. Berar and Rajasthan.

LATEST POSITION

The examination period and the festival period have taken their toll on the box-office.

Deewana Mastana has done fairly good business in the first week. It dropped from 5th day onwards at several places. Should prove a commission-earner in some circuits and fetch overflow in others. 1st week Bombay 48,08,479 (92.06%) from 12 cinemas (10 on F.H.); Ahmedabad 8,51,008 from 7 cinemas (2 unrecd.), Rajkot 1,94,398 from 2 cinemas (1 in matinee), Jamnagar 1,21,361 from 2 cinemas (1 in matinee); Pune 11,66,285 from 5 cinemas (1 in matinee), Kolhapur 1,67,000; Hubli 1,95,674 (97.79%) from 2 cinemas (1 in noon), Belgaum 2,07,627 (96%); Delhi 49,83,740 (89.45%) from 13 cinemas (1 unrecd., 1 on F.H.); Kanpur 3,93,036 from 2 cinemas, Lucknow 2,42,939 (100%), Agra 2,65,415, Varanasi 1,80,252, Meerut 1,87,913 (100%), Bareilly 1,40,480 (62.88%), Dehradun 1,80,000 (86.95%), Gorakhpur 1,33,000, Hardwar 95,000; Amritsar 55,410; Calcutta (8 days at most of the cinemas) 28,91,918 from 17 cinemas; Nagpur 5,83,620 from 5 cinemas, Amravati 1,49,654, Akola 1,56,830, Raipur (6 days) 1,78,877, Bhilai 1,37,127, Jalgaon 1,47,650, Chandrapur 1,43,666; Indore 2,57,596 (5 on F.H.), Bhopal 3,52,894 from 2 cinemas; Jaipur 7,26,463 from 3 cinemas, Bikaner 2,66,248; Hyderabad 28,68,327 from 15 cinemas (1 in noon), share 14,50,000.

Mr. & Mrs. Khiladi has not found favour with the audience, and its collections began dropping from 4th and 5th day onwards. It will entail heavy losses to most of its distributors. 1st week Bombay 40,77,877 (75.38%) from 14 cinemas (11 on F.H.); Ahmedabad 5,62,913 from 6 cinemas (1 unrecd.), Vapi 4,22,443 from 2 cinemas, Baroda 1,58,493, Bharuch (gross) 2,25,286, Rajkot 1,61,581 from 2 cinemas (1 in matinee), Jamnagar 1,14,808 from 2 cinemas (1 in matinee); Pune 10,50,053 from 7 cinemas (2 in matinee), Kolhapur 1,22,877, Satara 1,51,866 from 2 cinemas (1 in matinee); Belgaum 1,17,943 (82.67%); Delhi 47,39,590 (79.71%) from 13 cinemas (1 on F.H.); Kanpur 3,74,937 from 2 cinemas, Lucknow 3,30,686, Varanasi 1,78,815, Bareilly 1,01,223 (65.76%), Dehradun 1,26,000 (56.31%), Gorakhpur 1,40,000; Calcutta (6 days at most of the cinemas) 21,00,123 from 16 cinemas; Rourkela 2,28,333 from 2 cinemas; Nagpur 5,58,472 from 4 cinemas, Jabalpur 1,75,067, Amravati 1,45,443, Akola 1,02,286, Raipur 1,40,002 (57.41%), Bhilai 1,17,038, Jalgaon 1,02,027; Indore 1,15,005 (4 on F.H.), Bhopal 3,57,078 from 3 cinemas; Jaipur 7,92,646 from 4 cinemas; Hyderabad 20,88,693 from 12 cinemas (2 in noon).

……..

SURINDER KAPOOR HEADS GUILD AGAIN

Surinder Kapoor was unanimously re-elected president of The Film Producers Guild of India Ltd. for 1997-98 at its meeting held on 11th October. This is the third successive term of Kapoor as president. Yash Chopra and Gulshan Rai were re-elected vice presidents, and Kiran Shantaram and Kamal Kumar Barjatya, hon. treasurers.

