LATEST POSITION

The success of PYAAR KIYA TO DARNA KYA has brought some life in the industry.

Pyaar Kiya To Darna Kya has done very well despite examination period. Is poised to become class A in Bombay. Is a commission-earner in East Punjab, Bengal and Rajasthan and overflow in the other circuits. It is also doing very well in Overseas. 1st week Bombay 48,07,493 (92.88%) from 13 cinemas (7 on F.H.); Ahmedabad 12,06,439 from 5 cinemas, Rajkot 2,16,780 from 2 cinemas (1 in matinee); Kolhapur 2,22,634 (98%), Solapur 3,09,999 from 2 cinemas (1 in 14 shows), Nasik 1,64,934 (100%); Belgaum 1,16,508; Delhi 49,71,705 (91.31%) from 11 cinemas; Lucknow 4,13,599 (100%), Agra 2,70,938 (94.52%), Allahabad 1,61,000, Varanasi 2,41,279, Meerut 2,32,373 (98.28%), Bareilly 1,96,079 (87.11%), Dehradun 2,07,764 (100%), Saharanpur 1,76,454 (83.26%), Moradabad 1,71,836, Gorakhpur 1,73,235, Aligarh 1,85,568; Calcutta 26,21,229 (91.32%) from 16 cinemas; Nagpur 6,71,138 from 4 cinemas, Jabalpur 2,00,382, Akola 1,57,151, Raipur 2,00,580 (82.82%), Bhilai 1,47,674, Durg 1,35,530, Chandrapur 1,93,004, Bilaspur 90,177; Indore 2,98,560 (4 on F.H.), Bhopal 5,43,684 from 3 cinemas; Jaipur 10,77,188 from 5 cinemas, Bikaner 2,76,828; Hyderabad 40,72,338 from 15 cinemas, share 23,19,117; Visakhapatnam 2,06,131, Kurnool 1,85,857.

Yugpurush is dull everywhere but slightly better in Maharashtra. 1st week Bombay 20,57,508 (52.12%) from 10 cinemas (6 on F.H.); Ahmedabad 3,59,606 from 4 cinemas, Rajkot 91,000; Solapur 1,53,919 from 2 cinemas; Hubli 1,48,267, Belgaum 1,87,349; Delhi 11,25,119 (37.34%) from 6 cinemas (1 unrecd.); Allahabad 1,02,000, Bareilly 44,858 (20.08%), Dehradun 77,305; Calcutta 7,17,427 from 6 cinemas; Nagpur 3,63,589 from 4 cinemas, Jabalpur (6 days) 89,166, Akola 81,035, Raipur 67,853 (31.24%), Bhilai 83,778 from 2 cinemas, Jalgaon (6 days) 66,290, Bilaspur 68,852; Indore 99,000 (2 unrecd.), Bhopal 1,18,231 from 2 cinemas; Jaipur 2,48,177 from 2 cinemas, Bikaner 67,371; Hyderabad 9,05,976 from 10 cinemas.

…………

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Titanic (English) 4th week Bombay 16,46,148 (100%) from 2 cinemas; 3rd week Delhi 25,71,324 from 4 cinemas; Calcutta 3,50,210; 3 weeks’ total Vijayawada 10,49,951 (100%), Visakhapatnam 10,71,537 (100%).

IMPPA WELCOMES VINOD KHANNA

Many film producers personally received Vinod Khanna at Bombay’s Santacruz airport on 3rd April. He came to Bombay on 3rd for the first time after his election to the Lok Sabha and was garlanded by many of those who were present to receive him.

Among those who greeted the star-MP at the airport were IMPPA president Sultan Ahmed, IMPPA vice president Sundeep Sethi, Shakti Samanta, Saawan Kumar Tak, Mehul Kumar, Surendra Mohan, Surinder Kapoor (FMC chairman), Anil Ganguly, Jimmy Nirula, Satish Khanna, Anand Girdhar, S.K. Kapur, Surjit Aujla, K.K. Talwar, Vinay Kumar Sinha, Johny Bakshi, Kant Kumar, Madan Mohla, Vinod Chhabra, Firoz Nadiadwala and Dinkar Chowdhary (IMPPA secretary). Vinod Khanna said, he was touched by the love and affection of the industry. He promised that as a Parliamentarian, he would try to do something to solve the industry’s problems.

‘PARDES’ TAX-FREE IN U.P.

Subhash Ghai’s Pardes has been granted tax-exemption in the state of Uttar Pradesh for a period of 1 month from 9th April.

FIRST MALAYALAM FILM IN DTS

Thirakalkappuram, starring Suresh Gopi and Manju Warrier, is the first Malayalam film in DTS. It is produced by Guru Pavana Films (P.) Ltd. and is due for release all over Kerala on 9th April. This maiden film of Guru Pavana Films is a sequel to the President’s award-winning film of 1964, Chemmeen. It is directed by debut-maker Anil Adityan. Music is scored by Johnson.

BUBBY KENT, BOBBY ANAND BEREAVED

Devika Kent, wife of producer Bubby Kent, sister of Overseas and Rajasthan distributor and producer Bobby Anand, and daughter of producer-director Suraj Prakash, expired on 2nd April in Bombay at Kothari Hospital due to a heart attack. She was only 30 years old. She is survived by her husband and a daughter.

Chautha will be held today (4th April) from 5 p.m. to 6 p.m. at Panchtantra building, Yaari Road, Versova, Andheri.

BARJATYAS BEREAVED

Manakchand Barjatya, father of Padam Barjatya of P.B. Pictures, Jaipur, and Jaikumar Barjatya of Rajshri Pictures (P.) Ltd., Patna, and uncle of producers Kamal Kumar, Rajkumar and Ajit Kumar Barjatya, passed away on 21st March in Jaipur. Shanti Vidhan pooja was held on 2nd April in Jaipur.

SHAH RUKH INJURED

Shah Rukh Khan fractured his leg on the sets of Mani Ratnam’s Dil Se a few days back in Madras.

AGAJANI KASHMIRI DEAD

Noted writer of yesteryears, Agajani Kashmiri, who wrote several hits like Anmol Ghadi, Taqdeer, Love In Simla and Junglee, died in Toronto on 27th March. He was 89 and is survived by two sons and grandchildren.

‘BORDER’, ‘DTPH’, ‘JUDAAI’ FOR NATIONAL AWARDS

J.P. Dutta’s Border, Yash Chopra’s Dil To Pagal Hai and Boney Kapoor’s Judaai have been nominated for the National Awards of 1997, by the Film Federation of India.

The regional language films nominated are: Sarkarnama (Marathi), Sedin Chaitra Maas and Vidroho (both Bengali), Suryavamsam (Tamil), Annamayya (Telugu), Aniyathi Pravu (Malayalam) and Ulta Palta (Kannada).

WEDDING BELLS FOR SOHAIL KHAN

Director Sohail Khan got married to Seema on 29th March at a hurriedly called ceremony in Bombay.

ARJUN RAMPAL WEDS

Leading model and hero of Shantanu Sheorey’s Jadh, Arjun Rampal, got married to well-known model Mehr Jesia in Bombay earlier this week.

FFI, SIFCC BOYCOTT DOORDARSHAN

The Prasar Bharti Corporation’s recent decision to discontinue telecast of regional language films on Doordarshan’s national network has made the Film Federation of India take a decision to boycott Prasar Bharti till the decision is reversed. The South Indian Film Chamber of Commerce has accused Prasar Bharti CEO, S.S. Gill, of taking a unilateral decision and has threatened that unless the telecast of South Indian films was restored immediately, it would stop supplying film-based programmes to Doordarshan.

RAMESH DEO RELEASES WIFE’S AUTOBIOGRAPHY, LAUNCHES FILM

Seema Deo and Ramesh Deo celebrated triple occasions on 27th March at Rang Sharda — birthday of Seema Deo, the release of her autobiography, Suhasini, and the launching of their film, Waghnakh (Marathi). The film is being produced by Ajinkya Deo (elder son of the couple) under the banner of Ramesh Deo Productions, and directed by younger son Abhinay Deo whose debut-making film this is.

The event was presided over by Maharashtra chief minister Manohar Joshi who announced the muhurt of the film and also released the book. Cultural affairs minister Pramod Navalkar, mayor Vishakha Raut, municipal commissioner Girish Gokhale, director Raj Dutt, Sulochana and many others from the film and stage industries felicitated the couple. Pradeep Bhide was the compere.

There was a display of fireworks, followed by cocktails and dinner.

Waghnakh will roll on April 20 and it will be completed in two months in Kolhapur. Starring Ramesh Deo, Seema Deo and Ajinkya Deo as the leading man, its leading lady and other cast and credits will be finalised soon.

YOU ASKED IT

What is the business of Titanic expected to be in India?

– Sky is the limit for the film and it is almost impossible to predict a logical estimate. In the USA, people are repeating the film 10 and even 15 times and one can expect such things to happen in India too.

Can the levy of abnormally high entertainment tax be challenged in court?

– It can, and it should be challenged. Expenditure of some lakhs in fighting out the issue in court could result in savings in crores because there are all chances of the tax being abolished or, at least, drastically reduced.

When should one ideally do a film’s casting — when a story-line is finalised or when the complete script is ready?

– When at least a major part of the scripting is complete.

DO YOU KNOW?

* Subhash Ghai is helping Jackie Shroff with his first production venture, GRAHAN. Ghai is reportedly re-editing the film.

* The Advanis of Shri Bableshwar Films, Indore, have completed a hat-trick of successful releases with PYAAR KIYA TO DARNA KYA. The earlier two successes were DEEWANA MASTANA and ISHQ.

* Of the 11 Oscars bagged by TITANIC, two were for the best sound track and the best editing. The sound track was done in DTS, and the editing, on Avid. Both, DTS and Avid, are distributed in India, exclusively by Real Image Pvt. Ltd.

* Rishi Kapoor, the director is no different from Rishi Kapoor, the actor. Proof: as an actor, Rishi does not shoot on Sundays. Now, as director of AA AB LAUT CHALEN too, he does not shoot on Sundays. So what if his artistes and technicians are ready for a Sunday shooting, Rishi says, “no”. And so, it’s a holiday for the entire team.

* PKTDK has created a theatre record at Novelty, Bombay, by collecting 5,68,801/- (100%) in 1st week.

* PKTDK has created a theatre record by collecting 1,64,934/- (100%) in 1st week at Mamta, Nasik.

* PKTDK has created a new city record in 1st week at Delhi’s Vishal cinema by collecting 7,17,617/- (against a capacity of 7,60,714/-) in 1st week. No film in 4 shows daily has collected so much earlier. 

* PKTDK has created theatre records in 1st week at Delhi’s Moti (2,49,037/- against 2,72,098/-), Rachna (4,60,195/- against 5,13,335/-), Batra (4,33,505/- against 5,05,422/-) and Chaudhry, Ghaziabad (2,32,284/- against 2,57,056/-).

* PKTDK has created a new record at Novelty, Lucknow, by collecting 4,13,599/- (100%) in 1st week. All 4 shows on the opening day of 2nd week were also full.

* PKTDK has created a theatre record by collecting 2,32,373/- against a capacity of 2,36,439/- in 1st week at Nandan, Meerut.

* PKTDK has created a theatre record by collecting 1,98,058/- in 1st week at Prabha, Bareilly.

* PKTDK has created a theatre record by collecting 2,70,938/- (against 2,86,643/-) in 1st week at Shree, Agra.

* PKTDK has created a theatre record by collecting 1,85,568/- in 1st week at Surjit, Aligarh.

* PKTDK has created a theatre record at Raj, Gorakhpur, by collecting 1,73,235/- in 1st week.

* PKTDK has created a theatre record by collecting 2,41,279/- in 1st week at Natraj, Varanasi.

* PKTDK has created a theatre record by collecting 1,60,482/- in 1st week at Sangeet, Allahahad.

* PKTDK has created a theatre record by collecting 1,71,836/- in 1st week at Kunwar, Moradabad.

* PKTDK has created a city record by collecting 2,07,764/- (all shows full) in 1st week at Prabhat, Dehradun.

* PKTDK has created a theatre record by collecting 1,76,454/- (against a capacity of 2,11,930/-) in 1st week at Kalpana, Saharanpur.

* PYAAR KIYA TO DARNA KYA has created a theatre record by collecting 1,93,004/- in 1st week at Abhay, Chandrapur.

Peep, Don’t Sleep

Nana Patekar gave three hits, Tirangaa, Krantiveer and Agni Sakshi, and increased his price by 400%. Now, after an average to below-average Ghulam-E-Musthafa and a disaster, Yugurush, he should reduce his price to 20% of what he is currently charging. That is, if Nana believes in fair play.

Sunil Shetty’s Aakrosh is a non-starter all over India. His previous release, Vinashak, too fared badly and entailed losses to most of its distributors. Sunil Shetty should, therefore, reduce his price to 50% of his present price. That is, if he believes in the policy of live-and-let-live.

The list of Akshay Kumar’s failures, debacles and disasters is long. To cut matters short, I can only say that instead of counting his flops, he should rather count the huge losses which distributors of his starrers have suffered in the past two years. He will then automatically feel inclined to slash his price by 75%. That is, if Akshay has a heart which beats for his producers and distributors.

Urmila Matondkar should be honest to herself and compare the number of producers who queue up at her house these days with their number in the post-Rangeela days. She will realise that life after Daud is not so rangeeli after all — for her producers, that is. With this realisation, Urmila herself will feel obliged to slash her price by 50%. That is, if she has foresight and is concerned about the future — of herself this time, more than of her producers.

Jackie Shroff should try and recall when his last solo starrer hit the bull’s eye. I say, try, because it may not be easy for him to remember the number of months since the release of his last hit, and the name of the film. Maybe, he will then reduce the remuneration he charges by, say, 2 lakh for every month he counts. That is, if he believes that the trade is already making such calculations about his career.

Amrish Puri should do some rethinking on his fabulously high price. Although he is undoubtedly the numero uno villain/character artiste, he should appreciate the fact that films sell on the names of heroes and heroines. Thus convinced, he will find it easier to convince himself that his price needs a revision in the downward direction. That is, if the screen villain is a hero in real life.

Sanjay Dutt should open his eyes to two facts — that he hasn’t delivered a hit for a long time and that he hasn’t still completed some of his very old starrers. He may then feel like hurrying up — as much to complete the old stock as to price himself more realistically. That is, if Sanjay can change.

Nana, Sunil, Akshay, Urmila, Jackie, Amrish, Sanjay — all just need to peep into their own conscience. The rest will follow.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Twentieth Century Craze

Imagine, the producer or distributor of a film not being entitled to the tickets of his own film. Well, that’s exactly the position of Twentieth Century Fox which has released blockbuster Titanic in Bombay — at Regal and Cinemax. So much is the demand for seats that some irate members of the public complained to the police that they weren’t getting tickets at Regal due to block bookings at the cinema. As a result, the police has asked Twentieth Century Fox to refrain from doing block bookings for friends/trade people and others. Resultantly, even Twentieth Century Fox has to obtain police permission for reserving too many seats together at Regal! That’s the twentieth century craze for the Twentieth Century-Paramount co-production!

Maximum Planning, Minimum Wastage

Viveck Vaswani’s Sar Ankhon Par is in its last lap of production, and before the month comes to a close, the film will be complete. A major part of the film has been shot in much the same way as Hollywood films are shot, in the sense that detailed call-sheets are handed out to every unit member even before a shooting schedule actually begins. The call-sheets give the exact time when each artiste is required, for which scene/shot he/she is needed, the props and articles required, the scene number, shot number etc. etc. That way, there’s little room for confusion and minimum wastage of time and money. This style of functioning is courtesy executive producer and writer Sunjiv Puri who has used his vast experience of English productions (he has been involved in the production of several English films shot in India) in Sar Ankhon Par. That’s also the reason why the bound script of the film is ready unlike in the case of most films! Incidentally, SAP will be complete before the month-end.

All Set

There’s a new kind of set designing in Bollywood. Suren Gurbaxani is basically a wedding decorator who erects wedding mandaps, reception stages and does the other decoration too for weddings. He has branched out into set designing for films. The advantage of getting sets erected by Suren’s team is that once they have to be dismantled, there’s no worry for the producer to pay the wooden planks supplier, property supplier and other set materials suppliers. That’s because Suren takes back all the set materials after the set is dismantled. That way, the charges for his services and goods are reasonable too. Why, even some art directors prefer sub-contracting work to Suren who has constructed sets for some films like Dil To Pagal Hai (not all the sets).

BJP Sore

The scene in Pyaar Kiya To Darna Kya, involving duplicates of film stars Shatrughan Sinha, Rajesh Khanna, Rajinikanth, Anil Kapoor and Sanjay Dutt, has not found the approval of the BJP’s film wing. In the scene in the film, the star look-alikes are shown fighting among themselves and even calling each other names. This hasn’t gone down well with the political party’s film wing which has asked the makers to delete the said scene from all the prints running.

WARNING NOTICE

The public in general and the film trade in particular are hereby informed that our M/s. MUKTA ARTS PVT. LTD., Mumbai-50 had given a break to M/s. RITU CHAUDHARY alias MAHIMA CHAUDHARY in their latest film PARDES. The said Mahima Chaudhary had entered into an Agreement with our said clients dated 19-2-1996 whereby she has agreed to work for our clients in their 3 further films.

The said Mahima Chaudhary is thus bound with our clients for a period of 5 years from the release of their film PARDES i.e. till 9-8-2002. The said Mahima Chaudhary has irrevocably agreed with our clients that she shall not render her services as a model for any advertising company or product or any stage show or TV show in India or abroad without the written consent of our clients. The said rights are assigned to our clients who alone are authorised to deal directly with any such party who opts to have the services of Mahima Chaudhary. Mahima Chaudhary has further irrevocably appointed, nominated and constituted Shri Subhash Ghai or his nominee as the authorised person to act, represent, select and negotiate any outside assignments of feature films shooting and/or advertisement films, TV programmes or stage shows etc. on behalf of Mahima Chaudhary and to decide the terms and conditions thereof during the period of the said Agreement. Mahima Chaudhary does not have any right to negotiate any terms and conditions with any party directly.

The said Mahima Chaudhary is also bound to work in our clients’ 3 further films and allot to them preferential shooting dates.

In view of the above, any party or person desirous of dealing with Mahima Chaudhary shall have to deal through our clients only. In case any party or person directly deals with Mahima Chaudhary, they shall so do entirely at their risk, and our clients shall proceed to take suitable legal action against the said errant party.

(R.K. MIDHA)
ADVOCATE SUPREME COURT
for M/s. MUKTA ARTS PVT. LTD.
Tel.: 640 6410

Bombay,
3-4-1998

PYAAR KIYA TO DARNA KYA

G.S. Entertainment’s Pyaar Kiya To Darna Kya is a youthful love story. A young village girl, who has an over-possessive brother, falls in love with a city-bred boy, but her brother won’t dream of giving the nod for their marriage. The boy tries to impress his girlfriend’s brother in all ways so that he would give them the green signal. Love ultimately triumphs — of course, after the mandatory hurdles are crossed. There’s a track of the boy’s father and step-mother, who have a change of heart in the climax. There’s also another track of a greedy family in the village, which is trying to usurp land not belonging to it. There’s a third track of the girl’s loving uncle whose joy lies in the happiness of his nephew and niece but who, for an inexplicable reason, panics terribly on learning about the love affair of his niece and the city boy whom, incidentally, the uncle adores.

