KHAUFF

Chirag Arts’ Khauff (A) is the story of a contract killer falling in love with his target. A girl, who is an eye-witness in a murder case, is to depose before the court, but is prevented from doing so by a contract killer whose services have been hired by the murderer’s father. The contract killer also falls in love with the girl. The hardships and trauma the girl has to go through because of the contract killer coming in her way, finally prompts her to play a game. She uses the same contract killer to eliminate those who had hired him to finish her off. In the end, she kills him too and thereby avenges the murder of her innocent and dear friend, the rape of her little sister, the killing of a conscientious police inspector and the killing of the contract killer’s friend to terrify her.

The film is designed to be a thriller but it is so predictable that it hardly thrills. That the police officer is going to be murdered and the girl will be the sole eye-witness to this murder becomes crystal clear even before it actually happens. Again, the killing of her friend is also anyone’s guess. Another drawback is the weak characterisation of the girl. At the drop of a hat, she overlooks the fact that she is to give witness in the court for the murder of her innocent and dear friend, and for no solid reason, she even refuses to give the witness! After that, when she recounts her friend’s murder in the climax, it looks silly. The contract killer’s love for the girl, whom he is terrorising, also doesn’t go down too well. Climax involving the contract killer and those who had hired him is too listless and short to be true; the other part of the climax involving the contract killer and the girl is as predictable as the rest of the film.

What, however, is good about the film is that it moves at a very fast pace.

Sanjay Dutt does a fair job as the contract killer. But the continuity jerks become obvious, thanks to his changing hair-length. He is ill at ease in difficult dance movements and goes through them as if they were strenuous PT exercises! Manisha Koirala impresses in some dramatic scenes but is too ordinary otherwise. She has not taken care of her looks, make-up and costumes. Sharad Kapoor acts quite well. Simran is natural. Jaspal Bhatti has been terribly wasted in a double role. Parmeet Sethi is okay. Suresh Oberoi gets very limited scope and is good. Farida Jalal, Mukesh Khanna, Tinnu Anand, Beena and Navin Nischol provide able support. Ishrat Ali is getting stereotyped. Satyen Kappu, Achyut Potdar, Homi Wadia, Dinesh Anand, Gavin, Hussain, Brij Gopal and Rajesh Joshi fill the bill. Raveena Tandon and Daler Mehndi lend face value and glamour in a song-dance.

Sanjay Gupta’s direction is noteworthy only for the stylishness he adopts; otherwise, like the script, the direction also leaves a lot to be desired. Music is a mixed bag. Three songs — ‘Ladti hai to ladne de’, ‘O gori tu chali kahan’ and ‘Saiyan more saiyan’ — are well-tuned and also lavishly picturised. Other song picturisations are also rich and one of them is quite sensuous too, but at least two songs are musically dull. Action scenes (Ravi Dewan) are quite well-composed but there is less action considering that it is a Sanjay Dutt starrer. Kabir Lal’s camerawork is reasonably good. Background score is effective. Production values are of a fairly good standard.

On the whole, Khauff has initial value and that’s about all. The two-day holiday weekend (4th and 5th March) will help. Its small length (running time is a little over 2 hours) is a minus point.

Released on 3-3-2000 at Maratha Mandir and 27 other cinemas of Bombay thru Raj Enterprises. Publicity: very good. Opening: fair. …….Also released all over.

LATEST POSITION

It is the KAHO NAA…PYAAR HAI fever across the country!

Hey! Ram drops further. 2nd week Bombay 9,33,502 from 2 cinemas (5 cinemas unrecd., 5 on F.H.); Ahmedabad 3,31,877 from 3 cinemas; Pune 6,94,763 from 4 cinemas (1 in matinee), Solapur 95,840; Hubli 1,42,437; Delhi 16,50,280 from 5 cinemas; Lucknow 1,65,018, Varanasi 54,744, Allahabad 72,822, Dehradun 67,000 (1st 1,21,000); Calcutta 6,92,510 from 5 cinemas; Nagpur 1,84,751, Amravati (6 days) 54,935, 1st week Yavatmal (4 days) 68,563; 2nd week Indore (6 days) 62,999; Jaipur 4,08,700; Hyderabad (gross) 8,75,614 from 3 cinemas.

Daku Ramkali 2nd week Bombay 4,53,227 on 4 prints (2 on F.H.); 1st week Pune 1,79,925 from 3 cinemas; 2nd Delhi 1,52,462 from 2 cinemas (2 on F.H.); 1st week Allahabad 44,307, 2nd week Varanasi 65,138; Calcutta 5,68,689 from 8 cinemas (5 on F.H.); 1 week Raipur 52,496, 2nd week Bilaspur 25,215, total 75,500; 1st week Hyderabad (gross) 2,74,916 from 4 cinemas (3 in noon , 2 on F.H.).

Devi (dubbed) 2nd week Bombay 4,14,898 from 3 cinemas; 1st week Ahmedabad 1,09,909 from 3 cinemas; 2nd week Pune 63,584, Solapur (matinee) 23,062; Calcutta 4,33,802 from 7 cinemas; Jabalpur (6 days) 29,540, Amravati 52,058, Raipur (6 days) 26,371; 1st week Jaipur 1,32,620.

Badal 3rd week Bombay 14,61,407 (52.95%) from 6 cinemas (4 on F.H.); Ahmedabad 4,11,498 from 6 cinemas, 1st week Dahod 91,864; 3rd Pune 1,52,825, Solapur 1,30,778 from 2 cinemas (1 in matinee); 1st week Bijapur 1,57,036; 3rd week Delhi 14,06,973 from 9 cinemas (1 on F.H.); Lucknow 3,32,003, Allahabad 1,69,432, Bareilly 1,51,416, Dehradun 92,000 (2nd 1,28,000), Hardwar about 45,000; Calcutta 6,61,259 from 5 cinemas; Nagpur 1,34,644, Amravati 1,28,277, Akola 1,00,677, total 4,74,954, Raipur (6 days, gross) 1,80,727, Durg 50,062, 2nd week Jalgaon 1,15,101, 3rd Wardha 49,909, total 2,65,367, 2nd week Chandrapur 1,34,252, total 3,75,272; 3rd week Indore 1,26,269 (1 on F.H.), Bhopal 95,654; Jaipur 2,60,429, 2nd Bikaner 1,48,618; 3rd week Hyderabad (gross) 4,11,626 from 3 cinemas (1 in noon, 1 on F.H.).

Pukar has improved in M.P. due to tax-exemption. 4th week Bombay 11,53,789 (41.93%) from 4 cinemas (4 cinemas unrecd., 4 on F.H.); Ahmedabad 4,63,518 from 3 cinemas (1 unrecd.), Rajkot 49,000; Pune 3,43,747 from 3 cinemas, Solapur 57,333; Delhi 12,82,836 from 6 cinemas, tax-free from this week; Lucknow 1,46,705, Varanasi 97,794, Allahabad 49,462, Bareilly (6 days) 26,033, Dehradun 85,525 (3rd 1,05,582); Calcutta 2,99,089 from 3 cinemas; Nagpur 1,50,498 from 2 cinemas, Jabalpur (TF, 6 days) 70,502, Amravati (6 days) 67,063, Akola 70,971, total 4,80,394, Raipur (TF, 6 days) 64,619, Yavatmal 15,325; Indore (TF) 77,713; Hyderabad (gross) 7,78,454 from 4 cinemas (1 in noon).

Phir Bhi Dil Hai Hindustani has also picked up in M.P. following tax-exemption. 6th week Bombay 9,90,291 (41.69%) from 5 cinemas (1 on F.H.); Pune 1,67,984 from 3 cinemas (1 in matinee); Lucknow 1,24,292, Varanasi 26,567, Allahabad 22,635; Calcutta 1,19,167; 3rd week Jabalpur (TF, 6 days) 82,181; 6th week Indore (TF) 55,000, Bhopal (TF) 64,270; Hyderabad (gross) 34,311 (noon shows).

Kaho Naa…Pyaar Hai is going greater than great guns! 7th week Bombay 43,73,182 (98.04%) from 10 cinemas (7 on F.H.); Ahmedabad 8,22,670 from 3 cinemas, Baroda 2,36,732, 1st week Padra 2,68,624; 7th week Pune 9,48,787 from 3 cinemas (1 in matinee); Solapur 1,87,058; Dharwad 57,264; Delhi 16,32,778 from 6 cinemas; Lucknow 3,51,009, Varanasi 1,65,416, Allahabad 1,06,859, Bareilly (6 days) 56,989, 6th week Dehradun 1,36,000 (5th 1,54,879), 7th week Muzaffarnagar about 30,000, 4th week Hardwar about 50,000; 7th week Calcutta 9,74,164 from 6 cinemas; Nagpur 3,55,361 from 3 cinemas, Jabalpur 1,21,940, total 10,88,000, Amravati 1,37,820, total 11,41,783, Akola 1,32,093, total 10,18,393, Raipur 1,30,640, 5th week Durg 67,002, 2nd week Wardha 1,29,073, 7th Jalgaon 1,25,478, 6th week Chandrapur 1,26,849, total 11,17,649, 5th Yavatmal 1,13,067; 7th week Bhopal 1,81,000; Jaipur 2,50,166, 5th week Bikaner 87,416; 7th week Hyderabad (gross) 5,78,396 from 2 cinemas (1 in noon, 4 on F.H.).

MARATHI FILM ACTRESS RANJANA DEAD

Marathi film actress Ranjana Deshmukh passed away yesterday (3rd March) at Raheja Hospital in Bombay. She was suffering from diabetes and had been admitted to the hospital a week ago. She was 45.

Ranjana had begun her film career as V. Shantaram’s discovery in Chandanachi Choli Ang Ang (Marathi) in 1975. She then played heroine in numerous Marathi films till 1987 when her career came to an abrupt end following a car accident which rendered her paralytic below the waist. Ranjana is survived by her mother, Vatsala Deshmukh, and aunt, Sandhya, both well-known actresses.

GUJARAT TRADE PROTESTS STATE BUDGET PROPOSALS

The Gujarat and Saurashtra film trade submitted a memorandum of demands to Gujarat finance minister Vajubhai Vala on 1st March. A delegation called on the minister and registered its protest against the state Budget proposals involving reduction of the tax-free service charge per ticket from Rs. 2 to Re. 1; the withdrawal of compound tax facility from towns with population between 1 lakh and 3 lakh; and the withdrawal of benefit of subsidy to Gujarati film producers.

The delegation also made it known that if the concessions were not restored, the entire distribution and exhibition sectors of the state would down shutters indefinitely from March 17 or 24. The Budget is likely to be presented in the Assembly in the month-end.

OM PURI NOMINATED FOR BRITISH AWARD

Om Puri was last week nominated in the best actor category in the British Film Academy awards. He earned the distinction for his role in East Is East and joined other nominees, Ralph Fiennes (The End Of The Affair), Jim Broadbent (Topsy-Turvy), Kevin Spacey (American Beauty) and Russell Crowe (The Insider). East Is East was also nominated for the best film award alongside The End Of The Affair, The Talented Mr. Ripley and Oscar nominees American Beauty and The Sixth Sense. American Beauty bagged the maximum nominations — 14 in all.

BFA awards will be announced on 9th April in London.

NADEEM SHRAVAN DONATE RS. 25,000

Nadeem Shravan have donated Rs. 25,000 to the family of late film publicist and journalist Jagdish Sharma, who died recently in Bombay. Shravan gave a cheque of the amount at the first recording of Kuku Kohli’s Yeh Dil Aashiqana in Bombay on 24th February.

‘PUKAR’ TAX-FREE IN DELHI

Boney Kapoor’s Pukar has been granted exemption from payment of entertainment tax in Delhi for 12 weeks. The letter granting the exemption was received on 1st March and the film began to be screened at tax-free rates from 3rd March onwards.

‘KN…PH’, ‘HEY! RAM’, ‘PUKAR’ VCDs SEIZED

Acting on a tip-off by the Motion Pictures Association, the D.B. Marg police, Bombay, raided a shop at Bankar building, Grant Road and seized several unauthorised VCDs of recently released films like Hey! Ram, Kaho Naa…Pyaar Hai, Pukar, Phir Bhi Dil Hai Hindustani, Dillagi, HS-SH and others. The police also seized 6,000 inlay cards of Gordhan Tanwani’s Dulhan Hum Le Jayenge which is due for release on 24th March. The total value of the seized goods is over Rs. 1,22,000. The police also arrested 4 persons from the shop.

SARKAR’S CO-OPTION IN EIMPA SNOWBALLS INTO CONTROVERSY

Parimal Kumar Sarkar’s co-option to the executive committee (producers section) of the Eastern India Motion Picture Association (EIMPA) has been held to be illegal, and the Association itself has confirmed the same.

The co-option was carried out even though no producer-member of the executive committee proposed Sarkar’s name. As soon as Sarkar was nominated, all the elected producer-members left the meeting under protest. Thereafter, at a general meeting of the producers section of the EIMPA, it was resolved that the co-option of Parimal Kumar Sarkar from the producers section was invalid and could not be ratified by the section. Not just that, a parallel Association is also in the process of being formed by members who have not taken the unconstitutional act of Sarkar’s co-option lightly. Complaints are being accepted from members by the new Association and are also being processed.

ANWAR KHAN WEDS

Story-screenplay-dialogue writer Anwar Khan got married to Samira Begum on 1st March at Hotel Sea Princess, Bombay.

YOU ASKED IT

How many films has Fardeen Khan signed after Prem Aggan?

– He is doing Ram Gopal Varma’s JUNGLE with Sunil Shetty. And dad Feroz Khan’s QURBAN TUJH PE MERI JAAN as also Subir Mukerji’s MAATI.

Since there is a dearth of good subjects, why doesn’t anyone think of making a film totally employing special effects from the beginning till the end?

– Such a film may not work in India because the audience here is hungry for good subjects, not great special effects.

When was entertainment tax first levied on films in India?

– In 1922. The tax then was 12%.

With so many avenues for viewing films, like satellite, cable television, home video (and in the near future, the internet), why do people prefer watching films in cinema halls?

– The magic of cinema halls, the darkness, the ambience, the togetherness cannot be replicated in any other medium.

PRODUCTION NEWS

‘Bichhoo’ Negative Cut By Dharmendra

The final negative cutting ceremony of Guddu Dhanoa’s Bichhoo was performed on Feb. 25. Dharmendra formally cut the first negative. Starring Bobby Deol and Rani Mukerji in the lead, the film has story by Santosh  Dhanoa and screenplay and dialogues by Dilip Shukla. Music: Anand Raaj Anand. Lyrics: Sameer. Editing: V.N. Mayekar. Cinematography: Shripad Natu. Audiography: Suresh Paswan. Veena Sood is the executive producer. It is presented by Narinder Dhanoa. Banner: Bhagwan Chitra Mandir.

‘Aaghaaz’ Stint In Hyderabad Complete

Producer Dr. D. Rama Naidu this week completed a 19-day shooting stint of Suresh Productions’ Aaghaaz (The Beginning) at Rama Naidu Studios and in and around Hyderabad. Sunil Shetty, Sushmita Sen, Namrata Shirodkar, Anupam Kher and others participated. The film is being directed by Yogesh Ishwar. Screenplay: Nikhil Saini. Dialogues: Kamlesh Pandey. Art: Sharmishtha Roy. Music: Anu Malik. Lyrics: Sameer. Cinematographer: Shyam K. Naidu. Action: Abbasbhai.

MIX MASALA

‘CHAL’NEWALI FILMS

“Koi film nahin chal rahi, ji, koi film nahin chal rahi, Kaho Naa…Pyaar Hai ke sivaye.” This is the most common refrain in film circles these days. But worry not! There is a queue of chalnewali films lined up for release in the months of May, June and July. Don’t believe us? Take a look at the ‘chal’newali films: Chal Mere Bhai, Chalo Ishq Ladaye and Tera Jadoo Chal Gayaa. On top of the line-up is Le Chal Apne Sang. Chalega?!?

MARATHON MOVIE WATCHING SESSION

A total of 14 Thais stayed up 51 hours at a stretch to smash the world record on 20th February, for watching films non-stop. They saw 25 films in all, with just 5-minute rests after every film, and another 15-minute meal break at the end of three films. Of the 468 people, who began the marathon movie-watching session in Bangkok on 18th February noon, 64 had not succumbed to slumber when they passed the previous best set by a Hungarian who had watched 20 films in 37 hours and 25 minutes. The oldest among the 14 Thais was a 55-year-old woman. There were 3 other women in the group of record-breakers. The winners will split the 1,00,000 baht (US $2,702) in prize money. The organisers will send a video of the event to the Guinness Book of World Records to get confirmation of the new record.

