PYAAR TO HONA HI THA

Baba Films’ Pyaar To Hona Hi Tha is a love story with a difference. Inspired from the Hollywood film, French Kiss, it is the story of a girl who comes to India from Paris to win back her fiancé who has fallen in love with another rich girl. On her flight from Paris to India, the girl meets a guy who is a jewel thief. He hides his loot (a diamond necklace) in the girl’s handbag and then what follows is a long chase. By the time he does get to the necklace, he also gets close to the girl and promises to help her get her fiancé back. In doing, so, the Paris girl and the Indian thief (who, incidentally, has a heart of gold) fall in love. Ultimately, the fiancé is dumped, and the two of them express their love for each other.

The first half is not too serious except for the couple of reels before interval. The chase is stretched too much so that it becomes boring. Of course, the pre-interval portion, like the second half, does have some really cute moments but while some of them are of the kind which will be appreciated by the gentry only, the others (of universal appeal) are few and far between. Besides, the Paris girl trying to win back her fiancé even after seeing him openly flirting with another girl looks quite unbelievable, if only because of two reasons — one, their love has not been established, and secondly, the fiancé‘s role is played by an actor (Bijay Anand) who does not have any star image. On the other hand, the Paris girl is a star (Kajol) and so is her Indian friend (Ajay Devgan). The base of the story, therefore, appears to be weak. It is for this reason that while the audience do not really crave to see Kajol and Ajay Devgan united in matrimony, they also do not weep when it appears that their love may not triumph. In short, the viewers do not move with the lovers. Ajay not being able to express his love to Kajol does not appeal after a while.

Dialogues are witty at many places. Screenplay writing, on the other hand, shows too much recourse having been taken to cinematic liberties. Climax, though fairly exciting, is not novel.

Ajay Devgan does a good job, but because he has an image of an action hero, his fans may not really cherish seeing him in a romantic role, devoid of any action or stunts. Kajol is the life of the film and delivers a simply fantastic performance. She is cute and natural to the core and endears herself to the audience right from the word ‘go’. She looks pretty too. Bijay Anand does a fair job, but an actor with a star image was the actual requirement of the role. Kashmira Shah is so-so. Tiku Talsania does quite well. Om Puri’s talent has not been utilised properly in the role of a police officer whose character is quite unbelievable. Harish Patel lends good support. Mushtaq Khan leaves a mark. Anjan Srivastava, Ghanshyam, Reema, Asha Sharma, Poornima Bhave, Satish Kaul, Shama Deshpande, master Mohsin, master Sharukh and Anant Mahadevan provide the desired support. Remo Fernandes and Jaspinder Narula impress in a song that’s racy.

Anees Bazmee’s direction is fair but his writing should have been far more convincing and much more taut. What was needed the most was to make the borrowed story more plausible and more Indian. Besides the song in the title (a better situation for that hit song would have made a positive difference), the last two songs (‘Jab kisi ki taraf’ and ‘Ajnabi mujhko’) are extremely well-tuned (Jatin Lalit) but they both come too late in the drama. The aeroplane song is dull while the rest are okay. Nirmal Jani’s camerawork is splendid. Action is alright. Art direction is very good. Production and technical values are of a high standard.

On the whole, Pyaar To Hona Hi Tha has cute moments but not the magic and pain of a love story. It has a fantastic initial value (due to bumper publicity, popular music and the lead pair) but not the merit to sustain and go for a long run. The film rests on a weak foundation and, therefore, remains an average fare, mainly for ‘A’ class centres, especially in Bombay and South.

Released on 23-7-’98 at Metro and on 24-7-’98 at 11 other cinemas of Bombay thru Devgan’s Entertainment. Publicity: extraordinary. Opening: excellent. …….Also released all over. Opening was superb everywhere. However, quite a perceptible drop was noticed in collections in some stations of C.P. Berar on the second day (Friday).

ANGAARAY

Rose Movies Combines’ Angaaray (A) is about life in the world of crime in Bombay. A young police inspector is sent to Bombay to get to the root of the underworld and to exterminate the anti-social elements. He is shocked to find his childhood friends as a part of the underworld. Actually, he, too, would have been a part of it had he not been arrested for a crime while still a child. After his punishment, he got an opportunity to reform himself, which he had done. He was now keen to show his friends the right path. He also knew that they (friends) were mere pawns in the hands of the don who actually needed to be finished. The climax deals with the elimination of the don and the reformation of two of his three friends, the third having been killed by the don.

Although an action film, it moves at a very slow pace, especially in the pre-interval part. The pace picks up a bit in the second half in which there’s abundant action. But there’s no relief or entertainment in the whole film. There’s no novelty, neither in the subject nor in the presentation. The character of the don is quite weird and unnecessarily mysterious. Dialogues are okay.

Akshay Kumar does well in the role of a police inspector. His stunts in the initial reels are very good. Nagarjuna, as his friend, is good. Pooja Bhatt has a small role and does a fair job. Sonali Bendre’s character is shown in poor light; she performs well and even her dialogue delivery, which is otherwise lifeless, is good. Irfan Kamal is fair. Paresh Rawal, though reasonably alright, is not in his elements. Gulshan Grover plays the weird don quite well. Mohan Kapur is average. Razzak Khan leaves a mark. The other artistes lend the desired support.

Mahesh Bhatt’s direction is routine. No attempt seems to have been made by him to offer something fresh to the viewer and, what’s more, too much has been taken for granted. Music is functional; ‘Aan de aan de’ and ‘Tanha tanha’ are fairly good but the other songs are dull. Song picturisations are ordinary. Camerawork (Sameer Arya) is of a good standard. Action should have been much more exciting (like Akshay’s stunts).

On the whole, Angaaray is an action film for ‘B’ and ‘C’ class centres only.

Released on 24-7-’98 at Minerva and 18 other cinemas of Bombay by Vimal Agarwal thru R.M. Ahuja & Co. Publicity: fair. Opening: very good. …….Also released all over.

LATEST POSITION

Kareeb has not been appreciated and it began to drop from the 2nd day itself. It has, nevertheless, done well in some ‘A’ class centres. Bombay 32,46,775 (83.36%) from 7 cinemas (4 on F.H.); Ahmedabad 1,75,151, full (1 unrecd.), Vapi 2,70,494, Baroda 1,75,895; Pune 4,78,295 from 2 cinemas (1 in matinee), Solapur 1,01,843; Hubli 92,340 (100%), Belgaum 92,180 (100%); Delhi 32,75,624 (88.90%) from 7 cinemas; Kanpur 1,70,650, Lucknow 2,69,743, Agra 1,70,150, Allahabad 96,600, Varanasi 1,49,403, Bareilly (6 days) 71,404 (37.01%); Amritsar 52,500; Calcutta 9,74,147 from 3 cinemas; Nagpur 3,53,305 from 2 cinemas, Jabalpur (6 days) 1,01,806, Amravati 1,06,284, Raipur (6 days) 99,423; Bhopal (6 days) 2,75,866 from 2 cinemas; Jaipur 4,70,592 from 2 cinemas, Bikaner 1,69,795; Hyderabad 19,08,447 from 8 cinemas, share 8,60,000.