Earlier on the same day, at the 43rd annual general meeting of the Guild, the following 14 other members, besides the five above, were unanimously re-elected to the executive committee: B.R. Chopra, F.C. Mehra, T.C. Dewan, Harmesh Malhotra, Prakash Mehra, Pramod Chakravorty, J. Om Prakash, Ramanand Sagar, Ram Dayal, A.G. Nadiadwala, Randhir Kapoor, Rajkumar Kohli, Tilak Raj Magan and Amit Khanna.

B.K. Rau has been designated secretary of the Guild.

HINDI ‘KAMA SUTRA’ OFFERED NEW CUTS: RELEASE POSTPONED

Mira Nair’s Kama Sutra, which was scheduled for release this week, has been postponed. The Hindi, Tamil and Telugu dubbed versions have not been censored as yet.

The three dubbed versions have been offered ‘A’ certificate with seven to eight more cuts in scenes which were okayed in the original version. The all-India rights holder, R. Mohan, had expected the same cuts for the dubbed versions as in the English version, and no more. But that was not to be. R. Mohan is likely to appeal against the cuts to the Film Certification Appellate Tribunal.

Consequently, the release of the English as well as the Hindi, Tamil and Telugu versions has been postponed.

OVERWORK? OVER-CONFIDENCE? REPETITIVENESS? WHAT’S IT, DAVID?

David Dhawan may have created a record by having two of his films — Deewana Mastana and Mr. & Mrs. Khiladi — released in the same week. But none of the two abovenamed films has been a record-breaker as several earlier films of David.

Mr. & Mrs. Khiladi will prove to be a loser in most of the circuits. Although Deewana Mastana is doing well, it isn’t a hit like David’s earlier films viz. Aankhen, Shola Aur Shabnam, Bol Radha Bol, Raja Babu, Coolie No. 1, Saajan Chale Sasural or Hero No. 1.

What is the reason? Is David’s style getting repetitive? Is directing too many films together taking its toll on David’s work? Are his writers not coming up with new ideas?

Although David Dhawan should be able to answer the above questions accurately, it appears that all of the above have in some way or the other contributed to the current state of affairs.

Had it been any other director, this would not have been an issue. But David is directing several films presently and is scheduled to start several more. At least 50 crores of the industry are at stake at the hands of David.

That’s the reason David Dhawan should pull up his socks. May be, he should try teaming up with new writers. David’s over-confidence is showing somewhere.

SUBHASH GHAI CLOSES BITE THE MANGO FETE

Subhash Ghai made a speech at the final night of Bite The Mango Film Festival on 11th October in Bradford, U.K. He spoke of his career as director and star-maker as also his plans for the future. The hit Choli ke peechhe song from his Khal-nayak and his Pardes were also screened on the occasion. Pardes was greatly appreciated.

Shabana Azmi won the audience’s hearts with her screen talk about her art-house career and the role of women in Indian Cinema. Local businesses raised funds in support of her favourite charity, Nivara Hakk, for Bombay’s homeless.

Among the films from India screened at the festival were Plus Films’ Gudia and Sardari Begum, and Adoor Gopalakrishnan’s Kathapurushan. Mrityudand and Pardes were also shown. Films from several other countries including the UK, USA and Pakistan were also screened.

The festival inaugurated its first film trade market.

MERAJ NO MORE

Film director Meraj died following a paralytic attack at his residence in Allahabad on 12th October. He was 46 and is survived by his wife, a son and a daughter.

Meraj used to assist Gulzar before he became an independent director, and directed films like Palkon Ki Chhaon Mein, Sitara and Dhat Tere Ki.

His funeral was held in Allahabad on 13th.

MADAN SETH DEAD

Madan Seth, proprietor of Geet and Gunjan cinemas, Vapi, expired on the morning of 17th October in Bombay following cardiac arrest. He was 65 and is survived by his wife, two sons, two daughters-in-law, a daughter and a son-in-law. The funeral was held the same evening.

A condolence meeting will be held on Monday, October 20, at Arya Vidya Mandir School, St. Cyril Road, opp. St. Andrews High School, Bandra, Bombay, from 5 p.m. to 6 p.m.