DO YOU KNOW?

 * Happy days are here for producers. No, no, it is not as if stars have reduced their prices. But satellite rights of films have become hot property and are fetching competitive prices. Besides the channels on air, a couple of more are scheduled to be launched in the near future. The more the channels, the merrier are the producers.

* DULHAN HUM LE JAYENGE is being booked by exhibitors of C.P. Berar on fantastic MGs. The distributor has booked it at Shyam, Raipur at an MG of 6 lakh, and the rental will be 25,000/-. From Mohan, Jalgaon, the film’s distributor has got an MG of 5 lakh, and the theatre rental will be 30,000/-.

* REFUGEE is becoming pretty ‘hot’ among exhibitors of U.P. It has reportedly been booked at Leela, Lucknow on an MG of 13 lakh! The MG it has fetched from Meerut is a whopping 7.5 lakh.

UNION BUDGET GIVES BENEFITS TO FILM INDUSTRY

Raw Film (Positive & Negative) To Become Cheaper Section 80HHF Of I-T Act Extended To Non-Corporate Entities Too

The Union Budget proposals for 2000-01 have some concessions to offer to the film industry.

♦ The 100% deduction allowed to corporate bodies, which export films or entertainment software, under section 80HHF of the Income-Tax Act has been extended to non-corporate entities too. That is to say, individuals, sole proprietory or partnership firms exporting films can also now claim deduction under section 80HHF. However, from the financial year 2000-01, the benefit under the said section will be 80% and it will keep reducing by 20% every subsequent year with the idea of phasing out the benefit in the next 4 years. The rate of tax on the 20% export earnings (80% is deductible u/s 80HHF) for the current financial year will be 38.5%.

♦ The 75% deduction of professional income earned from foreign sources, under section 80RR of the I-T Act, will be phased out over 5 years. Starting from financial year 2000-01, the deduction will be 60% and thereafter, it will reduce by 15% each subsequent year for 4 years.

♦ The limit for reporting payments made in the course of film production under section 285B of the I-T Act (Form 52A) has been raised from Rs. 25,000 to Rs. 50,000.

♦ Basic customs duty on jumbo rolls of colour positive film and colour negative film has been reduced from 15% to 5%. Countervailing duty (CVD) on these items has been abolished. However, there will be no benefit of abolition of countervailing duty on jumbo rolls of colour positive as excise duty on slit rolls has not been simultaneously abolished. This is likely to be corrected soon. Otherwise, the only reduction in the price of a roll of 1,000 feet of colour positive will be due to the 10% reduction of customs duty. A roll of colour positive will now cost Rs. 150 to 200 less. Colour negative will be cheaper by about 25% which would be approximately Rs. 5,000 per roll.

♦ Basic customs duty on cinematographic cameras and other related equipments has been reduced from 40% to 25%.

Besides the above, the other amendments in the I-T Act which, though not specific to the film industry, are likely to affect the industry people are:

♦ The surcharge on tax, where annual income exceeds Rs. 1,50,000, will be 15% instead of 10%. Consequently, TDS rates will also incorporate the higher surcharge rate where the income exceeds Rs. 1.5 lakh.

♦ The 100% deduction of export profits under section 80HHC of the I-T Act will be phased out over 5 years. Beginning financial year 2000-01, the deduction will be 80% and it will thereafter reduce by 20% in each subsequent year.

♦ Women assessees will get a special rebate of up to Rs. 5,000 in the tax payable.

♦ Senior citizens will get a tax rebate of Rs. 15,000 instead of the present Rs. 10,000.

3-E
Education-Entertainment-Enlightenment

Budget Proposals: Then And Now

The industry is generally happy with the concessions granted to it in the Union Budget for 2000-01. AIFPC president Pahlaj Nihalani has rushed a telegram to finance minister Yashwant Sinha which reads: ‘Our grateful thanks to you for granting various concessions and incentives to the film industry in the Budget proposals presented by you in the Lok Sabha on February 29, 2000. These incentives and concessions would no doubt give a fillip to the entire film industry, which has been struggling hard for its survival due to enormous number of problems.’

Exactly 25 years ago, the scene was just the reverse. The Union Budget proposals presented in the Lok Sabha on 28th February, 1975 had the industry up in arms against the then finance minister, C. Subramaniam, and the Union government. TOA president U.A. Thadani had then sent telegrams to the finance minister as well as the then information minister I.K. Gujral. The bone of contention at that time was the proposed hike in excise levy on film prints. The telegrams sent read: ‘Proposed fresh excise levy on film prints is extremely disastrous for the entire film industry stop It will be hard nay impossible to bear the new burden Stop no producer-distributor can afford supply prints to theatres especially medium and small theatres may never get such costly prints consequently they will be compelled to close shop with result that government exchequer will also suffer considerably Stop pray reconsider sympathetically and kindly maintain status quo.’

The World Is Our Playground

More than a thousand people were witnessed queueing up outside the ticket windows at Santa Fe Springs theatre in Southern California (USA) on the opening day of Subhash Ghai’s Taal. Needless to add, the tickets, priced at US $8, were sold out within minutes. Taal, of course, went on to create history by becoming the first Indian film ever to break into the Top 20 in the US. It also stayed in the UK Top 10 for a couple of weeks, enjoying huge success there as well. Taal grossed more than $4 million from the Overseas market.

The outstanding performance of Taal in the Overseas territory is only an indication of how vastly the international market for Indian films has improved in recent times. Prior to Taal, films like Dil Se.., Biwi No. 1, Hum Dil De Chuke Sanam, Kuch Kuch Hota Hai and Muthu (Tamil) proved huge chartbusters abroad. After Taal, Rajshri’s Hum Saath-Saath Hain created another record for Indian films when it was released in as many as 60 cinemas all over the US. Its first 3 days’ collections of $651,575 catapulted it into the US Top 20.

The Overseas market of Indian films, which stood at about $4 million a couple of years ago, is worth $50 million today and is growing day by day. Approximately, 60 million Indians are settled abroad, with North America alone accounting for an Indian population of 1.3 million. Other big markets, apart from the US and the UK, include the Middle East, Australia, East Africa, South Africa and Japan and Switzerland to some extent.

Internet is perceived to be one of the biggest factors contributing to the spurt in the popularity of Indian films at the foreign box-office. Promotion of Indian films on the World Wide Web, together with the broadcasts of Indian channels like Zee, Sony and TV Asia, in Europe and North America, has fuelled an unprecedented interest in Indian films among the expatriates. The growth in the interest level has led to more and more cinemas being made available for Indian films. The number of cinemas showing Indian films in the US has grown from 20 to 50 within the last 2 years alone. Indeed, the world is opening up to our films. Whether the largest film industry in the world also becomes the largest-grossing film industry remains to be seen.

The Most Silver Jubilee(d) Film!

In the last two decades, no film has had the good fortune of having scored so many silver jubilees at one go. Yash Chopra’s Dilwale Dulhania Le Jayenge has ‘celebrated’ nine silver jubilees by entering 225th combined week in matinee shows at Maratha Mandir, Bombay. The only film to have surpassed this record was Sholay, which had had a run of 265 weeks (regular and matinee shows combined).

RAJA HINDUSTANI

Cineyug’s Raja Hindustani is a brilliant film with a very Indian story. A taxi driver-cum-tourist guide falls in love with a millionaire’s only daughter. The girl, much against her father’s wishes, spurns every one to get married to the driver. Her scheming step-mother, however, will not let the marriage succeed even though the father soon gives his acceptance to the marriage. All hell breaks loose in the happily married couple’s life as the wretched step-mother creates misunderstandings between the husband and wife. Things reach a stage when the two separate from each other. The step-mother tries her best to ensure that the separation gives way to divorce, but does not succeed. Ultimately, the misunderstandings are cleared after a bit of action drama, and the couple unites again.

The major part of the first half is light and fun-filled. A couple of reels before the interval, it takes a serious and dramatic turn and that’s where the film involves the viewer completely. Many of the light portions of the hero (Aamir Khan) are quite enjoyable, but if a couple of scenes lack in entertainment value, it is mainly because one has seen Aamir do similar things in Rangeela and not because of a defect in scripting. However, the initial two reels are quite routine. The second half abounds in emotions and histrionics.

Although the pre-interval portion reminds of Jab Jab Phool Khile and the post-interval portion, of Pyar Jhukta Nahin, there are some new angles to the story and the fresh presentation, all of which lend it the desired novel effect. Principal among the new angles are: (i) the hero’s refusal to sign the divorce papers supposedly sent by his wife, because of his firm belief that marriage is a sacred institution which cannot be broken with the stroke of a pen; and (ii) the heroine’s refusal to divorce her husband. These two scenes reaffirm one’s faith in the institution of marriage and are so reassuring that they will be fantastic scoring points to make the ladies audience love — no, adore — the film. The refusals, of the husband first and the wife later, come at moments when one actually expects that they would sign the divorce papers. The shock value, coupled with the heartwarming feeling one experiences after these two scenes, are enough to bowl the ladies audience over and make them patronise this film in a very big way.

Performances of at least three lead artistes — Aamir Khan, Karisma Kapoor and Archna Puran Singh — are award-winning. Aamir does a fantastic job, especially in the dramatic and serious scenes. His drunken scene, in which he is a picture of frustration, bitterness and confusion, is mind-blowing and it wouldn’t be an exaggeration to say that few could have done it with so much finesse and restraint as Aamir. Karisma Kapoor is the surprise packet of the film. All awards this year for the best actress need to be reserved for Karisma who is simply superb in the film. Not once does she go overboard; she comes up with a truly mesmerising performance. Her histrionics are fantastic. With this film, Karisma makes a comfortable place for herself in the top bracket. That she looks gorgeous in her new hair-style in the first half is an added advantage. Archna Puran Singh, as her horrible step-mother, is wonderful. With her typical acting, she gives the role a different dimension. Suresh Oberoi acts extremely ably. Johny Lever brings the house down with his comedy. The guy makes every scene in which he appears, a thoroughly enjoyable one. In particular, the scene in which he prostrates before Archna is excellent.

Navnit Nishan is cute and makes her presence felt. Veeru Krishan is also very good. Farida Jalal acts with perfect restraint. Pramod Moutho is effective. Mohnish Bahl has very little scope but is, nevertheless, natural. Tiku Talsania and master Kunal Khemu lend admirable support. Kalpana Iyer and Pratibha Sinha leave a mark in their appearances in only one song.

If the performances are award-winning, so are the dialogues (Javed Siddique and Dharmesh Darshan). The brilliant performances and the hard-hitting dialogues combine together to make several scenes worthy of thunderous applause. Falling in this category are: (i) Karisma’s announcement that she could forgo not one but a hundred houses for the love of her husband; (ii) Aamir’s tearing of the divorce papers; (iii) Karisma complimenting her father for having cursed her; (iv) Aamir asking his father-in-law to shut up and not interfere between him and his wife; (v) Karisma making her step-mother feel guilty for having misused her title of mother, etc. etc.

Dharmesh Darshan scores in every department — direction, scripting and extracting performances. The best part of his story and narration is that it is totally Indian in content, feel and presentation. His understanding of the medium is masterly and he knows how to blend drama, emotions, romance, comedy and music fruitfully. Here’s another young director who shines on the film firmament and who will be extremely sought-after.

Yet another award-winning department is the music. Nadeem Shravan are in top form and their songs are a virtual delight. The ‘Pardesi pardesi’ number is already a rage and its tune and picturisation (the first version) should draw deafening applause in cinema halls, especially when Kalpana Iyer asks Aamir to sing so that she can dance. The other two versions of the ‘Pardesi’ song are also excellent. Its use in the climax is masterly. ‘Poochho zara poochho’ is also excellently tuned. ‘Aaye ho meri zindagi meini’ has lilt. The blending of ‘Pardesi’ and ‘Aaye ho’ songs at the time of the couple’s separation is intelligent. Sameer’s lyrics also deserve distinction marks. Song picturisations are beautiful.

Action scenes are well composed but, it must be said, the action climax looks a bit out of place. Another sore point is that Aamir Khan has no dialogues to utter in the entire climax. Production values are of a good standard. Background music is appropriate. W.B. Rao’s camerawork is of top class. Editing is sharp.

On the whole, Raja Hindustani is a confirmed super-hit. It has taken a mind-blowing start and, on the strength of ladies and family audience as well as heavy patronage by youngsters, it is poised to create history in the initial weeks — from North to South and East to West.

Released on 14-11-’96 at Metro and on 15-11-’96 at 14 other cinemas of Bombay by Tips Films P. Ltd. and Cineyug thru Shringar Films. Publicity: extraordinary. Opening: bumper. …….Also released all over with fantastic response.

LATEST POSITION

The fanciful and fantastic opening of RAJA HINDUSTANI this week is the best Diwali gift the industry could have asked for. Last week’s GHATAK has also grossed tremendous collections.

Raja Hindustani (released on 11th/12th/13th/14th) has created records almost everywhere. 1st week Baroda (4 days) 100%, Padra (4 days) 1,35,632 (100%), Rajkot (4 days) 74,000, Jamnagar (4 days) 95,136 from 2 cinemas (1 in mat.), Bhuj (3 days) 100%; Pune (4 days) 2,62,704 from 2 cinemas (1 in mat.), Kolhapur (4 days) 100%, Nasik (4 days) 1,84,512 (100%), record; Allahabad (4 days) 85,020 (100%), Bareilly (3 days) 80,267 (100%), Gorakhpur (3 days) 68,800 (100%), theatre record; Nagpur 1st day 1,22,696 from 4 cinemas, Akola (3 days) 75,959 (100%), theatre record, Raipur (2 days) 65,391, Jalgaon (3 days) 1,06,110, Khandesh record, Wardha (3 days) 42,994, theatre record, Chandrapur (3 days) 98,290, city record, Yavatmal (3 days) 42,107 (100%); Bhopal (3 days) 1,96,000 from 3 cinemas.

Ghatak, after a somewhat shaky three days (of pre-Diwali), consolidated its position fabulously and went on to record wonderful collections in 1st week. The 2nd week has also started extremely well. 1st week Bombay 59,87,217 (90.97%) from 16 cinemas (6 on F.H.); Ahmedabad 11,67,218 from 7 cinemas (1 unrecd.), Baroda 91% from 2 cinemas, Bharuch (gross) 2,83,612, Patan (gross) 2,14,886, city record, Jamnagar (mat.) 39,554 (1 in regular unrecd.), Adipur 1,35,251, district record; Pune 16,33,674 from 7 cinemas (1 in mat.), Kolhapur 1,83,078, Satara 1,56,982 (91.57%) from 2 cinemas (1 in mat.), Nasik 2,14,000; Belgaum 2,38,022 from 2 cinemas, record, Nipani 1,16,218; Delhi 44,70,594 (82.86%) from 14 cinemas (1 cinema on F.H.); Kanpur 4,05,691 from 2 cinemas, Agra 2,36,252, Allahabad 1,55,000, Meerut 2,14,007 (100%), theatre record, Bareilly 1,23,687 (67.83%), Gorakhpur 1,49,400 (70.70%); Calcutta 20,34,652 from 15 cinemas; Nagpur 5,61, 818 from 4 cinemas, Jabalpur (6 days) 1,51,039, Amravati 2,54,969 from 2 cinemas, Akola 1,85,444, Raipur (6 days) 1,49,112, Bhilai (6 days) 1,03,000, Durg 1,34,874, city record, Jalgaon 1,70,173, Chandrapur (29 shows) 1,84,191, city record, Yavatmal 1,04,045, Bilaspur 1,64,113; Bhopal (3 days) 2,52,791 from 3 cinemas; Jaipur 6,36,555 from 3 cinemas, Jodhpur 4,24,339, Ajmer 1,22,845 (100%), Bikaner 3,00,541, city record, Kota 1,51,834, Udaipur 100%, Alwar (4 days) 1,34,048; Hyderabad 28,99,947 from 13 cinemas, share 14,91,311.

……….

YOU ASKED IT

Is the bumper opening of Raja Hindustani a result of the Diwali period?

– Only partly. The major credit for the almost unprecedented opening goes to the super-hit Pardesi pardesi song and the film’s promotion and publicity.