………..

Dulhe Raja is quite good. 2nd week Bombay 22,70,855 (62.82%) from 10 cinemas (5 on F.H.); Ahmedabad 3,91,997 from 3 cinemas, Jamnagar 76,860; Pune 4,62,324 from 4 cinemas (1 in matinee), Solapur 1,88,445 from 2 cinemas; Delhi 20,33,438 from 10 cinemas (1 on F.H.); Kanpur 3,43,319 from 2 cinemas, Lucknow 2,20,542, Agra 1,50,000, Allahabad 1,46,500, Varanasi 1,51,635, Bareilly 1,30,942 (60.61%); Calcutta 5,56,679 from 6 cinemas; extraordinary in 2nd week in Bihar; Nagpur 1,66,934 from 2 cinemas, Amravati 1,16,413, 1st week Akola 1,94,532, 2nd week Raipur 1,18,045 (1st 1,70,101), Jalgaon 1,15,000, Yavatmal 87,354; Indore 3,11,494 from 2 cinemas (2 on F.H.), Bhopal 2,82,724 from 2 cinemas; Jaipur 8,45,612 from 3 cinemas; Hyderabad 4,17,064 from 2 cinemas (1 in noon).

Satya is a super-hit in Bombay and Maharashtra and Nizam but average/losing in the other circuits. 3rd week Bombay (TF) 42,95,740 (94.11%) from 9 cinemas (6 on F.H.); Ahmedabad 1,44,189 from 2 cinemas (2 unrecd.), 1st week Padra 78,564, 3rd week Rajkot 80,569; Pune (TF) 9,91,555 from 4 cinemas (1 in matinee), Solapur (TF) 3,56,320 from 2 cinemas; Delhi 6,49,689 from 3 cinemas; Kanpur 1,05,017, 1st week Lucknow 2,53,172, 3rd week Allahabad 61,000, Varanasi 70,355, Dehradun 74,189; Calcutta 3,33,666 from 3 cinemas (1 in noon); Nagpur (TF) 1,64,599 (91%), Jabalpur 44,954, total 1,41,478, Amravati (TF) 1,63,617, Akola (TF) 90,066, total 2,50,092, share 1,88,000, Raipur 63,048; Bhopal 78,005; Jaipur 71,139, Ajmer 53,769; Hyderabad 4,08,246.

Major Saab 4th week Bombay (TF) 9,82,590 (72.67%) from 3 cinemas (3 on F.H.); Ahmedabad 56,667, Vapi 1,50,946,total 9,68,826, Rajkot 39,000, 1st Adipur 1,45,160, 4th week Jamnagar 23,881, 2nd week Bhuj 51,735 (1st 1,07,371); 4th week Pune (TF) 3,42,328 from 2 cinemas, Solapur (TF) 70,979, 1st week Barsi (TF) 40,034; 4th week Hubli 64,159 (3rd 85,915); Delhi 8,72,424 from 5 cinemas (1 on F.H., 1 unrecd.); Kanpur 1,44,258 from 2 cinemas, Lucknow 1,34,936, Agra 1,25,700, Allahabad 80,000, Varanasi 94,781, Bareilly 25,072 (13.14%), Dehradun 88,000; Rohtak 12,063; Nagpur (TF) 44,795, Jabalpur 93,328, total 6,26,116, Amravati (TF) 68,733, Akola (TF) 43,519, total 2,87,560, share 2,12,000, Dhule (TF) 36,367, Raipur 35,034, Jalgaon (TF) 64,138, total 3,31,518; Indore 88,931, Bhopal 50,129; Jaipur 2,24,015; Hyderabad 3,15,943 from 3 cinemas (2 in noon).

Ghulam 5th week Bombay 21,18,990 (60.42%) from 9 cinemas (7 on F.H.); Ahmedabad 2,22,372 from 4 cinemas, Rajkot (matinee) 9,509 (1 in regular unrecd.); Pune 4,37,914 from 4 cinemas (1 in matinee), Kolhapur 1,65,000 (4th 1,75,000), total 9,23,380, Solapur 84,655 from 2 cinemas; Delhi 3,87,853 from 2 cinemas (1 on F.H.); Kanpur 28,093, Lucknow 82,561, Allahabad 31,000, Varanasi 55,600, 1st week Bareilly 75,164 (33.64%), 5th Dehradun 48,252; 2nd week Rohtak 10,813; 5th week Calcutta 1,39,020; Nagpur 1,08,606 from 2 cinemas, Jabalpur 1,19,228, total 8,78,064, Amravati 87,521, total 8,16,263, Akola 47,819, total 5,00,182, share 3,70,000, Dhule 40,000, Raipur 64,459, 4th week Jalgaon (6 days) 62,625, 1st Yavatmal 1,27,244; 5th week Indore 63,250, Bhopal 63,516; Jaipur 1,13,360; Hyderabad 5,25,933 from 3 cinemas (2 in noon).

FILM INDUSTRY TO DOWN SHUTTERS ON AUGUST 11

The Bombay film industry will down shutters on 11th August in protest against the government’s inaction in the matter of cable piracy of Hindi films. All film activities viz. production, distribution, exhibition, recordings etc. will remain closed on 11th. A mass rally consisting of members from all sectors of the industry will be organised in Bombay on that day. The rally, which will begin at Juhu, will terminate at Mantralaya where a delegation will meet the Maharashtra chief minister and submit a memorandum to him, urging the government to take quick and stern action against pirates of Hindi films. The rally will also, en route, pass the office of Siticable at Worli. The decision of the rally was taken during a meeting of representatives of all the sectors of the film industry — production, distribution, exhibition and cine workers — held at IMPPA House on 22nd July.

Illegal screenings of Hindi films on cable have spelt huge losses for the film industry in the past few years. The racket of cable piracy has flourished over the years in spite of the Indian Copyright Act being one of the most stringent and comprehensive legislations in the world. On its part, the government has amended the Copyright Act in 1984, making the piracy of films a cognisable and a non-bailable offence, yet it has failed to convict even one offender in 14 years since. The reason for this, according to IMPPA, is the apathetic attitude of the state law enforcement agencies towards the issue. As a result, the menace of cable piracy has continued to thrive under the aegis of major cable networks like Siticable and IN Network, alleges IMPPA. The decision to down shutters and organise a mass rally comes in the wake of this realisation. An Action Committee Against Cable And Other Piracy has also been formed by IMPPA to take up necessary follow-up action in the matter.

It may be recalled here that a few weeks ago, the Tamil film industry had resorted to a similar protest rally in Madras, after which it succeeded in getting several concessions for itself.