The film has generated immense craze, thanks to its hit music and the presence of heart-throb Salman Khan. Fortunately, it is the songs and Salman, which are the two major plus points in the film. In fact, so good are both that the high expectations of the audience (due to the publicity hype) are met in these two respects at least, the other drawbacks, therefore, being relegated to the background. For, otherwise, the scripting is poor and also not original, and the direction is ordinary.

There are several scenes which can be easily trimmed, either because they are unnecessary or because they do not come in the sequence they should be coming in. While several individual comedy scenes are very enjoyable, there are some which do not tickle the ribs. The city audience, especially, will appreciate the humour in the film. Climax is quite tame. Dialogues are witty. Emotions are sorely missing in this love story.

Salman Khan is the life of the film. It is one of the best performances of his career and he endears himself to the audience as soon as and everytime he appears on the screen. He looks terrific too. Kajol does a fairly good job. She should, however, check her weight. Arbaaz Khan is alright as Kajol’s no-nonsense brother but since the reason for his weird behaviour is not explained, one is left wondering what his problem is. Dharmendra is fair. A bulky Anjala Zaveri gives an average performance. Kiran Kumar, Kunika, Tiku Talsania, Dinesh Hingoo, Ashok Saraf, Nirmal Pandey, Asif Sheikh, Razak Khan, Anand Balraj and Ashish Balram Nagpal lend ordinary support.

Direction is functional. Director Sohail Khan has not been able to make a cohesive drama and the discredit for this should also be shared by writer Sanjeev Duggal and editor Yusuf Khan. Even an obvious slip like Arbaaz Khan asking Nirmal Pandey whether he was new to his (Arbaaz’s) city (when, all his life, Arbaaz has been actually living in a village!) has escaped the director’s attention. There’s no consistency in Kajol’s style — she uses Main and Hum (while talking of herself) as she pleases.

Music (Jatin-Lalit, Himesh Reshammiya and Sajid-Wajid) is hit. O O Jaane jaana (lyrics: Sameer) is the best song and its picturisation is also wonderful. Odh li chunariya (lyrics: Sudhakar Sharma) is musically very strong but its picturisation should have been better. Tum par hum hai atke has an interesting picturisation. Sun o deewani teri jawani is yet another well-tuned song.

Action scenes are okay. Camerawork is very good. Other technical and production values are of standard. DTS mixing, however, leaves something to be desired.

On the whole, Pyaar Kiya To Darna Kya has hit music, cute Salman Khan and a holiday period ahead as the biggest advantages to ensure returns to distributors. While business in Bombay and South should be very good, that in North and Eastern India can be expected to be just about fair since intrinsic merits in the script and presentation are missing.

Released on 27-3-’98 at Novelty, Metro (matinee) and 18 other cinemas of Bombay by Vimal Agarwal thru R.M. Ahuja & Co. Publicity: bumper. Opening: excellent (despite examination period). …….Also released all over to very good houses (except in C.I. where opening was a little below satisfactory).

YUGPURUSH

Prathima Films’ Yugpurush (A) is a tender tale about worldly exploitations. Inspired from Dostovski’s Russian novel and film, The Idiot (on which was based the Bengali film Aparichito made more than three decades back), it has an unusual story which touches the heart but which has very limited appeal. It is for the elite audience only.

A young boy, who gets a shock when his parents are killed in an earthquake, is sent to a mental asylum and he comes out of it after 25 years. Although he has immense vision (he can tell a man’s character simply by looking at his face), is pure at heart and extremely simple in looks, he is not one bit worldly-wise. Once out of the hospital, he meets some interesting people. One is a woman of disrepute on whom her aged lover (a politician) spends crores but she is disillusioned with her life. Another is the son of another politician, who detests his father but is madly in love with the lady of disrepute. The third is a family which has taken care of him and his property all these years. The head of this family has his eyes on the mental patient’s wealth, but his daughter is in love with him (the patient). The fourth is a man who is so greedy that he can even sell himself for money.

The woman of disrepute also falls in love with the mental patient; he, too, loves her. But the politician’s son makes the woman his wife and, in a fit of extreme possessiveness, kills her and is jailed for it. This mentally disturbs the mental patient again.

There are several heart-warming moments in the film, such as the scene in which he innocently signs his property papers to give the power of attorney to his manipulative caretaker guardian, and then, the guardian has a change of heart because of his innocence and himself tears off the papers, or the scene where the woman of disrepute is being auctioned, and the simpleton agrees to marry her. There are also many light scenes, mostly in the first half, which regale the audience.

But the drama moves at a slow pace. The second half is grim and too tense to be enjoyable. Besides, the central character in the film is of the kind a layman cannot identify with. Several other characters in the film also are not the kind which one can identify with. That’s a major drawback of the film. Dialogues, by Hriday Lani, are simple and excellent and some touch the heart.

Nana Patekar endears himself to the viewer instantly with his simpleton looks and innocence. In a role that’s different from what he is used to playing, he delivers an award-winning performance. But while he may get awards for the performance, this itself could go against the film — for, his fans will not get to see what he is famous for i.e. bad words, loud delivery of dialogues etc. Manisha Koirala also does a fabulous job which could fetch her some awards. She is especially superb in the agonising outbursts and the tender moments she spends with the simpleton hero. Jackie Shroff looks the character he plays and does justice to his role. Ashwini Bhave is fair. Shivaji Satam impresses a great deal as the lecherous aged politician. Jayant Savarkar, in a mass-oriented role, is very natural. Mohan Joshi is quite good. Mohnish Bahl, Sulbha Deshpande, Yeshwant Dutt, Ravi Patwardhan and the others lend good support.

Parto Ghosh’s handling of the ‘class appeal’ subject is equally class appealing. There’s hardly anything for the masses. Music in this kind of a film needed to be of the hit genre. Although ‘Bandhan khula’ and ‘Chale hum do’ are well-tuned, they are not the type of songs which can be hummed. Song picturisations are quite eye-filling. Camerawork (K.V. Ramanna) is very good. Other technical aspects are of standard.

On the whole, a sensitive Yugpurush is for the sensitive viewer but unfortunately, there aren’t many of this class. Therefore, although it will win critical acclaim, it will bring heavy losses to all distributors. Its heavy second half, to an extent, even offsets the impact of the enjoyable first half. Tax exemption can help the film. Business in Maharashtra, where Nana is the most popular, should be somewhat better.

Released on 26-3-’98 at Metro and on 27-3-’98 at 15 other cinemas of Bombay thru Apollo Enterprises. Publicity: good. Opening: average. …….Also released all over. Opening was poor in most of the circuits.

ROTARIANS FELICITATE SUBHASH GHAI, PARDES’ UNIT

The Rotary Club of Bombay Mid-Town on 21st March felicitated Subhash Ghai and the unit of his Pardes at Hotel Centaur at a charity dinner in aid of cancer patients. Besides Ghai, there were Shah Rukh Khan, Alok Nath, Himani Shivpuri, Renu Saluja, Shravan, Anand Bakshi, Javed Siddiqi, Neeraj Pathak, Alka Yagnik, Kavita Krishnamoorthy and Hema Sardesai. They were all presented trophies as well as gifts prepared specially for them by cancer patients. The trophy to Subhash Ghai was given by Mrs. Subhash Ghai. Others who handed over the trophies were Anil Kapoor, Govinda and Aishwarya Rai.

Mahima Chaudhry and Apoorva Agnihotri were conspicuous by their absence.

CCCA OPENS CHARITABLE DISPENSARY IN JAIPUR

The CCCA has started a charitable dispensary in Jaipur in its office premises. The dispensary is for members of the CCCA, their office staff and their family members. Consultation will be free and so will medicines.

The dispensary was inaugurated on 16th March. Trustee members of the CCCA, Nandu Jalani, Kishore Kala and Satyawan Pareek, attended the inaugural function alongwith other trade persons.

JATIN-LALIT BEREAVED

Kamla Pandit, mother of music directors Jatin-Lalit, Sulakshana Pandit, Vijayta Pandit and Mandheer, and wife of music director Pratapnarayan Pandit, expired on 21st March in Bombay. Chautha ceremony was held on 24th at IMA, Juhu, Bombay.

AMRAVATI FILM TRADE MOURNS DADA’S DEMISE

The Amravati film trade held a meeting on 16th April in the office of the CCCA, Amravati, to condole the death of Dada Kondke. Glowing tributes were paid to Kondke at the meeting chaired by Vijay Rathi. Two minutes’ silence was also observed to pay homage to the departed soul.

YOU ASKED IT

Why do foreign production companies normally talk of business in terms of grosses?

– Because the world over, there’s either no entertainment tax or, if it does exist, it is negligible. It’s in India that the government is a partner in film exhibition without investing anything.

In your opinion, should Titanic have been dubbed in Hindi?

– Of course, it should have, because it had the potential to do great business in Hindi too. Given the number of people who understand English in India, you cannot expect the English film to do as much business as the Hindi version would have done. Of course, on its own too, the English version is all set to prove to be the biggest Hollywood hit so far in India.

What is the scope of a Tamil or Telugu film dubbed from a Hollywood film?

– If the film is good, the Tamil/Telugu dubbed versions do very big business.

CENSOR NEWS

G.S. Entertainment’s Pyaar Kiya To Darna Kya was given C.C. No. CIL/1/17/98 (U) dt. 23-3-’98; length 4466.12 metres in 18 reels (cuts: 22.57 metres).

Eagle Films’ Qila was given C.C. No. CIL/3/19/98 (A) dt. 23-3-’98; length 4507.49 metres in 17 reels (no cut).

Triple Aar Trinetra Combines’ Aakrosh was given C.C. No. CIL/3/20/98 (A) dt. 26-3-’98; length 4315.26 metres in 16 reels (cuts: 72.65 metres).

Divya Films International’s Kanyadaan was given C.C. No. CIL/1/18/98 (U) dt. 26-3-’98; length 4593.77 metres in 16 reels (cuts: 13.26 metres).

MIX MASALA

TITANIC CHEQUE FOR ‘TITANIC’ DIRECTOR

James Cameron, the director of Titanic, will be presented a cheque of $100 million by 20th Century Fox, one on the two distributors of the film. Cameron had given up much of his fees when costs for making Titanic began to soar over budget. To placate studio executives, Cameron surrendered all his remuneration except for a $1.2 million writing fee.

The new deal for restoring his pay must first be approved by Cameron and then agreed to by Paramount Pictures, the film’s other distributor.

‘TITANIC’ STAR SUES MAGAZINE OVER NUDE PICTURES

Titanic hero Leonardo DiCaprio sued Playgirl magazine on 27th March over unauthorised nude photographs it plans to publish of the actor. He filed the suit in Los Angeles superior court, seeking unspecified damages from the magazine and an injunction to prevent publication of the photographs.

DiCaprio said in the suit that he suffered “shame, mortification, hurt feelings, emotional distress, embarrassment, humiliation and injury to his privacy and peace of mind.”

3-E
Education-Entertainment-Enlightenment

Delivery Dramas

Both the deliveries of this week were Caesarean — that is to say, there were problems and tensions, and it wasn’t smooth sailing. While in the case of Yugpurush, the tensions had started months back, with several distributors asking for a price reduction, in the case of Pyaar Kiya To Darna Kya, the tension was only between the Bombay distributors (Vimal Agarwal and Ashok and Nandu Ahuja) and their sub-agents for Gujarat, Saurashtra and Thane district. What surprised the Bombay trade, when all the three aforesaid sub-distributors pleaded inability to meet their commitments, was that this was happening in the case of a film which boasted of hit music, a terrific hype and an enviable advance booking! Is the money market so tight? Ultimately, the film’s delivery for all the above sub-circuits was taken by the Bombay distributors only. This, of course, resulted in a lot of quarrels and heartburning. Prints of a couple of stations of Gujarat, like Baroda and Nadiad, also reached late. Yugpurush changed hands earlier this week for Bombay city-suburbs and Maharashtra when Apollo Enterprises stepped in and Shringar Films (on behalf of ABCL) stepped out. The prices of several other distributors of Yugpurush had to be reduced by producer Pranlal Mehta.

More Value For Money

As people in Bombay must be aware, the Shroffs (Shringar Films) have specially appointed a violinist at their Cinemax cinema at Goregaon to play the theme music of Titanic (which is showing at the cinema) in the interval. Well, like the film itself, this novel idea is also being appreciated by the audience. Why, one Sarita Almeida, who happened to see Titanic at Cinemax, wrote a letter to the Shroffs to express how happy, “amazed and thrilled” she was “to see such a good violinist performing during the interval”. The letter further adds, “The last hymn, ‘Nearer my God’, he played so well, I may say, better than those performing in the picture. We were humming all the time after the picture and discussing how well the violinist played the same. Thanks, we shot two birds at a time — the picture and the live music.” The idea of keeping a violinist to play in the interval, it may be mentioned here, was Shravan Shroff’s.

Film Industry Problems

The seminar of the film industry, scheduled to be held on Saturday, May 2, at Bombay’s Leela Kempinski, has come like a God-sent opportunity to the industry to focus the government’s attention on its sorry plight. Being held under the guidance of the FICCI (Federation of Indian Chamber of Commerce & Industry), this seminar will be attended by the finance minister, I & B minister, finance secretary, I & B secretary, industries secretary and other government officials. Industry people will read papers on subjects like grant of industry status to the film line, finance to film industry, taxation in film industry (both Central and State), copyright laws vis-à-vis the film industry, etc. One hopes, the industry’s problems get a sympathetic eye and ear of the government.

Striking The Right Note

Rakesh Roshan has started the launch vehicle of son Hrithik and Kareena Kapoor on a wonderful note. The very first song of the film, recorded last week, is a lovely number — lovely in all respects. It has been beautifully penned by an inspired Saawan Kumar Tak, excellently tuned by Rajesh Roshan, and ably rendered by Kumar Sanu with a couple of aalaap by Priti Singh. That’s good team-work, then.

Shah Rukh, His Favourite?

Mysore distributor R.N. Mandre seems to be too fond of Shah Rukh Khan. For, he has three films of the actor, for distribution in his circuit. One is Parvesh Mehra’s Shah Rukh-Karisma starrer, the second is Moranis-Bunty Soorma’s Shah Rukh-Karisma starrer, to be directed by David Dhawan, and the third is Nazir Ahmed’s Shah Rukh-Jackie-Juhi starrer, being directed by K. Shashilal Nair.

HAZAAR CHAURASI KI MAA

Udbhav’s Hazaar Chaurasi Ki Maa (A) is the story of the mother of a revolutionary boy who is part of the Naxalite movement in Calcutta. The mother is unaware of her son’s activities till after he is killed. To find out more about him and his work, she goes to meet the mother of a friend of his (who was also killed alongwith her son) and her son’s girlfriend. Both of them throw light on her son’s activities and she understands him better after his death. Ultimately, the mother also becomes a human rights activist. But before that, she emerges as a bold lady who is quite different from the traditional, submissive, unprotesting, tolerant upper-middle class wife and mother working in a bank.

The film, based on Mahasweta Devi’s Bengali novel, is aimed at the elite audience and connoiseurs of art cinema. The story itself has little entertainment value and is depressing, besides being thought-provoking. The pace is extremely slow and it moves on a single track. There are no songs, no comedy, no romance.

The narration has some scenes which move the viewer, a couple of them even stun him. For instance, the climax, in which the mother catches the leg of the killer tight and does not let him escape, the scene in which she identifies the corpse of her son, the scene in which the mother of her son’s friend recounts her agonising tale, the brutal murder of the four friends in front of the parents of one of them etc. Dialogues are natural to the core.

Jaya Bachchan excels in the role of the sensitive mother. She guards against going overboard and performs wonderfully. Seema Biswas is also superb as the mother of the friend of Jaya’s son. Nandita Das, as the son’s beloved, is excellent and very natural. Joy Sengupta is very good as the son. Anupam Kher does a fine job. Milind Gunaji and the others lend good support.

Director Govind Nihalani’s narration of the subject is such as would appeal to the class audience only. Background score is effective. Camerawork is very nice. Technical aspects are of a good order.

On the whole, Hazaar Chaurasi Ki Maa is a slow fare for select cinemas in very select cities only. Its commercial prospects are as grim as the subject it tackles.

Released on 19-3-’98 at Metro and on 20-3-’98 at 1 more cinema of Bombay thru Shringar Films. Publicity: quite good. Opening: poor.

NOW IN BOMBAY
BADA DIN

Gramco Films’ Bada Din is about an aspiring singer who couldn’t care less about anybody else in the world. He suddenly finds himself protecting a young eye-witness to a murder because the police fails to give him protection. When confronted by the murderers, he even musters courage to give them a tough fight and declares that he has become a fearless man now.

The film has a Christian backdrop as two principal characters are Christian. That itself limits the film’s prospects to a large extent. Further, the drama moves on almost a single track, the other tracks being there just for namesake. The treatment of the offbeat subject is of the kind which would be appreciated by very select audience. The film’s pace is slow and at the end of it, one gets the feeling of it being much ado about (almost) nothing. Dialogues are alright but several dialogues are spoken in English, and that limits their appeal.

Shabana Azmi plays the Christian lady with aplomb. She is as natural as natural can be. Mark Robinson acts with confidence in his first film but dances quite awkwardly. He doesn’t look the traditional hero. Tara Deshpande has a small role and is okay. Abhay Chopra plays the villain ably. Sanjay Pathak is effective. Alok Nath is superb as the main villain, Irfan Khan, Pramod Singh and the rest of the cast provide good support.

Anjan Dutt’s shot takings are good but his handling of the dark subject is aimed at ‘entertaining’ the class audience only. Music (Jatin Lalit) is very good. ‘Meri aankhon mein tum ho’, ‘Suno zara’ and ‘Na koi tera’ are very well-tuned songs. Camerawork is good. Production values are so-so. Technically, appropriate.

On the whole, Bada Din has nothing big about it except its title. Returns, too, will be very small.

Released on 20-3-’98 at Minerva thru Gramco Films. Publicity: average. Opening: poor.

RAJASTHANI CINEMA’S FIRST LYRICIST, DIALOGUE WRITER DEAD

The first dialogue writer and lyricist of Rajasthani films, P.N. Sharma, expired on 16th March in Jaipur due to old age. He was 95.

Better known as Dr. Prabhu Narayan Sharma ‘Sahriday Natyacharya’, he wrote the songs and dialogues of the first Rajasthani film, Nazrana, made in 1942. He was also an author and dramatist. Thirty books written by him, have been published. Sharma also wrote, directed and acted in several Sanskrit and Hindi stage-plays. It was for his contribution to Sanskrit and Hindi stage that he was conferred the title of Natyacharya in 1934.

NEW CINEMA IN AURANGABAD

A new cinema, Nupur Cinetorium, will open on Gudi Padwa day (28th March) in Aurangabad near CIDCO fire brigade in the Radhika shopping arcade. Owned by Rajesh Patel, it has a seating capacity of 1,002 and is equipped with Ultra Stereophonic and DTS sound systems and a modern projector which been installed by Monee & Co. The cinema will be thrown open to the public from 3rd April. It is air-cooled and is the 14th cinema in Aurangabad.