Why has Rakshak been postponed by a week?

– According to its maker, Ashok Honda, the theatrical trailers, which are being screened in cinemas from this week only, need to be screened for at least 2 weeks to create the desired impact.

Is it necessary to have a novel subject if the film is to be a hit?

– If there is no novelty in subject, even novelty in presentation/narration can suffice.

IN & OUT OF BOMBAY

Mr. Dayanand Mandre of DRM Combines, Bangalore, will be in Bombay at Hotel Kemp’s Corner (363-4666/4646/4655) from Nov. 18 to 21.

Mr. Omprakash Agarwal of Rekha Movies, Calcutta, will reach Bombay on 18th November.

Mr. Naraindas Mukhija of Shree Navchitra Distributors P. Ltd., Jaipur, is in town (626-0106).

CCCA president Santosh Singh Jain is in Jaipur to attend the meeting of the executive committee of the CCCA.

Mr. N.D. Kabra and Mr. Laloo Kabra of Vishwajyoti Films, Bhusawal, are expected in Bombay early next week.

Producer Mahendra Dhariwal (HATYARA) will reach Bombay (633-2496) tonight (16th November).

K. PAPPU, RAJ KANWAR BEREAVED

Jeet Singh Kanwar, father of producer-directors K. Pappu and Raj Kanwar, expired in Delhi on 11th November. He was 65 and is survived by four sons and a daughter.

WEDDING BELLS FOR PAWAN KUMAR’S SON

A reception to celebrate the wedding of Anil, son of producer Pawan Kumar, with Renu will be held on 26th November at Lokhandwala Garden, Lokhandwala Complex, Andheri (W), Bombay.

GUL ANAND DEAD

Producer and Bombay and Overseas distributor Gul Anand passed away peacefully at his Pune residence following a heart attack on 12th November. He was 55. The marka ceremony was held on 15th at Peddar Road, Bombay.

Gul Anand had made films like Khatta Meetha, Chashme Buddoor, Jalwa and Hero Hiralal. He also continued the Overseas distribution business of his father. Gul considered Amitabh Bachchan his lucky mascot and made sure, his films had a fleeting appearance by the superstar.

Gul was both, a connoisseur of cinema as well as good food. His keen interest in healthy food prompted him to start a delicatessen at his office at Nana Chowk, Bombay. The delicatessen was very popular among the city’s elite. He also produced a serial on the royal dishes, Shahi Daawat, which is being aired on Zee TV. Gul also co-authored a book on food guide of Bombay and Nepal.

At the time of his death, he was producing a television serial which was not yet on air. He also had plans to start a film.

Gul was young at heart and fun-loving. He was very fond of inviting friends over for lunch or dinner which he would himself very painstakingly prepare.

SUBHASH GHAI, SUNIL BANSAL BEREAVED

Akhtar Farooqui, producer of Karz and father-in-law of Subhash Ghai and Rajasthan distributor Sunil Bansal, passed away in Bombay at Nanavati Hospital on 10th November after a brief illness. He was 72. He is survived by two daughters and five sons. The condolence prayers will be held at his Versova residence on 19th November from 7 p.m. onwards.

Quite ironically, his Karz was being telecast on DD-2 at the time of his death.

AKASHDEEP TO WED

Marriage of Akashdeep, son of producer-director Manmohan Sabir, with Sheeba, will be solemnised on 27th November at Hotel Horizon. A reception to celebrate the wedding will be held the same evening.

CENSOR NEWS

Shivam Chitrya’s (Bombay) Chhote Sarkar was given C.C. No. CIL/1/66/96 (U) dt. 14-11-’96; length 4404.97 metres in 18 reels (cuts: 61.82 metres).

Vishesh Films P. Ltd.’s Dastak was given C.C. No. CIL/3/37/96 (A) dt. 8-11-’96; length 4072.74 metres in 16 reels (minor deletion in sound only).

INDIAN ENGLISH FILMS

Mirabai Films’ Kama Sutra: A Tale Of Love was seen by the revising committee on 14th.

ANNOUNCEMENT & LAUNCHING

Salman To Start Film Starring Himself, Kajol, Arbaaz

Salman Khan’s production banner, G.S. Entertainment, will launch its first venture starring Salman Khan, Kajol and Arbaaz Khan in lead roles, on Nov. 19 with a song recording at Sunny Super Sounds. Sohail Khan directs the film which is being produced jointly by Guneet Walia and Sohail Khan. A Vashu Bhagnani presentation, it has music by Jatin Lalit. Lyrics: Sameer. Action: Mahendra Verma. Art: Sharmishtha Roy. Editing: Muthu. The first shooting schedule will begin from December 20.

Bokadia’s ‘Lal Badshah’ To Roll On 17th

Producer-director K.C. Bokadia’s Lal Badshah will mount the sets on Nov. 17 on a set at Film City. It stars Amitabh Bachchan, Manisha Koirala, Shilpa Shetty, Amrish Puri, Mukesh Rishi and others. Music is scored by Aadesh Srivastava.

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Education-Entertainment-Enlightenment

Instant Reaction

Producers being producers, they will never miss an opportunity to hike the prices of their films even if the hike is merely in their thoughts. No sooner did Raja Hindustani release this week to bumper houses than one producer telephoned us to enquire whether he could get a price of Rs. 3 crore for his almost complete star-studded project. “2 crore is old story now. Business has increased so much so fast that films should now be sold at higher prices,” said the producer. Whether business has shot up “so fast” or not, one doesn’t know, but what definitely is “so fast” is the reaction of producers to any hit.

‘Kama Sutra’: A Tale Of Trouble

Mira Nair’s Kama Sutra: A Tale Of Love is in censor trouble. The examining committee of the CBFC offered a number of cuts which Mira reportedly accepted. But the committee had a change of mind and instead refused certificate to the film. In spite of Mira Nair’s acceptance of the cuts, the film was referred to the revising committee. Probably, the members of the examining committee developed cold feet because of the nature of the film and decided to play safe and let the revising committee take the decision. When CBFC chairman Shakti Samanta was asked to see the film, he is reported to have said, “I don’t see films as a matter of principle.”

Marital Problems? No Problem!

If you meet Boney Kapoor in the near future, don’t be surprised if you find him in his elements. Boney is thrilled because three major hits of this year — Raja Hindustani, Saajan Chale Sasural and Agni Sakshi — have one thing in common: problems in the married lives of the hero (heroes) and heroine (heroines). So why should Boney Kapoor be happy about this common problem, you might ask. Well, it’s because his forthcoming film, Judaai, is also the story of one man who has two wives, and the problems that follow.

Dancing Dames

Yet another common point — not in the three hits of this year but in two films released recently and one forthcoming film. They all have one song-dance number picturised on a well-known heroine who is seen in that film in just that song. Ghatak has Mamta Kulkarni dancing with dance director Ganesh in Maara re. In Raja Hindustani, one gets to see Pratibha Sinha in the Pardesi pardesi number. And in Rakshak will be seen Raveena Tandon in the Shaher ki ladki song-dance.

Mathematical Logic

When a film bombs, there’s no dearth of sarcastic comments which make the rounds in trade circles. But one got to hear some really good ones when Raja Hindustani proved a hit on day one itself. Said a smart Alec, “Raja Hindustani in Bombay will do business equal to that of Raja plus Hindustani.” Touch wood! An exhibitor, referring to the hit business of Raja Hindustani and Ghatak, remarked, “History is repeating itself. In 1990, it was Aamir Khan’s Dil and Sunny Deol’s Ghayal, which were released on the same day, and both went on to become hits. Now, six years later, it is Sunny’s Ghatak and Aamir’s Raja Hindustani. They were released almost simultaneously — the former on 8th November, and the latter on 11th.”

LATEST POSITION

The week was good for the box-office due to the Idd festival. Both the releases of last week raked in good collections.

Judwaa has done extremely well. 1st week Bombay 39,13,301 (97%) from 14 cinemas (7 on F.H.); Ahmedabad 11,19,775 from 7 cinemas (1 unrecd.); Hubli 2,70,781 (100%), record, Belgaum 2,46,203 (100%) from 3 cinemas (1 in noon), Dharwad 96,384; Delhi 40,12,354 (85.67%) from 11 cinemas (2 on F.H.); Kanpur 4,62,869 from 2 cinemas, Lucknow 2,29,585, Agra 2,59,655, Varanasi 1,56,922 (90%), Bareilly 1,44,734 (79.37%), Gorakhpur 1,20,000 (81%); Calcutta 24,90,164 from 20 cinemas (8 on F.H.); Nagpur 5,83,756 from 4 cinemas, Jabalpur (6 days) 1,87,722, Amravati (6 days) 94,802, Akola (27 shows) 1,01,805, Raipur 2,07,736, theatre record, Bhilai (6 days), 1,43,078, Jalgaon 1,08,050; Jaipur 10,60,059 from 4 cinemas, Bikaner 2,57,000.

Yeshwant is particularly good in Maharashtra. In other circuits, it has done fair business. 1st week Bombay 38,93,681 (90.44%) from 16 cinemas (10 on F.H.); Ahmedabad 6,55,067 from 4 cinemas (4 unrecd.), Baroda 1,98,453 (90.81%), Padra 1,65,451, Jamnagar (24 shows) 1,35,759; Belgaum 4,23,499 (100%) from 3 cinemas (1 in noon), Nipani 1,84,256 (100%), record; Delhi 27,94,820 (62.79%) from 12 cinemas (1 unrecd., 1 on F.H.); Kanpur 2,60,391 from 2 cinemas, Lucknow 3,15,319 from 2 cinemas, Varanasi 1,86,188, Hardwar 62,000, Meerut 1,82,000, Bareilly 1,10,416; Calcutta 28,89,195 from 22 cinemas (7 on F.H.); Nagpur 6,76,721 from 5 cinemas, Jabalpur 1,90,409, Amravati 1,80,721, Akola 1,94,851, Raipur 2,15,368 (88.32%), city record, Bhilai 2,39,376 from 2 cinemas, Durg 1,41,180, city record, Jalgaon 1,60,858; Indore 1,70,762 (3 on F.H.); Jaipur 4,34,795 from 3 cinemas, Bikaner 2,57,161; Hyderabad 39,37,677 from 21 cinemas.

……….

MAMTA KULKARNI FRACTURES LEG, ADVISED REST

Mamta Kulkarni fractured her left leg at Gangavati, near Bangalore, on 11th February during the shooting of Rajkumar Santoshi’s China Gate. The fracture is said to be major, and Mamta had to be rushed to Mallya Hospital in Bangalore for treatment. She is reported to have been advised complete rest for three months.

Mamta was dismounting from a horse after pack-up when she slipped and landed hard on her left leg which fractured her tibia.

O.P. GOYAL HOSPITALISED

C.I. distributor O.P. Goyal was injured in a car accident this week in Indore. He was admitted to Gokuldas Hospital and is recuperating there.

SHAILESH SIKCHI TO WED

Marriage of Shailesh Sikchi, proprietor of Shreeram Pictures, Amravati-Bhusawal, with Savita will be solemnised on 16th February in Amravati.

KAMAL RATHI BEREAVED

Rajkumari Rathi, mother of Kamal Rathi, partner in Shyam Talkies, Khamgaon and Neelkamal cinema, Nandura, expired on 3rd February in Nagpur. Gangaprasadi was held on 14th at Khamgaon.

Maharashtra Govt. Refuses Reliefs To Cinemas

100% Entertainment Tax Confirmed * Panic In Industry

The expected has happened. The Maharashtra government has refused to grant any relief or concession in entertainment tax to cinemas in the state. The revenue minister, Narayan Rane, on 11th February told a delegation of the film industry that the rate of entertainment tax in the state would henceforth be 100% and that no relief could be given to cinemas in that regard.

Cinemas in Maharashtra had downed shutters from 1st January in protest against the state government’s decision to double the rate of entertainment tax, from 50% to 100%. The month-long bandh was called off from 30th January when chief minister Manohar Joshi assured leaders of the action committee of the film industry that he would give some relief but for that, cinemas would have to be reopened first. Shiv Sena chief Bal Thackeray also promised concessions when the action committee met him on several occasions during the cinema bandh.

But despite all assurances, the government went back on its word and simply pleaded helplessness in coming to the aid of the industry. Actually, it was becoming increasingly clear with each passing day, after the cinemas reopened, that the government was not serious in doing anything for the industry. Its dilly-dallying tactics had, so to say, prepared the exhibitors and distributors of Maharashtra for the shock of 100% tax.

It was, perhaps, because of this that most distributors and exhibitors did not express shock when the news of 100% tax came. Quite surprisingly, it is the leaders who expressed utmost shock at the government’s refusal, when actually they should have known what was coming. As a leading distributor of Naaz building, wishing to remain anonymous, remarked, “Our leaders are pretending to be shocked. If we could sense what was coming, how can we believe that they didn’t know what was expected? See, for the whole month during which cinemas were closed, it is the ministers who fooled the leaders with false promises. But once the cinemas reopened, it was the leaders who were fooling the industry!”

Following the 100% rate of tax effective from 1st January, business is expected to be adversely affected. If cinemas do not increase admission rates to cover the hike in tax, the nett collections will go down and the loss will have to be shared between the exhibitor and the distributor. Whether the exhibitor will agree to share in the loss is a million-dollar question and there is bound to be a lot of bickering over the issue. If exhibitors decide to increase admission rates to cover the hike in tax, they will have to raise the admission rates by 33%. In such a case, the nett collections would remain the same, assuming that the increase in admission rates would have no effect on cinema attendance. But since such a steep rise in admission rates is more likely (than not) to have an adverse effect on attendance in cinemas, it would mean a loss of revenue to distributors as the exhibitors in this case would be assured of their rentals as before 1st January, ’97.

The immediate reaction of the action committee members to the government’s refusal to grant any relief in tax was that cinemas should down shutters once again from 14th March. The date (March 14) was tentatively fixed in the hope that the government would, perhaps, grant relief after March 5 when the election code of conduct would cease to remain in operation.

But sensing the general resentment against another closure, the action committee is now almost decided that it wouldn’t call for a fresh closure. Distributors and exhibitors, unlike action committee members, are of the opinion that even after March 5, no concession would be forthcoming from the government and, therefore, a closure would not help. Looking to this mood of the trade, the action committee dropped the plan for a second closure. As it is, cinemas of Marathwada region did not join in the bandh last month and would surely not join in this time. Distributors and exhibitors of C.P. Berar are also said to be against another bandh.

A general meeting of distributors and exhibitors was scheduled to be held at Opera House cinema on 17th February to chalk out the future course of action. But having mentally decided against a closure, it is not known whether the general meeting will, in fact, be held or not.

DISTRIBUTORS UNHAPPY

The most unhappy due to the 100% entertainment tax rate are the distributors. If cinemas do not increase admission rates to cover the hike, distributors will have to bear the major chunk of loss in nett collections. If cinemas do hike admission rates, attendance is likely to go down, in which case, it will be the loss of distributors alone. Distributors, who have bought films for Bombay at fancy prices, are panicking because when the deals were struck, the tax rate was 50%. Producers are unlikely to agree to compensate them by reducing the price at the time of delivery.

GOVT. REVENUE TO GO UP

The revenue of the government of Maharashtra is not likely to go down due to the hike in entertainment tax. This is because cinema attendance is not likely to reduce by 50% due to the doubling of the tax rate.

LOSSES OF UPTO A CRORE!

Business of a hit film is likely to be reduced by anywhere between Rs. 50 lakh and a crore or even more, thanks to the hike in entertainment tax. As for flop films, it is feared that some of them may not be able to bear the burden of 100% tax.

Last week’s releases, Yeshwant and Judwaa, are likely to suffer to the tune of at least Rs. 60 to 75 lakh because of the tax hike.

Cinemas are also likely to feel the pinch of the tax rate hike. If the government does not reduce the tax, it is possible that some cinemas may be forced to close down for good.

COMPOUND TAX

Cinemas, which were paying compound tax before 1st January, 1997, are confused about the exact status due to the hike in entertainment tax. The government has made no clarification about the rate and amount of compound tax (which is fixed according to the population of the city/town). Rather, the Collectors have been demanding 100% tax from such cinemas too.