ASHA PAREKH IN OFFICE

The newly appointed chairperson of the Central Board of Film Certification, Asha Parekh, has begun attending the CBFC office at Bharat Bhavan, Bombay, from 20th July. She succeeds Shakti Samanta who held the office for three consecutive terms (almost seven years).

Lot Of Anand At Bakshi’s Birthday

His 68th birthday on 21st July is the one which veteran and celebrated lyricist Anand Bakshi will remember all his life. Showman Subhash Ghai celebrated the young-at-heart song writer’s birthday in great style at The Leela, where rich eulogies were paid to Bakshi’s writing prowess.

Although the show started almost two hours late due to unavoidable circumstances, the wait was worth its while. An audio visual on Anand Bakshi, made by Plus Channel, traced the growth of Anand Bakshi as a lyricist, beginning from his childhood days when, perhaps, he did not even in his wildest of dreams imagine that he would one day become a legendary name in the world of dreams. The informative AV presentation, with lucid commentary by Javed Siddiqi, was followed by recital of songs written by Anand Bakshi, by some top playback singers. People like Yash Chopra, Subhash Ghai himself, Hasan Kamal, Nida Fazli, Javed Akhtar, Shabana Azmi, Jagjit Singh and Dilip Kumar praised Anand Bakshi’s works.

Bakshi has had a 20-year association with Subhash Ghai, having penned all the songs of all films made under Ghai’s Mukta Arts banner. In lyrics writing, he has completed 42 years.

Shabana Azmi greeted Anand Bakshi with a huge garland ordered by Ghai specially for the occasion. A memento was also presented by Ghai to Bakshi. Javed Siddiqi was the efficient master of ceremonies.

A huge birthday cake was cut by Anand Bakshi well after midnight.

Subhash Ghai also celebrated the golden jubilee of Pardes at the same party.

‘Prem Aggan’ Music Released With Pomp And Show

Feroz Khan launched the music of his Prem Aggan on 18th July at a function at The Leela. BMG Crescendo is marketing the film’s music released by UTV. The audio cassettes were formally released by Sanjay Dutt and Manisha Koirala.

Two songs from the film were screened for the invitees and this was followed by a live rendition of a couple of songs by the film’s playback singers. At least one song has been picturised on some breathtaking locations of Australia. The music of Prem Aggan is scored by Anu Malik. The songs are of the kind which definitely grow on the listener.

The film introduces Fardeen Khan and Meghna Kothari. At the music release function, Feroz Khan introduced the stars and music director of his film, Anu Malik, to the gathering which mainly consisted of the film’s cast, technicians, music dealers, UTV and BMG people, selected guests and media persons.

PRODUCTION NEWS

‘Soldier’ Complete

The entire shooting and dubbing of Tips Films’ Soldier have been completed. Background music is being recorded at Empire Audio Centre. Starring Raakhee Gulzar, Bobby Deol, newcomer Preity Zinta, Suresh Oberoi, Ashish Vidyarthi, Sharat Saxena, Johny Lever and Farida Jalal, the film is directed by Abbas Mustan. Music: Anu Malik. Story: Shyam Goel. Screenplay: Sachin Bhaumick. Dialogues: Javed Siddiqi. Lyrics: Sameer. Cinematographer: Thomas A. Xavier. Action: Akbar Bakshi. Editor: Hussain Burmawala.

‘Kuch Kuch Hota Hai’ Unit Returns

The unit of Dharma Productions’ Kuch Kuch Hota Hai has returned to Bombay after completing a 15-day shooting schedule in Scotland. The entire cast participated. Starring Shah Rukh Khan, Kajol, Rani Mukerji, Neelam (friendly appearance), Anupam Kher, Farida Jalal, Archna Pooran Singh, Himani Shivpuri, Johny Lever, baby Sana and Salman Khan in a special appearance, the film is being produced by Yash Johar and directed by Karan Johar. Music is scored by Jatin Lalit. Lyrics: Sameer. Cinematographer: Santosh Thundiyil. Choreographer: Farah Khan.

YOU ASKED IT

Why are banks not willing to finance film producers?

– Mainly for two reasons — uncertainty of the business, and the big component of black money involved in film transactions.

Why have films started behaving differently in different circuits rather than faring the same way all over India?

– If a film’s script is powerful and its music is hit, it is bound to do equally well in every circuit. The difference arises in the case of other films because audience tastes have begun to vary region-wise.

Which is the hottest territory today?

– Where are the distributors today that you are talking of the hottest territory? The ‘heat’ comes from a project, that too, before its price/ratio is announced. Other than that, it’s all thanda.

STRAY SUGGESTIONS

* Bobby Deol has cut his long hair short. Good! He should now also cut down his price. Look at Kareeb.

* Pooja Bhatt must really be the busiest heroine around. Don’t believe? Then see Angaaray. Although it is directed by her father, Mahesh Bhatt, the poor girl didn’t have the time to complete her dubbing.

* Govinda should seriously consider completing his films on time. He did it in Dulhe Raja and look at the results. Govinda, after dancing his way into the hearts of the audience, can now also dance his way into the hearts of his producers and directors by reporting on his sets on time. For, time and tide wait for no man.

* Amitabh Bachchan could do with signing a film with a director who has delivered hits in recent times rather than restricting himself to directors who had delivered hits when he (Bachchan) used to be in his prime — years ago!

* Shilpa Shetty should seriously take tips from new love, Akshay Kumar, on dressing. Her costumes in films are always being criticised. Akshay’s clothes are never bitched about. Half the times, he wears nothing except trousers!

* Aishwarya Rai must now try to get over her Miss World image. Models are known to be stiff. But Aishwarya is not stiff. She is very, very stiff. Sniff!

* I & B minister Sushma Swaraj has done a good job of constituting an Advisory Board, Film Export Promotion Forum etc. She should now form a Script Board to advise our film writers on how to write stories and screenplays. If films start running, there’ll be no need for other Advisory Boards.

DO YOU KNOW?

* Rumours were rife earlier this week that Subhash Ghai had replaced Aishwarya Rai from TAAL and had signed Mahima Chaudhry in her place. Of course, the rumours were baseless as Aishwarya continues to be the film’s heroine.

* Ghazal maestro Jagjit Singh has launched an exclusive brand of kurtas called Jagjit kurta. The singer usually wears kurta with churidar in his concerts. Jagjit Singh has plans to extend the product line to include sunglasses, pens, clocks, watches etc. in times to come.

* Ashok Talkies, Jalgaon, is screening a festival of tax-free films! Or almost so. The tax-free MAJOR SAAB is running at the cinema in its 5th week. It will be followed by the tax-free DUSHMAN. After that, it will screen SATYA which also is tax-free in Maharashtra.

MIX MASALA

NO SMOKING

Anupam Kher has given up smoking. This is not the first time the actor has quit the habit but he’s very serious now, that he won’t light the cigarette again. Hope his resolve doesn’t go up in smoke!