LARGE ATTENDANCE AT SIPPY’S DAUGHTER’S WEDDING RECEPTION

Priya, daughter of Bombay distributor Ramesh Sippy, got married to Rajeev on 17th March. The reception at NSCI, Bombay, was very well-attended by industry people.

For The First Time, Perhaps….
….Dada Kondke’s Name Brought Tears To The Eyes

Dada Kondke, the comedy king of Marathi films, died of a heart attack in the early morning hours of 14th March. He suffered the attack at his residence and was rushed to a hospital in Dadar, where he was pronounced dead before admission. Dada was 66 and single. He was cremated the same day.

Born in 1932, Dada’s real name was Krishna as the day of his birth happened to be Gokul Ashtami. Actor-producer-director-writer Dada Kondke was well-known for his brand of comedy films and double-meaning dialogues. He played the role of a village bumpkin to perfection, his innocent face and his trademark half-pant attire, complete with a string hanging down, adding to his character. For connoiseurs of Dada’s films, the very mention of his name brought a smile to their lips.

Dada Kondke had made 15 Marathi films, besides four in Hindi and two in Gujarati. His Marathi films were Songadya (which had the all-time hit song, Kay ga Saku, bola Dajiba). Ekta Jeev Sadashiv, Andhala Marto Dola, Pandu Hawaldar, Tumcha Amcha Jamla, Ram Ram Gangaram, Bot Lavin Tithe Gudgulya, Hyoch Navra Pahije, Aali Angavar, Muka Ghya Muka, Mala Gheoon Chala, Sasarcha Dhotar, Wajvoo Ka?, Yevoo Ka Gharat and Palva Palvi. His Hindi films were Tere Mere Beech Mein, Andheri Raat Mein Diya Tere Haath Mein, Aage Ki Soch and Khol De Meri Jubaan. His nine consecutive Marathi films had celebrated silver jubilee (some of them were even golden jubilee hits), a feat that found a mention in the Guinness Book of World Records.

Dada is survived by his sister and nephew, Vijay Kondke, also a producer-director. He had just recently decided to dub his Marathi films in Hindi and was, in fact, dubbing Aali Angavar at the time of his death.

Like his films, Dada used to make people laugh with his stock of jokes and wit and humour. He used to tell of his attempt to sign a leading Hindi film actress years ago. The actress in question quoted him an abnormally high price which Dada agreed to pay. But when she was told by Dada that he would be her co-star, she refused and asked to be cast opposite a better hero. Upon which, Dada is said to have demanded back the signing amount he had paid her, telling her that he had agreed to pay her more than her market price, only because she would have to star with a person with an ugly face. Dada’s favourite co-star in Marathi films was Usha Chavan with whom he acted in 10 films. She was also his co-star in his first two Hindi films.

Dada owned two studios, one at Ingavli and the other at Khadakvasala near Pune. He also had distribution offices in Bombay and Amravati.

AKBAR BAKSHI NO MORE

Well-known action director Akbar Bakshi passed away on 19th March in Bombay at his residence following a heart attack. He was 48 and is survived by his wife, a son and a daughter. He was cremated the same day.

Akbar had composed the action for almost 75 films. He was the favourite action director of Akshay Kumar and had composed the stunts for almost all his films including the daredevil ones in Sabse Bada Khiladi, Khiladiyon Ka Khiladi and Mr. & Mrs. Khiladi. Among the other films he had directed the stunts for were Paanch Paapi, Aakhri Ghulam, Kala Dhanda Goray Log, Nagina, Khiladi, Dilwale Dulhania Le Jayenge, Insaaf, Tarazu, Baazigar, Yes Boss, Main Khiladi Tu Anari, Gambler, Karmyoddha and 2001. He used to assist Mohammed Ali before he turned independent with Pahlaj Nihalani’s Paap Ki Duniya, directed by Shibu Mitra.

Umesh Mehra described Akbar Bakshi as a hardworking and technically sound action director who used to plan things properly. Akbar had also composed the fights in two English films, The Far Pavilions and Queenie, and a Bengali film of actor Prasenjit. Among his forthcoming complete and incomplete films are Keemat, Duplicate, Angaaray, Barood, Soldier, Shivam, Baadshah and Meri Biwi Ka Jawab Nahin.

PREM SETHI DEAD

Producer Prem Sethi expired on 14th March at Nanavati Hospital in Bombay where he had been operated upon for a spinal ailment. Although the operation was successful, Sethi passed away on the morning of 14th following some complications. He was 70 and is survived by a wife, two sons and a daughter. He was cremated the same day.

Prem Sethi had produced films like Mastana (with Motilal as hero), Pocketmaar, Sharabi (both starring Dev Anand) and Gumrah (starring Subhash Ghai).

C.S. OZA DEAD

C.S. Oza of Jalaram Films, Indore expired on 19th March in Indore. He had been suffering from cancer.

YOU ASKED IT

The government denied permission for shooting Seven Years In Tibet in India for political reasons but now, the film has been passed by the CBFC for screening in India? How is it?

– The permission not granted was for shooting. The CBFC may have considered it fit for exhibition, so it cleared the film.

It is said that production has declined in the past 2-3 years, yet the number of releases every year is almost the same. How is that possible?

– In the past two to three years, the number of dubbed films hitting the screens has increased. Besides South films, we also have Hollywood films being dubbed in Hindi now. Therefore, even though film production has decreased, the number of releases hasn’t.

Who is the number 1 music director today?

– There’s none who can claim to be the numero uno among music directors. Nobody has the consistency to entitle him to claim the no. 1 title.

FILM INDUSTRY MINISTRY

Prime minister: Santosh Singh Jain

Home minister: Sreedevi

Information & Broadcasting minister: Harish Sughand

(Cultural) Affairs minister (read that: Love Affairs): Pooja Bhatt

Deputy (Cultural) Affairs minister: Manisha Koirala

(External) Affairs minister: Chunkey Panday

Finance minister: Bharatbhai Shah

Defence minister: Amitabh Bachchan (he has to always defend himself and ABCL)

Deputy Defence minister: J.P. Dutta

Education minister: Govinda

Law & Justice minister: Sanjay Dutt

Deputy Law & Justice minister: Aditya Pancholi (for always taking law in his hands)

Human Resource Development minister: Asha Chandra

Food minister: Guddi Maruti

Health minister: David Dhawan

Commerce minister: Boney Kapoor

Industry minister: R. Mohan

Textile minister: Mamta Kulkarni (you know why!)

Tourism minister: Yash Chopra

Deputy Tourism minister: Mithun Chakraborty

Railway minister: Manoj Kumar (he never travels by aeroplane)

Ministers for Science & Technology: Ram Gopal Varma & Shankar

Power minister: G.P. Sippy (for, he is most power-hungry)

Forest minister (read that: Jungle minister): Dinesh Patel

Telecommunications minister: Anupam Kher (for his love for the phone)

Speaker: Nana Patekar (forget Khamoshi!)

DO YOU KNOW?

* Financier Dinesh Gandhi can swear by Mehul Kumar’s honesty. That is why his finance arrangements with Mehul Kumar used to be all oral with nothing being signed or sealed. For one of his films (financed by Dinesh Gandhi), Mehul Kumar had sold off two prints (taken out for Saurashtra; the film was being distributed in Saurashtra by Mehul Kumar) to the Orissa distributor of the film, and he showed the receipt of money from the Orissa distributor, in the account submitted to Gandhi. Dinesh Gandhi was thrilled beyond words by Mehul Kumar’s honesty, and complimented him for it, saying that had the transaction not found a mention in the statement, he (Dinesh Gandhi) would never even have known that it had taken place. In other words, Mehul Kumar could have pocketed the money, but preferred not to do it. Honesty is still the best policy for some!

* India’s new home minister, Lal Krishna Advani, had in 1977, performed the muhurt ceremony of J.G. Mohla’s (father of producer Madan Mohla) film, YOGESHWAR KRISHNA. Although the film never got completed, it starred top names like Dharmendra, Vinod Khanna and Shashi Kapoor, and was to have been directed by Ramanand Sagar. It was launched at Natraj Studios. At that time, L.K. Advani was the I & B minister, and Morarji Desai, the prime minister. Incidentally, Morarji Desai had worked on the script of YOGESHWAR KRISHNA with J.G. Mohla.

* Rajesh Roshan’s music score in Dinesh Gandhi’s Jackie-Akshaye Khanna-Manisha starrer, LAAWARIS, is very good. Of the five songs recorded, two should become very popular once the music is released. One more song may be added. Incidentally, no song has been picturised on Jackie and his co-star, Dimple Kapadia.

3-E
Education-Entertainment-Enlightenment

Flexibility, Tutu Style

Producer Tutu Sharma has decided not to be rigid about the release date of his film, Gharwali Baharwali. He would rather come in a week in which there aren’t any other big films scheduled for release than clash with one or more biggies. Say he, “I’ll be ready for release by mid-May but I’ll wait for a clear week. I have no ego problems and I don’t mind postponing my film by one, two or more weeks if another or other films are announced for the week in which I’ve planned my release. I’ll not indulge in the usual ‘Why should I postpone my films?’ or ‘If the other guy is scared, let him postpone his release, I’m not scared of anyone’ type of comments. It’s so silly, we indulge in such ego talks and, in the process, get big films to release simultaneously, thereby cutting into each other’s collections. What is the sense? Let us also think about our distributors because it is they who would suffer more due to ego hassles between producers.” Right, Tutu, right. There indeed is no sense in such clash of releases. If more producers thought like Tutu, it would be really nice.

Two Together

Producers Indra Kumar and Ashok Thakeria are planning to start not one but two films, both to be directed by Indra Kumar. While the first will star Aamir Khan and a heroine (to be finalised), the other — Rishta — will have Anil Kapoor paired with two girls. And before you think, these two films will take four years to complete, let it be said that it won’t be so. The Aamir starrer will be launched in June with a 45-day shooting schedule, and Rishta will go on the sets in August. Both will be completed fast which, for Indra Kumar, should be a record. Yes, Indra is out to prove that he doesn’t need years to complete a film. And yeah, for the Aamir starrer, the duo has signed a new duo to score music. It is music director Shravan’s sons, Sanjeev and Darshan, who will be providing music in the film. “They are damn good,” is how Ashok Thakeria describes the talented team of Sanjeev-Darshan.

Confidence, Bokadia Style

Barely has K.C. Bokadia completed Hitler and is on the verge of completing Lal Baadshah (directed by himself) than he is already planning two or three more projects. One film that he will direct will star Sunny Deol (in a special role) and Arshad Warsi. It is being produced by film agent and producer B.R. Sahni’s nephew. Bokadia has a couple of other projects in mind, which may or may not be directed by him. In the meantime, with a few days’ shooting remaining to complete Lal Baadshah, he is already on to its post-production work and is dead sure that he will manage a May release for the film. About no other film has Bokadia been so sure as he is about Lal Baadshah. Unlike many producers who are secretive about their film before release, Bokadia doesn’t mind showing friends scenes and songs from the film. That’s confidence, baadshah style!

Public Or Private Choice?

The Zee Cine awards which were presented last week profess to have been decided by the public. Can the public be so foolish as to not vote for Tabu either in the best actress or best supporting actress category for her performance in Virasat? Compare her non-inclusion in any category with the inclusion of Sapna Bedi and Shrabani Mukerji (both for Border) in the supporting actress category. Sapna Bedi’s role was completely chopped off a few days after the release of Border, and Shrabani hardly had a role to perform. Then how did the public vote for the two girls? Likewise, while Anil Kapoor was not nominated for the best actor award for his performance in Virasat, an inconsequential actor like Rajeev Goswami in an insignificant role in Border was nominated in the best supporting actor category. Did you ask, who Rajeev Goswami was in the film? Well, many people have been asking the same question. And Zee’s reply, obviously, is that it is the people’s choice. So much for the so-called democratic way of selecting the award-winners! No, people are not so stupid . Then who is? Let the people decide now.

Boney Oopar Neeche

Producer Boney Kapoor these days oopar neeche ho raha hai. Literally! No, not because a very long shooting schedule of his Pukaar is in progress but because the shooting of his Sanjay Kapoor starrer will also begin next week. But why ooper neeche? Well, because the Sanjay starrer will be shot ooper — in Delhi, that is — and Pukaar is being shot neeche — in Hyderabad.

CHANDAAL

Aabha Films’ Chandaal (A) is the usual revenge drama of a wronged police officer. A don kills the family members of the police inspector because the latter has, in the discharge of his duties, killed his (don’s) son and also chopped off his hand. The blame for the murders of the family members comes on the honest police officer who is, therefore, jailed. A lady-journalist pleads his case with the President and succeeds in getting him freed after five years. To his horror, he finds that his house has been converted into a cemetery. The ex-police inspector then decides to himself don the mantle of the chandaal and also seeks revenge on the don and his other sons.

The story is routine and oft-repeated. Screenplay, even though one of convenience, does not let the viewer get bored, at least in the second half, because it is quite fast-paced. There are, however, a few dull moments before interval. Dialogues are good at places.

Mithun Chakraborty does a good job. Sneha is fair. Rami Reddy is alright but filmmakers should realise that his dubbing (dialogue delivery and diction) is so poor that the impact of his acting is lost. Punit Issar is okay. Altaf Raja, in a song sequence, is alright. His song (‘Kar lo pyar’), although having no proper situation, is very good. Asrani’s comedy, aimed at front-benchers, lends some relief in the second half. Hemant Birje, Jack Gaud, Avtar Gill, Kasam Ali, Ashwin Kaushal, Lekha Govil, Pinky Chinoy and the rest provide adequate support.

T.L.V. Prasad’s direction is mechanical. Music (Anand Milind) is fair but there’s not even one number which could be rated as hit or semi-hit. The better songs, besides Altaf Raja’s, are ‘Husn tera hai kudiye’, ‘Tu ladki hai teekhi mirchi’ and ‘Ras malai’. Song picturisations are routine and the romantic ones are all dream sequences. Camerawork is of a reasonable standard. Production and other technical values are appropriate. Action scenes are fairly nice but too many cinematic liberties have been taken in stunts.

On the whole, reasonably priced Chandaal should do reasonable business on the strength of patronage of the masses.

Released on 13-3-’98 at Alankar and 17 other cinemas of Bombay by Hum Films thru Balaji Enterprises. Publicity: good. Opening: good (due to Holi holiday). …….Also released all over.

LATEST POSITION

Monsoon (dubbed) is doing very well in C.I. (opened this week in Gwalior to very good response).

Zor 4th week Bombay (6 days) 4,43,646 (61.65%) from 3 cinemas (4 on F.H.); Ahmedabad 50,825 (2 unrecd.); Pune 2,75,459 from 3 cinemas (1 in matinee), 1st week Barsi 50,947 from 2 cinemas (14 shows at both the cinemas); 4th week Delhi (6 days) 3,55,475 from 3 cinemas (4 on F.H.); Kanpur 84,559 from 2 cinemas, Lucknow 1,37,888, Allahabad 36,000; Calcutta (6 days) 1,07,480; Jabalpur (6 days) 36,644, Amravati (6 days) 35,235, Akola 25,773, total 3,21,106, Raipur (6 days) 23,565; Bhopal (6 days) 43,345; Hyderabad 2,42,027 from 2 cinemas (1 in noon).

Kama Sutra – A Tale Of Love (dubbed) 5th week Bombay (6 days) 7,51,624 (54%) from 4 cinemas (3 on F.H.); Ahmedabad 1,12,297 (3 unrecd.), 1st week Bharuch (gross) 2,15,924; 5th week Pune 1,21,490 from 2 cinemas (1 in matinee); Delhi (6 days) 13,03,448 from 9 cinemas; Kanpur 77,726, Lucknow 1,08,179, Allahabad 33,000; Calcutta 2,23,795 from 2 cinemas; Nagpur 48,487, 1st week Jabalpur (6 days) 1,91,952, 2nd Jalgaon 71,086 (1st 1,85,000); 5th week Indore (6 days) 40,000, Bhopal (6 days) 41,904.

…………

_________

Titanic (E.) is extraordinary. 1st week Bombay 14,99,336 from 2 cinemas (collections of 1 cinema are for 6 days only); Calcutta (6 days) 3,00,180.

SATYEN PAL CHAUDHRY BEREAVED

Producer Satyendra Pal Chaudhry’s 17-year-old son, Viraj, committed suicide on 9th March at his residence in Bombay. After he had consumed poison, the boy was rushed to Nanavati Hospital where he died late evening. The pressure of the oncoming examination (he was studying in Std. XII) is said to be the cause of the suicide. The chautha ceremony on 12th was largely attended by industry people.

UPENDRA TRIVEDI ELECTED MP

Gujarati film actor Upendra Trivedi won the Lok Sabha elections from the Bhiloda constituency in Sabarkantha district of Gujarat. He contested independently and defeated his nearest rival by a handsome majority.

CHANDAN SINGH TYAGI ELECTED MADEA PRESIDENT

Chandan Singh Tyagi was elected president of the Movie Action Dummy Effect Association at its sixth annual general meeting held on 8th March at Natraj Studios. Arun Patil was elected senior vice president, and Vijendra Tyagi, vice president. Anthony Fernandes was elected general secretary, and R.I. Shaikh and Ajay Dwivedi, joint secretaries. Gulab Shingare was elected treasurer.

Ashok Patil, Suresh Gohil, Tanveer Ahmed, Rajendra Tyagi, Sadanand Poojary, Maxy Fernandes, Mohd. Salim, Javed Sayyed, Babu Sistla, Mahendra Yadav, Narayan Sharma and Mohd. Iqbal were elected other members of the executive committee.

Chandan Singh Tyagi, Anthony Fernandes and Ajay Dwivedi will represent the MADEA in the General Council of the FWICE. Anthony Fernandes will represent it in the executive committee of the FWICE.

SOUTH BEAUTIES FOR BACHCHAN

It is mere coincidence but not a small one, this. Amitabh Bachchan’s new films have him paired with South India beauties. He recently signed Suryavamsham (the Hindi title is unknown) opposite Tamil and Telugu film actress Soundarya. Mehul Kumar’s Kohram stars Jaya Prada and Tabu (she is a Hyderabadi). His Bade Miyan Chote Miyan co-star is Ramya Krishna. Soon to be released Lal Baadshah has Amitabh in a double role; while the senior Bachchan is paired opposite Radhika, the younger Bachchan is opposite Shilpa Shetty (she is a Mangalorean). In S. Ramanathan’s untitled film, Amitabh’s co-star is Vijayashanti. Priyadarshan has signed Shobhana opposite the big B for Dariya. Incidentally, Shobhana (Malayalam film beauty) has already done a music video, ‘Kabhi Kabhi’, with him. Last but not the least, the Amitabh-starrer yet to see the light of the day, Yaar Meri Zindagi, co-stars Sudha Chandran. 

YOU ASKED IT

What should the budget of a Mithun starrer be?

– Less than Rs. 2 crore.

How many releases should a hero ideally have in one year?

– Three to four.

Will the Hindi (dubbed) and Tamil (original) versions of Jeans be released simultaneously?