PRODUCERS TO BE HIT

Today, producers may not be feeling the gravity of the situation created due to the increase in entertainment tax in Maharashtra. But they will feel the pinch — and feel it terribly — in the months to come. For one, distributors will now not pay the fancy prices they had been paying so far for films. Secondly, distributors may even ask for a price reduction at the time of delivery in case of films earlier acquired by them but not yet released.

BOMBAY CINEMAS HIKE ADMISSION RATES

Cinemas in Bombay city and suburbs have either hiked or are all set to hike their admission rates by 33% with a view to pass on the burden of extra entertainment tax to the public completely. Cinemas like Liberty, Satyam, Sundaram, Sachinam, New Era, Gaiety, Galaxy and Gemini are already selling tickets at the enhanced rates. Many other cinemas are awaiting permission from the Collector for increasing admission rates. The permission should come in four to five days’ time. That would mean, an increase in admission rates at such cinemas either this week or next.

RELEASES UNCERTAIN

Considering the uncertain situation in Maharashtra, releases of several films have been postponed. There is confusion about whether cinemas will down shutters once again in protest against the 100% tax. Due to this, some producers have decided to announce their release plans only once the mater is settled.

CENSOR NEWS

Puja Films’ Hero No. 1, seen on 11th, has been issued C.C. No. CIL/1/6/97 (U) dt. 14-2-’97; length 3889.56 metres in 16 reels (no cuts).

Tips Films P. Ltd.’s Auzaar will be issued UA certificate dt. 14-2-’97 early next week.

Shree Siddha Rameshwar Films’ Piya Ka Ghar has been passed for U, with cuts.

A.G. Films (P.) Ltd.’s Lahoo Ke Do Rang (length 4615.28 metres in 17 reels), applied on 12th, was seen on 13th.

YOU ASKED IT

Why are producers not reacting to the 100% entertainment tax in Maharashtra? Are they not going to feel the pinch with the tax rate having doubled?

– Producers are bound to feel the pinch because Bombay distributors will now think ten times before buying films at fancy prices. This is because business in Maharashtra will go down due to the phenomenal hike in entertainment tax. It wouldn’t be surprising if distributors even failed to take deliveries of contracted films at the contracted prices.

What are the reports of Hero No. 1?

– The reports are excellent.

DO YOU KNOW?

* Chetan Anand had given break to Kamini Kaushal in his NEECHA NAGAR 50 years ago. At that time, Chetan Anand’s brother, Vijay Anand, was a 7-year old boy whom Kamini Kaushal used to dote on. Today, fifty years later, Vijay Anand will be playing Kamini Kaushal’s son in NYAYMURTI KRISHNAMURTY, being directed by himself!

* Singer Udit Narayan is mighty impressed with the ‘Tu hai kamaal’ song he recorded recently with Kavita Krishnamoorthy for Jyotin Goel’s SAFARI. It has been composed by new music directors Shyam-Mohan.

WANT TO GET MARRIED? SCREEN ‘RAJA HINDUSTANI’

* Is RAJA HINDUSTANI a good omen for marriages? So it would seem, judging by what has happened in the families of people associated with cinemas screening the film in C.I. circuit. Of the families of persons connected with the 14 cinemas which have so far screened or are screening the film, there have been weddings in eight families during the film’s run. The niece of the owner of Sapna cinema, Indore; the daughter of the owner of Jyoti, Bhopal; the daughter of the manager of Radha, Bhopal; the sister of the owner of Panchsheel, Bhopal; the nephew of the owner of Metro, Ujjain; the son and daughter of the owner of Lokendra, Ratlam; the daughter of the owner of Mohan, Mhow; and the son of the manager of Sehore Talkies, Sehore have all either got married or are due to get married during the run of RAJA HINDUSTANI at the respective cinemas!

Who Is To Blame More?

The Maharashtra government has played its old game once again. It had made a promise on 6th January and then it went back on its word, refusing to grant reliefs it had assured the industry of. Again, on 11th February, it did what it is known for — lying through its teeth. After assuring the action committee of the film industry that they would grant concessions if the cinemas were reopened unconditionally, ministers of the Shiv Sena-BJP government just refused to give any concession or relief.

The government’s action — or rather, inaction — is worth condemning, especially because the enhanced rate of entertainment tax (100%) would sound the death-knell for quite a few cinemas and distributors. The government seems to be killing the hen which lays the golden egg. It is not as if the government will not realise its mistake. It will! It is a different matter that its ego will prevent it from admitting that it had erred. It is also possible that it realises its folly after it is too late.

If the government is to be blamed for the sorry state of affairs in which the Maharashtra film industry finds itself today, the industry itself also cannot shirk responsibility for it. Whether the members of the action committee of the film industry like it or not, they have failed in their battle. And failed due to their own faults and follies.

If the cinema closure was not total from day one, it is the action committee which must take the blame. Why the action committee members did not prevail upon the Marathwada region exhibitors to join them in the bandh, is not known. And if they could not convince them to join in the closure, why did they launch such a half-hearted battle? Even after the closure commenced, how did some cinemas in C.P. Berar dare to reopen? Again, it spoke volumes for the lack of leadership. Unfortunately, the Maharashtra industry did not have a leader who could inspire everybody and get them united for a common cause. In times of closure/strike, a leader who can keep everybody’s morale high is required. Such a leader was conspicuous by his absence here.

Most important of all, why did the action committee agree to reopen the cinemas without getting any relief and merely on the strength of empty promises of politicians? The committee might say that had they not called off the closure, the bandh may have fizzled out completely. But even this argument is not appropriate because, had the bandh fizzled out, it would again point out to the ineffective leadership.

Who is to blame more — our government or our leaders? You be the judge.

– Komal Nahta

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Education-Entertainment-Enlightenment

Script Is The Thing

Believe it or not, Sooraj Barjatya had finalised the one-line story of his new film as far back as in September 1994 — that is, just a month after the release of his Hum Aapke Hain Koun..!. He has been working on the script since then. Little wonder, his scripts are so tight and flawless.

Satyam About ‘Shivam’ Invitation: It’s Truly Sundaram

The invitation card for the muhurt of Kulbhushan Gupta’s Shivam must be the longest ever. Rolled and packed in the style of a bullet, the invitation measures over 115 centimetres in height. It shows pictures of the two newcomers being introduced in the film — Panini, son of late Raaj Kumar, and Maheep, better known as Sanjay Kapoor’s girlfriend. The catchy invitation card has been designed by Studio Link. Incidentally, the invitation comes in a letter sent alongwith the ‘card’, and no mention of the muhurt is made on the 155 cms. card, “so that people can pin up the card,” as Kulbhushan Gupta says.

Ambitious ‘Dus’

Mukul Anand’s Dus, starring Sanjay Dutt and Salman Khan, is based on the Operation Topac which was initiated by Gen. Zia-ul-Haq in Kashmir in 1988. It is not only being directed by Mukul but also produced by him jointly with Nitin Manmohan, Sunil Manchanda and Gautam Kumar. This ambitious film of Neha-MAD is being written by Piyush and Prasun Pandey, the two talented brothers of Ila Arun. They both are famous ad copywriters. While Piyush shot to fame with his national integration campaign, ‘Mile Sur Mera Tumhara’, Prasun made a great mark with his humorous Ericsson mobile phone commercial. His (debut) Ericsson film made him the first Indian to win the Silver Lion at Cannes. That the film will be quite different from the past films of Mukul Anand is clear from what a press release of the company, signed by Mukul, says: “Having completed 25 years of dependence on the clichés that plague our filmmaking, I am now embarking on a new journey whereby the quest is for new vistas in commercial cinema. ….It’s like starting all over again.”

‘SOLDIER’ SONGS: BEAUTIFUL TUNES, PRETTY LOCATIONS

Kumar and Ramesh Taurani have yet another winner in their hands in the music of their home production, Soldier. Anu Malik and Sameer have teamed up with the Tauranis and given a hit music score. Director duo Abbas-Mustan and the choreographers seem to have been pretty impressed with the music score for, they’ve made the songs as exciting, if not more, visually too. Most of the songs have been picturised on exotic locales of Australia and New Zealand.

In the meantime, one song is being picturised now on Bobby Deol and Preity Zinta on a rich and opulent set erected at Filmistan Studios. Preity Zinta, the girl who was to be introduced in Soldier but was seen first in Dil Se.., looks pretty and dances very gracefully, as was evident in the preview of the songs of the film on 24th September at Sumeet preview theatre.

The screening was followed by cocktails and dinner at Hotel Sun-N-Sand.

Ramesh Taurani informed at the party that Soldier would be released on 30th October or 20th November. Of course, efforts are on to meet the October date.

CALCUTTA STUDIOS UNDER CLOUDS OF DISPUTE

Film studios in Calcutta may face closure if the ongoing dispute between producers and associations of artistes and technicians is not resolved soon. The dispute has reportedly been caused due to an increasing number of joint ventures between Indian and Bangaladeshi production companies. The dispute has highlighted two major problems occurring as a result of Indo-Bangaldeshi collaborations. Firstly, while an increasing number of Indian film companies are collaborating with the Bangladeshi ones, the same is not reciprocated by the latter. As a result, the interests of Calcutta companies in Bangladesh are not served, it is felt. Secondly, Indo-Bangladeshi ventures in Calcutta have restricted themselves to a fixed set of artistes and technicians — a practice that has made the other sections of the industry quite unhappy.

It may be mentioned here that West Bengal has some of the strongest trade unions in the country, which are perceived as having destroyed many industries. Now, certain sections fear that the film industry in the state may also fall prey to their thoughtless agitations. It may be mentioned here that the unions of artistes and dubbing artistes succeeded in restricting the inflow of Hindi dubbed films in West Bengal last year.

MAHAKAUSHAL CINE ASSOCIATION FORMED

Anand Bernard of Anand Cinema, Jabalpur was elected the first president of the newly-formed Mahakaushal Cine Association, at a meeting of exhibitors of the region held at Hotel Arihant Palace in Jabalpur recently. The Association has been formed with an aim to discuss and find solutions to the various problems plaguing film trade in the Mahakaushal region of C.P. Berar. Kapoor Chand Jain (of Apsara Talkies, Sagar) and Suresh Gupta (of Neeraj Talkies, Katni) were elected vice presidents; Suneet Jain (of Vineet Cinema, Jabalpur), general secretary; and Anil Jaiswal (of Harihar Talkies, Narsingpur) and Surendra Sharma (of Pankaj Talkies, Chhindwara), joint secretaries. Ramnarayan Agrawal of Vandana Cinema, Jabalpur was elected treasurer.

Later, in his inaugural address, president Anand Bernard urged the government to provide its fullest co-operation to the film trade in Mahakaushal region.

CHHATTISGARH DISTRIBUTORS, EXHIBITORS FORM ASSOCIATION

A body of exhibitors and distributors of Chhattisgarh region of C.P. Berar, under the name and style of Chhattisgarh Rajjya Exhibitor & Distributor Association, was formed at a meeting held on 15th September in Raipur, to solve local problems of its members. It was made clear that this Association would not be a parallel body to the CCCA. An ad hoc committee was elected at the meeting. Loonkaran Parekh is the first president, and Sudarshan Behl, Prakash Jain, Ashok Jajodiya, Biharilal and Ramniwas, vice presidents. Lavanya Kumar Tiwari is the secretary, and Shahed Ahmed, joint secretary. Narendra Jaiswal was elected treasurer.

Representatives from different stations of the region have been nominated on the ad hoc body as under:

From Raipur: Maheshbhai, I.C. Dhariwal, M.K. Gupta, G.K. Solanki, P.M. Gattani, A.J. Kawle and T.C. Kanuga. Bilaspur: Munshiram. Ambikapur: Babulal. Korba: Ramesh Jaiswal. Raigarh: Sagar Agrawal. Durg: Ajai Jadhav and Dilipbhai. Rajnandgaon: G.D. Wadhwa. Jagdalpur: Kiran Jaiswal. Dhamtari: Sathi Lal Lunkad. Mahasamund: Prakash Sakherkar. Rajim: Ved Prakash Tiwari. Nawapura: Anand Agrawal. Mungeli: Ashok Soni. Kanker: Dilip Lunia.

CHHOTUBHAI KANTHARAI DEAD

Chhotubhai Kantharai, former owner of Girnar cinema, Rajkot, and Drive In, Ahmedabad, passed away in Rajkot recently. He was 78 and a successful businessman. He donated large amounts for social causes.

SURINDER KAPOOR RE-ELECTED GUILD PRESIDENT

Surinder Kapoor was re-elected president of the The Film Producers Guild of India Ltd. for 1998-99 at the first meeting of the Guild’s Council of Management held on 24th September at B.R. Chopra’s residence. Yash Chopra and Amit Khanna were elected vice presidents, and Kamal Kumar Barjatya and Kiran Shantaram, hon. treasurers. B.K. Rau continues to be the secretary.

This is the fourth consecutive term of Surinder Kapoor’s presidentship.

Earlier, at the 44th annual general meeting of the Guild, held the same day, the following 19 members were unanimously re-elected to the Council of Management: Surinder Kapoor, Yash Chopra, Amit Khanna, Randhir Kapoor, Kiran Shantaram, Kamal Kumar Barjatya, J. Om Prakash, F.C. Mehra, T.C. Dewan, Ramdayal, Harmesh Malhotra, A.G. Nadiadwala, Rajkumar Kohli, Tilak Raj Magan, Prakash Mehra, Pramod Chakravorty, B.R. Chopra, Ramanand Sagar and Gulshan Rai.

AMITABH’S VOICE FOR ‘HERO HINDUSTANI’

Amitabh Bachchan has lent his voice to the opening commentary in Hero Hindustani. Amitabh recorded the commentary for the film at B.R. in his golden voice on the night of 25th September, extolling the rich cultural heritage of India.

The film, release of which has been postponed to 21st October (New Year’s day), will also very likely have a new song. The ‘Saanwal Saanwal’ number, which is already included n the film’s audio cassettes, had not been picturised. It may now be picturised in the days to come.

Incidentally, Raja Hindustani had been released in 1996 on New Year’s day which happened to fall on a Monday that year. Hero Hindustani will be released on this year’s New Year day which falls on a Wednesday.

BABY GIRL FOR NUSRAT

Playback singer Nusrat delivered a baby girl at a nursing home at Malad, Bombay, recently.

BABY BOY FOR AMITA NANGIA

Actress Amita Nangia delivered a baby boy on 23rd September in Bombay.

ENT. TAX REDUCED IN U.P.

Entertainment tax in Uttar Pradesh was reduced from 125% to 100% from 14th September. Collections have shown an increase in the last two weeks following the reduction in tax, which has been passed on to the paying public.

CCCA Goes To Polls In Nagpur Tomorrow
Heavy Attendance Expected

Finally, the Central Circuit Cine Association, the strongest film trade body, goes to the polls tomorrow (27th September) in Nagpur. The 45th annual general meeting is scheduled to be held there today (26th) and it is expected to be a stormy affair. Since there’s a fairly strong opposition panel which is fielding candidates against the ruling panel’s candidates, the annual meeting may turn out to be an exciting affair, witnessing heated exchanges of only words, one hopes.

The opposition has been criticising Santosh Singh Jain’s ruling group for having done very little for the members. In particular, the Madhya Pradesh cinema closure, scheduled from 17th September, had come in for a lot of criticism from some quarters. Of course, ultimately, the bandh had to be called off even before it was initiated. But even this call of cancellation is being used by the opposition to expose what they call the ruling group’s lack of planning.

What the elections have in store for the CCCA and its members will be clear only in the late night hours of 27th when the polling results will be declared. But it does seem likely that Santosh Singh Jain, who has presided over the Association for over 30 years, will this time have to contend with a strong opposition. Meanwhile, Jain had till 25th September not even announced his panel members, obviously with the intention of waiting and watching.

The heat, that has been generated for the elections, is expected to result in a huge attendance at the annual general meeting and elections. On a rough estimate, polling this year may touch or even cross the 800-mark.

In the meantime, M.A. Naqvi, Union minister of state for I & B, is scheduled to inaugurate the annual meeting today at 10.30 a.m. at Dr. Vasantrao Deshpande Hall. Narayan Rane, minister of revenue, Maharashtra, will preside. Pramod Navalkar, minister for cultural affairs, Maharashtra, will be the chief guest. Nitin Gadkari, minister of state for PWD, Maharashtra, and guardian minister of Nagpur, Anil Deshmukh, minister of state for education & cultural affairs, Maharashtra, and Vinod Khanna are expected to be the guests of honour.