3-E
Education-Entertainment-Enlightenment

How About This Birthday Gift, Mr. Ghai?

Subhash Ghai’s exemplary gesture of throwing a lavish party to celebrate Anand Bakshi’s 68th birthday has invoked high praise from all quarters. This fine gesture speaks volumes for the affectionate bond that the showman and the poet share between them. While this party will surely be cherished by Bakshi as one of the best birthday gifts he has received, one is sure, the celebrated lyricist would have been even happier had Ghai given him a song to sing in Taal and announced this at the birthday party. In a recent interview with Film Information, Anand Bakshi had expressed a keen desire to sing at least one memorable song in a film before he hangs his boots. In fact, he had gone to the extent of saying that his only fervent desire was that the people should remember him more for a memorable song sung by him than for those he had penned! This wish of his can be fulfilled by Subhash Ghai even now, so what if the birthday is gone. He could offer his favourite lyricist a singing opportunity in his forthcoming Taal. And should he really do so, it would be a great move, for, this would mean a unique occurrence of one of the oldest lyricists singing for one of the youngest music directors of today (A.R. Rahman).

Better Late Than Never

It seems that writers Rajiv Kaul and Praful Parekh had the story of Dulhe Raja for several years before Harmesh Malhotra made it. They repeatedly approached a number of producers with the story during those years, but without any success. With each producer rejecting the story, the chances of it being ever made into a film looked extremely bleak. It almost seemed as though the Dulhe Raja would never get married for want of baraatis! But, luckily for Kaul and Parekh, producer-director Harmesh Malhotra spotted the story’s potential as late as a year ago.

Boomtime In Bengali Film Industry

At a time when the Hindi film industry is struggling to grapple with its fluctuating fortunes at the box-office, at least one regional film industry is experiencing an unprecedented boom. As many as 35 to 40 Bengali films are currently under-production. Moreover, a number of Bengali films have succeeded in hitting the bull’s eye at the box-office in the recent past. A producer like Dilip Kankaria is making/planning at least four to five Bengali films. While low admission rates due to a reasonable entertainment tax of only 20% on Bengali films may explain the viewers flocking to cinema halls in large numbers, the current boom in the Bengali film industry has adversely affected distributors of Hindi films (which, incidentally, pay 70% entertainment tax) in the circuit. A number of exhibitors in West Bengal run mostly Bengali films only. While on the topic, another regional industry which is experiencing a similar boom, though of smaller proportions, is the Gujarati film industry. Following the runaway success of Govindbhai Patel’s Desh Re Joya Dada Pardesh Joya, as many as 15 to 20 Gujarati films are in various stages of production.

‘Kareeb’ & Liberty

It is a coincidence, and a strange one at that. Power failure disrupted the Kareeb screening on the opening day in the same show in two Liberty cinemas — of Bombay and Delhi. Bombay’s Liberty was in pitch darkness for over an hour in the 6 p.m. show on 17th July. In Delhi’s Liberty, power supply played truant two or three times in the 6 o’clock show, for 10-15 minutes each time.

ISHQ

Baba Films’ Ishq (UA) is, as the title suggests, a love story. Two boys — one, filthy rich (Ajay Devgan), and the other, poor (Aamir Khan) — are the best of friends. Two girls — again, one extremely rich (Juhi Chawla), and the other, poor (Kajol) — are great pals. The four meet, and the rich boy falls in love with the poor girl, and the poor boy falls in love with the rich girl. The two rich fathers (Sadashiv Amarapurkar and Dalip Tahhil) are against these alliances and they hatch a conspiracy to separate the lovers by creating misunderstandings between them. Their aim is to get the rich boy married to the rich girl so that the poor boy and girl are out of the scene. They almost succeed in their evil designs but better sense prevails over the rich boy and rich girl (courtesy Johny Lever who plays the sensible uncle of the rich boy). The rich boy and girl are shocked to learn of their fathers’ dirty games although they have earlier been shown as being victims of their games.

The first half is simply a laugh-riot. Almost every scene is hilarious and keeps the audience in splits. The best part is that many of the comedy punches are fresh and novel. Among the scenes which bring the house down with laughter are the nude statue (of a lady) scene, Aamir Khan’s pipe-walking scene, the first meeting of the two boys and two girls, the bank scene, Johny Lever’s scenes with Sadashiv Amarapurkar etc. The film changes tracks soon after interval and then, there is melodrama at its peak. An attempt is made to make the audience cry but the emotions are not half as effective as the comedy before interval. For one, the base of the misunderstandings is not too strong, and secondly, the misunderstandings get too complicated and compounded. The starting point of the climax, where the misunderstanding is sought to be resolved, is not exciting enough to evoke thunderous applause from the audience. It should have been so. Harping on brother-sister relations between Aamir Khan and Kajol, showing a deglamourised Kajol, and an Ajay Devgan who surrenders to fate/circumstances rather than fighting back (as is his image) also dilute the impact of the drama. Climax is routine and one misses Aamir Khan in it. What a love story of this kind needed was a super-hit music score, at least one memorable song. But while the film’s music (Anu Malik) is very good, that hit score is missing and its absence is sorely felt.

Aamir Khan is extraordinary in all the comedy scenes in the first half. His sense of timing is absolutely fantastic. He endears himself to the viewers so much in the light role that despite an equally able performance after interval, he somehow does not create the same impact in the serious role. Juhi Chawla is superb — she looks gorgeous and acts with great aplomb, especially in comic scenes. Ajay Devgan acts with all the sincerity and comes out with flying colours. But his fans may miss his action, and not appreciate his crying. Kajol gets more scope in the second half and lives her serious role with a praiseworthy performance, especially in emotional scenes. Sadashiv Amarapurkar and Dalip Tahhil are effective. Johny Lever has several good punches and he makes the most of them, leaving a mark whenever he appears on the scene. Deepak Shirke, Tiku Talsania and Anant Mahadevan lend very good support. Shweta Menon looks sexy in a song-dance. Mohan Joshi, Sunil Dhawan, Razak Khan and the rest are fair.

Indra Kumar is in his elements in the light first half and deserves more than distinction marks for that. But he falls short of that in the drama portion where he takes recourse to too many cinematic liberties and seems to have run out of ideas.

As said above, Anu Malik’s music is very nice but the absence of a super-hit/haunting number is a sore point. ‘Mr. Lova Lova’, ‘Ishq hua’, ‘Neend churayee meri’ and ‘Humko tujhse pyar hai’ are well-tuned. Song picturisations should have been much more eye-filling. ‘Mr. Lova Lova’ is the best picturised number. Camerawork is good. Production values are very nice. Action scenes have been well composed. Dialogues are of a good standard.