Geet and Gunjan cinemas remained closed on 17th. Jayshree, Shree and Vaishali cinemas of Vapi suspended a show each, as a mark of respect.

GYAN SAHAY BEREAVED

Siya Rani Sahay, mother of cameraman and director Gyan Sahay, expired on 15th October in a hospital in Bombay after a brief illness. She was cremated at the Vile Parle crematorium on 17th with Hindu Vedic rites. She was 76.

East Punjab Exhibitors’ Losses Put Distributors In Doldrums

Distributors of Punjab have been left high and dry by exhibitors of Amritsar, Abohar, Sonepat and Rohtak, who have formed pools. The exhibitors’ pools have decided not to give MGs or fixed hires to distributors, thanks to the heavy losses they’ve suffered in recent times. This had to happen and it was only a matter of time. Losses of exhibitors have now put the distributors in doldrums because the latter used to depend heavily on monies from the exhibitors of the above centres at the time of taking deliveries of films.

Amritsar, especially, is the main coverage centre and used to contribute upto 25% of a film’s price. With the exhibitors’ pools deciding to screen films on theatre hire only, distributors are now panicking. It is for this reason that this week’s Loha has not opened in Amritsar.

Distributors of at least two films due for release on 31st October (Diwali) are in a problematic state due to the exhibitors above pulling out from giving them MGs and FHs.

Difficult days are ahead for distributors of East Punjab. And the difficult times of distributors are bound to be reflected in their dealings with producers. So producers, too, have cause for concern.

Queen Elizabeth Witnesses Kamal Haasan’s Muhurt

Britain’s Queen Elizabeth witnessed the muhurt of Kamal Haasan’s Tamil film, Marudanaayagam, on 16th October at Film City, Madras. For the muhurt shot, Kamal Haasan, who plays the lead in the film, besides producing and directing it, delivered the patriotic dialogue, “Who says, I cannot take on the British? I am the soil, the air and the sun of this land.” Though the dialogue was in Tamil, its English translation had been given to the Queen. The Queen was introduced to the leading members of the unit after the muhurt.

A red-carpet welcome was accorded to the Queen and her entourage at the Film City by Tamil Nadu chief minister M. Karunanidhi, TMC president G.K. Moopanar and Union I & B minister Jaipal Reddy. Before the shooting, the queen watched a 5-minute test shoot footage of the same film. She exchanged pleasantries with some of the film guests like Sivaji Ganesan, Rajinikanth, Sridevi, Prabhu Deva, Amrish Puri and Asha Bhosle.

YOU ASKED IT

Why do you blame artistes for charging high prices? After all, they are demanding high prices because they get them.

– Yash Chopra could also have got 3 crore per major territory for his film DIL TO PAGAL HAI, but he didn’t price his film at 3. He was satisfied getting 2 per major circuit. Stars have to start believing in the live-and-let-live policy. After all, they can’t be letting the industry (comprising, among others, producers and directors) suffer while not themselves opening their eyes to reality. Stars are, in one word, exploiting the producers who have no alternative.

Ideally, in how much time should a film be completed?

– In eight to twelve months.

What should the Diwali resolution of producers be?

– To concentrate more on scripts rather than on stars and to cut down on all wasteful expenditure.

CENSOR NEWS

Yash Raj Films P. Ltd.’s Dil To Pagal Hai was given C.C. No. CIL/1/49/97 (U) dt. 17-10-’97; length 4925.57 metres in 17 reels (no cut).

Yashish Enterprises’ Bhai was given C.C. No. CIL/3/37/97 (A) dt. 15-10-’97; length 4540.62 metres in 17 reels (cuts: 34.47 metres).

Mirabai Films P. Ltd.’s Kama Sutra: A Tale Of Love (dubbed) has been offered A certificate, with 8 cuts; cuts were not accepted by the producers.

TRAILERS

Trailer of S.G.S. Cine Arts International’s Ghulam-E-Musthafa was given C.C. No. CIS/2/17/97 (UA) dt. 15-10-’97; length 102.41 metres.

Trailer of Yashish Enterprises’ Bhai was given C.C. No. CIS/3/35/97 (A) dt. 15-10-’97; length 96.41 metres.