N.N. Sippy Re-Elected IMPDA President

N.N. Sippy was unanimously re-elected president of the Indian Motion Picture Distributors’ Association for 1998-99 at the first meeting of the newly elected executive committee held on 22nd September in Bombay at CCI. N.N. Sippy continues as president for the 13th consecutive year. Indravadan Shah was elected vice president, and Kantilal Mehta, hon. treasurer. Devendra Shah and Haresh Bhatia were elected hon. secretaries.

Earlier in the day, the following members were elected to the executive committee after the 59th annual general meeting of the IMPDA at Birla Kreeda Kendra, Chowpatty, Bombay:

Ordinary Class: Balkrishna Shroff (he polled the highest number of votes — 199), N.N. Sippy (176 votes), Devendra Shah (163), U.A. Thadani (156), Tolu Bajaj (151), Haresh Bhatia (142), Ramesh Sippy (125), Ayub Selia (122), Vinay Choksey (120), Kantilal Mehta (118), Guru Shenoy (110) and Vinod Kakkad (107).

In the Associate Class, the following were elected unopposed: Indravadan Shah, Mohan Susania and D.Y. Pattani.

The losing candidates in the Ordinary class were Pradeep Singh (102 votes; lost to Vinod Kakkad by 5 votes), Manoj Khivasara (96 votes), Sanjay Chaturvedi (90 votes), Abid Zaffar (52 votes) and Tekchand Anchal (36 votes).

A total of 257 votes were polled. During the election, the policy of allowing as valid votes carrying single names (introduced last year) came in for heavy criticism from a few members. This was because a lot many ballot papers were, at the time of the counting, observed to be having just one name instead of 12 (since there was no contest for 3 seats in the Associate Class). The issue will come up for discussion during future meetings of the executive committee.

Earlier, in his opening address at the 59th annual general meeting of the IMPDA, president N.N. Sippy outlined the various problems that the film industry was facing at present. These included a major financial crunch, abnormally high costs of film production, high theatre rentals, and cable, video and audio piracies, among others. Sippy also criticised the stars for demanding exorbitantly high prices when they were unable to assure the success of films. He lamented that the theatres continued to be poorly maintained in spite of the exemption of service charge of Re. 1 and Rs. 2 per ticket from entertainment duty, granted by the Maharashtra and Gujarat governments respectively, for their upkeep.

N.N. Sippy made a special mention of the industry’s struggle in combating cable piracy of films. According to him, the fight against cable piracy can be won if the industry chooses to collaborate fully with the police. He suggested that sufficient resources can be generated to fight the menace, simply by the producer and the distributor jointly paying a subscription of Rs. 5,000 on release of their film, to a specially earmarked fund. Moreover, the exhibitors could also contribute a sum between Rs. 500 and Rs. 5,000 for the purpose. He cited the example of Tamil Nadu, where the local film industry and the administration worked hand-in-hand to effectively check the growth of cable piracy in the state. He urged the Hindi film industry to emulate their Tamil counterparts.

The first meeting of the new executive committee was followed by a cocktail-dinner party at the Garware Club.

YOU ASKED IT

Do you have any inside reports of Kuch Kuch Hota Hai?

– It is heard that the first half is light and fun-filled, and the second half will make the audience weep, so strong are the emotions.

What is the business of Pyaar To Hona Hi Tha expected to be in Bombay circuit?

– It may touch 4 crore!

What kind of story does M.F. Husain’s Gaj Gamini have?

– One doesn’t know about its story. But the five heroines in the film represent the five moods of a woman. In the film, the woman is played by Madhuri Dixit, and the other heroines represent the different faces of Madhuri.

DO YOU KNOW?

* Columbia Tristar’s promotional strategy for GODZILLA is paying rich dividends at Chitra Talkies, Amravati. A major part of the promotions is aimed at school and college students, who are offered the tickets for the film at half the rates. Moreover, a special screening of the film was held for government officials of the region. The officials were reported to be so impressed with the film that they dashed out letters to various schools and colleges in Amravati, recommending the film for their students. Subsequently, booking counters were opened at a few schools and colleges. Students were seen in large numbers, awaiting their turn at these counters. Apart from this, specially prepared stickers and toffees were distributed free of cost to the patrons. Not to be left behind, the local cable operators in Amravati have begun telecasting various programmes depicting people’s craze for the film.

* SATYA (tax-free) has created a theatre record by collecting 49,360/ in 5th week at Ashok, Jalgaon.

* DILWALE DULHANIA LE JAYENGE (tax-free) has entered 150th combined week at Maratha Mandir, Bombay in matinee shows. It has collected a total of 53,42,309/- in its 96-week run at the cinema so far.

3-E
Education-Entertainment-Enlightenment

When East Meets West

The impending CCCA elections are fast developing the shape of a major battle being waged by two rival camps. The panel of opposition is leaving no stone unturned in its bid to seize power from veteran president (and not president veteran! How else would one describe someone who has spent half his life being the president of the CCCA?!) Santosh Singh Jain and his panel. Obviously, all kinds of rumours are floating in the air and one is at a loss to decide what to believe and what not to. In fact, the rumour mills in the territory are being run at such a fast pace that when asked if he had heard the latest, a wag remarked, “Don’t tell me that even Santosh Singh Jain has joined the opposition panel now!!”

Once An Actor, Always An Actor

As Rishi Kapoor’s directorial debut, Aa Ab Laut Chalen, races towards completion, the confirmation comes that he has no plans — repeat, no plans — whatsoever of quitting as an actor. The confirmation comes from the man himself who wants to put all the rumours about his quitting acting to rest. “I am open to acting assignments even now,” Rishi Kapoor told Information. And why just acting? “I am even open to directorial assignments outside the R.K. banner! In fact, after Aa Ab Laut Chalen, I will definitely direct an outside film before I start one for R.K.”

Mithun And Jackie — Birds Of A Feather…

It sure looks like Jackie Shroff is taking a leaf out of Mithun’s book. Of late, he has been on a major signing spree and has accepted nearly 15 assignments in the past couple of months alone! What is curious is the fact that many of these films have him co-starring with Mithun Chakraborty. So, what’s the deal? Have they found some kind of common agenda? Or is it simply a case of Mithun rubbing off on Jackie? Like they say, jaisi sangat, waisi rangat! But then, who knows…?

DULHE RAJA

Eastern Films’ Dulhe Raja is a comedy film about a rich businessman who owns a five-star hotel, and a young dhaba owner who refuses to vacate the hotel’s compound in which he has built his dhaba and which is causing losses to the hotel owner. The dhaba owner (Govinda) falls in love with the businessman’s daughter (Raveena Tandon) and she, too, pretends to be in love with him to teach her father a lesson. Ultimately, of course, both, the father and daughter, realise that the dhaba owner is the most suitable match. Fun is the catchword and the film moves from incident to incident, evoking laughter and entertaining the viewers till interval point. The second half, when the drama branches out into various tracks, isn’t very funny. Still, it does have its enjoyable moments. The dhaba owner enlivens the proceedings whenever he comes on the scene. Dialogues (Anwar Khan) are witty at many places and help in elevating the comic drama to a good extent. Although the story is very ordinary, writers Rajeev Kaul and Praful Parekh have made up for it with a fairly well-written screenplay.

Govinda does a fabulous job in the title role. Comedy is his forte and he comes out with flying colours, endearing himself to the audience with his street-smartness and comic punches. Raveena Tandon looks pretty and does reasonably well. Kader Khan is very good. Johny Lever, as Kader Khan’s manager, provides several fun-filled occasions with his comedy. Monnish Bahl does an able job. Prem Chopra and Rana Jung Bahadur are good as the villainous brothers. Asrani also provides some entertainment. Anjana Mumtaz, Sudhir, Viju Khote and Manmoujee lend fair support. Guddi Maruti, Anil Nagrath, Suresh Malhotra, Anil Verma, Dinesh Hingoo, Veeru Krishan and the rest fill the bill.

Harmesh Malhotra’s direction is reasonably good. Anand Millind’s music is racy. ‘Ankhiyon se goli maare’ is the best number and is already very popular. The title song and ‘Raja Bhoj….Gangu Teli’ are also fairly good songs. Picturisation of songs is too ordinary and needed to be far better. Production values are also ordinary. Camerawork and other technical aspects are quite good.

On the whole, Dulhe Raja is a good mass entertainer and will keep its distributors, especially of Northern India and Bihar, happy.

Released on 10-7-’98 at Dreamland and 20 other cinemas of Bombay thru Dilsa Distributors Combine. Publicity: good. Opening: very good. …….Also released all over. Opening was excellent in Bihar, very good in Delhi-U.P., C.I. and Rajasthan but not up to the mark in C.P. Berar.

LATEST POSITION

The Idd holiday on 7th/8th proved advantageous for the box-office.

Satya picked up very well in Bombay and Maharashtra due to mouth publicity, but the pick-up in Gujarat, Bengal and Bihar was not up to the mark. It has done poor in Delhi-U.P., East Punjab, M.P. belt of C.P. Berar, in C.I. and Rajasthan. The Telugu version is extraordinary in Hyderabad where the Hindi version is also terrific. 1st week Bombay 39,15,035 (81%) from 9 cinemas (6 on F.H.); Ahmedabad 2,61,354 from 3 cinemas, Rajkot 1,24,347, Jamnagar 71,702 from 2 cinemas (1 in matinee); Pune 8,73,260 from 4 cinemas, Solapur 1,60,510 (100%); Delhi 9,19,323 (48.29%) from 4 cinemas; Lucknow 2,19,272, Allahabad 68,000, Meerut 1,26,877; Calcutta (most of the collections are for 6 days) 5,15,500 from 5 cinemas (1 in noon); Nagpur 5,20,349 from 2 cinemas, Jabalpur 43,428, Amravati 1,70,860, Akola 80,015, Raipur 90,008, Bhilai 82,045, Bilaspur 43,821; Indore (5 days) 1,08,684 (2 on F.H.), Bhopal 1,36,852 from 2 cinemas; Jaipur 2,88,830 from 2 cinemas; Hyderabad 5,25,541 (100%), share 2,66,000, Aurangabad 2,04,263, share 1,54,000; Telugu (dubbed) version Hyderabad share from 13 cinemas 17,09,822; Vijayawada 3,39,549 from 2 cinemas, Visakhapatnam 4,04,225 from 2 cinemas, Anakapalli 92,227, Rajahmundhry 2,17,332 from 2 cinemas, Kakinada 1,24,569, Nellore 1,57,052, Guntur 2,47,120, Tenali 1,49,093, Eluru 1,27,659, Ongole 1,53,044.

Jaane Jigar is very dull. 1st week Bombay 6,95,137 (43.63%) from 5 cinemas (4 unrecd., 4 on F.H.); Ahmedabad 51,875; Delhi 3,70,695 (41.16%) from 3 cinemas; Lucknow 64,220, Allahabad 42,128, Bareilly 51,378 (23.78%); Nagpur 98,161 from 2 cinemas, Raipur 31,923; Bhopal 65,152; Jaipur 89,413; Hyderabad 5,75,835 from 8 cinemas (2 in noon).

…………

Major Saab has dropped further. 2nd week Bombay 26,86,186 (62.73%) from 10 cinemas (7 on F.H.); Ahmedabad 2,65,998 from 2 cinemas (2 unrecd.), Vapi 2,51,320, total 6,14,220, 1st week Padra 1,56,492, 2nd week Rajkot 1,21,731, Jamnagar 1,10,472, total 2,74,112; Pune 6,08,535 from 4 cinemas (1 in matinee), Solapur 1,16,222; Delhi 31,68,686 (59%) from 10 cinemas (1 on F.H.); Lucknow 3,33,420, Allahabad 1,55,000, Bareilly 90,002 (47.19%), Dehradun 1,60,000, Hardwar 50,000; Rohtak 24,925 (1st 50,908); Nagpur 1,80,425 from 2 cinemas, Jabalpur 1,55,948, total 4,09,050, Amravati 1,05,606, Akola 55,388, total 2,00,480, Dhule 59,728, Raipur 92,421, Bhilai 60,119, Jalgaon 76,140, Yavatmal 31,614, Bilaspur 88,544; Indore 2,28,381 from 2 cinemas (2 on F.H.), Bhopal 1,87,685 from 2 cinemas; Jaipur 3,41,572 from 2 cinemas; Hyderabad 4,91,389 from 3 cinemas (2 in noon).

Ghulam 3rd week Bombay 40,59,867 (82.87%) from 12 cinemas (5 on F.H.); Ahmedabad 1,48,279 (1 unrecd.), Vapi 1,28,735, total 10,05,157, 1st week Rajkot (matinee) 13,571, 3rd week Jamnagar (matinee) 13,000; Pune 6,74,493 from 4 cinemas, Solapur 1,52,592 from 2 cinemas (1 in matinee); Delhi 15,30,724 from 7 cinemas; Lucknow 1,80,073, Allahabad 65,000, Meerut 1,04,571, Dehradun 82,000; Nagpur 1,13,974 from 2 cinemas, Jabalpur 1,56,945, total 6,14,112, Amravati 1,44,775, Akola 84,672, total 3,80,308, Dhule 90,109, total 3,62,500, Raipur 94,448, Bhilai 68,331, 2nd week Jalgaon (6 days) 1,11,136, 3rd week Bilaspur 85,397; Indore 1,14,897, Bhopal 1,07,728; Jaipur 1,72,480; Hyderabad 7,43,034 from 3 cinemas (1 in noon).

PRADEEP RECEIVES PHALKE AWARD AMIDST STANDING OVATION

Poet and lyricist Pradeep received the highest national honour conferred on a film personality, the Dadasaheb Phalke Award, on 10th July at the 45th National Film Awards at Siri Fort, New Delhi. When octogenerian Pradeep came on the stage in a wheel-chair, president K.R. Narayanan came forward to greet him and presented him the award. The emotion-charged audience gave a standing ovation to the great poet, who was recognised as the best film poet by India’s first president, Dr. Rajendra Prasad, as early as in 1961.

President Narayanan also presented awards to the other winners — Jayamala (Golden Lotus for best film Thai Saheb, directed by Girish Kasaravalli), Yash Chopra (Golden Lotus for best popular film Dil To Pagal Hai), J.P. Dutta (Nargis Dutt award for Border), Govind Nihalani (best Hindi film, Hazaar Chaurasi Ki Maa), Jayraaj (best director, Kaliyattam), Suresh Gopi and Balachandra Menon (joint winners for Kaliyattam and Samaantharangal respectively), Indrani Halder and Rituparna Sengupta (joint winners for best actress in Dahan), Karisma Kapoor (best supporting actress for DTPH) and Deepa Gahlot (best film critic).

I & B minister Sushma Swaraj, I & B state minister Mukhtar Abbas Naqvi and FFI president Santosh Singh Jain were seated on the dais.

RAKESH ROSHAN REPLACES KAREENA KAPOOR

Producer-director Rakesh Roshan has replaced Kareena Kapoor with Amisha Patel. Kareena was to have made her debut alongwith Rakesh Roshan’s son, Hrithik Roshan, in Kaho Naa…Pyaar Hai. In fact, the two had even participated in a shooting scheduled of the film last month.

According to Rakesh, he had to take the step of removing Kareena from the film’s cast because the heroine and her mother, Babita, made unreasonable demands like a top billing for Kareena, above even Hrithik. “They even wanted me to picturise scenes before I pcturised a song,” said Rakesh Roshan.

Amisha Patel is the grand-daughter of Rajni Patel and daughter of Amit Patel. She has modelled for Jai soap and many other products. Some of her commercials are currently on air on television channels.

While Babita was not available for her comments, close industry sources reveal that Kareena herself was keen to leave the film because she has been offered the lead role opposite Abhishek Bachchan in J.P. Dutta’s Aakhri Mughal. Obviously, Dutta would want his film to be Abhishek and Kareena’s launching pad, say the industry sources. However, our sources reveal that there’s no truth in this story.

AMARJEET NO MORE

Veteran producer-director and publicist Amarjeet passed away on 4th July in Bombay. He had directed Hum Dono and had produced several films like Prem Shastra, Teen Deviyan, Gambler, Sunny and Rocky. Amarjeet was closely associated with the Navketan banner and had also assisted Chetan Anand in many of his films.

Amarjeet is survived by his wife and a daughter.

The bhog ceremony will be held on Sunday, 12th July at 11 a.m. at Shri Guru Singh Gurudwara, 3rd Road, Khar (W), Bombay.