On the whole, Ishq should keep its distributors smiling on the strength of an extraordinary and entertaining first half and despite an ordinary second half. Business in Bombay, Maharashtra and South should be the best, and in Bihar, comparatively lesser.

Released on 28-11-’97 at New Excelsior, Plaza and 17 other cinemas of Bombay thru Devgan’s Entertainment. Publicity & opening: excellent. …….Also released all over. Opening was not up to the mark in C.I. and a few stations in other circuits.

DHAAL

Rohitasha Movies’ Dhaal (A) is a purposeful film asking the hands of law — police and lawyers — to work in tandem to protect the people and the nation. An honest police officer gets disheartened due to the machinations of a reputed criminal lawyer who specialises in fighting in court, for criminals, and who succeeds in getting every criminal booked by the police inspector, released by the court. The lawyer is none other than the inspector’s brother-in-law and he has, as his biggest client, the topmost underworld don of the city. The lawyer hates his police officer brother-in-law because of his poverty. A friend of the police officer, who is studying law to become a defence lawyer, changes his mind and decides to become a public prosecutor instead, to work against the defence and to support honest police officers like his friend. But both the friends are put behind bars due to foul play of the don and his lawyer. The lawyer-friend escapes from jail to save the innocent police inspector and plans in such a way that the world can witness the don’s confession. The don is ultimately also prevented from fleeing. The defence lawyer is made to feel guilty for his wrongs.

A usual story is complemented by a routine screenplay and a slow-moving, dull drama. Except for one clapworthy scene before interval (when the friend helps the police officer in the court and embarrasses the defence lawyer), there isn’t much to look forward to. Some action scenes in the climax are thrilling. Comedy scenes entertain at places. Dialogues are simple.

Vinod Khanna is very good as the police inspector. Sunil Shetty excels in the climax action and in a jail fight scene. He is fair in dramatic scenes but ill-at-ease in song-dances. Gauthami is alright. Anjali Jathar does an average job. Danny Denzongpa is good. Amrish Puri lives the don’s role. Laxmikant Berde is entertaining, Kunika, Arun Govil, Sanjay Shah, Ramesh Goel, Pinky and the others lend ordinary support.

Sameer Malkan’s direction is ordinary. His selection of a routine script and even a climax that’s not new limit his chances all the more. The film has taken quite a long time in the making. Songs and their picturisations are average. Camerawork and other technical values are okay.

On the whole, Dhaal is a dull fare with its low price being the only real advantage.

Released on 28-11-’97 at Novelty and 22 other cinemas of Bombay thru Tridev Movies. Publicity & opening: dull. …….Also released all over. Opening was poor at most of the places.

ONE KILLED IN COLLAPSE OF SET

A carpenter, Hari Shankar Singh, was killed on 23rd November when the set of producer Nazir Ahmed’s untitled film he was working on at Bandra Reclamation, Bombay, collapsed. Nine others were injured and were rushed to Bhabha Hospital and are out of danger.

The police on 24th arrested producer Nazir Ahmed, art director Nitin Desai, assistant director Ashok Kadam and production manager Brij Chopra for the collapse and charged them with negligence while constructing a film set, which resulted in the death of the person on the spot and injury to nine others. They were later released on bail.

The set of police headquarters was a two-storeyed structure which was nearing completion on 23rd. It suddenly caved in in the evening.

FRIDAY RELEASES IN C.P. TOO

Distributors of C.P. Berar have also informally decided to release films on Fridays instead of Thursdays, as at present. But unlike in C.I., where it has been made compulsory to open films on Fridays only, in C.P., it has so far been left to the discretion of the distributor concerned. He is free to release his film on Thursday or Friday, as he desires.

The release day of new films is being changed in the circuits following pressure from producers to have a uniform release day in all the circuits.

Ishq opened in C.P. Berar (as also in C.I.) on Friday this week. Dhaal, however, opened on Thursday in C.P.

SC CANCELS BAIL OF RAMESH TAURANI

The Supreme Court on 26th November cancelled the bail granted by the Bombay high court to Ramesh Taurani, a prime accused in the Gulshan Kumar murder case. Taurani has been directed by the apex court to surrender before the police by 3rd December, and he will be remanded to judicial custody.

A bench of Justice M.K. Mukherjee and Justice K.T. Thomas passed the order after hearing arguments from both sides. If Ramesh Taurani does not surrender, the Maharashtra government has been directed to take necessary steps to take him into custody.

The court earlier rejected the arguments of Taurani’s counsel that the involvement of his client in the murder, as alleged by the Bombay police, was at the behest of the family members of Gulshan Kumar. The Maharashtra government’s counsel, Kapil Sibal, contended that the high court action in granting Taurani bail on October 25 had created a “dangerous situation”.

TOP BRASS ATTEND WEDDING OF SUBHASH CHANDRA’S SON

The attendance at the wedding of Punit, son of Subhash Chandra of Essel group, with Shreyasi on 25th November in Delhi was phenomenal. All top political dignitaries and socialites of Delhi rubbed shoulders with one another. The reception in Bombay on 28th at the RWITC was also a crowded and very classy affair.

MUSIC INFORMATION

Udit Narayan’s First Private Album

Udit Narayan’s first private album, ‘I Love You’, will be released by Wings Music Co. on 1st December which is Udit’s birthday too, at Ramada Inn Palm Grove.

YOU ASKED IT

Is it the opportune time to make a film with newcomers?

– Attempt it only if the lack of face value can be compensated by either extraordinary music or a brilliant story-line or excellent screenplay.

How many films with Dolby/DTS sound are likely to be released in 1998?

– Around 40 or 45.

Who is the busiest actor today?

– Mithun Chakraborty. He has about 12 films on the sets, and another 12 in the pipeline!

DO YOU KNOW?

* Ram Gopal Varma’s new film, SATYA, starring Urmila Matodkar and a new boy, is almost complete. It went on the sets after the release of Varma’s DAUD.

* Dresses of Madhuri Dixit and Karisma Kapoor in DIL TO PAGAL HAI have become quite a craze among ladies and young girls. There are reports of some ladies repeating DTPH for the costumes. Manish Malhotra is the dress designer of the two heroines.

* Except for Smita Thackeray’s HASEENA MAAN JAYEGI, Anu Malik is saying “no” to producers of Nadeem Shravan’s films, who approach him to step into the duo’s shoes.

* Story sittings are on for Rakesh Roshan’s new film. Dad Rakesh and son Hrithik (who will be launched in the film) are “not available” on telephone from 10.30 a.m. to 1.30 p.m. every day because that’s the time they have their sittings. And it has been going on like that since the last six months now.

* The management of Natwar Talkies, Jalgaon, permitted free admission to ladies in their cinema in all the shows on 26th, 27th and 28th November for GHULAM-E-MUSTHAFA.

* Savoy cinema in Sri Lanka is screening Mira Nair’s KAMA SUTRA (English) for ladies only in some shows. Womenfolk are patronising the film in these shows meant only for them, in a big way.