Trailer of Tridev Arts’ Udaan was given C.C. No. CIS/3/34/97 (A) dt. 14-10-’97; length 144.17 metres (cuts: 20.42 metres).

Trailer of Columbia Tristar Films of India Ltd.’s Vishwarakshak: Duniya Ke Rakhwale (dubbed) was given C.C. No. CIS/2/53/97 (UA) dt. 15-10-’97; length 71.70 metres.

IN & OUT OF BOMBAY

Bombay distributor-exhibitor Anil Thadani left for London on 14th October to finalise the release of DIL TO PAGAL HAI in U.K.

Producer-director Subhash Ghai is expected back from his foreign trip on 20th/21st October.

Dr. Sunil Kumar of Vijay-Laxmi Pictures, Calcutta-Patna, left Bombay for Patna on 17th October.

MIX MASALA

SINGLE AND DOUBLE

Since it gets confusing when one talks of Bhai and Bhai Bhai together, the industry people have evolved a novel way to do away with the confusion. Deepak Shivdasani’s Bhai is called ‘single Bhai‘ and Pahlaj Nihalani’s Bhai Bhai is called ‘double Bhai‘!

TENSION OVER DATES

There is a lot of tension between the leading lady and the presenter of an under-production film over the matter of dates. The presenter, it is reported, is exasperated by the constant jugglery of dates by his heroine and is believed to be seriously thinking of replacing her.

DAVID BREAKS OWN RECORD

If you think last Friday was the first time when two films of a director were released simultaneously, you are wrong. Earlier too, two films of one director have been released on the same day. The coincidence is that on both the occasions, the director was the same — David Dhawan.

On last Friday were released David’s Deewana Mastana and Mr. & Mrs. Khiladi. Eight years ago also, on 29th December, 1989 to be precise, two films directed by David Dhawan were released. They were Aag Ka Gola (produced by Pahlaj Nihalani) and Jurrat (produced by Rajendra Kumar).

So, David Dhawan last week broke his own record of eight years back.

WHEN OLD IS NOT GOLD

Believe it or not but Dharma Karma didn’t take an opening in Delhi-U.P. because the audience there thought, it was some old film of Dharmendra-Jeetendra which had been revived with a new title. The absence of a popular young hero may have given the pubic such an impression. But then, you might well ask, why did Dharma Karma not take an opening in the other cities too? Come on, avoid such embarrassing questions — embarrassing for Dharma and Karma or, rather, Dharmendra and Jeetendra.

DO YOU KNOW?

* West Bengal distributor of DIL TO PAGAL HAI, Pritam Jalan, has decided to open plans (advance booking) of the film at three cinemas of Calcutta — Metro, Priya and Mitra — on 27th October, for two weeks together.

* The Tamilnadu distributor of DIL TO PAGAL HAI will be giving free tickets of the film for any of the first three days at Melody, Madras, to people who buy Lacoste or Nike products from Pondy Bazaar boutique at T. Nagar in Madras.

* Since JODIDAR is an animal film, a special students show was kept one day in Itarsi at Sundaram cinema (earlier name Janta Chitralaya). The rates of admission were nominal.

* DIL TO PAGAL HAI has been booked at Raj, Itarsi, for simultaneous release on 31st October at a fantastic MG of Rs. 5 lakh! This is three times the MG of DDLJ.

* Although by tradition, a film runs at one main cinema, YES BOSS has been screened at various main cinemas in Ahmedabad. It first opened at Relief, was then shifted to Rupam, then Prakash, Shree, Shiv and Ashok.