NATUBHAI DESAI DEAD

Natubhai Desai, controller of production for all the films produced by Vinod Shah and Harish Shah, expired on 7th July at his residence in Bombay. He was 68 and is survived by his wife, a son and a daughter.

A prayer meeting will be held today (Saturday, 11th July) between 5 p.m. and 7 p.m. at Khalsa Sabha Bombay, behind Citylight Cinema, Matunga, Bombay.

JAMANBHAI MANSATA DEAD

Jamanbhai Mansata of Yeshwant Talkies, Indore, and Jyoti Talkies, Calcutta, expired on 7th July in Calcutta. He was 86 and is survived by three sons.

‘RAJA HINDUSTANI’ TAX-FREE IN MAHARASHTRA

Raja Hindustani has been granted tax exemption in Maharashtra for a period of one year from 6th July. The film was released in November ’96.

KUMAR SANU’S RECORDING STUDIO

Playback singer Kumar Sanu has started a recording studio, K.K. Sound, at Andheri (W), Bombay, at plot no. 23, Shah Industrial Estate, off Veera Desai Road. It will be formally inaugurated on 13th July. The studio offers 24-track digital and analog recording facilities.

YOU ASKED IT

After Ghulam and Major Saab, which is the next film which can be expected to take a bumper start?

– Mani Ratnam’s DIL SE… It has music extraordinaire, Shah Rukh Khan and Mani Ratnam’s name.

Which was the first Bhojpuri film and in which year was it made?

– Nirmal Pictures’ GANGA MAIYA TOHE PIYARI CHADHAIBO, made in 1962 and directed by Kundan Kumar. It proved to be a super-hit.

‘Dil Se..’: Instant Hit From Rahman

Rejoice! Sing! Dance! The music of Dil Se.. has been released and boy! what music! Venus’ album is a listener’s delight. Every one of the six songs is extraordinary.

Chhaiyyan Chhaiyyan is an instant super-hit number. Sukhwinder Singh and Sapna Awasthi are in top form in their rendition. Thayya Thayya is its Punjabi version. The song has that quality which can make people dance in the cinema halls. Satrangi re is another fabulous number, by Sonu Nigam and Kavita Krishnamoorthy. Chhaiyyan Chhaiyyan and Satrangi re will soon be heard in every car and at every discotheque, that’s a guarantee!

Di se re has A.R. Rahman, Harmony Anuradha and Anupama using their vocal chords to the fullest. Melody at its peak! Jiya jale has none other than Lata Mangeshkar and M.G. Sreekumar rendering the soulful number. Ae ajnabi has an excellent tune and is of the kind which keeps growing on you. Udit Narayan is in great form in this song, teaming up with Mahalakshmi.

A.R. Rahman seems to be at his inspired best in this album and Gulzar’s lyrics complement his superb tunes. Undoubtedly, the best music of recent times, Dil Se.. is a triumph as much for the three producers, Shekhar Kapur, Mani Ratnam (director also) and Ram Gopal Varma, and for presenter Bharat Shah as for Rahman and Gulzar. And yes, unlike other Rahman albums which take time to grow on the listener, this one is an instant hit — there cannot be a mistake about that.

Venus has a goldmine in its hands. Kasam se..!

Tamil Nadu Government Concedes Industry’s Major Demands

Actors, directors, producers and others connected with the Tamil film industry took out a huge procession, led by Rajinikanth, on 3rd July in Madras to protest against video piracy in the state of Tamil Nadu, which is causing immense harm to the industry. Closure of 192 cinemas in the last two years is attributed to video piracy. Nearly 200 more cinemas are on the verge of closure. Now, videos of films are sometimes released even before the premiere of the films. Chief minister Karunanidhi announced a package of steps in response to a memorandum submitted by the industry representatives to him.

The chief minister conceded two major demands — to crack down on video pirates and to offer entertainment tax concessions to the tune of Rs. 40 crore. He said that a state enforcement wing, headed by an inspector general of police, besides district cells, would be formed to curb video piracy. The Goondas Act would be amended to enable the authorities to detain under the preventive detention law, anyone punished twice for video piracy. The government will not give any fresh licences to video theatres nor renew existing licences. Entertainment tax for new films would be reduced from 40% to 30%. The CM appealed to the film magazines to refrain from publishing reports which portrayed members of the film industry in bad light.

Entertainment Tax Reduced In Uttar Pradesh

The meeting of film industry delegates with the chief minister of Uttar Pradesh last month has borne fruits. Chief minister Kalyan Singh has announced a reduction in entertainment tax, from 125% to 100%. He said, films shot 50% in the state would be given 50% rebate in entertainment tax, and those shot 75% in the state would be fully exempted from tax, for three years. But these films should not compromise with the moral values of the society. A preview committee would be formed, comprising secretaries of various state departments and three members of the film industry including film journalists and critics. The chief minister also announced rebate to Hindi, Brij and Bhojpuri language films for six months, and films of other languages for 30 days. For the development of the film industry in the state, he also promised to develop a Film City.

Kalyan Singh also announced the formation of the Film Development Board, in the state assembly on 3rd July. He said, the Board was being formed to encourage film producers to make films on Indian culture and tradition. It would help to ensure more employment opportunities in the state, besides encouraging the film industry. The members of the Board will comprise principal secretaries or secretaries of information, institutional finance, industry and tourism departments along with reputed film producers, directors and distributors. The Board would table its recommendations for identification of important locations for filmmaking. The government would provide necessary facilities like roads, communications, power etc. in these identified areas.

Jackie’s Humane Gesture

It is a well-known fact that our film industry has gone out of its way in helping our countrymen in times of calamity and distress. Be it the Indo-Pak wars or the Bhopal gas tragedy or during droughts, the industry has invariably joined hands with the government and helped in raising significant funds for the relief of the victims. In the same way, the industry has shown a keen response to the Gujarat government’s request for help in raising funds for the relief of the people who lost heavily in the recent storm. Akshay Kumar had been on a tour of Gujarat recently to raise funds for the cyclone victims. Anu Malik is also presenting a nite today (July 11) in Surat. While this speaks volumes for the generosity of our industry, the most welcome gesture, perhaps, in this regard came from Jackie Shroff. Having expressed his inability to attend the musical nite as he was scheduled to be in Mauritius for a shooting, Jackie announced his decision to hold a special charity premiere of his Grahan in Ahmedabad in August when the film will be released. The proceeds of this premiere will go to the government fund for the cyclone victims. He has also promised that he would have his entire cast and crew flown to Ahmedabad for the premiere.

DO YOU KNOW?

* Sunny Deol  shot for 45 days at a stretch in Ooty for Polygram’s PYAR KOI KHEL NAHIN. Rarely does one hear of Sunny giving bulk dates for a film. PYAR KOI KHEL NAHIN is being directed by Subhash Sehgal.

* SATYA, which started at 1,700/-on the opening day at Ashoka, Behala (Calcutta), picked up day by day so that its week closed at 17,500/-.

* The Hollywood blockbuster TITANIC has earned its distributors, 20th Century Fox, a share of over Rs. 40 lakh from its combined run of 18 weeks in two cinemas of Bombay city alone. The film was first released at Cinemax, Goregaon, and recorded 100% collections in a six-week run there, earning a share of over Rs. 25 lakh. From the seventh week onwards, it was shifted to Cinestar, Kandivli, where in a twelve-week run so far, it has registered collections of Rs. 33,20,277/-. Incidentally, both these cinemas are controlled by Shringar, Bombay.

FANTASTIC RAJA

* The opening of DULHE RAJA was so fantastic in Bihar that the rentals in 12 cinemas of the 15 in which the film has been released were covered on the first day itself! Most of the cinemas recorded over-capacity collections.

COMMENTS

K.C. BOKADIA

The public is fed up of meaningless violence. One may burn up cars and trucks but the fact is, we cannot compete with disasters like in TITANIC. Indians are fond of good songs, emotions and good dialogues. And that’s what I’ve strived to give in my LAL BAADSHAH. The good dialogues, when spoken by Amitabh Bachchan, will add to the fun. After all, he has been known for his dialogue delivery.

GULSHAN RAI

Most of the films released these days have no sustaining power; they take bumper openings and soon, collections drop. This lack of holding power coupled with high theatre rentals is killing business.

3-E
Education-Entertainment-Enlightenment

Big B, Small Gestures

Amitabh Bachchan may have had a love-hate relationship with the press, but the general public, by and large, has continued to adore him just as it did before. One of the reasons why he has been able to maintain this popularity is the way he treats the people who come in contact with him. He attends to even the smallest things that would make the other person, regardless of his stature, feel comfortable. The following incident bears further testimony to this fact: Recently, Amitabh Bachchan was interviewed for a programme for the Vividh Bharati service of the All India Radio. The team comprising an interviewer and a sound recordist reached at the appointed hour at Amitabh’s bungalow, only to find him busy in a television interview. As a result, the duo had to wait for almost an hour before Amitabh could be with them. But, during their wait, Amitabh’s staff went out of its way to make them feel comfortable and even repeatedly apologised for the delay. The apology came in spite of the fact that it was due to the late arrival of the TV interview team and had absolutely nothing to do with Amitabh! Anyway, when he finally met the radio team, he ensured that absolutely no phone calls would be passed on to him for the next hour and began the interview only after a chair was provided for the sound recordist who would have otherwise had to remain standing throughout the interview. Not only this, the sound recordist, being an ardent fan of Amitabh, had borrowed a camera from a friend so that he could have a photograph of him taken with the superstar. When this fact was brought to Amitabh Bachchan’s knowledge, he readily obliged and even suggested a good spot where the photograph could be taken. This is not all. When the interviewer paid him compliments on behalf of a female relative who was a great fan of Amitabh and was bedridden due to arthritis, Amitabh sympathised with her condition and even wrote her a touching note, wishing her a speedy recovery! Needless to say, the special treatment at the hands of Amitabh Bachchan left the duo in complete awe of the superstar’s simplicity and humility.

Silence Is Golden

So much has been said and is being said about the kind of roles Amitabh should  or shouldn’t do. In fact, the issue has taken on mammoth proportions with almost every Tim, Dick and Harry airing an opinion on it. While a certain amount of discussion over such topics in the press and trade circles is valid and even helpful in certain cases, one mustn’t forget that such debates last only till the star in question delivers a hit. Similarly, the debate over the kind of roles Amitabh should be playing will die down the very moment he delivers a hit. In the meantime, Amitabh Bachchan himself is not faced with much of a choice. He could either be blunt and speak the truth that these issues, like he playing roles that suit his age, are being raised only because he has not been able to give a hit of late, or he could gracefully accept all this needless criticism and advice with a patient ear, knowing fully well that a hit by him will end all this chatter. Amitabh, being his usual self, has chosen the latter, in the process, perfecting the art of listening to unsolicited opinions. The debate, in the meanwhile, rages on……

Say “No”

The recent controversy over Kareena Kapoor being replaced in Rakesh Roshan’s Kaho Naa…Pyaar Hai has resulted in a lot of tongues wagging. Now that Rakesh Roshan and Kareena are no longer working together, rightly did a smart Alec remark, “It is a case of Kaho “naa” between the two of them.”

INFORMATION MEETS

“I had to try very hard to convince producers and directors that I had no intentions of giving up acting.”

– ASRANI

RAJ VAIDYA

From the humble beginning as a child artiste on All India Radio, Jaipur, to becoming one of the most fondly remembered comedy actors; then, being forced into oblivion by circumstances, but rising back to regain lost ground — Asrani has seen it all. An FTII graduate in acting, he struggled for a number of years before finally getting a break in Hindi films but once he arrived, he carved out a definite niche for himself in no time. Whether playing Amitabh’s secretary in Abhimaan, or playing the angrez ke zamaane ka jailor in Sholay, each character played by Asrani has left an indelible mark on the audience all over.

But then, why has Asrani, the comedy actor par excellence and former superstar in Gujarati films, disappeared from the silver screen in the recent past — this is a question many have wanted an answer to.

In a serious chat with Film Information, comedian Asrani himself explains his journey from acting to direction and back to acting after a few years of break from the screen.

You have worked with a host of reputed directors in your career spanning nearly three decades. What has the experience been like?

– It has been tremendous, to say the least. I have been fortunate in having worked with some of the top directors of Hindi cinema like Hrishikesh Mukherjee, Gulzar, Shakti Samanta, B.R. Chopra and L.V. Prasad, among many others. The most important aspect of my association with these stalwarts has been the immeasurable amount of knowledge on cinema that I have received from them. Each of my directors had a distinct style of his own and I imbibed a lot by observing them as well as through interaction with them. I have always maintained that working in cinema is like learning a language. While FTII can teach you the rules of the grammar, only a good director can teach you how to make sentences using these rules.

You share a very special bond with Hrishikesh Mukherjee, having featured in nearly all his films since GUDDI…..

– You are right. It is a special bond — a bond of affection. To describe it, I will have to go back to my FTII days. Those days, Hrishikesh Mukherjee was on the FTII faculty and used to visit Pune to teach us film editing. I had been aware of his immense work in films till then, and quickly realised that if I could somehow impress him, it would surely open up the doors of the film industry for me. So, I soon began hovering around him as much as possible, but to no avail. Finally, in order to get rid of me, he told me that he would call me in case he thought of a role for me, and he returned to Bombay. A couple of years passed after that, during which I had moved on to become an instructor at FTII. Then, one day, Hrishikesh Mukherjee came again to the FTII, this time with his entire team comprising Gulzar and others. They had come to test Jaya Bhaduri for the title role in Guddi. I was asked to locate Jaya on the campus and I immediately rushed to the canteen where she was sipping tea with her batch-mates, Danny Denzongpa and Anil Dhawan. The moment I told her about Hrishikesh Mukherjee considering her for the role in Guddi, she rushed out to see him. It so happened that while Jaya was talking to Hrishikesh Mukherjee, Gulzar asked me what I thought of Jaya as an actress, since I was an instructor at the FTII. I praised her acting abilities and then, later asked Gulzar whether there was any role in the film which I could bag. Gulzar refused to part with any information about the film, adding that Hrishikesh Mukherjee was well-known for his discipline and would chuck him out of the project if he divulged anything about the film. But I persisted and finally succeeded in convincing Gulzar in telling me that there was a bit role of a small-town boy who comes to Bombay to make it in films. This was an opportunity too good to miss and soon, there I was, pestering Hrishikesh Mukherjee for a role in Guddi. He dissuaded me by saying that there was none that I could play. At this, I instantly asked him about the role of the young man wanting to become a film star. The very next moment, Hrishikesh Mukherjee was livid. He turned to Gulzar and shouted his lungs out at him for having divulged this information. Having realised that there was no way he  would give me a role after that, I quickly fled the scene. But, as fate would have it, I was eventually signed for the same role. I was paid Rs. 250 for it! My work in Guddi was appreciated and I received about eight to ten films soon after Guddi was released. Well, this was my first brush with Hrishikesh Mukherjee. Over the years, we have been able to develop a warm, emotional bond between us, which lasts even today.

Many consider your role of a comic jailor in SHOLAY as one of your finest. How was it conceived?

– To tell you the truth, the role was written down to its minute details even before I was approached. Ramesh Sippy had sent a message asking me to see him for a role that he wanted me to portray in his then forthcoming film, Sholay. When I went to meet him at the appointed hour, I was surprised to see writers Salim and Javed also present. I was even more surprised when Javed Akhtar narrated my role to me because rarely had I been narrated a role that was so completely sketched out in the script itself. My costumes, mannerisms and my look were described in minute details. Even my lines were already written. I was so impressed that I immediately agreed to do it, sharing director Ramesh Sippy’s belief that even though the role was small, it had the potential to become a landmark. Later, Ramesh Sippy showed me a few photographs of Hitler and called Akbarbhai of Kachins to create a set of costumes along the lines of what Hitler used to wear. He later called Kabir, who was one of the best wig-makers at the time, and gave him the responsibility of creating a special wig for me. He also asked me if I could imitate Hitler’s way of speaking in a high tone. I practised on my dialogue delivery during a few rehearsals and gave an okay performance in my very first take itself. The shot over, the writers and the director congratulated me on my performance which, according to them, was better than what they had visualised. But, the truth is, I was inspired a lot by their commitment to even a two-or-three-scenes role like mine, and hence, was able to deliver a performance like that.