TIPS TO STARS

** Shilpa Shetty needs to do something about her costumes in films. Generally, her clothes leave a lot to be desired.

** Sharad Kapoor should pull up his socks as far as his acting and dialogue delivery go. He was the pits in Vishwa Vidhaata.

** Pooja Batra has not been half as impressive in her latter films as she was in her debut-making Virasat. Because of her lean and very tall structure, Pooja should be extremely careful about how she dresses up for the camera.

** Sonali Bendre needs to be particular about her dialogue delivery. If she improves her dubbing, her career will start looking up.

** If what people say about Govinda reporting on time for shootings these days is true, it’s really good. But it will be better if Govinda makes this (coming on time) a rule rather than keeping it an exception.

** Mamta Kulkarni should speak her dialogues slowly and clearly. She talks like a super-fast train, thereby losing out on expressions in her dialogues.

3-E
Education-Entertainment-Enlightenment

Indra Kumars In News

Friday, the 28th day of November, saw Indra Kumars in the limelight. Film industry’s Indra Kumar had a prestigious release — Ishq — on Friday. India’s prime minister, Inder Kumar Gujral, resigned from his post the same day.

What A Comeback!

Rarely does such a thing happen but it has happened twice in 1997. Two superstars, who were down and out, struck back with hits in 1997. Sridevi’s career was moving in one direction — downwards — and one thought, she’d never again give a hit, but came along Judaai. More exciting has been Madhuri Dixit’s comeback, if one may use the term. Every film of Madhuri Dixit, after HAHK..!, flopped and fell like nine pins. But the girl struck back with a vengeance in Dil To Pagal Hai, silencing all her critics with her looks and performance alike. The coincidence is that in both the films, there was a second heroine whose contribution to the films’ success was not small. Urmila Matondkar was Sridevi and Anil Kapoor’s co-star in Judaai, and Karisma Kapoor was Madhuri and Shah Rukh Khan’s in DTPH.

Double Release

It is indeed a coincidence that two star-cast films released on the same day have story and screenplay written by the same team. Rajiv Kaul and Praful Parekh are the story-screenplay writers of both this week’s releases, Ishq and Dhaal. Both the films also have music by the same music director — Anu Malik.

This Is Simply Not Done!

The telephonic threats by Pravin Shah and Pradeep Singh, producer and Thane sub-distributor respectively of HU TU TU, to Komal Nahta, editor of Film Information, earlier this week, sent shock waves in the Bombay film industry. Industry leaders and top producers, distributors, exhibitors, artistes and technicians of Bollywood have expressed disgust over the incident and have promised support to your editor.

Pradeep Singh telephoned Komal on 26th January at the latter’s residence and threatened him of dire consequences for having written an “unfavourable review” of HU TU TU in Film Information issue dated 23rd January, 1999. This was followed by telephone calls from Pravin Shah who threatened to eliminate Komal for the negative review.

Komal Nahta lodged an N.C. complaint (no. 234 dated 26-1-’99) with the Khar police station and also met the additional commissioner of police, Mr. Rakesh Maria, who promised to look into the matter and assured him of his safety. But in the meantime, Komal’s mother panicked so much that she had to be hospitalised (at Leelavati Hospital) for highly fluctuating blood pressure. She was in hospital for three days and was discharged on 29th.

It would be pertinent to point out here that HU TU TU has done well only in Bombay and parts of Maharashtra (as predicted by us in our review) but has failed miserably in the other circuits. It had to be discontinued from Ramachandra cinema of Hyderabad (an ‘A’ class centre of Nizam) after just 5 days due to lack of audience (5 days’ collection was a paltry 48,359/-). In Jodhpur (an ‘A’ class centre of Rajasthan), the collections of the film at Kohinoor dropped like mercury in a thermometre kept in a refrigerator. Collections of other centres (printed elsewhere in this issue) are proof of how the film has fared in the whole country. But that is not the issue here.

The question which arises in that even if the film had hit the bull’s eye, were such ghastly threats in order? Rightly has the shameful incident been condemned with indignation by one and all in the industry. The incident assumes even more significance because it landed a lady, completely unconnected with the episode, in hospital in a traumatised state.

Does anyone in a free country have the right to play with another’s life so callously? It’s really shameful — much more shameful than the box-office figures of HU TU TU.

LATEST POSITION

Extreme cold in various parts of the country has affected collections in the night shows. At places, the night shows record 10-15% collections only.

Aa Ab Laut Chalen could not pick up much and remained steady at medium collections at many centres; it, however, dropped at some places. Is dull in East Punjab and Rajasthan. 1st week Bombay 42,92,860 (86.22%) from 9 cinemas (5 on F.H.); Ahmedabad 10,60,166 from 6 cinemas, Padra 1,94,988, Rajkot 1,31,400, Jamnagar 1,41,713, Adipur 1,19,650 (73.73%); Pune 7,28,357 from 4 cinemas (1 in matinee), Kolhapur 1,47,633, Solapur 2,33,901 from 2 cinemas; Hubli 1,89,988 (100%), Belgaum 1,62,505 (100%); Delhi 33,95,177 (77.90%) from 9 cinemas (1 on F.H.); Kanpur 3,26,569 from 2 cinemas, Lucknow 3,76,520, Agra 2,97,282, Varanasi 4,14,410 from 2 cinemas, Allahabad 2,44,578, Meerut 2,64,900, Bareilly 1,71,597 (76.75%), Hardwar 44,622; Calcutta 12,55,314 from 10 cinemas; Nagpur 2,51,381 from 3 cinemas, Amravati 1,49,510, Raipur 1,49,951, Bhilai 1,41,570 from 2 cinemas, Jalgaon 1,40,049, Bilaspur 1,00,345; Indore 1,38,640 (3 on F.H.), Bhopal 2,76,608 from 2 cinemas; Jaipur 4,42,796 from 2 cinemas; Hyderabad 28,28,501 from 12 cinemas, share about 14,00,000.

Hum Aapke Dil Mein Rehte Hain picked up in several centres due to ladies’ patronage. It has done excellent in Bombay and is good in Delhi-U.P., West Bengal, C.P.C.I. and Nizam but dull in Rajasthan. 1st week Bombay 45,32,854 (94.77%) from 8 cinemas (9 on F.H.); Ahmedabad 8,30,821 from 3 cinemas (1 unrecd.), Valsad 2,10,332 (81.75%), Rajkot 1,89,960 from 2 cinemas (1 in matinee), Jamnagar 1,25,943; Pune 13,02,746 from 5 cinemas (1 in matinee), Kolhapur 2,99,203, Solapur 2,19,217 (98%); Belgaum 1,27,890; Delhi 36,20,660 (85.16%) from 8 cinemas; Kanpur 4,97,480 from 2 cinemas, Lucknow 4,91,849, Varanasi 2,26,939, Allahabad 1,83,430, Meerut 2,57,764, Bareilly 1,68,495 (55.60%), Hardwar 90,000; Calcutta 26,52,155 from 14 cinemas; Nagpur 5,83,275 from 3 cinemas, Jabalpur 1,70,435, Amravati 1,67,715, Dhule 1,30,609, Raipur 1,71,879, Bhilai 1,46,770, Gondia (gross) 1,20,631, Chandrapur 1,75,875, Yavatmal 1,00,065, Bilaspur 1,82,556; Bhopal 1,36,320 (1 on F.H.); Jaipur 7,09,544 from 4 cinemas; Hyderabad 14,95,762 from 7 cinemas (1 in noon).