– The Tamil version will come on 10th April while the Hindi dubbed version is fixed for release either on 24th April or in May.

Haven’t we had too much of foreign shootings in films these days?

– But producers have been shooting in different countries and on newer locations, so what’s the harm?

IN & OUT OF BOMBAY

Mr. Shyam Shroff and Mr. Shravan Shroff of Shringar Films, Bombay, are in the USA and will be back after six or seven days.

Mr. Kishore Kala of Vinayaka Films, Jaipur, will come to Bombay on 16th March.

Mr. Pawan Todi of Vinayaka Films, Jaipur, currently in Calcutta, will come to Bombay on 16th.

Mr. Naraindas Mukhija of Shree Navchitra Distributors P. Ltd., Jaipur, will reach Bombay (636-0106) on 17th/18th March.

Producer Boney Kapoor has gone to Madras and Hyderabad.

Film agent N.S. Bhalla returned from his foreign trip on 11th March.

DO YOU KNOW?

* This must be a record of sorts. Producer Rajiv Babbar has so far made six films, all of them with Mithun Chakraborty as hero. His seventh film also stars Mithun and he has announced his eighth, MAA KASAM, again with Mithun Chakraborty.

WHAT A DELIGHT!

* Delite cinema in Delhi has screened three films of Mukta Shakti Combines, which have completed 100 days. RAJA HINDUSTANI ran for 16 weeks, and PARDES and ISHQ, for 15 weeks each. Indeed, a delightful cinema for Mukta Shakti Combines, this Delite!

* Actor and singer Aroon Bakshi has turned a music director by scoring music for a Punjabi non-film album, ‘Bol Mitti Dya Baavya’, to be released by Venus next month. Dharmendra has given commentary for the album in which one song is penned by his brother, Ajit Singh.

* Considering that it is a non-star cast film, BARSAAT KI RAAT has had a massive publicity campaign. Bharat Kapoor has not left any medium — television, radio, airports, railway stations, bus-backs, street publicity, magazines etc. — untouched. Truly, a creditable attempt.

* KAMA SUTRA has created a city record by collecting 50,225/- on the first day at Jayant, Jabalpur.

* ISHQ has collected a whopping 35,49,915/- in 15 weeks at Novelty, Lucknow.

* DESH RE JOYA DADA PARDESH JOYA is the first Gujarati film to be showing with 37 prints in Gujarat and Saurashtra.

* SARKARNAMA (Marathi; tax-free) has created a record in 2nd week too by collecting 35,017/- (nett) in 21 shows at Shiv Shankar, Miraj.

Music For The Ears
Narrative That Draws Tears
The Unprecedented Success Story Called ‘Desh Re Joya Dada Pardesh Joya’

The long and almost never-ending queues of people outside cinemas of Gujarat and Saurashtra, which are screening Govindbhai Patel’s Gujarati blockbuster, Desh Re Joya Dada Pardesh Joya, are reminiscent of the euphoria which had been witnessed almost three decades ago for the Upendra Trivedi starrer, Jesal Toral. People from nearby villages used to come in bullock-carts to towns and cities screening Jesal Toral and they used to camp in the cinema compounds. If they did not get tickets for the 12 noon show, they used to wait for the 3 o’clock show, and if they were similarly unlucky in the 3 p.m. show, they used to simply wait and try their luck in the 6 o’clock show or 9 p.m. show. But they would not return home without seeing the film. They used to carry their food with them and the ground of the cinema compound was where they used to eat it.

History is repeating itself after many, many years. Desh Re Joya Dada Pardesh Joya is a mega hit in the truest sense of the term. It has already crossed the crore-mark and at the rate at which it is going, it should touch the 2-crore mark in a matter of a few weeks more. It has broken all the box-office records and is also the first Gujarati film to be running with 37 of its prints engaged in Gujarat and Saurashtra! No Gujarati film producer can boast of having taken out so many prints of his film in the past.

DRJDPJ has opened up a new chapter in the history of Gujarati films. People are flocking to the cinemas as if they were visiting a carnival or a fair. No sooner does the current show become house-full than those waiting in the queues ask the management to open the ticket windows for the next show! The unprecedented crowds are the same whether it is Ahmedabad, Surat, Baroda, Nadiad, Anand or Bharuch in Gujarat or Rajkot, Junagadh, Jamnagar, Bhavnagar, Veraval, Botad or Una in Saurashtra.

In Ahmedabad, Baroda, Surat and Rajkot particularly, the upper class audience is patronising the film in a really big way. They come in cars, a sight hitherto unknown to the Gujarati film world because Gujarati films have almost always been patronised by the lower class and rural audience.

Why is the film such a roaring hit? Why is it creating such a stir and what is it in the film which is attracting such huge crowds? Most viewers felt, it was the film’s story and its music which were the two biggest plus points. The film shows the love between a grandfather and his grand-daughter who is married off in a family which lives abroad. The grand-daughter is unhappy in her married life but does not let this be known to her family members in India. This has struck a chord in the viewers’ hearts. The treatment of the subject, when the family members come to know the truth, is also excellent. Especially, the sad song, picturised on the entire family, has been moving the audience to tears. Most of those who have seen the film also cite the absence of vulgarity/cheapness/obscenity as another reason for liking it. This has also made the film a family affair.

What is really creditable about DRJDPJ is that it is the maiden directorial venture of lucky producer Govindbhai Patel. And it boasts of no star names like Naresh Kanodia in its cast or Mahesh-Naresh in its music score. Arvind Barot, a well-known folk singer of Gujarat, has achieved remarkable success by setting the meaningful and tear-jerking lyrics in rich folk tunes. The film’s audio cassettes are also selling like hot-cakes and it is a fact that Govindbhai is minting money from both the sides — box-office returns as well as sale of music cassettes (he has himself marketed the audio cassettes). Reportedly, about six to seven lakh albums have already been consumed by the market.

Desh Re Joya Dada Pardesh Joya will be released in Bombay city and suburbs on 10th April in three cinemas (Alankar matinee, Uday, Ghatkopar and Mehul, Mulund). Let’s see, how the Bambaiya Gujju bhais and behens treat this super-hit.

Condemnable Apathy

The death of a young stunt artiste a fortnight ago throws light on the callousness of a large majority of the industry people. It also exposes the indifference of the association of stuntmen, the Movie Stunt Artistes’ Association. Of course, it also reveals the humane side of a producer but this very revelation also brings to light the bitter truth that there aren’t many producers like Gupta — men with a heart.

The accident took place on the set of producer Kulbhushan Gupta’s Pardesi Babu. That it was a freak accident is borne out by the fact that the stunt artiste, who was in his early twenties and was used to doing daredevil stunts, fell off from a bench just two feet high. That was the beginning of the poor boy’s journey to his end. The freak accident landed him in a hospital where he battled for life for 18 days. Kulbhushan Gupta spent about Rs. 1.5 lakh for his treatment because the accident, although a freak one, happened on his set. He approached the Movie Stunt Artistes’ Association but the latter has no system of medical assistance. Gupta was shocked when he was told that the Association paid Rs. 40,000 to the family of a deceased stuntman but had no provision for paying for the treatment of a member. Did this amount to saying crudely that the Association would do nothing to save its member but would rather wait for him to die and, nevertheless, contribute Rs. 40,000 after doing nothing to save his life? The Association also asked the producer on whose set the accident has taken place, to pay Rs. 2 lakh as compensation to the victim’s family.

A question which arises here is that another producer may have not given the injured stuntman the top quality treatment which Gupta gave him and, in the process, spent a lakh-and-a-half. That producer, too, would have to pay Rs. 2 lakh after the stuntman’s demise, and Gupta is also being asked to pay Rs. 2 lakh. Put differently, isn’t a humane person being penalised, and a heartless producer being treated leniently? Why does the Association think that its members’ lives are worth something only after they are no more? It is a rather horrendous thought for an Association to look in the other direction while its member is battling with death, and offer money after he is no more. More horrendous, if one considers the risky nature of the job of stuntmen.

Equally horrifying was the apathy of the stars of Pardesi Babu. Neither Govinda nor Raveena Tandon nor Shilpa Shetty came forward to offer any monetary help — not when their co-worker was hospitalised, not even when he bid adieu to the world. Many of our stars would have behaved exactly the way the three abovenamed did. Compared to the poor stuntman, what the stars earn is phenomenal. But you require a big heart to contribute for a noble cause; simply a big pay packet is not enough. Who is the actual hero then? Govinda or the stuntman who laid down his life while doing what Govinda (or, for that matter, any of our stars) fears to do.

The Movie Stunt Artistes’ Association needs to revise its policies. It can have a contributory fund from which medical expenses of those injured while at work can be met. Producers and the stuntmen can contribute to the fund. Life insurance is still a far cry — why, nobody knows. And our ‘poor’ artistes deserve to hang their heads in shame for their cold behaviour.

P.S.: Even as this piece goes into print, news trickles in that a stuntman’s right palm was completely blown off when a bomb, which he was holding, exploded in his hand on the set of Majboor on 9th March.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

The ‘Titanic’ Story

That the Hollywood blockbuster Titanic derives its name from the luxury liner which actually sank in 1912 is common knowledge. But not many know of an uncanny similarity between the sinking of the Titanic ship in 1912 and the contents of a novel published in 1898 by Morgan Robertson. The novel lies in a tattered and frayed condition in a glass-enclosed case in Philadelphia’s Maritime Museum. The novel, a work of fiction, recounts the story of the sinking of a big, fast and luxurious ship, delineating all the details and events leading up to what the book describes as the greatest ocean disaster in history. In the novel, Robertson describes a colossal ship believed to be unsinkable, embarking on its maiden voyage in the month of April. It is out to set a record and it has on board some of the wealthiest and most influential society figures from Europe and America. It is speeding along the northern lanes of Atlantic travel when it suddenly crashes into an iceberg and goes down swiftly. An inadequate number of lifeboats (only 24) are on board, and, consequently, there’s a heavy loss of life. The name of the ship is Titan. Fourteen years later, in 1912 in the month of April, the world-famous Titanic went down. The details of Robertson’s story paralleled the actual events of the sinking of the Titanic with uncanny faithfulness. The fictional Titan had 3,000 persons aboard, the Titanic had 2,207. Both were considered unsinkable because of their allegedly watertight compartments, and both made their maiden voyage in April. The length of the Titan was 800 feet, the Titanic was 882.5 feet long, and both used three propellers. The speed of Titan at impact with the iceberg was 25 knots, the Titanic’s was 23. The displacement tonnage of the Titan was 75,000 while of the Titanic was 66,000. While there were only 24 lifeboats aboard the fictional Titan, the Titanic, too, had grossly inadequate lifeboats — only 20!

Dada Dubbing Marathi Hits

Believe it or not but the king of double-meaning dialogues in Marathi cinema, Dada Kondke, is planning to dub his Marathi hits in Hindi. Dubbing work of one of his films has already commenced at Empire Audio Centre. Dada had made some films like Aage Ki Soch and Andheri Raat Mein Diya Tere Haath Mein in Hindi too. The Hindi film buffs will now get to see many of Dada’s old Marathi hits.

‘Titanic’ Perks

Titanic has completed its glorious first week in Bombay at Regal and Cinemax cinemas despite the examination period. While Regal is screening a Dolby digital print, Cinemax is showing a DTS print. The latter cinema has some additional features to offer Titanic viewers. The video wall in the foyer of Cinemax shows the making of Titanic before the film begins as well as in the interval. In the auditorium, the music of Titanic (specially recorded on 6 tracks) is played in the interval. As if that isn’t enough, there’s a violinist in the foyer, who plays the Titanic music live. Little wonder then that the advance booking for the second week at Cinemax was somewhat better than at Regal. Incidentally, when Titanic was booked at Cinemax subject to Chhota Chetan (which will release at Cinemax on 17th April), it was felt that six weeks would be a sufficient run at the trendy cinema. But at the rate at which the film is going, it shouldn’t be a surprise if six weeks turn out to be an insufficient period. More so, because March-end and early April will see a lot of examinations getting over. As it is, students are already asking Balkrishna Shroff (of Cinemax) to reserve tickets in bulk for them for the days after their examinations.

Hit In Kerala

While on Chhota Chetan, this 3-D film of the early eighties has created a mini havoc in Kerala in its revised version. It is common knowledge that the film has been mixed in Dolby sound, and some additional shooting with Urmila Matondkar and others has also been done. Chhota Chetan, in its new form, has won the audience’s hearts in the South. Let’s see what happens in Bombay, Delhi and West Bengal on 17th April.

Indian Titanics

Here’s an intelligent joke from Javed Akhtar, to keep you laughing:

Two Hindi film trade people were discussing the Hollywood blockbuster Titanic. One of them wondered aloud: “What’s so great about Titanic? I wonder why there’s so much talk about the film. After all, it’s just a ship in the film, which sinks. Here in India, so many of our films themselves sink without a trace, and yet nobody talks of them!”

Holi Jokes

Since it is the Holi week, the column wouldn’t be complete without some Holi jokes.

Q: Why did Juhi Chawla not celebrate the colour of festivals?
A: Because saat rang hardly brought colour to her career.

Q: Why did Aamir Khan refrain from playing Holi?
A: Because he is already a Rangeela hero.

Q: Which colour did Amitabh Bachchan not smear on others when playing Holi?
A: Red. Because that’s his colour, the colour of Lal Baadshah.

Q: What does Rakesh Roshan apply on the faces of his enemies on Holi?
A: Of course, koyla!

Q: Why does Mehul Kumar detest playing Holi?
A: Because he detests anything that reminds him of rang. Remember Lahoo Ke Do Rang?

VINOD KHANNA ELECTED MP

Vinod Khanna won the Lok Sabha election from the Gurdaspur constituency in Punjab by a margin of over a lakh votes. He defeated his nearest rival, sitting MP Sukhbans Kaur Binder, by 1,06,843 votes.

PRABHA THAKUR WINS AJMER LS SEAT

Rajasthani film producer and poetess Prabha Thakur won the Lok Sabha election from the Ajmer constituency, on a Congress ticket. She defeated her nearest (BJP) rival by a narrow margin of 5,772 votes.

Prabha Thakur had produced the Rajasthani film Binani Howe To Isi, and the Hindi film, Jai Mahalaxmi Maa.

SATTOOR CHANDRASEKHAR NO MORE

Sattoor Chandrasekhar of Natraj 70mm Theatre, Secunderabad, expired on 5th March in Hyderabad due to a heart attack. He was cremated the same day.

Sattoor had served as an office-bearer of the Hyderabad State Film Chamber of Commerce and the Andhra Pradesh Film Chamber of Commerce and was also a member of the executive committee of the Film Federation of India.

BHARAT RATNA FOR SATYAJIT RAY

Satyajit Ray was posthumously honoured with the Bharat Ratna in Delhi at Rashtrapati Bhavan on 1st March. Ray’s son, Sandeep, received the award from President K.R. Narayanan.

RAMESH SIPPY’S DAUGHTER TO WED

Marriage of Priya, daughter of Bombay distributor Ramesh Sippy, with Rajeev will be solemnised on 17th March at the NSCI (West Lawns), Worli, Bombay. A reception to celebrate the wedding will be held the same day.

MARATHWADA CINEMAS PUT OFF STIR

The Marathwada Cinema Exhibitors’ Association has postponed its proposed indefinite theatre bandh, which was to have started on 5th March, following an assurance by Maharashtra guardian minister Chandrakant Khaire and revenue minister Narayan Rane. The MCEA is protesting against the illegal demand of entertainment tax by the Maharashtra government on service charges collected by cinemas, and other issues relating to cinemas. About a hundred cinemas were to down shutters from 5th March. No where else in the state is entertainment tax levied on service charge collected by cinemas as the service charge is entertainment tax-free.

A meeting with the office-bearers of the Association was held in Bombay at Mantralaya on 4th March. After discussions, Khaire and Rane assured the office-bearers that the issues would be settled at an early date. The ministers appealed to them to not press for the closure of cinemas indefinitely.

President Atul Save, Jugal Tapadiya, Noor Khan, Ashok Amin, Qaiser Khan, Mukesh Amin, Bhaskar Amin and Basant Kauria represented the MCEA in the meeting.

RAJA GOSAVI DEAD

Vetaran stage and Marathi film actor Raja Gosavi, popularly known as Danny Kaye, passed away in Bombay in the early morning hours of 28th February. He was cremated the same evening.

The 73-year-old actor was applying make-up for the last show of the Marathi play, ‘Brahmacha Bhopala’, at Dinanath Mangeshkar Hall at Vile Parle when he suffered a cardiac arrest and collapsed. He was rushed to Nanavati Hospital in an unconscious state, where he passed away.

Raja Gosavi was a great actor and was known for his comic roles on stage as well as in films. Among his well-known Marathi films were Avgachi Sansar, Raja Gosavichi Gosht, Ganget Ghoda Nahla and Gurukilli. On stage, he had played a variety of roles. His film, Pradyapak Visar Bhole, is scheduled for release shortly.

Raja Gosavi was a door-keeper at the Rajvilas theatre in Pune where his starrer, Lakhachi Gosht, was released, went on to become a hit and, in fact, changed his life. He had also worked in two Hindi films, Bhabhi and School Master. He had acted in about 250 Marathi films in a career spanning 55 years. He was in the midst of writing his autobiography, ‘Ek Rajachi Gosht’ (‘The Story Of A King’) when the end came.

ANNOUNCEMENT & LAUNCHING

Hrithik, Kareena In Rakesh Roshan’s ‘Kaho Naa…Pyaar Hai’

Film Kraft’s Prod. No. 11, titled Kaho Naa…Pyaar Hai, will be launched on 21st March with a song recording at Sahara India. The song will be composed by Rajesh Roshan and penned by Saawan Kumar Tak. Producer-director Rakesh Roshan will launch Hrithik Roshan and Kareena Kapoor in this film co-starring Anupam Kher, Dalip Tahhil, Johny Lever, Mohnish Bahl, Satish Shah, Farida Jalal and Ashish Vidyarthi. Story-screenplay by Ravi Kapoor and Honey Irani, dialogues by Sagar Sarhadi, cinematography by Kabir Lal, and editing by Sanjay Verma are the other credits. Shooting will start from April.

YOU ASKED IT

What is the business of the all-time Gujarati hit, Desh Re Joya Dada Pardesh Joya, so far? How much is it expected to do?

– In 8 weeks, it has fetched a share of about a crore from Gujarat and Saurashtra. It is expected to touch the 4-crore mark. The music sales are also as strong as the film.

I am planning to make a Hindi film and I am inclined to remake an old classic hit with some changes. Should I go for it?

– It is a good idea because, after all, old is gold. Try remaking an old family social.

Will Titanic be dubbed in Hindi like so many other Hollywood films?

– It is likely to be dubbed in Hindi. In fact, it should be dubbed because its story is like a typical Hindi film love story. Added to that is the Titanic ship disaster which will be a novelty for Hindi film viewers. If dubbed in Hindi, the dubbed version has chances of clicking in a major way.

DO YOU KNOW?