I would also like to add here that Dharmesh Darshan, who is directing me in Mela currently, is also one such rare director who takes great pains over each and every role in his film, however small it may be.

Obviously, SHOLAY is one of your favourite roles. But, apart from it, which of your other roles are closer to your heart than the rest?

– Definitely the one where I play a patient at a mental asylum in the Sanjeev Kumar-Leena Chandavarkar starrer Anhonee. Then, there was the one in Balika Badhu, directed by Tarun Majumdar. I also like my performances in Aaj Ki Taaza Khabar, Abhimaan and Koshish.

In the ’80s, you worked in a number of films directed by directors from the South. The comedy in these films was somewhat different from that in our films. How did you adjust to doing such silly roles?

– I agree that the comedy in those films was crude. You see, most of these films were Hindi remakes of hit films made in Tamil, Telugu etc. Since the directors from the South are a superstitious lot, they refused to change anything — not even the smallest bit — from the original. Initially, I did point out the fact that their kind of comedy would not work with all-India audiences which view Hindi films. But they were adamant and one of them even asked me to pack up if I did not agree with his way of functioning. I am aware of an incident when even a star like Dharmendra was asked to pack up when he refused to wear a silly costume. He later agreed, just like I did, mainly because the working down South was very organised and disciplined, as also for the fact that we were paid well and in time.

Eventually, after a couple of big hits early on, there came a time when 24 Hindi films made down South flopped within a single year. Obviously, Hindi audience had passed their judgement on this practice of passing off buffoonery in the name of comedy.

There came a time in the ’80s when you ruled the roost as superstar in Gujarati films? How did that come about?

– Actually, in the early ’80s, I was getting bored with the kind of roles I was getting. I thought that, may be, I should try and create a decent role for me by myself. But the only way I could do it was if I were to direct the film myself. So, I wrote, directed and acted in Chala Murari Hero Banne. Though the film bombed at the box-office, producer-director Vijay Bhatt was impressed with my effort and offered me the lead role in the Gujarati film, Maa Baap. The role of a common but honest autorickshaw driver, devoted to his parents, was so well-appreciated by the audience that the film went on to become one of the biggest hits in Gujarati cinema. In fact, it ran for 25 weeks in London — a feat not even a Hindi film had ever achieved till then. The success of Maa Baap was followed by 10 jubilee hits in Gujarati, which included Mota Gharni Vahu, Via Viramgam and Amdavadno Rickshawalo — the last one directed by me.

After a successful and long career in both, Hindi and Gujarati films, you seemed to have disappeared from the scene for many years. What happened?

– This is an important question. So, let me give you a detailed answer. Let me describe the circumstances that led to my disappearance from the screen. Towards the end of the eighties, my roles in Gujarati films had become repetitive and as a result, I found myself stagnating once again in my career. The roles I was getting in Hindi films were also nothing to write home about. Just around that time, I was offered two films to direct. I took up the offers, thinking, I could create good roles for myself in these films. Thus, I directed Dil Hi To Hai for Magnum, and Udaan for Shabnam Kapoor and Raju Kothari. Unfortunately, the planning of both these films went haywire and, as a result, Dil Hi To Hai took two whole years to complete, while Udaan took four more years after that. This delay cost me a very significant loss of nearly 23 acting assignments as I had to refuse them due to unavailability of dates — most of which were taken up by the two films I was directing. But, even after Udaan was complete, nobody came forward to sign me, thanks to the misconception in the industry that actors who turn directors no longer like to act. I was a helpless victim of this misconception and had to try very hard to convince producers and directors that I had no intentions of giving up acting. Of late, I have begun getting roles in films like Gharwali Baharwali, Bade Miyan Chote Miyan, Mela, Priyadarshan’s Raftaar, Firoz Nadiadwala’s Kartoos and David Dhawan’s Haseena Maan Jayegi, among others.

One thing I would like to state while on the topic is the fact that the public never deserted me even during this period of forced oblivion and I am very grateful to them for that. Whenever I travelled, even abroad, for that matter, people always asked me why I had quit acting and when would they be able to see me again on screen. This encouraging response gave me a lot of strength and hope during the lean patch.

Who are your favourite actors currently?

– There are quite a few. Among them, Govinda is an extremely talented actor and my co-artiste in Bade Miyan Chote Miyan. Then, there is Kader Khan whose comedy timing is superb, to say the least. Moreover, I am particularly impressed with the dedication of Salman Khan and Aamir Khan. Both these heroes involve themselves completely in the project and you can be sure that they will give their 100% in every role they play.

Among my all-time favourites are Danny Kaye and, to some extent, Jack Lemmon in Hollywood, while in India, it can only be Kishore Kumar who, in many ways, was the Indian counterpart of Danny Kaye.

JUNGLE

Varma Corporation Ltd.’s Jungle (A) is, as the title suggests, a jungle adventure. Taking off from the life of sandalwood smuggler Veerappan, the film has a romantic tale knit around it. A young boy and girl are on a holiday trip, the latter with her family. The bus in which several tourists, including the girl and her family but excluding the boy, are travelling is hijacked by the jungle-inhabiting smuggler. He holds them hostage and demands the release of his man who has been arrested by the police. He also threatens to kill one hostage for every passing day and, in fact, begins the heinous act. Ultimately, when the police is forced to relent, the smuggler frees all the hostages except one. And that one is the same girl. The boyfriend, tense and dejected by what he thinks is police inaction, follows a local into the jungle and manages to flee with his girlfriend. But the two are unable to find their way out of the dense and vast jungle. The smuggler and his team is on a hot chase of the lovers. Similarly, the police is on trail of the smuggler and his men. The law-keepers are also on the hunt for the girl and boy so that they can be saved from the villains as well as the wild animals and rescued. Ultimately, the villains fall prey to the bullets of the police, and the lovers come out safe — but not before the chief of the police task force sacrifices his life to save the girl and the boy, and they (lovers) kill the smuggler.

The film has a thin story-line and the jungle becomes the centre-point of the entire drama. As such, the drama becomes boring and a little tedious at places, the tedium being heightened by the drab and dry jungle locations. On the other hand, there are four or five sequences which send shivers down the audience’s spines. Although the episodes showing the lovers’ encounters with wild animals in the jungle are of the kind seen several times in earlier films, they have been treated freshly. The light scenes in the resort are quite entertaining although some of the jokes are subtle and of the liking of classes more than masses. Yet, the best part of the film is the climax which is almost nail-biting. The weakest point is the character of the smuggler — he speaks sparingly and only looks menacing.

Urmila Matondkar does a splendid job. Her expressions of fear, sorrow, helplessness and despair, when in captivity and then, when trying to find her way out of the jungle with her boyfriend, are wonderful. Her performance in the climax is superb. Fardeen Khan looks very cute as the lover-boy and also puts up a good show. He is impressive in action scenes too. He needs to work a little harder on his voice, though. Sunil Shetty, as the chief of the police task force, acts effectively and he wins public sympathy when he sacrifices his life in the climax. Sushant Singh is good as the smuggler but he has very less dialogues to mouth, because of which the impact of such an important character in the film is substantially reduced. In fact, the dull characterisation of the villain, around whom the entire film revolves, is a major flaw in the film. Kashmira Shah is very good. Rajpal Yadav, playing Sushant’s henchman, is truly terrifying and acts very ably. Vijay Raaz, with his cold stare, leaves a good mark. Raju Kher, Swati Chitnis, Anil Yadav, Avtar Gill and the two child artistes (especially the boy) lend admirable support.

Ram Gopal Varma’s handling of the subject is efficient but he has not been able to rid the drama of the boredom which creeps in at intervals due to its thin story-line. Distinction marks are due to the director for extracting wonderful work from the cast. Sandeep Chowta’s music complements the subject. The two romantic numbers are hummable and the other two songs have a very earthy flavour. Chowta’s background score is brilliant. His use of the choir in some scenes has a superb effect. Action scenes (Amin Ghani) are natural. Sound effects (Dwarak Warrier) are par excellence. Production values are simple as per the demands of the subject. Vijay Arora’s cinematography is extraordinary. Technically, of a very high standard.

On the whole, Jungle may find the going tough in U.P. and East Punjab circuits but the thrills and the chills of the adventure as also its reasonable price will see it through in other circuits like Bombay, C.P.C.I. Rajasthan and South.

Released on 14-7-2000 at Eros and 20 other cinemas of Bombay thru V.I.P. Enterprises. Publicity: very good. Opening: good. …….Also released all over. Opening was excellent in Delhi, Nagpur, Ujjain, Gwalior, Bhopal.

LATEST POSITION

Rains played havoc with the box-office in many parts of the country. Bombay, Maharashtra, M.P. and Ahmedabad had torrential rains during the week. Most of the cinemas of Ahmedabad remained closed on 13th due to the downpour.

Bichhoo has withstood the opposition of rains and has done fairly well all over despite drop everywhere mid-week. It is especially very good in U.P. and East Punjab. 1st week Bombay 43,17,624 (82.85%) from 10 cinemas (14 on F.H.); Baroda 1,80,956 (1 unrecd.), Vapi 2,95,811 (1 unrecd.), Rajkot 2,71,951 from 2 cinemas (1 in matinee), Jamnagar (28 shows) 1,58,075; Pune 13,69,647 from 6 cinemas (1 in matinee), Solapur 2,80,781 (99%) from 2 cinemas (1 in matinee), Satara 2,09,326 from 2 cinemas (1 in matinee), Sangli 2,07,150 (94%); Delhi 36,78,271 (76.54%) from 9 cinemas (2 on F.H.); Kanpur 5,58,431 from 2 cinemas, Lucknow 5,29,723, Agra 4,32,600, Bareilly (6 days) 2,47,039; Calcutta 21,69,662 from 10 cinemas; Nagpur 8,73,501 from 4 cinemas, Jabalpur (6 days) over 2,30,000, Amravati 3,25,838 (100%), Raipur (6 days) 1,83,014, Jalgaon 2,60,017, Wardha 1,40,234, Chandrapur 2,00,279 from 2 cinemas; Indore 3,52,616 from 2 cinemas (2 on F.H.), Bhopal 3,91,255 from 2 cinemas; Jaipur 9,74,684 from 4 cinemas; Hyderabad (gross) 36,76,966 from 13 cinemas (1 in noon), share 23,25,000 (including Aurangabad).

…………..

Refugee drops. 2nd week Bombay 54,74,942 (79.69%) from 13 cinemas (9 on F.H.); Padra (28 shows) 2,95,126, Vapi 3,03,783, total 13,14,435, Jamnagar (28 shows) 1,76,745; Pune 12,60,428 from 6 cinemas (1 in matinee), Solapur 2,31,411, Satara 1,20,290 from 2 cinemas (1 in matinee); Delhi 37,02,463 from 12 cinemas (1 on F.H.); Kanpur (6 days) 3,74,291 from 2 cinemas, Agra 1,40,000, Bareilly (6 days) 80,876, Muzaffarnagar 60,000 (1st 1,74,000); Calcutta 17,14,833 from 9 cinemas; Nagpur 3,46,081 from 2 cinemas, Amravati (6 days) 1,76,844, Akola 1,39,277, Raipur (6 days) 2,42,468, Durg 74,228 (1st 1,55,244), Gondia (gross, 6 days) 68,900, Wardha 60,080, Chandrapur 1,33,106, total 4,20,563, 1st week Yavatmal (gross) 1,66,407; 2nd week Bhopal 78,568; Jaipur (increased rates) 7,52,105, Bikaner 26,750; Hyderabad (gross) 7,78,706 from 3 cinemas (1 in noon).

East Phir Bhi Hai East (dubbed) 1 week Bombay 1,18,789 (58.25%) (1 on F.H., 1 unrecd.).

Josh 5th week Bombay 21,50,833 (49.74%) from 10 cinemas (5 on F.H.); Pune 4,01,812 from 4 cinemas (1 in matinee), Solapur 70,078; Delhi 5,10,483 from 3 cinemas (1 on F.H.); Kanpur 76,854 from 2 cinemas, Lucknow 2,26,313, Agra 41,000, Bareilly (6 days) 25,600, Muzaffarnagar 22,002, total 3,01,616; Calcutta 1,68,833; Nagpur 1,47,339 from 2 cinemas, Jabalpur (6 days) over 41,000, Amravati 1,03,069, total 9,42,295, Akola 40,200, total 5,77,690, Raipur (6 days) 28,242; Jaipur 1,29,800; Hyderabad (gross) 6,43,654 from 5 cinemas (2 in noon).

PIONEER OF BHOJPURI FILMS B.P. SHAHABADI NO MORE

Producer B.P. Shahabadi passed away suddenly on the evening of 13th July at his native place, Giridih in Bihar, following a heart attack. He was 89 years old. He is survived by five sons, youngest of whom is producer Rajkumar Shahabadi, and three daughters.

Bishwanath Prasad Shahabadi was the pioneer of Bhojpuri films. He produced the first Bhojpuri film, Ganga Maiya Tohe Piyari Chadhaibo, in 1962-63. It proved a runaway hit and started the trend of Bhojpuri films. Thereafter, B.P. Shahabadi made a couple of more Bhojpuri films and three to four Hindi films. He also had distribution offices in West Bengal and Bihar.

Akhtar Rizvi, who used to work in Nirmal Pictures — Shahabadi’s production office in Bombay — for many years, had only last month gone to Giridih just to pay a courtesy call on his boss. A very sad Akhtar told Information, “He was keeping fine and fit when I met him in June. The news of his demise has shocked me.”

GROWING PIRACY MENACE IN RAJASTHAN

The Rajasthan trade is being hit hard by the unchecked cable piracy and exhibition of unauthorised prints in the territory. Reportedly, local cable operators in Kota, Bundi, Ramganj Mandi, Jhalawar, Patan and Baran are unabashedly showing illegal cassettes of Kya Kehna!, Joru Ka Ghulam, Josh, Bichhoo and Refugee on their cable TV networks. Moreover, several unauthorised prints of recently released films are currently in circulation in Anta, Pachpadiya, Khetoon Talera, Bhawani Mandi and Baran in the territory. Some cinemas in the region have already had to down shutters owing to the competition posed by the illegal screenings.

HIGH-PROFILE COPYRIGHT COMMITTEE MEETS IN DELHI

The high-profile committee, set up by the government of India to suggest changes in the Copyright Act, met in New Delhi on 11th July under the chairmanship of the secretary, education ministry. K.D. Shorey, one of the members of the 27-member committee, is the representative of producers on it.

Two important issues dominated the discussions at the meeting. One was the issue of international pressure from the performers who have made a demand for additional economic rights, that is, sharing of profits if a film earns. But K.D. Shorey and others objected to this demand, saying that if profits were to be shared, the performers should also be made liable to share producers’ losses. A decision is yet to be arrived at on this issue.

Performers demanded scrapping of the sub-section (4) of section 38 of the Copyright Act, at the meeting in Delhi, but there were strong voices of dissent against this too. It would be pertinent to note here that the Rome Convention (1960) had conferred the basic rights on the performers. But later, by an amendment, sub-section 4 of section 38 was introduced in the Act. This sub-section stipulates that the basic rights be granted to performers in any of the performing shows except cinematograph films in which the rights belong to producers. Performers argued that this sub-section was against their interests.

INTERNATIONAL HONOUR FOR DEV ANAND

Dev Anand was among the 50 Punjabi personalities chosen from all over the world to be honoured at an international Punjabi meet on 11th July at Hotel Sheraton in New York. And Dev Anand had much cause to feel honoured. For, the honours were done by no less a personality than the first lady of the US of A, Hillary Clinton!

SHILPA SHIRODKAR WEDS

Shilpa Shirodkar tied the knot with Aparesh Ranjit on 9th July in Bombay. The marriage was followed by a reception on 10th July. Among those who blessed the newly-wedded couple were Amitabh Bachchan, Govinda and Madhuri Dixit-Nene.

The groom, Aparesh Ranjit, is a business management student in the Netherlands.

RAHUL ROY WEDS RAJLAXMI

Rahul Roy wedded noted model Rajlaxmi Khanvilkar on 9th July in Bombay. Among the guests at the wedding were top models Lisa Ray, Bipasha Basu, Dino Morea, Malaika Arora, Helen Brodie, Aditi Govitrikar, Rakshanda Khan, TV host Sajid Khan, Tejaswini Kolhapure and Riya Sen.