Hu Tu Tu has done well in Bombay and parts of Maharashtra but dropped badly in the other places from 3rd/4th day onwards. It will entail heavy losses to almost all its distributors. 1st week Bombay 22,71,641 (93.82%) from 4 cinemas (8 on F.H.); Ahmedabad 3,30,975 from 2 cinemas, Rajkot 1,16,511, Jamnagar (matinee) 15,328; Pune 5,19,199 from 2 cinemas (1 in matinee), Solapur (matinee) 72,470; Delhi 15,65,422 (56.64%) from 4 cinemas (1 on F.H.); Kanpur 1,91,000, Lucknow 3,75,962, Allahabad 1,24,000, Bareilly 94,904 (33.45%); Calcutta 12,08,877 from 8 cinemas; Nagpur 5,32,818 from 3 cinemas, Jabalpur 1,24,654, Amravati 1,75,164, Raipur 1,31,010, Jalgaon 1,32,397; Indore 1,65,159 (1 on F.H.), Bhopal 1,30,629; Jaipur 2,13,880; Hyderabad 12,88,764 from 7 cinemas (1 in noon).

Bade Dilwala is poor. 1st week Bombay 22,12,618 (49.09%) from 11 cinemas (7 on F.H.); Ahmedabad 2,40,567 from 4 cinemas, Bhuj 45,000; Pune 4,45,770 from 6 cinemas (1 in matinee); Delhi 14,52,907 (27.82%) from 10 cinemas (3 on F.H.); Kanpur 1,64,759 from 2 cinemas, Lucknow 1,37,179, Varanasi 98,984, Allahabad 1,13,000, Meerut 1,17,513; Calcutta 3,05,552 from 3 cinemas; Nagpur 1,03,988 from 2 cinemas, Bhilai 24,084, Jalgaon 68,489; Indore 76,737 (1 on F.H.), Bhopal 73,591; Jodhpur 1,50,000.

Tej Raftaar (dubbed) has done well despite the opposition of so many new releases simultaneously. 1st week Ahmedabad 1,20,507 (70%), Surat 1,30,929 (69%), Baroda 1,13,627 (78%), Rajkot 1,38,848 (65%); Pune 47,854 (19%), Kolhapur 83,587 (45%), Solapur 1,18,741 (79%), Nasik 43,537 (20%), Sangli 88,987 (37%), Ichalkaranji 77,147 (46%), Malegaon 1,20,075 (45%); Belgaum 85,756 (81%); Hyderabad 2,38,893 (98%).

Kuch Kuch Hota Hai 15th week Bombay 23,25,892 (71.35%) from 8 cinemas  (5 on F.H.); Ahmedabad 3,80,835 from 4 cinemas, 2nd week Himmatnagar 1,24,210 (1st 1,27,325), 15th week Baroda 1,39,724; Pune 5,77,995 from 3 cinemas (1 in matinee), Solapur (matinee) 38,913; Delhi 4,72,397 from 2 cinemas (3 on F.H.); Kanpur 2,50,249 from 2 cinemas, Lucknow 3,80,146, Agra 1,03,000, Varanasi 1,65,411, Allahabad 72,339; Calcutta 5,71,169 from 3 cinemas; Nagpur 1,06,970, 2nd week Kamptee 75,804 (1st 71,315), 10th week Jabalpur 1,61,848 (9th 1,58,369), total 19,12,562, 13th week Amravati (6 days) 76,570, 2nd week (6 days) Durg (gross) 63,678, 15th week Bilaspur 25,000, 3rd week Balaghat 66,090, total 2,27,482; 15th week Indore 89,224; Jaipur 4,61,496, Ajmer 43,581; Hyderabad 4,67,217 from 2 cinemas (1 in noon); Vijayawada 6 weeks’ total 4,25,146.

…………..

YOU ASKED IT

What is the final tally of China Gate?

– It will fetch commission in a few circuits. In the rest, it will entail losses to distributors.

When so many English films are being dubbed in Hindi, why is Shekhar Kapur’s Elizabeth not being dubbed?

– You never know, someone just might dub it in Hind. But one wonders whether it will have the same appeal as in English.

How much would an ‘A’ grade project’s music rights fetch today?

– The audio rights may fetch the price of a major circuit.

MIX MASALA

UNIQUE WEDDING INVITATIONS

That a wedding in the family of leading film financier Bharat Shah would be an ultra-grand affair has now come to be accepted as a custom. The wedding cards are always as rich and tasteful as the string of functions preceding the wedding reception and the reception itself. And the invitation card for the marriage of Sweta, daughter of Vijay Shah and niece of Bharatbhai, with Bhavin, on 6th and 7th February in Bombay, is simply breathtaking. It is in the shape of a book which has been explained to be a Bhrigu Samhita — an ancient Indian text which is believed to contain the life histories of everybody. The pages of the heavily decorated book, printed on imported paper, contain the details of the marriage ceremony and other programmes. The invitation book, it may be added here, has been sent out in huge and stylish boxes.

HERE & THERE

Republic Day Honours For Ashok Kumar, Lata, Javed

Melody queen Lata Mangeshkar was among the 14 distinguished people of the country chosen for the Padma Vibhushan award on the occasion of Republic Day this year. This is the country’s second highest civilian award. Veteran Ashok Kumar has been honoured with Padma Bhushan. The two film personalities awarded Padma Shri are lyricist Javed Akhtar and character actress Sulochana. The awards were announced by president K.R. Narayanan.

All the winners, obviously, feel honoured. Lata expressed her gratitude to the government. Javed Akhtar said that the honour had reminded him of his social responsibilities as a writer and poet and he would try to fulfil them. Veteran actress Sulochana thanked her teachers, parents and all her fans whose blessings had given her the will power to achieve this success.

Mahajan Assures Immediate Action To Solve FTII Problems

I & B minister Pramod Mahajan, who is taking a keen interest in promoting the film industry and solving its problems, visited the Film and Television Institute of India, Pune, on 18th January to have first-hand information on its problems. The tussle between the students and the director of the institute, Dr. Mohan Agashe, has been on for a long time, as the new members of the governing council of the Institute have not yet been appointed by the government. The governing council is to take the final decision in the matter of the revised syllabus suggested by Dr. Agashe. At present, nothing seems to be moving on the FTII front. The government is giving a thought to privatising the Institute to make it a profit-making centre by opening its doors for producers to shoot their films there. Mahajan, after his visit to the Institute, assured the staff and students that he would take an immediate decision to chart out the future course of the FTII, which has 200 staffers working full-time.