* SALAAKHEN, which gives the impression of being an action film (and not only because of the presence of Sunny Deol), has been okayed for universal exhibition (after cuts, of course). What is surprising is that the lady-members in the examining committee insisted that the film be granted ‘U’ certificate while most of the male members were in favour of an ‘A’ certificate. The film was censored in Hyderabad.

* ZOR has created another theatre record at Krishna, Raipur, by collecting 43,012/- in 3rd week. Distributor’s share for 3 weeks: 2,69,902/-.

* DESH RE JOYA DADA PARDESH JOYA (Gujarati; tax-free) has created a record by collecting 1,25,106/- in 1st week, 1,26,963/- in 2nd week, and 1,26,963/- in 3rd week at Kamal, Sabarmati (Ahmedabad).

* SARKARNAMA (tax-free) has created a city record for Marathi films by collecting 1,21,559/- in 18th week at Prabhat, Pune.

* SARKARNAMA (Marathi; tax-free) has created a record by collecting 42,789/- (nett for 21 shows) in 1st week at Shiv Shankar, Miraj.

Vinod Khanna, M.P.

A filmi is a filmi is a filmi. And so, even though Vinod Khanna has been elected to Parliament, his phillum connection will always find expression in what he talks in the Lok Sabha. Here’s how his first day in the Lower House might be.

The handsome star will board the early morning flight to Delhi — yes, he will wake up early because Parliament is not like a producer’s set where Vinod can report late. Once in the capital city, Vinod will ask his make-up man to do his make-up and his dressman, to give him his costume, and will then leave for Parliament House in his brand new imported chauffer-driven car.

Once there, he will alight from the car, a revolver in hand, and dash into the House, firing his revolver in the air and hurling abuses at imaginary villains. And even while Vinod would be making his entry with a bang, his driver would be banging at the door of the accountant for collecting petrol money.

Once in his seat, BJP members would welcome the hero with the song Bambai se aayaa mera dost, dost ko salaam karo from his own starrer, Aap Ki Khatir. Vinod would make polite conversation with BJP members to acquaint himself with the working of the Lok Sabha. For instance, he would ask L.K. Advani about the different shifts in which Parliament works. Advani would shift his attention, unable to understand what Khanna was talking about. Vinod would then turn to Atal Behari Vajpayee and enquire about the manner in which instalments would be paid to LS members. Instalments? What instalments? Vajpayee would look quizzically at Vinod and the latter would change the topic. “What about lunch break?, he would ask, adding, “Will it be of one hour or less?” Even before Vajpayee or Advani would attempt to reply to that, Vinod would quiz them further, “How long will the current schedule of Parliament be?” Perhaps, the PM-to-be will explain to the charismatic star, “We have sessions of Parliament, not schedules.” To which Khanna would smile and say, “Like our card sessions and drinking sessions, is it?”

The Speaker would take his chair and call the House in order. Since it would be the first day, the excitement and chatter will take some time to die down. The Speaker would shout ‘silence silence’ on the mike. After silence is attained, Vinod Khanna would be almost ready to break into a song-dance sequence, waiting for the Speaker to give the “Action” order. That’s what ‘silence’ is followed by on the sets, you see. When the Speaker himself would go into action instead of shouting “Action”, a perplexed Khanna would wonder what’s going on.

Anyway, he would make the most of it by mugging the long pieces of dialogues he would have got written on sheets of paper — dialogues penned by Kamlesh Pandey. When the Speaker would ask Vinod Khanna to speak, the actor would stand up, look his face in a mirror he would be carrying and ask for glycerine. “Glycerine? What on heavens are you up to?”, the Speaker would ask him. “Sir, some dialogues in my speech are full of emotions and, so, I’ll need glycerine to cry while mouthing them,” Khanna would confess. Glycerine granted.

Pin-drop silence. The Speaker would look at Vinod and wonder why he wasn’t starting. Vinod, very innocently, would ask the Speaker to give the orders. What orders? “Sir, you must say, ‘Start sound, camera, action’,” Khanna would enlighten the Speaker.

The opening speech would read something like this: “Gurdaspur aur India, Mera Gaon Mera Desh. People of India — Mere Apne. Whether it is Amar Akbar Anthony, I pledge to serve the people of India till the last drop of my Khoon Pasina. I’ve passed the Imtihan of elections, now I want to do something constructive for the country in general and Gurdaspur in particular.

“I had promised to convert Gurdaspur into Paris and so I will. In my election meetings, I had also expressed a sincere desire to start a school and college in Gurdaspur. For this, I’ve already spoken to Padmini Kolhapure who, after Delhi, will build an acting school in G’pur.”

In an emotion-choked voice, Khanna would continue, “For coming to Parliament, I’ve had to make a big Qurbani — of my acting career which, as it is, was not going any great guns. But when I was at the peak of my career, I gave it up for Osho Rajneesh. Now I give it up for…….”. Vinod would burst into tears.

There would be thunderous applause in the Lok Sabha. Secretary Sandeep Sethi, who would be watching the live telecast of the Lok Sabha proceedings on Doordarshan, would immediately call up Vinod Khanna on his cellphone to congratulate him for such a fantastic performance. “Tussi chha gaye, Vinod,” (“You’ve made a great mark,”), he would shout into the phone.

Assuming that the BJP proves its strength in the House, the question of the Ram Janmabhoomi temple in Ayodhya would naturally arise. Like a true hero, Vinod Khanna would once again rise to the occasion and, this time, deliver an impromptu speech. “Sir, I have a suggestion,” he would begin. “Let us not waste more time on deliberating whether a Ram temple or mosque should come up at the disputed site. I would suggest that a Shiv temple be built there instead. I would be only too glad to gift the huge Shiv statue erected by my art director, Nitin Desai, for Himalay Putra. It has no value for me now and I’d be happy if it can occupy a pride of place at Ayodhya.”

The press would, quite understandably, hound Vinod Khanna after the first day’s session. How was his first experience in the Lok Sabha? “Well, it’s been a satisfying day,” Vinod would reply. “I’m liking my new role, it’s so different. As in a film, in the Lok Sabha too, we have heroes (like me) and villains (like the Congress members). Again, as on film sets, there’s less work and more waste of time in Parliament too. Film actors entertain the masses, so do politicians. Artistes act in front of the camera, politicians have to act even when there’s no camera. 80% of our films are flops, similarly, 80% of the work transacted in the Parliament is flop. There’s one difference though — in the film industry, stars are cordial to each other but spit venom against one another in print; in the Lok Sabha, you are allowed to abuse your colleagues to their faces.”

Two last questions: What is it that Vinod Khanna would miss the most in Parliament? Vinod would think for a while and then reply, “The Speaker didn’t announce ‘pack-up’ before we called it a day.” And what is the greatest similarly between a film set and the Lok Sabha? Without thinking for even a moment, Khanna would answer, “As on film sets, in Parliament too, the most used and abused word is ‘silence’ — and it is repeated the loudest.”

Shhh…. silence now!

– Komal Nahta

But Why?

Most of our stars have no story-sense and yet, all of them insist on having a narration (of the story) before signing a film!

The more saleable a star, the more secure he should feel. But in reality, the more saleable a star, the greater is his feeling of insecurity. Why else do the top stars charge prices so high that it would appear as if there would be no tomorrow?

Ninety per cent of our films have the same ghisi-piti stories and yet, every producer, every director, every actor every time claims that every film of his is different.

Stars have no control over public tastes, choices or preferences but still, they manipulate the releases of their starrers as if the public had secretly whispered into their ears which of their films they would like to see first and which later!

Producers call their distributors their partners but when it comes to showing these partners their films, they make all sorts of excuses.

Most producers proclaim from rooftops release dates of their films which they are cent per cent sure, they will not be able to meet. What kick they get out of fooling the trade, even they mustn’t be knowing.

Stars know, if there’s one community which can keep them away from reality, it is the community of chamchas. And yet, when their film is released, they turn to these very chamchas to feed them with the ‘real’ reports.

The producer, the director and the artistes are the last to know that their film has bombed. Nobody knows why?

Writers insist on 5-star hotel rooms for working on scripts, but most scripts are so bad, one would think they were thought of and written in a slum.

Directors are aware that content is what is important in a film but yet, spend lakhs and crores on form while conveniently neglecting substance.

Heroes and heroines normally judge their under-production films by their individual roles but the fact is, a film is a team effort.

Music directors plagiarise tunes uninhibitedly but when it comes to admitting, they never do it. Then, it’s a case of uninhibited lies.

Those connected with a film invariably overestimate its worth on the opening day and come closer to reality as the days progress. On the other hand, those not connected with a film invariably begin on a negative note on the day of its release and they also come closer to reality as the days progress.

Directors and artistes are quick to take the credit for a success/hit but even quicker to shift responsibility for a flop.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Lull Before Storm

Tomorrow Never Dies is running in four main cinemas of Bombay this week. The English version is showing at Sterling (3rd week) while the dubbed Hindi version is being screened at Jamuna Palace (3rd week), Dreamland (1st week) and Minerva matinee (1st week). It also opened at Satyam (which is as good as a main cinema) this week. This is suggestive of the terrible state in which cinemas not only in Bombay but all over India are, thanks to few releases and the flopping of films. The scene will undergo a sea-change from 27th March when the flood of releases will begin. Cinemas, which are going abegging today, will then find themselves in a commanding position. That is to say, the scales will tilt in their favour then.

‘Love’ly Adjustments

Three romantic films — Pyaar Kiya To Darna Kya, Jab Pyaar Kisise Hota Hai and Pyar To Hona Hi Tha. All are due for an early release. But the makers of the three love stories have mutually decided to give enough gaps between the three releases so that they do not eat up into one another’s collections. If only all producers thought the same way!

This One Has Length & Strength

Twentieth Century Fox and Paramount’s Titanic, the biggest hit of Hollywood, hit the screens in India on 6th March. So immense is the craze for this blockbuster in India that the film is bound to prove a runaway hit, more so because it lives up to the sky-high expectations that’ve been generated. The opening in Bombay at Regal and Cinemax cinemas was very good, and the film should have a glorious and long run at these cinemas. The highest admission rate at suburban Cinemax is a whopping Rs. 100! Titanic ship’s disaster, achieved through computer graphics, looks so real that it leaves the viewer dumb-founded. The love story on board the Titanic is just too cute and, in fact, is like a typical Hindi film story. Little wonder then that the audience at Regal on the first day gave a standing ovation to the film. Director James Cameron and the film’s lead pair, Leonardo Di Caprio and Kate Winslet, should soon become household names in the major cities of India, at least. Even the length of the film is like that of a long Hindi film. Its running time is over 3 hours and so, Paramount has decided to have just three shows in every cinema screening it, instead of the usual four shows. Such a sacrifice (of one show daily) is unthinkable on the part of our producers/distributors. We’ve had four shows of films with a running time of even 3 hours and 14 minutes.

‘Ishq’ 100 Days: Celebrating With The Audience

Producer Gordhan Tanwani is a showman of a different kind. He is celebrating the 100 days of his Ishq today (7th March) in a unique style. Beginning today, those seeing Ishq in different cities will be given a picture postcard of Tanwani’s next, Pyar To Hona Hi Tha, and some lucky ones will even get an audio cassette of PTHHT free of charge! This gift distribution scheme will go on in all major cities for six days till 12th March. Why, Gordhan Tanwani has reserved about 50,000 audio cassettes specially for free distribution among patrons of Ishq in its 15th week.

Election Putra

A lady in Gurdaspur constituency, from where Vinod Khanna contested (and won) the Lok Sabha elections, is such a great fan of the actor that she insisted on casting her vote for him despite being pregnant and due for delivery any moment. Her family had no alternative but to heed her repeated requests. Even as she finished casting her vote, the lady complained of acute labour pains and, believe it or not, delivered her baby right in the voting booth. So thrilled was the fan on giving birth to a baby boy after casting her vote that she instantly named him Vinod. For actor Vinod Khanna, who has also been a producer (Himalay Putra) and Bombay distributor and who has effected film deliveries as well as taken film deliveries, this delivery (of a child) must have been a new experience.

LATEST POSITION

The holiday of Maha-Shivratri was the only saving grace of an otherwise dull week — dull because of the poor films.

Saat Rang Ke Sapne is a washout. 1st week Bombay 13,32,656 (64.32%) from 7 cinemas (3 on F.H.); Ahmedabad 3,02,363 from 2 cinemas; Kolhapur 51,871, Solapur 32,693; Delhi 7,82,042 (37.12%) from 3 cinemas; Kanpur 48,367, Lucknow 49,561, Allahabad 34,136; Amritsar 52,160; Calcutta 3,09,978 from 2 cinemas; Nagpur 1,17,689 from 3 cinemas, Jabalpur 88,628, Amravati (6 days) 61,351, Raipur (6 days) 55,958, Bhilai 59,836; Indore 1,18,695 (1 on F.H.); Jaipur 1,81,814, Jodhpur 1,50,000; Hyderabad 4,40,197 from 2 cinemas.

Saazish is also a disaster. 1st week Bombay 18,80,478 (41%) from 14 cinemas; Ahmedabad 71,172 from 2 cinemas (2 cinemas unrecd.), Rajkor 47,900 from 2 cinemas (1 in matinee); Kolhapur 68,734, Solapur 59,525; Delhi 10,74,696 (35.01%) from 8 cinemas (2 on F.H.); Kanpur 66,294 from 2 cinemas, Lucknow 75,529, Allahabad 33,900; Calcutta 10,70,672 from 17 cinemas; Nagpur 1,76,589 from 4 cinemas, Chandrapur 75,062; Jaipur 1,86,161 from 2 cinemas.

2001 dropped badly after a reasonable start. 1st week Bombay 22,56,890 (54.70%) from 12 cinemas (3 on F.H.); Ahmedabad 93,038 (2 cinemas unrecd.), Rajkot 1,55,240 from 3 cinemas (1 in matinee); Pune 5,60,816 from 6 cinemas (1 in matinee), Kolhapur 1,09,127; Hubli 1,02,065, Belgaum 1,01,874; Delhi 13,22,661 (51.09%) from 7 cinemas; Kanpur 1,37,590 from 2 cinemas, Lucknow 1,75,714, Allahabad 57,800, Meerut 77,368, Bareilly 70,282 (31.46%); Calcutta 12,49,980 from 17 cinemas; Nagpur 1,29,548 from 2 cinemas, Amravati (6 days) 1,06,356, Akola 1,00,248, Raipur (6 days) 71,788; Bhopal 1,49,010 from 2 cinemas; Jaipur 3,80,471 from 4 cinemas; Hyderabad 12,80,205 from 9 cinemas (4 unrecd.).

………..

LALITA PAWAR DEAD

Famous character actress Lalita Pawar passed away probably on 23rd February in her flat in Pune where she lived alone. Although she died on 23rd, it was noticed only on 25th when neighbours complained to the police. It is believed that she died of a heart attack.

Lalita Pawar, who was 82 years old, was known for her squint-eyed persona of the wicked mother-in-law or step-mother. But she also played emotional roles with aplomb. She was, perhaps, best at portraying the role of a strict lady but one who had a soft heart.

An unfortunate incident in Lalita Pawar’s life affected her left eye. While shooting for the silent film, Jung-E-Azadi, director Bhagwan (the well-known comedian) got annoyed with her over some mistake and slapped her hard. It was this which resulted in the bursting of a vein and maimed her left eye. With this deformity, the actress continued to work, and she acted in over 500 films.

She started acting in silent films when she was just nine years old. Her first film was Patitoddhar after which she worked in a number of other silent films too. In 1928, she acted in a silent film, Aryamahila. Then followed such adventure films as Thaksen Rajputra and Chatur Sundari. The first talkie film in which she acted was Himmat-E-Mard (1935), directed by G.P. Pawar who she eventually married. She also acted in his Duniya Kya Hai. Among the other films she had worked in were Anari (in which she palayed the famous Mrs. D’sa), Shri 420, Jayshree, Sajni, Suraj, Baarish, Sant Raghu, Bal Yogi Upmanyu, Karigar, Kabhi Andhera Kabhi Ujala, Mahasati Behula, Grahasti, Saas Bhi Kabhi Bahu Thi, Sau Din Saas Ke, Gharana, Humrahi, Khandaan, Aankhen, Sampoorna Ramayan and many, many others. Deepak Shivdasani’s Bhai was one of her last films. Lalita Pawar also worked in a number of Marathi films such as Netaji Palkar, Jaymalhar, Ramshastri and Limited Manuski.

Lalita Pawar’s original name was Ambika Sagun.

OM PRAKASH NO MORE

Veteran character actor Om Prakash breathed his last on the afternoon of 21st February at Lilavati Hospital at Bandra, Bombay, due to cardiac arrest. He had been admitted to the ICU of the hospital two days earlier and had slipped into a coma.

He was 78 and is survived by a daughter. He had no children of his own, and had adopted the daughter of his brother, producer-director Pachhi. In fact, Om Prakash had lost interest in life to a large extent, after Pachhi’s death a few years ago and the death of his wife seven years ago. One could always find him at Rooptara Studios.

He had acted in over 300 films in a career spanning four decades. Among his well-known films are Dil Apna Aur Preet Parai, Dhake Ki Malmal, Ek Jhalak, Miss Mary, Sadhu Aur Shaitan, Dus Lakh, Buddha Mil Gaya, Amar Prem, Baghi Sipahi, Karigar, Police, Zanjeer, Aandhi, Sharaabi, Namak Halaal, Padosan, Guddi, Khandan, Kanyadaan, Bhoot Bangla, Chupke Chupke, Malik, Julie, Dil Daulat Aur Duniya, Parivaar, Neend Hamari Khwab Tumhare, Pyar Kiye Jaa, Ek Shriman Ek Shrimati, Around The World and Gopi. His first film, Daasi, was released in 1944. Before that, he worked in All India Radio. He was born in Lahore.

His funeral was held on 22nd at the Chembur crematorium. It was largely attended. The chautha ceremony was held on 24th and that too was largely attended.

Om Prakash was well-known for comic and emotional roles. He played comedy roles with as much ease as he did emotional or dramatic roles. His typical sing-song dialogue delivery was his trademark. Om Prakash was also a producer and director. His production banner was called Light & Shade. Among the films made by him were Kanhaiya, Chacha Zindabad, Sanjog (directed by Pramod Chakravorty) and Jahan Ara (directed by Vinod Kumar). He had his production office at Famous, Mahalaxmi. He also owned a cinema — Prabha — in Bareilly, which he sold off a few years ago.

BABY BOY FOR ANEES BAZMEE

Writer-director Anees Bazmee’s wife, Fatima, gave birth to a baby boy in Bombay on 25th February. This is Bazmees’ third child, the first two being daughters.

PADMINI KOLHAPURE’S ACTING SCHOOL

Padmini Kolhapure will open the Padmini Kolhapure School of Acting Modelling & Grooming today (28th February) in New Delhi at 29, Hauz Khas Village. Besides Padmini herself, professional tutors from various fields of performing arts will take classes in the acting school.

RAGHUNATH JHALANI NO MORE

Director Raghunath Jhalani expired in Bombay on 23rd February due to cancer. He was 64 and is survived by his wife, a son and a daughter.