FIRST MEETING OF U.P. FILM DEVELOPMENT BOARD

The first meeting of the Film Development Board of Uttar Pradesh will be held on 19th July at Taj Hotel, Lucknow. Noted writer Kamleshwar will preside over the meeting. Issues related to the promotion of film industry and film policy in the state will be discussed.

YOU ASKED IT

Will Nadeem Shravan be able to recreate the old magic in their second innings?

– Why not? The four songs they’ve recorded for Kuku Kohli’s YEH DIL AASHIQANA are excellent. The two seem to be in great form!

Can Har Dil Jo Pyar Karega take a good start?

– Can?!? It will definitely take a flying start. The film’s publicities look fresh and beautiful.

Why is the Maharashtra government not coming out with its promised policy of tax holiday for new cinemas, like governments of other states?

– Maybe, it is scared of losing a lot of revenue. Or maybe, the anti-policy lobby in the film industry is strong. 

PRODUCTION NEWS

‘Soch’ In Scotland, England

Zeekay Films P. Ltd.’s Soch is being shot for 15 days from July 15 in Scotland and England. Two songs and scenes are being picturised on Sanjay Kapoor and Raveena Tandon. Meanwhile, two songs for the film were recorded recently at Sahara by Jatin-Lalit. They were penned by Sameer and rendered by Alka Yagnik and Kumar Sanu. Being produced by Dr. Wijahat Kareem and written and directed by Sushen Bhatnagar, the film co-stars Aditi Govitrikar, Arbaaz Khan, Sunil Nagar, Yunus Parwaiz, Mac Mohan and Danny. Co-producer: Dr. Mrs. Surheeta Kareem. Cinematography: Rajen Kothari. Action: Shahid Ali. Dialogues: Atul Tiwari. Art: Smita Gupta. Sound: Anuj Mathur. Editor: Umesh Gupta.

Subhash Ghai’s ‘Yaadein’ Commences In London

Producer-director Subhash Ghai’s Yaadein will go before the camera tomorrow (July 16) in London. The 9-day schedule will continue in India (Bombay). Jackie Shroff, Hrithik Roshan and Kareena Kapoor will participate. The film, being made under the banner of Mukta Arts Ltd., has lyrics by Anand Bakshi and music by Anu Malik who has already recorded five songs. The last song was recorded in the voices of Asha Bhosle and Udit Narayan. Kabir Lal is the film’s cinematographer, and Sharmishta Roy, the art director. Rakesh Ranjan is the audiographer. The film is scheduled for completion in April 2001 and is slated for release on July 30 next year.

DO YOU KNOW?

* Tips has acquired the domestic music rights of Subhash Ghai’s YAADEIN for a whopping Rs. 6.50 crore. Negotiations are on for the sale of international music rights. Many top music companies are in contention to bag them.

* Three films, directed by Sanjay Surkar, have bagged the National Awards for the best Marathi films in three consecutive years: RAOSAHEB (1997), TU TITHE MEE (1998), and GHARABAHER (1999).

* BICHHOO has created a record by collecting 2,07,150/- (94%) in 1st week at Pratap, Sangli, despite heavy rains throughout the week.

* BICHHOO has created a district record by collecting 2,91,562/- in 1st week at Akhilesh, Moradabad. The earlier record was held by MELA (2,86,315/-).

* BICHHOO has created a record by collecting 2,65,394/- (100%) in 1st week at Galaxy, Meerut.

* BICHHOO has created a record at Khanna (East Punjab) by collecting 3,53,550/- in 1st week.

MIX MASALA

HRITHIK’S TAANDAV IN ‘FIZA’

Hrithik Roshan has displayed his dancing talent of the ultimate kind in Khalid Mohammed’s Fiza. He has performed a nine-minute taandav dance under a waterfall, following strenuous rehearsals. Those who have seen this dance item have found it to be simply incredible, something out of this world! This is sure to be the high point of the film. And Hrithik is sure to once again dance his way into a million hearts.

‘CROREPATI’ CORRODES

The Amitabh Bachchan-hosted Kaun Banega Crorepati game show on Star Plus is recording growing appreciation with every passing episode. And the most affected by the game show’s rising popularity are the box-office takings in the last shows at cinemas across the country. People stay put in their houses at 9 p.m. from Mondays to Thursdays — that is when Kaun Banega Crorepati is beamed. This Crorepati show is, therefore, eating into the earnings of the film trade.

A HERO’S WELCOME

Have you ever been the chief guest at any function? If not, today is your chance. The grand invitation card of the muhurt of Shankar and A.M. Rathnam’s Nayak today (15th July) invites people to Filmistan Studios for the launch. It then mentions: Chief Guest ‘U’! Nice way to make each invitee feel important and wanted. Incidentally, right on its announcement, deals for half the territories of India have been clinched!

CENSOR NEWS

Varma Corporation Ltd.’s Jungle (action thriller) was given C.C. No. CIL/3/70/2000 (A) dt. 7-7-2000; length 4162.50 metres in 17 reels (cuts: 0.91 metres).

Aditya Films’ Andheri Raaton Mein (social) was given C.C. No. CIL/3/69/2000 (A) dt. 7-7-2000; length 2663.43 metres in 10 reels (cuts: 97.63 metres).

Vijayshree Films’ Prince No. 1 (dubbed) has been passed with U certificate, in Hyderabad.

5000 Films’ Kaali Pahadi (revised) has been passed for adults, with cuts.

Shreenath Film Production’s Chudail Ki Raat has been passed for adults, with cuts.

D.R.M. Combines’ Nasheele Aankhe (dubbed; length 2122.57 metres in 6 reels), applied on 7th, was seen on 10th.

Palki Films’ Meri Jung Ka Elaan (length 4013.10 metres in 16 reels), applied on 10th, was seen on 11th.

Sheetal Arts’ Meri Izzat Bachao (length 2740.02 metres in 11 reels) was applied on 11th.

3-E
Education-Entertainment-Enlightenment

Prophetic Words

Call this a coincidence or whatever. Not many days before Ismail Darbar bagged the National Award for Hum Dil De Chuke Sanam, he had been very sad for not having won any notable award for his music score. Vashu Bhagnani, whose Tera Jadoo Chal Gayaa has music by Ismail Darbar, had tried to pep him up by saying that all had not been lost. Vashu then told Darbar that one day, he would bag an award which would make everyone look up to him. As if Vashu had prophesied, Ismail Darbar sure enough won the National Award a few days later. And the man to break the news of the award to Darbar was none other than Vashu Bhagnani. On hearing the news over the telephone, Ismail Darbar could not control his tears of joy and began to cry. This was revealed by Vashu Bhagnani who was quick to organise a party in honour of the National Awardee on 8th at Hotel Guestline. The audio cassettes of Tera Jadoo Chal Gayaa, out in the market a day before, were also formally released at the felicitation function.

Too Late The Hero!

The dancing hero, well-known for coming late on the sets, repeated his notorious feat even for a shooting abroad. He was required on a foreign location for 10 days’ shooting which involved combination shots with the other lead man of the film. Our dancing hero reached five days late. After shooting for a day, he reported sick. The unit had to come back without much shooting with the dancing hero. The combination shots of the two heroes also couldn’t be taken!

Title Talk

Registering a film title is as interesting as naming one’s new-born. And nothing interests us as much as the list of titles registered by producers with the Title Registration Committee of the AIFPC. For, it gives an insight into the producers’ ‘creative’ bent of mind. So, here’s our pick of titles, some entertaining, some enlightening and some plain amusing:

First, the ‘No. 1’ titles, thanks to the inspiration provided by Coolie No. 1, Hero No. 1, Biwi No. 1 and the like. So, we have more titles registered, such as Dil No. 1, Majnu No. 1, Aashiq No. 1, Jeweller No. 1, Bhawji No. 1, Super Star No. 1, Dulha No. 1, Bazaar No. 1, Lady Inspector No. 1, Dosti No. 1 as well as Dost No. 1, Khalnayak No. 1, Ladki No. 1, Mastana No. 1, Bhai No. 1, Fraud No. 1, Bookie No. 1!

And among the appended titles registered are: Thug – The Con Man, Faasle – The Distance, Talaash – The Hunt, The Body – Tan Badan, Aas (I Still Love You), Harjana (Blood Money), Antim Yudh (The Last War), Dost – A God’s Gift….

While Rakesh Roshan’s Film Kraft has booked Karodpati, Pragati Chitra International has registered three karod-worthy titles, Kaun Banega Karodpati, 24 Ghante Mein Karodpati and Millionaire In 24 Hours (English).

Show World Television has cornered ‘Sabse Bada/Badi’ titles by registering as many as half-a-dozen such titles: Sabse Badi Ganga Ki Saugandh, Sabse Bada Bazigar, Sabse Bada Gunda, Sabse Bada Badshah, Sabse Bada Mawali and Sabse Bada Uastad.

And Subhash Ghai, who had made Ram Lakhan, now seems to be fascinated by Ravan. His Mukta Arts Ltd. has registered Ravan, Shiv Bhakt Ravan, Ravan Ki Aatmakatha, Shri Ravan Sanhita, Lanka Pati Ravan, Ravanwadh and Ram Aur Ravan. Are these titles for TV serials?

Interestingly, Gordhan Tanwani’s Baba Films is so possessive of Mohabbat Tumse Hai Sanam that it has registered three more similar titles: Mohabbat Hai Tumse Sanam, Tumse Mohabbat Hai Sanam and Tumse Hai Mohabbat Sanam. Tips Films Pvt. Ltd. has re-registered as many as 27 titles!

And how do you like this? Pati Naram Patni Garam, booked by Paras Productions, and Kalyanji And Anandji, registered by Puja Films.

INFORMATION MEETS

“Our audiences have invariably shown a fond keenness to welcome newcomers… As for myself, I am awaiting my turn.”

– FARDEEN KHAN

GAJAA

It is an unwritten rule in the industry that you are as good as your last film. This applies whether you are a film producer, director or actor. And so, it applied to debut-making Fardeen Khan, too. When the young hero’s dad, Feroz Khan’s Prem Aggan, could not find favour with the audience, the industry was quick to dismiss Fardeen off as a ‘no good’ hero. It required the guts and gumption of Ram Gopal Varma to re-launch Fardeen Khan in Jungle. And even while he was shooting for Ram Gopal Varma’s film, there came a metamorphosis in the industry’s attitude towards Fardeen Khan. Suddenly, he was being considered good by several producers and directors. The suddenly-considered-good guy has since been signed by some good makers. And Fardeen seems to be gaining lost ground with every film he is signing. The one thing that Fardeen Khan shares with his famous father, Feroz Khan, is his immensely positive attitude to life. Actually, the positive outlook seems to be in their blood.

In this interview, taken before the release of Jungle, the resilient young man candidly talks about his hopes, feelings and aspirations.

How do you feel on the threshold of the second lease of your career?

I am very excited, very anxious. I’ve worked very hard and am looking forward with great hope.

But JUNGLE is different from your debut-making film. How different was it working with Ram Gopal Varma from working with your dad?

Yes, both the films are entirely different. But I felt quite at home even while working for Jungle. Both, my dad and Ram Gopal Varma, are passionate about their work. Both are very much into technique and both of them know exactly what they want. I enjoyed working hard for Jungle as much as I enjoyed working for my dad’s film, Prem Aggan.

Did you despair after the debacle of your dad’s film?

I was disappointed at first, but then, I got the Filmfare Award for the best debutant. I bagged one more award in New York. I have a positive mental attitude to life. But that does not mean that one should turn one’s back to the past. One must analyse what went wrong and then try to avoid the earlier mistakes. I had, and still have, a lot of positive thoughts. I sincerely believe that hard work pays and can never let a man remain down forever. Tomorrow is another day. And I have a long way to go. If I were to feel low, I wouldn’t be able to pull it up tomorrow, no matter what opportunities came my way.

So what were you doing before JUNGLE came your way?

Well, I used to hear a lot of scripts. Most of them are very good. Other than that, I was concentrating on ways to improve myself as an actor and I was improving my Hindi diction and things like that.

As you said, you were hearing scripts. Every enthusiastic actor does that. But despite good scripts, things sometimes don’t work, as expected. What goes wrong and where? Have you analysed?

I understand that filmmaking is a result of coordinated efforts. Each one works to the best of his ability. So, one shouldn’t blame anybody if things don’t work the way one desires. An unsuccessful film does not necessarily mean a bad film. At the end of the day, we are all selling dreams.

Is it better to sign  few films before your first release or you still feel that it is alright to sign films only after the release of your first film?

I believe that it’s not right to sign films just for the sake of doing so. The most important things to consider while signing films are the script, the director and the maker.

Your dad, an actor, was a perfect foil to the top leading men of the day and he used to make his presence felt in a distinguished manner. Later, he diversified into filmmaking. Did you, at any point of time, think of switching roles?

No, I haven’t thought about it. Never! Not at this point of time, at least. Right now, I want to act. I want to prove my mettle. I am positive about showing my mettle before the camera. By the grace of God, I hope to achieve my ambition in the chosen field. It’s not going to be quits so early. Yes, some day, I would love to direct and produce movies. But right now, it’s going to be acting. Period.

Were you ever your dad’s assistant when he was directing films?

No, I was very young then. I was in school. Thereafter, I went away to the US for further studies. I was there for four-and-a-half years.

So, you must have been greatly influenced by Hollywood films…

Yes, I used to see a lot of films there. There is a lot to learn from Hollywood films in every department. They are the leaders today. We here won’t be able to make the kind of films they make. On one level, there is unwillingness on our part to try and do something new. We are still steeped into songs. But then, music is also a big market here. So, we’ve got to be wherever we are on this score. But they (the Hollywood people) are far more innovative where narration and presentation of scripts are concerned. At least, we can try doing something innovative in regard to our scripts. Hey, am I sounding too big?!?

People have accepted newcomers like Hrithik Roshan and Abhishek Bachchan in a big way. Audiences seem to accept new guys these days. Maybe, it’s your turn now…

(Laughs) To be honest with you, this has always been a trend — new heroes and heroines have always been welcomed. Our audiences have invariably shown a fond keenness to welcome newcomers. Rishi Kapoor was accepted, Dimple was welcomed and so were Jackie Shroff, Kumar Gaurav, Sunny Deol, Bobby Deol… There are many instances to prove this point. As for myself, I am awaiting my turn.

Even during your dad’s hero-days, there were Khans — Feroz Khan, Sanjay Khan, Amjad Khan and, a little later, Mazhar Khan. Today, too, the Khans have made their grade. Where do you find yourself among the young Khans of today?

(Amused) Well, I don’t know. But I know one thing for sure — and that is, that our poor audience would be subjected to one more Khan! (Laughs) I’m just joking…

There is a general feeling that you look too good to play non-chocolate/rustic hero roles….

Is it? If that is the case, what can I do about it? I can just pray to God to make me look the way the role demands. But I am positive about my face being accepted in the coming days.

How come? Are you going to acquire a Clint Eastwood look?

First, let me conquer Bollywood before going to Hollywood! (Laughs) I was just joking, man. Who wants to leave Bollywood?!

What about your dad’s next, QURBAAN TUJH PE MERI JAAN, starring Ajay Devgan, Aishwarya Rai and you?

It will take some time to start. We are working on the script and music.

There is also one more, Shubir Mukerji’s MAATI (THE SOIL), written and directed by Neeraj Pathak…

A lot of things have been finalised for Maati, but I’ll start shooting on July 15 for director Rajat Mukerji’s film. This one is being produced by Ram Gopal Varma and Venus. It is untitled as of now. Then, there is Jackpot which is being jointly produced by Ram Gopal Varma and Nitin Manmohan. I have also signed films with Mehul Kumar, Pahlaj Nihalani and Anees Bazmee.

So, we are going to see a lot of Fardeen Khan in the coming days?

You will see a lot of his varied performances rather than just Fardeen Khan’s face!

DAAG THE FIRE

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

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

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

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

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

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

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

BOMBAY BOYS
(Dubbed)

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

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

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

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

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

LATEST POSITION

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

…………….

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

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

…………….

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

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

‘AA AB LAUT CHALEN’ TAX-FREE IN DELHI

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

NEW CINEMA OPENS AT ANAND

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

YOU ASKED IT

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

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

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

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

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

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

DO YOU KNOW?

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

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

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

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

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Education-Entertainment-Enlightenment

‘Kachche Dhaage’, Pucca Record

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

Lucknow Exhibitors Trying Luck Now In Distribution

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

‘Daag’: A 100% Spotless Record

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