LETTER TO THE EDITOR

BLAME DISTRIBUTORS ALSO

Dear Sir,

Your ‘Hats Off!’ editorial last week was good. But why blame artistes only? This is half truth. You say that “Distributors are crying tears of blood”. Don’t you think, they are equally responsible for this state of affairs? The first blow came from them by way of ‘ceiling’. They wanted to restrict the number of films of artistes. They wanted to control producers and artistes. Artistes, when they realised that they have to do less films, naturally became ruthless, even with their best producer-friends. They felt star-ceiling was another form of slavery. And thus entered a few No. 2 big shots who offered huge prices and bulky singing amounts to artistes, resulting in the total eradication of regular producers. These big shots had money, but did not know how and where to spend the money. Artistes were allured by these big shots. Result: a person, without any concrete knowledge of film production, cannot make successful films just because he has ample wealth. To make a successful film, a combination is required. A combination means a sensible producer who selects correct technicians and stars at reasonable prices. This combination was broken the moment ceiling was imposed. In the last two years, only proposal makers are in the forefront. And distributors also started running after them. They invested money in the wrong hands. Who shall they blame now? Not artistes.

– Jawaharlal Bafna

LEGAL ACTION AGAINST FILM INFORMATION?

While the production and distribution sectors of the industry hailed our editorial on stars and star prices last week as “bold” and “beautiful”, there is at least one star who is contemplating taking legal action against Film Information for writing about him in the said editorial.

The star under question was in a foreign country when the issue of last week was out, and he was reportedly trying to seek legal opinion on what action could be taken against Information for commenting on his market position vis-à-vis his price.

Notwithstanding his proposed action against Information, we would once again ask him to reduce his price to a more reasonable level (and to also report on the sets on time), for the sake of the welfare of the industry. After doing that, he can go ahead and start legal proceedings. Good luck to the guy!

– Editor

Better Never Than Late!

Last week, I wrote about star prices. Another very disturbing practice in the industry is that of latecoming by stars. Many of the stars believe, it is their birthright to arrive late on the sets.

What the hell is going on? Why are our producers behaving like an impotent lot, ready to bear any shit that is flung at their faces. And by whom? By those whom the producers pay — and pay not in hundreds, thousands or lakhs of rupees, but in crores. In no other industry in the world is there such a criminal wastage of time as in the film industry in India. Time is money — this age-old adage has no meaning for our stars, or rather, it has a different meaning. For the artistes, their own time is money but the time of others is worthless.

Like stars, we have star music directors too. They come two and three hours late for their recordings, as a rule. Their musicians are no better.

What nonsense! Producers and directors shouldn’t be taking things lying down. Today, if you ask a David Dhawan how he adjusts to Govinda’s latecoming, he puts on a brave face and laughs, “Govinda is such a talented actor, he can finish in two hours what other actors would take six or eight hours to complete.” But Mr. David Dhawan, does Govinda’s talent give him a licence to treat all the others in the unit as dirt and hold up the entire shooting day after day. Or if a Sunny Deol or a Manisha Koirala cancels an entire shooting schedule because of his/her mood or other engagement, why should any producer treat this as “part of the game”? And if an Anupam Kher reports at 2 p.m. for a 9 a.m. shift, why does a producer yet smile his best Binaca smile and go running to open the door of his car and welcome him with open arms? He must have the guts to tell Kher that he is late by five hours and that this nonsense will not do.

Producers have to learn to put their foot down. They’ve borne too much for too long. It’s a shame when today a Raveena Tandon bunks the shooting of a veteran like Manoj Kumar. The producer is paying the star for acting in his film. The dates allotted to him are his, and he should not tolerate any hanky-panky by the star as far as the dates are concerned. If Hollywood can do it, why not Bollywood?

Why, in Bollywood itself, we have Amitabh Bachchan who is punctual always. We also have Amrish Puri who is ready with his make-up on, on the set at the scheduled time. Nana Patekar arrives on the sets on time and leaves on time. In fact, so punctual is Nana that at a recent shooting, when his co-star, Manisha Koirala, reported late, he literally begged of her, in full view of the film’s unit, to report for shooting on time. Needless to add, it embarrassed Manisha but not enough for her to mend her ways.