Born on 22nd August, 1933, Raghunath Jhalani started out as an assistant to Bimal Roy in 1956. He assisted Bimal Roy in Apradhi Kaun, Sujata, Bandini, Prem Patra and other films. He got his break as a director with J. Om Prakash’s Aye Din Bahar Ke in 1966. Among the other films he directed were Aya Sawan Jhoom Ke, Aankhon Aankhon Mein, Anamika, Uljhan, Badalte Rishte and Be-Reham. Jhalani had also produced and directed some television serials.

YOU ASKED IT

How many cinemas are there in the country?

– 9,033 permanent cinemas, besides 3,744 touring cinemas. That is to say, there are a total of 12,777 cinemas in India.

When high admission rates are killing box-office collections of film after film, why don’t producers and distributors do something to correct the situation?

– They’ve tasted blood (high admission rates) and it’s difficult to give up the taste so easily.

Is the trend of dubbing Hollywood films in Hindi likely to make the censors stricter for English films also, in view of the fact that no additional cuts can be ordered in the visuals of a dubbed film?

– Don’t give ideas to the censors! There is the Film Certification Appellate Tribunal and the court too, for aggrieved producers.

DO YOU KNOW?

* Yash Johar’s DUPLICATE is being booked by exhibitors of U.P. at fantastic prices. It’s the magic of Shah Rukh Khan’s earlier starrer, Yash Chopra’s DIL TO PAGAL HAI, which is responsible for the fancy terms being offered by exhibitors, many of whom are those who did not get a chance to screen DTPH at their cinemas. A case of one Yash film helping another Yash film? Yash boss!

* The months of April and May will have double-role starrers hitting the screens. QILA, due on 10th April, has thespian Dilip Kumar playing a double role. JEANS, due on 24th April, has hero Prashant and character actor Nassar playing double roles. In DUPLICATE, due on 1st May, Shah Rukh Khan plays a double role. Amitabh Bachchan will be seen in a double role in LAL BAADSHAH which is to hit the screens in May.

* Two fathers are sparing no efforts to launch their sons into films, and, coincidentally, both the dads are abroad for scouting locations for the films of their respective sons. While Rakesh Roshan is in Dubai for KAHO NA PYAR HAI, in which he will introduce son Hrithik, Yash Johar is in Mauritius to scout locations for son Karan Johar’s debut directorial venture, KUCH KUCH HOTA HAI.

Ability And Stability

There’s panic in the film industry. And not because of the political scenario in the country or because one doesn’t expect any single party to get an absolute majority in the Lok Sabha elections. The fear in Bollywood is born out of the ‘deaths’ of so many films.

Although it may sound mean, it wouldn’t be wrong to describe the falling at the box-office of film after film as their deaths. Not only are films flopping, they are also taking distributors closer to their doom.

One may ask, what’s new about debacles. We’ve always had flops amidst hits, and disasters amidst blockbusters. But the failures of the last couple of years have been major because film prices have been sky-high. Earlier, distributors could bear the shocks of flops because the stakes weren’t so high. But today, one big debacle can force a distributor to close down shop forever.

If the scene in the last couple of years has been bad, that in the last two or three months has been alarming. Films have not even been taking respectable openings, what to talk of registering handsome collections.

What then must be done? Rather than blaming it on bad times, the industry must try to put its own house in order. Directors and writers must work harder on scripts because content is the backbone of any film. Without a solid backbone, no film can hope to stand. And with prices being what they are today, films need to not only stand but stand firmly for weeks together. A Zor opened to bumper houses but what happened after four days? It fell like a pack of cards. The losses to distributors of major circuits will reportedly be in the region of half or three-quarters of a crore, not to talk of the heavy losses which over-enthusiastic exhibitors (who paid fancy terms) will suffer. That the film was bad is indisputable, but that’s the reason for the losses. The reason for the losses being so HEAVY is that the film’s price was worse than the film itself! Aflatoon and Banarasi Babu were other recent releases which were priced too heavily.

Coming back to the content in a film, it is rather shocking that such little attention is paid to a matter of so much importance. The audience today is far more smart than that of yesteryears. It is exposed to a multitude of satellite channels and can distinguish between the good and the bad. So, it’s all the more necessary that script-writers and directors pull up their socks now instead of being socked down forever.

Stability in prices and ability of makers and writers will be the new catchwords now.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Familiarity Breeds Contempt?

The trailer of Tutu Sharma and David Dhawan’s Gharwali Baharwali, being aired on satellite channels, is both, innovative and entertaining. It shows Anil Kapoor surfing channels on a television set, with a remote control. Addressing the viewers, Anil says something to the effect that change is fun — whether it is changing channels or the ladies at home! He then goes on to introduce his gharwali — Raveena Tandon — and baharwali — Rambha. The trailer is surely very different from the familiar ones we are used to seeing.

Love In The Air

The film industry seems to have become a ‘love’ly place. Only that could explain the spate of love films under production. We have Love Today, Loveria and Love You Hamesha. There’s also Love Station and if that’s not enough, there’s a junction too — Love Junction. There are at least two love stories by the names of Love Story 98 and Jungle Love Story. And what does love translate in Hindi into? Pyar! So we have several pyar films also being made. Like there’s Pyaar Kiya To Darna Kya, Jab Pyaar Kisise Hota Hai, Hum Deewane Pyar Ke, Pyar To Hona Hi Tha, Silsila Hai Pyar Ka, Raja Ko Rani Se Pyar Ho Gaya, Tumse Pyar Ho Gaya, Pyar Koi Khel Nahin, Paraya Pyar etc.

SAAT RANG KE SAPNE

Amitabh Bachchan Corporation Ltd.’s Saat Rang Ke Sapne is a love triangle, set in a village of Rajasthan. A young girl (who does nautanki for a living) and boy (servant) fall in love with each other. The young boy’s master, who is much older, also loves the same girl. How the master starts hating his servant (whom he used to otherwise love like a brother) because of his affair with his beloved and to what levels he stoops to take him out of his path form the latter part of the drama. Ultimately, the master realises his folly, and the young girl and boy unite in matrimony.

The plot has inherent drawbacks which make the film a case of neither-here-nor-there. It starts as a comedy and light-hearted entertainer but there’s so much tension, melodrama and seriousness after interval that the entire flavour of the first half is lost. Why, characters change like one changes one’s clothes. The master is shown a happy-go-lucky and fun-loving, golden-hearted man in the first half, but he becomes a vicious villain in the second half. As against the serene first half, the post-interval portion abounds in hysteria. The emotions simply fail to touch the heart because they look fake and are for a wrong reason. Further, the love story of the master and the girl will not appeal to the viewer and looks rather far-fetched, if only because Anupam Kher (playing the master) looks too old for the role.

Some comedy scenes are really brilliant. However, there are a few comic punches which will appeal mainly to the class audience.

The ever-dependable Arvind Swamy is not in his element. He does a fair job. He looks too stout to be a hero. Juhi Chawla lives her role and impresses immensely. She looks pretty too. Anupam Kher acts ably but, as said above, his image does not suit the lengthy romantic role. Farida Jalal performs very well. Satish Shah’s comedy is excellent. Govind Namdeo is extremely natural and effective. Mink does a good job. Tinnu Anand, Paintal, Aroona Irani and Sukumari lend the required support.

Priyadarsan’s shot compositions and takings are marvellous as usual and he has also brought out the colour of Rajasthan just too beautifully on screen. However, his selection and treatment of the script leave plenty to be desired. Otherwise a stickler for perfection, even that perfection is missing in the film. For instance, a couple of dialogues (by Rajasthani characters) are spoken in Bhojpuri dialect! Editing is so poor, one wonders whether the director gave the editor a free hand to do his job. The film seems to go on and on endlessly and can be edited heavily. In fact, it shouldn’t be a surprise if distributors take the initiative in this direction themselves.

Music (Nadeem Shravan) is good. The title song is the best and its picturisation is fabulous. ‘Aati hai to chal’ and ‘Ba ba batao na’ are quite appealing. The ‘Jhoothi jhoothi’ song is boring. Ravi K. Chandran gives the viewer heavenly locales on celluloid with his super camerawork. The desert landscapes are beautiful. Sets are natural.

On the whole, Saat Rang Ke Sapne has form (colours, beautiful locations, excellent photography) but its content is far from satisfactory and its undue length, too disturbing. The romantic angle of the young girl and the middle-aged master could have appealed as a small part of the plot but does not impress at all as the main plot. The colourful film, therefore, has dark prospects.

Released on 20-2-’98 at Eros (one show daily) and 9 other cinemas of Bombay by ABCL thru Shringar Films. Publicity: excellent. Opening: fair. …….Also released all over. Opening was extremely poor everywhere.

SAAZISH

Damani Pictures Pvt. Ltd.’s Saazish (UA) is a story of two brothers, one a grave digger in a village, and the other who is studying in the city to become a doctor. The two brothers love each other very much and the grave digger (elder one) sacrifices everything in life to see his dream — of making his younger brother a doctor — fulfilled. All hell breaks loose when the younger brother is murdered in mysterious circumstances. The elder brother, shattered and clueless, sets out for his brother’s medical college and tries to solve the mystery. One by one, more persons are murdered in the college but ultimately, the mystery behind the heinous crimes is solved.

The first half tries to be a family drama with emotions, but most of the sentiments and/or their situations are contrived. The second half is a suspense drama but the chill of a suspense story is missing. Another very big drawback of the film is that most of the major characters in the film are Christian. Films with Christian characters usually have very limited appeal. Another defect is the extremely slow pace; the drama moves so slowly that the viewer loses interest after a point of time. Dialogues are so-so.

Mithun Chakraborty acts well but his hair-style doesn’t suit him. Vikas Bhalla is fair. Pooja Batra would do well to wear clothes that suit her tall and lean structure. She is average in acting. Kashmira Shah fails to impress in any department. Her dress sense too is quite funny. Helen and Aroona Irani perform ably. Homi Wadia is okay. Mahavir Shah, Ishrat Ali (should stop being so loud everytime), Liliput and Sachin lend average support.

Debut-making director Sudhir R. Nair’s shot takings are reasonably good but his script sense as also sense of tempo leave a lot to be desired. Jatin Lalit’s music is pleasant. ‘Khushi ka rang chhaya hai’ is melodious. The other songs are fairly hummable. Song picturisations, however, are average. Action scenes are few but well composed. Camerawork and other technical aspects are okay.

On the whole, Saazish is an unexciting fare with bleak chances.

Released on 20-2-’98 at Dreamland, Novelty (matinee) and 17 other cinemas of Bombay thru Devgan’s Entertainment. Publicity: fair. Opening: poor. …….Also released all over. Opening was dull everywhere.

2001

Om Films’ 2001 (A) is a suspense film. It is the story of two police officers who are assigned the task of solving the mystery of a spate of murders in which the murderer leaves the same clue — the figure 2001 — at the place of the crime. The first half has suspense, drama and some romance too. The revelation of the suspense comes after interval and it is quite childish, especially the significance of the figure 2001.

Characterisations haven’t been worked upon. Moreover, the film relies on too many coincidences to move forward. The suspense fails to excite or frighten the viewer. The audience, as a result, finds it difficult to get involved in the drama. Climax is average.

Romance is established only in songs. Emotions fall flat. Some dialogues are good. A few comedy punches do entertain.

Jackie Shroff does quite well. Dimple Kapadia is alright. New hero Rajat Bedi looks fair, acts quite freely and performs action stunts ably. He needs to loosen up a bit more in dances. Tabu is cute in a less significant role. Suresh Oberoi does an extremely good job as the villain. Gulshan Grover, as another villain, is also immensely nice. Deven Varma is in form. Mohan Joshi, Sadashiv Amrapurkar, Upasna Singh, Navneet Nishan, Mukesh Khanna (in a friendly appearance), Sharat Saxena and the others lend able support.

Direction is okay. Music is of the popular genre. ‘Teri ye bindiya’, ‘Tu qatil’ and ‘Teri meri dosti’ are the likeable songs, and their picturisations are reasonably good. Background music does not befit a suspense film. Action scenes are alright.

On the whole, 2001 does not have the chill and thrill of a suspense drama and will, therefore, not catch the fancy of the audience.

Released on 20-2-’98 at Alankar and 14 other cinemas of Bombay thru Dilsa Distributors Combine. Publicity: very good. Opening: fair. …….Also released all over. Opening was alright at some places but dull at others.

LATEST POSITION

The election fever seems to be taking its toll on the box-office.

Zor, after a great start, dropped badly at most of the places mid-week. 1st week Bombay 38,40,173 (90.46%) from 11 cinemas (10 on F.H.), Juhu, Bombay 6,08,136 (74.71%); Ahmedabad 13,00,319 from 7 cinemas, Rajkot 1,65,550, Jamnagar 1,32,850; Pune 12,69,753 from 6 cinemas (1 in matinee), Solapur 3,58,430 from 2 cinemas; Hubli 100%, Belgaum 1,16,507 (100%); Delhi 48,29,709 (78.87%) from 14 cinemas (1 on F.H.); Kanpur 5,82,397 from 3 cinemas, Lucknow 3,86,375, Agra 2,60,500, Allahabad 1,80,500, Varanasi 1,86,529, Bareilly 1,53,962 (68.40%), Dehradun 1,78,000, Hardwar 1,11,000; Amritsar 1,95,750; Calcutta 5,16,451 from 2 cinemas (other cinemas undisclosed); Nagpur 6,98,268 from 4 cinemas, Jabalpur (6 days) 1,77,018, Akola 1,97,170 from 2 cinemas, Dhule 1,32,665, Raipur 1,91,880, Bhilai 1,09,080, Durg (6 days) 1,10,256, Chandrapur 1,81,017, Yavatmal (6 days) 78,407; Indore 2,80,000 (3 on F.H.), Bhopal 4,43,014 from 3 cinemas; Jaipur 10,85,113 from 6 cinemas, Bikaner 23,83,863; Hyderabad 33,01,282 from 18 cinemas, share 17,82,700.

Kama Sutra – A Tale Of Love (dubbed) is excellent in Delhi-U.P. and East Punjab but drops in other circuits. 2nd week Bombay 26,28,873 (66.13%) from 9 cinemas (5 on F.H.); Ahmedabad 2,68,225 from 2 cinemas, Baroda 1,25,441, 1st week Adipur 1,07,101; 2nd week Pune 4,99,116 from 3 cinemas, Solapur 80,454; Hubli 98,367, Belgaum 87,865; Delhi 33,71,840 from 7 cinemas (1 on F.H.); Kanpur 2,09,796, Lucknow 2,49,261, Agra 85,658, Allahabad 1,26,636, Varanasi 1,29,178, 1st week Bareilly 1,06,982 (56%), Dehradun 1,67,883, 2nd week Gorakhpur 82,400; Calcutta 14,09,182 from 13 cinemas; Nagpur 1,44,314, Akola 49,235 (1st 1,54,085), Raipur (6 days) 85,433, Bhilai 66,771, 1st week Gondia 34,382, Wardha (6 days) 78,428; 2nd week Indore 1,01,011 (1 on F.H.), Bhopal 1,11,207; Jaipur 3,08,119, 1st Bikaner 1,62,781; 2nd week Hyderabad 7,82,185 from 4 cinemas; Vijayawada 2 weeks’ total 5,38,368.

………..

Desh Re Joya Dada Pardesh Joya (Gujarati, TF) is mind-blowing. 6th week Ahmedabad 8,52,114 from 5 cinemas, Asodar 88,624, 4th week Patan 72,144 (3rd 72,951), Baroda 1,79,404 (3rd 1,48,344), 2nd Nadiad 88,724 (1st 79,147), 1st week Anand 1,38,428, Bharuch 1,04,200, 4th Jamnagar 1,74,581, total 6,54,581, 6th Rajkot 2,22,488, total 12,92,435, Bhavnagar 2,33,573 (5th 1,92,947), Jamnagar 1,32,264, Morvi 1,34,995, 3rd week Botad 1,21,627.

OM PRAKASH SERIOUS

Actor Om Prakash slipped into a coma on 19th February and has been admitted in the ICU of Lilavati Hospital at Bandra, Bombay.

SANJAY DUTT WEDS RHEA PILLAI

Sanjay Dutt married his long-time girlfriend, Rhea Pillai, at an impromptu wedding ceremony at Mahalaxmi Temple, Bombay, in the early hours of 15th February. The couple was at a Valentine’s Day party when they decided to get married right away. A pundit was hurriedly summoned and the marriage, performed according to Hindu rites.

WEDDING BELLS FOR SHABBIR KUMAR’S DAUGHTER

Marriage of Rubina, daughter of playback singer Shabbir Kumar, with Saqib will be solemnised today (21st February) in Bombay at Spring Field High School, near Rizvi College, off Carter Road, Bandra.

AMITABH INAUGURATES CINESTAR CINEMA

Amitabh Bachchan formally inaugurated Cinestar, the new mini cinema at Kandivli (West), Bombay, on 17th February. A special show of ABCL’s Saat Rang Ke Sapne was held on the occasion. It was thrown open for the public from 20th February with Saat Rang Ke Sapne.

Owned by Rashesh and Himanshu Kanakia and controlled by Shringar, the cinema has 281 seats and is equipped with Dolby digital and DTS sound systems.

In the inaugural speech, Amitabh expressed happiness that the system of having a shopping complex and a cinema in the same premises, as in foreign countries, had been introduced in India too with Cinestar. The cinema is located on the second floor. It is built on the same premises where once stood Sona cinema. There is also a terrace cafetaria outside the auditorium.

Shravan Shroff of Shringar proposed the vote of thanks. A memento was presented to Amitabh Bachchan on the occasion.

Cinestar is the second cinema of the Kanakia brothers, the first being Cinemax (at Goregaon, Bombay) which was inaugurated in December ’97.

Cinestar is attractively done up and has excellent sound quality, besides a large screen. Comfortable cushioned push-back seats are yet another trump card. Its phone no. is 864-7164.

‘BAPUJI’ CHINUBHAI SHROFF NO MORE

Bombay and Gujarat distributor and exhibitor Chinubhai C. Shroff breathed his last at Valsad (in Gujarat) on the morning of 18th February in his sleep. He was 79 and is survived by his wife, a son and two daughters.

Popularly known as Bapuji, Chinubhai had gone to Valsad a day before with his partner in exhibition, Dara P. Mehta. He retired on 17th night but complained of sleeplessness to his friend who was with him. Around 4 o’clock in the morning, he got up to go to the toilet and thereafter, tried to sleep again. His friend, who tried to wake him up at 8 a.m., was shocked to see that Bapuji was dead.

Born at Patan in North Gujarat in June 1918, Chinubhai came to Bombay as a child with his parents. He studied in the city up to matriculation. He started film distribution in 1948 with Khidki and continued the business till 1960. In 1965, he joined Gaffarbhai Nadiadwala’s Bombay distribution office as its manager. Thereafter, he worked as the distribution manager of Swaroopchand Jain’s distribution office in Bombay, Shakti Film Syndicate.

He entered exhibition business subsequently with Apsara cinema, Baroda. Later, in 1970, he joined P.D. Mehta group as a partner and remained in partnership till his end came. He also distributed several Gujarati films between 1975 and 1985.

Chinubhai was an amiable person, jolly and also very co-operative. He used to not think twice before coming to the rescue of one in need.

Dream Merchant

It’s election time and there’s no topic more exciting than election talk these days. Naturally then, I had to dream about elections and since films is my first love, I dreamt of elections and the film people.

I dreamt that the Congress Party approached Salman Khan to campaign for the party and Salman agreed to oblige. In the first election meeting, which he addressed in a village of Madhya Pradesh, he won people’s hearts when he said that he identified with the Garibi Hatao programme of the party. “To feel the pain of the garib janata,” he said, “I’m also living like a poor man these days. You must’ve seen my A O jaane jaana song from Pyaar Kiya To Darna Kya in which I don’t have a shirt to cover my body, and even my pants are torn and tattered.” Salman further went on to say that in the film industry, he had enlisted the support of Mamta Kulkarni, Pooja Batra and Kashmira Shah among females, and Akshay Kumar among males. “They, like me, have all agreed to wear the bare minimum in sympathy with the poor of the country,” he announced amidst applause.

Juhi Chawla was in Uttar Pradesh with Atal Behari Vajpayee. In her accented English interspersed with Hindi, Juhi giggled, “See, we all have dreams of a rich India, a prosperous India. Like you, I, too, dream. Recently, I’ve dreamt a dream of seven colours, maine saat rang ke sapne dekhe hain. And I hope, you all too see Saat Rang Ke Sapne,” concluded Juhi, not able to resist the temptation to talk of her new release. Vajpayee nudged Juhi in time to make her realise that she shouldn’t get any reference of Amitabh Bachchan Corporation Ltd. in her colourful speech as Amitabh was known for his Congress connections.

Sangeeta Bijlani declined to campaign in Bombay and said, she would address an election meeting in Bihar as she had taken a great liking for Biharis after hubby Azharuddin had been forgiven by them for calling them chor. But poor Sangeeta got all mixed up about who she was campaigning for. She ultimately landed canvassing support for her Chandni serials.”Just as nobody is big or small, so also no screen is big or small,” she shouted, adding, “So just as you made Chandni a hit on the big screen, you should make my Chandni a hit on the small screen too. If you can applaud Azhar on TV, you can appreciate me too on the same television screen.” Before she could begin her next sentence, L.K. Advani declared that the maiden had bowled the audience over and that she should now retire.

The Samajwadi Party approached Aamir Khan to campaign for them but the perfectionist that Aamir is, he asked them to give him statistics about the voters in the constituency he would be addressing, before he prepared his speech. Said Aamir, “Give me details about how many males and how many female-voters there are in the constituency, the break-up of males in the age group of 18-25, 26-35, 36-50 and over 50 years of age and likewise for females. I also want the voters to be divided according to their incomes i.e. those in the annual income bracket of less than Rs. 12,000, those between Rs. 12,001 and Rs. 24,000, those between Rs. 24,001 and Rs. 75,000, those between Rs. 75,001 and Rs. 1,25,000, those between Rs. 1,25,001 and Rs. 5,00,000, and those above Rs. 5,00,000.” Before Aamir could continue, the Samajwadi Party representatives got up and told Aamir, they would like to use his services in the next elections because by then, all the statistics would be ready.

Madhuri Dixit was flown to the Gurdaspur constituency in Punjab to canvass for her co-star of Dayavan and father of her co-star of Mohabbat. Her speech was better than even the speech she made at the Filmfare awards function last month. She called on the people to exercise their right to vote as “it is a sacred right. I would say that those who do not vote must be given mrityudand,” she thundered. “It’s my pukaar to you all,” she shouted, “that you must vote for Vinod Khanna.” Immediately thereafter, Madhuri and Akshaye Khanna began dancing to the ‘Don’t break my heart’ song of Mohabbat. The crowds shouted in one voice. “We won’t break your heart, Madhuri-ji”.

Karisma Kapoor, the newest heart-throb of the nation, shared the dais with none other than Sonia Gandhi herself at Shivaji Park in Bombay. The Rani Hindustan began her speech with the song: Pardesi Pardesi jaana nahin / Mujhe chhod ke, mujhe chhod ke. Even as people were wondering what she was up to, Karisma clarified, “My hit song of Raja Hindustani is being used to tease Sonia-ji simply because she comes from Italy. But I assure you, Sonia-ji will not leave the country, as being propagated by the BJP. And, assuming for a moment that she does, I will fly to Italy (at the expense of one of my many producers), and tell Sonia-ji, ‘Aa ab laut chalen.” There was thunderous applause. Karisma got even more charged and continued, “Waise toh politicians pagal hai lekin aapko Congress ko vote dena hoga kyon ki silsila hai desh ke karodon rupaiyon ka.” Karisma ended her speech with a parody of her Hero No. 1 song: Sonia kitna Sonia hai / Tere jaisa mera dhan / Tu meri tu meri tu meri tu meri / Tu meri Leader No. 1.

The United Front made the mistake of carting along Sooraj Barjatya to Uttar Pradesh. In his trademark soft voice and unassuming style, Sooraj began, “Kyon itni sari parties, kyon ye voton ke liye bheekh maangna. Kyon nahin sab parties mil ke government bana lein? Agar aisa ho to hum Barjatyas politicians ke saath saath hain. Nahin toh, main toh sirf itna kahoonga: Hum aapke hain koun..!”

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Four A’s In ‘Taal’

Finally, Subhash Ghai has made up his mind about who will play the other hero in his Taal. Not just made up his mind, Ghai has also finalised the guy. At the muhurt of Taal, it was only Akshaye Khanna’s name which was announced — not formally, though. Subhash Ghai was not decided about the other hero in this two-hero-one-heroine project because, as he once mentioned, “It is a very complex character, and I’m not sure who will be able to do justice to the role.” It is now Anil Kapoor who will be essaying that ‘lifetime’s role”. And as if the two A’s (Anil and Akshaye) weren’t enough, Subhash Ghai has also signed an ‘A’ heroine, Aishwarya Rai. So Ghai’s Taal is already triple A, what say? Maybe, Ghai should spell it T-A-A-A-L or rather T-A-A-A-A-L because music director A.R. Rahman is no less a star!

Longer Run

On the one hand, we have producers beaming trailers of their films for months together on satellite channels. And on the other hand, films are being discontinued after one, two or three weeks’ runs in cinemas. Which means, the trailers are running more than the films!

Hit Disaster

And finally, this one to keep you smiling through the week.

Isn’t it strange — the greatest Hollywood HIT of recent times and, maybe, to become the biggest hit of all times, Titanic, is a DISASTER film.

ZOR

Vicky Films (P.) Ltd.’s Zor (A) is a routine story of a one-man army against the evil forces in society, represented here by a don, a minister and a Godman. The three villains try to ruin the country through communal riots and this agitates a journalist so much that he takes it upon himself to expose their misdeeds. He realises that the three are involved in the worst of criminal activities when he tries to find out the truth about his dearest friend who has been dubbed a terrorist and for harbouring whom his (journalist’s) father, an honest police officer, is imprisoned. Sunny Deol plays the journalist who switches tracks and becomes the custodian of the country. The three villains are played by Om Puri, Govind Namdeo and Mohan Agashe.

The biggest defect in the script is that it has too much of preaching. Sunny Deol goes on endlessly about the virtues of being a nationalist and the vices of being a traitor/terrorist. What the audience expects of Sunny Deol is to bash up people but he does that quite sparingly. Instead, he has been given lines and lines of dialogues to mouth. This not only irritates the audience, it also dilutes the intensity of the tension in the drama. Screenplay leaves plenty to be desired as the drama very often loses grip and becomes loose and uninteresting. Some scenes, where there was ample scope for action, have been completed either without action or with minimal fights. Nor are there many hard-hitting or fiery dialogues to evoke claps. The first half is very dull and the drama is somewhat better after interval.

Sunny Deol, no doubt, does very well but his fans are bound to be disappointed due to his limited action. At least in the climax, one expects him to beat the lives out of the villains but he, instead, argues it out in the court of law, making the climax unnecessarily verbose. Sushmita Sen shows a marked improvement over her first film, acts fairly well and impresses in dances too. Milind Gunaji, as Sunny’s bosom friend, fails to put life into his character. Although he plays a Muslim armyman, his diction is typically Maharashtrian. Om Puri has limited scope and is fair. Govind Namdeo too doesn’t get much scope. He does well. Mohan Agashe is very impressive in the role of the Godman. Anupam Kher is good as Sunny’s father. Laxmikant Berde’s comedy is nothing to write home about. Veeru Krishan is good. Dina Pathak, A.K. Hangal, Tiku Talsania, Farida Jalal, Dinesh Hingoo, Rana Jung Bahadur, Sucheta Pawse, Deepanjali and the rest lend fair support.

Sangeeth Sivan is another director who seems to believe more in form than in content. For, his flair for dim lighting and capturing visual beauty is obvious in every frame (in fact, the poor lighting gets jarring after a while), but he needs to take serious lessons in scripting. Music is the greatest drawback of the film. The songs are pathetic and none of them appeals to the listener. Although their picturisations are eye-filling, the boring tunes are enough to put off the viewer. Action scenes have been well composed. Sound effects and Dolby digital mixing are of a high standard.

On the whole, high-priced Zor is a disappointment and, despite a very good start, will find the going tough in most of the circuits. Business in Punjab should be better.

Released on 13-2-’98 at Novelty and 21 other cinemas of Bombay thru Nicks Investment P. Ltd. Publicity & opening: very good. …….Also released all over. Opening was excellent everywhere except in Gujarat where it was fairly good.

LATEST POSITION

KAMA SUTRA is a tale of super-success everywhere.

Kama Sutra – A Tale Of Love (dubbed) had done extraordinary. Ladies are reported to be now frequenting cinemas screening the film, in many places. 1st week Bombay 38,92,794 (88.89%) from 10 cinemas (5 on F.H.); Ahmedabad 7,11,395 from 3 cinemas, Baroda 1,61,669, Rajkot 100% (all shows full in advance); Pune 10,01,556 from 4 cinemas (1 in matinee), Solapur 96,665 (100%); Hubli 1,40,596 from 2 cinemas (1 in matinee), Belgaum 1,29,393 (100%) from 2 cinemas (1 in noon); Delhi 35,02,771 (95.01%) from 6 cinemas (1 in F.H.); Ghaziabad 1,62,300 (63.08%), Kanpur 3,11,498 (89.71%), Lucknow 2,87,893 (98.43%), Agra 1,72,000 (66.49%), Allahabad 1,81,611 (94.63%), Varanasi 2,21,635 (89.37%), Meerut 1,56,995 (94.30%), Gorakhpur 1,36,040 (89.47%); Calcutta 23,04,438 (both, English and Hindi versions) from 15 cinemas; Guwahati share over 2,00,000; Nagpur 6,33,235 from 3 cinemas, Amravati 1,66,569, Raipur (6 days) 1,88,729, Bhilai 1,70,214; Indore 5,24,121 from 2 cinemas (1 on F.H.), Bhopal 3,64,065 from 3 cinemas; Jaipur 4,44,700 (100%); Hyderabad 15,42,628 from 6 cinemas (1 in noon); Vijayawada 3,31,820; English and Tamil versions doing fantastic in Tamilnadu.

………..

Banarasi Babu drops further. 2nd week Bombay 18,19,931 (51.97%) from 10 cinemas (7 on F.H.); Ahmedabad 1,94,563 from 3 cinemas, Vapi 1,49,600, Jamnagar (matinee) 6,964 (1 unrecd.); Pune 3,82,753 from 3 cinemas, Solapur 89,106 from 2 cinemas (1 in matinee), Satara 27,217; Delhi 17,42,167 from 11 cinemas (1 on F.H.); Kanpur 1,73,174 from 2 cinemas, Lucknow 1,72,829, Allahahad 90,500, Varanasi 1,48,456, Bareilly 68,293 (27.10%), Dehradun 81,000 (1st week 1,28,000), Hardwar 20,000; Nagpur 1,45,407 from 3 cinemas, Jabalpur (6 days) 1,09,899, Amravati (6 days) 52,569, Dhule 57,023, Bhilai 75,213, total 2,20,342, 1st week Jalgaon (6 days) 1,19,553; 2nd week Indore 79,009 (3 on F.H.), Bhopal 40,000; Jaipur 2,55,677 from 2 cinemas, Bikaner 70,060; 1st week Hyderabad 22,90,500 from 13 cinemas; below average in 2nd week in Madras.

Vinashak is also dull. 2nd week Bombay 15,94,862 (43.28%) from 9 cinemas (6 on F.H.); Ahmedabad 3,03,947 from 5 cinemas (1 unrecd.), Vapi 1,81,376, 1st week Jamnagar (matinee) 36,904 from 2 cinemas; 2nd week Pune 2,29,565 from 3 cinemas (1 in matinee), Kolhapur 1,21,306, Solapur 1,56,930 from 2 cinemas (1 in matinee), Satara 1,02,077 from 2 cinemas (1 in matinee); Delhi 12,61,749 from 9 cinemas (1 on F.H.); Kanpur 1,83,345 from 2 cinemas, Lucknow 1,60,416, Agra 1,18,000, Allahahad 1,01,500, Bareilly 66,036 (33.22%), Dehradun 70,205 (1st 1,36,316), 1st week Hardwar 64,748; 2nd Calcutta 1,46,662; Gaya 32,000; Nagpur 1,32,978 from 2 cinemas, Jabalpur 1,14,649, total 2,94,540, Amravati 1,04,375 total 2,97,608, Raipur 72,220, Bhilai (6 days) 43,249, Durg 40,697, Jalgaon 91,051 (1st week 1,82,235), Wardha 28,109, Chandrapur 62,125, total 2,11,443, 1st week Yavatmal 1,23,466; 2nd week Bhopal 2,69,216 from 2 cinemas; Jaipur 2,93,984 from 2 cinemas, Jodhpur 1,20,000, Bikaner 50,000; Hyderabad 3,86,747 from 4 cinemas (1 in noon).

…………

Chachi 420 8th week Bombay 18,46,875 (73.84%) from 7 cinemas (3 on F.H.); Ahmedabad 90,158, Baroda (matinee) 17,893; Pune 3,02,961 from 3 cinemas (1 in matinee), Kolhapur 66,373, Solapur 70,772, 2nd week Barsi 21,957 (1st 35,551), 8th week Satara 22,922, 3rd week Miraj 64,230; 2nd Dharwad 46,918; 8th week Delhi 4,17,144 from 3 cinemas; Kanpur 83,599 from 2 cinemas, Lucknow 95,627, Agra 25,735, Allahabad 19,600, Dehradun 36,640 (7th 53,000), total 5,92,606; Nagpur 69,201 from 2 cinemas, 7th week Jabalpur 57,175, total 5,87,914, 8th week Dhule (6 days) 33,328, total 4,29,190, Raipur (6 days) 41,886; Bhopal 1,04,500; 7th week Jaipur 99,008; 8th week Hyderabad 1,42,401.

Desh Re Joya Dada Pardesh Joya (Gujarati, TF) is creating havoc wherever released. 5th week Ahmedabad 7,29,736 from 4 cinemas, Asodar 1,19,952, 2nd week Patan 72,951, 3rd week Baroda 1,48,344, 1st Nadiad 79,147, 3rd Jamnagar 1,73,518, 5th week Rajkot 2,24,732, Bhavnagar 1,92,947, Junagadh 1,37,337, Morbi 1,59,591, 2nd week Botad 1,21,724.

‘DTPH’ 100 DAYS

Yash Chopra’s Dil To Pagal Hai completed 100 days of its run all over on 7th February. It stars Madhuri Dixit, Shah Rukh Khan and Karisma Kapoor. Music: Uttam Singh.

RAMESH PATEL’S DAUGHTER TO WED

Marriage of Sheetal, daughter of Ramesh Patel of Filmcenter, with Kartik will be solemnised on 17th February at the RWITC, Mahalaxmi, Bombay.

NEW MINI CINEMA IN BOMBAY

A new cinema in Bombay, Cinestar, will be inaugurated on 17th February with an invitee show of Saat Rang Ke Sapne. The cinema, owned by the Kanakias and controlled by Shringar, is located at Kandivli (West) where earlier stood Sona cinema. The cinema will be thrown open to the public from 20th February.

It has 281 seats and only one class. The admission rate is Rs. 55 and the nett capacity for 28 shows is Rs. 2,65,545. The cinema is equipped with Dolby digital and DTS sound systems.

YOU ASKED IT

With Kama Sutra having clicked, can’t old English sex films be dubbed in Hindi, especially in view of the fact that dubbed versions of censored films cannot be offered new cuts in visuals?

– Yes, old English sex films can be dubbed but that doesn’t mean that all of them will click like KAMA SUTRA. The novelty and shock value of KAMA SUTRA cannot be expected to be there in every film.

Aren’t too many small-budget horror films being made?

– In the small-budget group, it’s only horror or sex films that are considered safe. Someone should try making a horror film with plenty of action. It just might click.

Does the Maharashtra government now give subsidy to Marathi film producers before the release of a film?

– Yes, subsidy of Rs. 15 lakh is given to a producer during the making of his film.

DO YOU KNOW?

* Bombay distributors Shringar Films hold the distinction of having released the first Dolby film (1942 A LOVE STORY at Metro, Bombay), the first DTS film (HINDUSTANI at Eros, Bombay) and the first Dolby digital film (DAUD at New Excelsior, Bombay).

* KAMA SUTRA (dubbed) has created a record by collecting 96.90% in 1st week in Delhi (4 cinemas).

* CHACHI 420 has created a record by collecting 5,92,606/- in 8 weeks at Payal, Dehradun.

3-E
Education-Entertainment-Enlightenment

CBFC Higher Than High Court?

Although the Bombay high court clearly laid down in the case of Mira Nair’s Kama Sutra that there can be no additional cuts in the visuals in the dubbed version of a film (over and above the cuts in the original version), the Madras regional office of the CBFC has committed the same mistake which had been committed by the Bombay regional office in the case of Kama Sutra. The film in question this time is Gali Gali Anarkali, the Hindi dubbed version of the English (Indian) film, I Love You. Although I Love You is censored and released, the Madras office of the CBFC has refused certificate to the dubbed version.

Sexy Success

West Bengal distributor Romi Jaiswal seems to be lucky with films laden with sex. He had released Bandit Queen in his territory, which proved a hit. Now he is laughing his way to the bank with Kama Sutra. In between, he had damp squibs like Insaaf. Moral of the story: Sex spells success.

Luck Transferred

If West Bengal distributor Romi Jaiswal is lucky with sex films, Nizam distributor Ravi Machhar wouldn’t even try his luck with such films. Ravi was the original distributor of Kama Sutra for Nizam circuit, but his parents were against the idea of their son releasing “such films”. Like an obedient son, Ravi relinquished the rights and suggested the name of another distributor, Dilip Tandon, to R. Mohan, the all-India rights controller of Kama Sutra. Tandon should thank Ravi Machhar’s parents for the lottery.

Killing Jack To Accommodate John

It’s sad how a distributor ‘kills’ one film to make way for another. East Punjab distributors, Saraswati Films, released Kama Sutra last week and Zor this week. To accommodate Zor, they discontinued Kama Sutra from the cinemas of Jalandhar and Ludhiana. This, even though the collections of Kama Sutra were truly good. That’s not fair.

Divine Blessings?