The intensity of the problem of latecoming can best be explained by this example. Suppose a hero reports late on the sets by one minute. If, on an average, there are 50 people directly and indirectly connected in that shooting, it would mean a waste of 50 man-minutes. That’s the loss of time in one shooting in one day if just the hero is late by simply one minute. Multiply this figure by 360 working days in a year, and we have 18,000 man-minutes. Multiply this by 100 shootings per year and we have 18,00,000 man-minutes lost! In other words, if the hero of every film reports one minute late on the sets, the industry will lose 18,00,000 man-minutes in one year. If we divide this by 50 men (we’ve assumed, there are 50 men in a shooting, connected directly and indirectly), we have 36,000 minutes or, in other words, 600 hours of wastage. Translated in shifts (of 8 working hours), this would mean 75 shifts. David Dhawan can complete a film in a lesser number of shifts than this. And, mind you, we’ve assumed (a) that only the hero is reporting late, and (b) that he is late by just one minute. Imagine then, the criminal waste of time in reality when not just the hero but every Tom, Dick and Harry is reporting late by hours.

Until the producer asserts his position, he cannot hope to get a better deal. And if he can’t help himself, he should stop crying and hurling abuses (all off-record and behind closed doors) at his stars. Because even God does not help those who cannot help themselves. Yes, Mr. Producer, show the stars that you are the boss and not the one who can be bossed around and tossed about. Change the saying ‘Better late than never’ to ‘Better never than late’. Yes, it’s more sensible to never work with latecomers than to tolerate their latecoming.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Not Postponed

There were rumours throughout the week that Deepak Shivdasani had postponed the release of his Bhai and would now get it after Diwali. The reason being given for the postponement was that since Pahlaj Nihalani’s Bhai Bhai was being released on Diwali, there would be confusion among the audience if Bhai too came simultaneously. But the rumours turned out to be false as Bhai is definitely hitting the screens on 31st October, notwithstanding the fact that Bhai Bhai is also scheduled for release on the same day.

Dull Dassera, Dark Diwali

The scenario in the film industry refuses to change. The panic-stricken industry continues to reel under a financial crunch even more than two months after the killing of music magnate Gulshan Kumar, which triggered off the fear. Financiers have withdrawn from the industry and are preferring to lie low for the time being. Shootings have declined by more than 60%. The grim scene has become grimmer with several big films flopping. The gloom that has spread in the industry can best be gauged by the fact that there was no film launching even on an auspicious day like Dassera this year. Diwali, therefore, cannot be expected to be a very bright affair for the industry this year.

Worst-Ever Crisis

The extent to which film shootings have declined can be gauged by the following:

A busy heroine like Karisma Kapoor could manage to go to the USA and Canada for the shooting of her dad, Randhir Kapoor’s Aa Ab Laut Chalen although she is not acting in the film. The shooting, for which she had allotted dates, was cancelled and Karisma made the most of the cancellation by flying off to where her father’s unit was.

Mahesh Gupta, a leading supplier of set materials, has not got an order for a single paint box since the last twelve days! Being one of the popular set material suppliers, Gupta, in normal circumstances, sells several paint boxes every day because sets are always being erected, and paint is required throughout the year. But the current lull in shooting activity is of the kind never seen before.

Hindi Films In English

“You dog, I won’t leave you alive.” Imagine Dharmendra mouthing this dialogue.

“I want to be your wife, cook food for you and be the mother of your children.” Picture Sridevi saying these words.

“Our trucks with arms and ammunition have been stopped by the police; call up the minister immediately. Tell him, I want to talk to him.” Amrish Puri utters these words.

The above will soon be a reality. Overseas distributors Galaxy Exports have decided to dub about a hundred old Hindi films in English for the various cable TV networks across the world. If Hollywood producers can dub English films in Hindi for theatrical release in India, Bollywood too can dub Hindi films in English for television release, to begin with.

The first Hindi film being dubbed by Galaxy is Yateem. Before this, Rajshri had dubbed Maine Pyar Kiya and HAHK..! in English.

Karnataka Apes Maharashtra

As in Maharashtra, so also in Karnataka. When the Maharashtra government had reduced entertainment tax in the state in 1994, several cinemas refused to pass on the benefit to cinema-goers by reducing admission rates. Some cinemas even increased the rates. The same is now happening in Karnataka. Some cinemas of that state, too, are refusing to let the public enjoy the benefit of the state government’s reduction of entertainment tax for non-Kannada films from 110% to 70%. Instead of reducing admission rates, they’ve enhanced rates in balcony from Rs. 15 to Rs. 20.