By a strange coincidence, several people associated with Kama Sutra have their names which are religiously reverred in Hindu mythology. The film’s producer-director is Mira (Nair) and her banner’s name is Mirabai Films P. Ltd. The all-India rights are with R. Mohan (Lord Krishna is also called Mohan). The Bombay distributors are Shyam and Balkrishna (both names of Lord Krishna) Shroff. The Delhi-U.P. distributor is G.D. Mehta and the ‘G’ in his name stands for Govardhan. The name of the concern distributing the film in East Punjab and Rajasthan is Saraswati (Goddess of learning) Films.

KAMA SUTRA – A TALE OF LOVE
(Dubbed)

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

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

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

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

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

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

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

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

LATEST POSITION

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

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

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

…………

_________

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

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

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

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

YUNUS PERWAIZ TO CONTEST LS ELECTIONS

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

ADITYA CHOWKSEY’S WEDDING LARGELY ATTENDED

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

DO YOU KNOW?

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

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

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

RECORDS RE JOYA!

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

Are Awards Losing Their Sanctity?

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

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

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

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

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

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

– Komal Nahta

Honestly Speaking….

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

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

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

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

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

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Differential Admission Rates

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

Of Good Luck And Bad Luck

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

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

Doubly Lucky

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

Sexy Shringar

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

No Men Please

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

BANARASI BABU

Sapna Arts’ Banarasi Babu (UA) is a comedy film with Indian sentiments thrown in in good measure. It tells the story of an Indian boy, staying in Banaras, who gets married to an Indian girl settled abroad. The girl’s mother is against the match and when her daughter cannot adjust in her new home, the mother is the happiest. With a view to get the two divorced, she takes her daughter back abroad. But not the one to give up so easily, the guy follows his wife abroad and teaches his mother-in-law and wife such a lesson that they turn over new leaves.

The story idea may not be new but it is, nevertheless, good as it offers a lot of scope for fun and laughter. But the screenplay writer has not really done a good job as several scenes either look contrived or are predictable. The second half, in which the guy teaches his wife and mother-in-law a lesson for their ill-mannered behaviour and lack of values, should have been much more exciting than it is. But since several incidents have been seen in films earlier, the impact is diluted. Moreover, giving too much footage to the mother-in-law and lesser to the wife is a mistake committed by the writer. Dialogues are punch-packed but only at places.

Govinda is excellent as usual. The guy’s sincerity is absolutely praiseworthy and so is his sense of timing. Ramya fails to impress as the heroine. She looks too over-weight and her costumes are bad. Kader Khan is humorous but doesn’t get scope for being hilarious. Bindu is good at times and loud at other times. Shakti Kapoor’s comedy is half-baked so that he manages to evoke laughter only occasionally. Asif Sheikh does well. Reema lends good support. Sanam, Shagufta Ali, Upasna Singh and the others are average.

David Dhawan’s direction is good but the magic of his earlier films with Govinda is missing here mainly due to a less competent script. The contribution of music is also not much. ‘San sana san sai sai’ is the only exciting number but its picturisation is ordinary. ‘Meri gori gori baahein’ and ‘Susri garam garam’ are fairly good songs. However, the absence of a couple of hit numbers is sorely felt. Cinematography is very good. Production values are appropriate.

On the whole, Banarasi Babu does not have enough hilarious moments and since it is not a laugh riot for viewers, it cannot be expected to keep its distributors smiling. Rather, its high price may see them in the red in some circuits.

Released on 30-1-’98 at Maratha Mandir and 22 other cinemas of Bombay thru Pinky Films. Publicity: very good. Opening: good but not up to the mark (despite Idd holiday). …….Also released all over except in West Bengal and Nizam.

VINASHAK

Mark Films International’s Vinashak (A) is about an Indian’s obsession for his motherland. It is the story of a police officer for whom duty is everything and who upholds law even in the most adverse of circumstances. He is sent on a mission to investigate the illegal activities being carried out by the jailor of the central jail, but once inside, he is shocked to find that his supporters have been killed and he is now in the clutches of villains including the jailor, a corrupt police officer and a minister. How he escapes from the jail and kills the villains one by one is narrated in the latter part.

The film, unlike many action films, has a definite story-line and a well-written screenplay (Rajkumar Santoshi). The first half is tight and effective but the drama becomes a bit too tense after interval as there’s not much relief then. Further, some sequences look too far-fetched to believe. In this class falls the blowing up of a car by a bomb planted in a toy car operated by a remote control, in full view of the public. Dialogues (Naeem-Ejaz) are good at several places.

Sunil Shetty lives the role of the patriotic police officer and impresses a great deal with his acting, action and dances. Raveena Tandon looks pretty and performs ably. Her dances are graceful. Danny Denzongpa is brilliant as the villainous jailor. Tinnu Anand makes an effective minister. Alok Nath evokes much hatred due to his lovely performance. Mohan Joshi leaves a mark, his facial expressions being remarkable. Om Puri does well but he deserved better scope. Mukesh Rishi is ferocious. Harish Patel wins the audience’s hearts with a lovable performance. Satyen Kappu, Shivaji Satam, Disha, Jassi, Dipti and the others give very good support. Pinky’s dance is truly sexy.

Action director Ravi Dewan makes an impressive debut as a director. His shot compositions and takings are nice. He should have, however, balanced the heavy second half with some light scenes. Viju Shah’s music is good. ‘Godna god mohe godariya’ and ‘Moriya moriya’ are the best songs. Picturisations of ‘Godna’ and ‘Rooba rooba’ songs are fantastic and truly eye-filling. Nitin Desai’s sets are rich and beautiful, but it must also be added here that the set of the central jail is too beautiful and tidy to look like a jail! Peter Pereira’s camerawork is extraordinary. The Dalhousie locales have been captured beautifully. Action scenes (Ravi Dewan) have novelty and have been excellently composed, especially in the first half. Technical and production values are of a high standard. Sound effects (mixed in Dolby) are lovely.

On the whole, despite less relief, Vinashak has the entertainment value to keep its distributors smiling.

Released on 29-1-’98 at Metro and on 30-1-’98 at Minerva and 20 other cinemas of Bombay thru Dilsa Distributors Combine. Publicity: excellent. Opening: good but below expectations despite Idd holiday. …….Also released all over.

HAFTA VASULI

Seven Mountain Movies’ Hafta Vasuli (UA) attempts to reflect what goes on in society today due to criminalisation of politics. A young police officer joins hands with a corrupt politician and a criminal to make fast money. An upright municipal officer (inspired from Khairnar’s character) comes on the scene, and his job of demolishing unauthorised constructions on government land brings him in conflict with the criminal who is a builder too. The get-rich-quick police officer realises the folly of his policy when his childhood friend, now a professor, takes law into his hands and lands in jail. The police officer, now a changed man, alongwith the municipal officer succeeds in getting the professor freed from prison. The three of them then unite and humiliate the politician and the criminal by supporting a eunuch in the elections. While the politician repents for his misdeeds, the unrelenting criminal is killed by the trio.

The story is the usual revenge and good-versus-evil drama. The screenplay provides some interesting situations, especially in the second half. The scathing attack on today’s government, corrupt politicians and officials is enjoyable. The election scene of the eunuch is a highlight. Some dialogues are very good.

Jackie Shroff does truly well. Aditya Pancholi lives his character. Ayub Khan is fair. Madhoo and Saadhika are alright. Gulshan Grover’s villainy with a touch of comedy is not very menacing. Hemant Birje, as the criminal builder, is good. Rohini Hattangady is very effective. Sr. Balraj Vij, Anand Balraj Vij, Laxmikant Berde (as the eunuch), Aroon Bakshi and the other cast provide fair support.

Deepak Balraj Vij’s direction is quite good. Music is alright, the ‘Family mein lafda’ and ‘Vote for’ songs standing out if only for their comment value. Action scenes are ordinary, save a few. Photography is of a nice standard.

On the whole, Hafta Vasuli lacks the excitement of a political action drama and, therefore, remains an average fare. It is likely to result in losses for some distributors.

Released on 30-1-’98 at Dreamland and 17 other cinemas of Bombay thru Mahalakshmi Film Distributors. Publicity: fair. Opening: average. …….Also released all over except in East Punjab and C.P. Berar.

YOU ASKED IT

Have the cast and credits of Subhash Ghai’s Taal been finalised?

– The story is Subhash Ghai’s and the screenplay is being written by Sachin Bhaumick, while dialogues are by Javed Siddiqi. It is a two-hero-one-heroine subject but so far, only Akshaye Khanna has been finalised. A.R. Rahman will score the music. Lyrics by Anand Bakshi and art direction by R. Verman are the other major credits.

Is it true that music director Shravan’s sons are also turning music directors?

– Yes the team of Shravan’s two sons, Sanjiv and Darshan, has been signed by producer Vimal Kumar to compose the music for his next film which will be directed by Kuku Kohli and which stars Sunil Shetty and Juhi Chawla.

Who do you recommend as the safest hero today?

– Nobody and everybody. Nobody is safe at unrealistic film prices. Everybody can be safe if films are sold at reasonable prices.

DO YOU KNOW?

* Vinod Khanna was given a tumultous welcome at Gurdaspur on 27th January when he reached his constituency in Punjab to file his nomination papers for the forthcoming elections to the Lok Sabha. Several film stars have agreed to visit Gurdaspur to canvass for Vinod Khanna.

* Producer Tutu Sharma and director David Dhawan are using the services of different cameramen for the various songs in their GHARWALI BAHARWALI to bring in variety and beauty. Kabir Lal picturised a song at Ramoji Film City (near Hyderabad) in a 10-day spell till January 30. Before that, the film’s cameraman, K.S. Prakash Rao, picturised the other songs. The last song will now be canned by a third cameraman. Truly, beauty lies in the eye — sorry, lens — of the beholder.

* Salman Khan, Sanjay Dutt, Govinda and Karisma Kapoor have joined hands with Wizcraft to open theme restaurants in India. The formal announcement was made on 29th January in Bombay.

Subhash Ghai’s Triple Celebrations
The Party In Perfect Sur & Taal

How just a new venue and an unusual time can change the flavour of a party was evident at the triple celebrations of Subhash Ghai on 25th January. Usually, filmland parties are held in the evenings but these celebrations were held in the afternoon. Rather than in one of the many 5-star hotels, the function took place at the picturesque Royal Palms at Goregaon, Bombay.

The three celebrations were — Subhash Ghai’s birthday, silver jubilee of his Pardes and the launching of his new film, Taal. Ghai’s birthday actually falls on 24th January but it was celebrated a day later, alongwith the other two events.

There wasn’t any formal muhurt or the customary muhurt shot for Taal. The banners simply announced ‘Subhash Ghai’s Taal – The beat of passion’. Nor was there the customary cake-cutting to mark Ghai’s birthday. But yes, the silver jubilee of Pardes was celebrated with the customary distribution of jubilee trophies to the film’s cast and crew.

The top brass of the industry including Sunil Dutt, Dilip Kumar, Yash Chopra, Boney Kapoor, Sreedevi, Anil Kapoor, Jackie Shroff, Manisha Koirala, Aishwarya Rai, Satish Kaushik, Manmohan Shetty, Govind Nihalani, Laxmikant, Govinda, Indra Kumar, Ashok Thakeria, Smita Thackeray, Sultan Ahmed, Gaffarbhai Nadiadwala, Bharat Shah, Kiran Shantaram as well as Raj Thackeray and many others attended the party that was, all said and done, different — as different as the title of Ghai’s new film. Whether it was the new venue or the triple events or the Ghai brand of warm hospitality that made the invitees have triple the usual fun, one doesn’t know.

CONTROVERSY CORNER

‘Banarasi Babu’ Released Even As…….
West Bengal Distributor Obtains Stay Order On All-India Release

Nandu Tolani’s Banarasi Babu almost did not release on Friday, January 30. West Bengal distributors, PMD Entertainments (P.) Ltd., Calcutta, on 29th January obtained a stay order on the film’s all-India release, from a division bench of the Bombay high court. More specifically, PMD Entertainments were granted ad interim reliefs in terms of prayer clauses (a) and (b) of their draft notice of motion, by the division bench comprising Justice V.P. Tipnis and Justice N. Arumugham.

Clauses (a) and (b) of the draft notice of motion were:

(a) that pending the hearing and final disposal of the suit, the 1st and 2nd respondents (Nandu Tolani and Sapna Film Distributors, Calcutta, respectively) by themselves, their servants, agents and representatives be restrained by an order and injunction of this hon’ble court from in any manner releasing and/or distributing and/or exhibiting the said picture in any part of India including in the said territory till such time that the 1st respondent effects delivery of release prints of the said picture to the plaintiffs (PMD Entertainments) for simultaneous release in the said territory, viz. West Bengal.

(b) that pending the hearing and final disposal of the suit, the 1st and 3rd (Filmcenter Laboratories) respondents by themselves, their servants and/or agents be restrained by an order and injunction of this hon’ble court from in any manner either directly or indirectly delivering or causing to be delivered prints of the said picture in any territory of India until such time the prints of the said picture for release in the said territory are first delivered to the appellants.

The dispute began when producer Nandu Tolani towards the end of December ’97 sold the West Bengal distribution rights of Banarasi Babu to PMD Entertainments and faxed a letter to the Eastern India Motion Picture Association (EIMPA), asking the latter to cancel the registration of the film from the name of Sapna Film Distributors and register the film in the name of PMD Entertainments (P.) Ltd. instead. The letter was irrevocable but it is alleged that after receiving monies from PMD Entertainments, Nandu Tolani sought to withdraw his irrevocable letter and asked the EIMPA not to register Banarasi Babu in favour of PMD Entertainments. Interesting to note that (i) Sapna Film Distributors was to have released the film in West Bengal from Billoo Bakliwal’s office, and (ii) Billoo Bakliwal’s father, L.C. Bakliwal, is the vice president of the EIMPA.

Anyway, sensing fraud, PMD Entertainments on 23rd January obtained a stay order from the Bombay high court, restraining Filmcenter from delivering or causing to be delivered the prints of Banarasi Babu for West Bengal circuit. PMD Entertainments were directed to deposit a sum of Rs. 30 lakh in court on or before 28th January. The said amount was deposited on 28th when the Bombay high court stayed the delivery of prints for West Bengal to both, Sapna Film Distributors and PMD Entertainments. During arguments, it was pleaded on behalf of Nandu Tolani that if the film was released all over but not in West Bengal, the said territory (West Bengal) would become worthless after 30th January, the day of all-India release.

Aggrieved by the order not granting it delivery of prints despite the deposit of monies in the court, PMD Entertainments preferred an appeal on 29th January before the division bench and obtained reliefs in terms of prayer clauses (a) and (b). PMD Entertainments took the same plea that if the film was allowed to be released all over except in West Bengal, the West Bengal territory would become worthless, an argument put forward by Nandu Tolani himself.

Consequent to the court order obtained around 4.15 p.m. on 29th, there was high-tension drama at Filmcenter, which went on till after 3 a.m. on 30th. U.A. Thadani, Lala Damani, Girdhar Hinduja and others tried to intervene and bring about a reconciliation between Nandu Tolani and PMD Entertainments but their efforts failed. Ramesh Patel, Arun Patel, N.C. Hira and others of Filmcenter were engaged in hectic meetings till 3 o’clock in the morning of 30th.

Luckily for the Bombay and Nizam distributors of the film, their deliveries were effected just before the court order restraining Filmcenter from giving deliveries was obtained.

It is to be seen now whether PMD Entertainments uses this order to stop the film’s screening all over India. Banarasi Babu opened in U.P. on Thursday morning, and in the rest of the country, on Friday morning. One feels, contempt of court proceedings could be filed against Nandu Tolani for permitting the film’s release or, in other words, not preventing its release.

A similar incident had taken place in the case of Sultan Ahmed’s Dharam Kanta, the screening of which was discontinued from Nizam territory on a court order obtained by Sultan Ahmed. Interestingly, Ranjit & Co. were the advocates for Sultan Ahmed then and they are also the advocates for PMD Entertainments now.

In the meanwhile, insiders reveal that Nandu Tolani tried to have the film released (thru Sapna Film Distributors, of course) in a cinema of Calcutta on Wednesday/Thursday and even had his advocate (!) carry two prints for the purpose to Calcutta, but could not succeed in his mission.

                                       

3-E
Education-Entertainment-Enlightenment

David Dhawan And Bengal Territory

David Dhawan had better visit Calcutta and do some havan/pooja there. For, his films seem to be getting embroiled in delivery controversies in the West Bengal territory only. Mr. & Mrs. Khiladi could not be released in West Bengal simultaneously with the rest of India because of the delivery drama. And likewise, this week’s Banarasi Babu, too, did not open in West Bengal. Although his Deewana Mastana was released in West Bengal with the rest of the country, there was, nevertheless, a problem in finalising the distributors (as deals were struck with two distributors).

Delivery Dramas

There were delivery problems in two of the three releases this week. And the cause in both the cases was the same: finance. Shortage of money to meet the liens on the films resulted in untold tension and hardships to the persons involved. The West Bengal distributor of Banarasi Babu obtained a stay on the all-India release of the film (read story elsewhere in this issue), so that it almost appeared as if the film wouldn’t be released. A lien of 40 lakh against the Bombay territory caused tension in the case of Hafta Vasuli. Of this, 15 lakh was payable to Jackie Shroff. The hero’s lab. letter against Bombay circuit created a problem and it also appeared in the case of Hafta Vasuli that the film would not be released in Bombay. But the Bombay distributors, Mahalakshmi Film Distributors, co-operated and made the release possible. So luckily, both the films were finally released (except Banarasi Babu in West Bengal).

Terrific Trailers

New trailers of Zor have been made and they are being played in cinemas from Idd day, to thunderous applause. Distributors of the film should now rest assured as the suspense about its release date is over because the trailers announce its release date of 13th February. Distraught distributors have complained that the producers never bothered to either confirm or deny the release date, which led them to play their own guessing games. Anyway, the film has been cleared by the CBFC, and the censor certificate should be in the producers’ hands next week.

If the theatrical trailer of Zor is winning applause, so is the television trailer of Salaakhen, which shows Sunny Deol banging his head against the grills (salaakhen) of the jail (lock-up) door till his head bleeds. Both, Zor and Salaakhen, are presented by Sanjay Tolani.

Welcome The New Kapoor Girl

It can be told now. Karisma Kapoor’s younger sister is the latest to become a part of the world of heroines. Yes, Kareena Kapoor has been signed by ……. Shall we give out the name of the producer? No, we’d rather involve you in a guessing game. The one, who has signed her, is a producer and director. And he has cast her opposite his son who also will be launched in the film. The producer-director is …… No, there’s simply no need to spell out the name. You all have already guessed it.

Neelam Bhi Saath Hai

Neelam, who has been doing pretty well for herself on television these days, has bagged a plum role in Sooraj Barjatya’s Hum Saath Saath Hain. She plays the only sister of the three brothers viz. Mohnish Bahl, Salman Khan and Saif Ali Khan. With the three heroines (Tabu, Sonali Bendre and Karisma Kapoor) also having been finalised, Neelam is the seventh star to have been announced by the Barjatyas. So the film could, as of now, as well be called Hum Saat Saat Hain (We Are Seven Seven)!