Asha Bhosle Pained At Today’s Soulless Songs

Asha Bhosle, who is in Delhi to participate in a musical nite today (30th January), while talking to the press, opined that the passing away of the great music directors and poet-lyricists was one of the primary reasons behind the absence of melody in today’s film songs. She also found fault with the audience, saying that public demand compelled lyricists and musicians to churn out soulless songs. “Let the public reject it and melody would return,” she said. Asha, who has earned a place for herself in the world of pop music too, said that pop music was nothing but popular music, and she sang only those songs which had scope for melody and popular appeal. She said that the younger generation preferred fast music but their singing in various TV musical programmes provided ample proof of the timelessness of old film songs which were melodious.

3-E
Education-Entertainment-Enlightenment

Too Disturbing?

Many among the audience have found the scene of Hum Aapke Dil Mein Rehte Hain in which Kajol, in an advanced state of pregnancy, falls flat on her stomach, too disturbing to bear. But exhibitor Ravi Machhar has not just heard this complaint, he has had the staff of his Abhinay cinema in Aurangabad administer first aid to a couple of ladies who fainted in the auditorium while seeing the scene in different shows in the first week. While this is definitely not a good thing to have happened, it, nevertheless, speaks volumes for Kajol’s acting prowess.

The Showman And His Staff

The party which Subhash Ghai’s staff hosted at his Audeus studio on 23rd January to bring in his birthday on 24th was a well-organised and homely affair. It was a surprise party for Ghai who remarked, “Look, I’m not even dressed up for the occasion.” But the party also had surprises in store for the select invitees. For, Anand Bakshi rendered a lovely song which he has written for a film to be made by Zee and directed by Anil Sharma. Playback singer Sukhwinder also regaled the gathering with his songs. Anil Kapoor, Akshaye Khanna, Aishwarya Rai and Alok Nath were the four As who added glamour to the party which went on till the wee hours of the morning. And although there was a lot of merry-making, drinks and dinner, what was the best part of the party came towards the end when the amiable Ghai danced with his office boys, making each one feel so special that day. His wife was happy playing the hostess but when it came to speaking a few words on the mike, the elegant lady only blushed and was heard sweetly whispering into hubby’s ear, “Main kya boloon?” (“What do I say?”).

GHARWALI BAHARWALI

Tutu Films’ Gharwali Baharwali (UA) is a comedy film about a man (Kader Khan) who is obsessed about his daughter-in-law (Raveena Tandon) not being able to conceive and, therefore, give him a grandchild. His obsession drives him to force his son (Anil Kapoor) into a second marriage (with Rambha). What follows are incidents where the son finds himself in a fix as he has to deal with his two wives. While some of the scenes are hilarious and evoke instant laughter, the plot itself is very weak. For one, the manner in which Anil Kapoor is led into a second marriage looks implausible in view of the fact that Anil is not shown as an uneducated village bumpkin but rather a city-bred, educated businessman. Secondly, the second wife (Rambha) is not at all demanding and, in fact, pointedly tells Anil Kapoor to leave her and continue his life with Raveena. In such a situation, why Anil Kapoor tries to fool Raveena and woo Rambha is incomprehensible, when he could have as well made amends by simply supporting Rambha rather than romancing her. Thirdly, Anil Kapoor’s characterisation is poor, making him appear to be a queer mix of a completely devoted husband and a Romeo. Similarly, Kader Khan’s character is so inconsistent that it changes after every few reels — first, he is bent upon a second marriage for his son; next, he is cent per cent against bigamy and even threatens to kill Anil if he weds again; and later, he insists that both Anil’s wives should live together! Trying to justify Anil’s second marriage, in the post-interval portion is neither convincing nor emotional. It would have been much better had the comic track been allowed to continue. Besides, the crude language in which the father prods his son to give him a grandson, looks odd. Dialogues are punch-packed and witty.

Anil Kapoor is in his element in just a few scenes but for the rest, he does an average job, suffering on account of a weak characterisation. Raveena Tandon impresses in a couple of dramatic scenes but is so-so otherwise. Rambha is alright; she doesn’t get too many scenes to emote. Kader Khan (made to look unshapely) is too loud at places. Satish Kaushik’s comedy is excellent at several places and, in a couple of scenes, he brings the house down with laughter. But his dialogues in a few scenes are unclear. Besides, his role is so lengthy that he could get on people’s nerves. Asrani is okay. Tiku Talsania, Rakesh Bedi and Dina Pathak are fair. Master Shahrukh is cute.

David Dhawan’s direction is like a job hurriedly done. While his handling of comedy scenes (especially those involving Satish Kaushik) show his stamp, the narration of the drama is not very convincing. David seems to have been let down by writer Rumi Jafri who has relied on clichéd situations and has hardly worked on two important characterisations — those of Anil and Kader Khan. Anu Malik’s music is a big letdown. Except for ‘Ek taraf hai gharwali’ and ‘Ta ra ra ra’, which are fair numbers, the other songs are dull. Even song picturisations are not exciting. The ‘Ghunghat mein chehra’ song can be advantageously deleted. Camerawork is okay. The Nepal locations have not been well exploited. Production and other technical values are alright.

On the whole, Gharwali Baharwali is neither a comedy nor an emotional family drama. It may make the audience laugh at places, but it cannot be expected to make distributors smile. A dull fare, its business in Bombay and Maharashtra may be fair but that in the rest of India will be weak.

Released on 12-6-’98 at Minerva and 16 other cinemas of Bombay thru VIP Enterprises. Publicity: good. Opening: fair. …….Also released all over.

ACHANAK

Film Folks International’s Achanak (UA) is a thriller in which there is also a suspense angle, albeit weak. The main drawbacks of the film are that it has several unbelievable incidents, unrealistic acts by characters, and hotch-potch screenplay. The story moves from the view-points of different characters at different times. Suspense, when revealed, fails to excite because what is suspense for the hero is not suspense for the audience. Further, too many coincidences in the drama dilute the impact.

Screenplay is one of sheer convenience. Tight corners for the characters are first created in a contrived manner and then other characters try to help those stuck up in such forced tight corners. Dialogues are okay. Climax is too lengthy.

Govinda does well. Manisha Koirala does a fair job. Farhana suffers on account of a faulty and ill-defined characterisation. Rahul Roy is alright in a special appearance. Paresh Rawal is reasonably good. Johny Lever, in a triple role, provides some comic moments. He is especially good in the climax scenes with Sanjay Dutt and Shah Rukh Khan (both in friendly appearances). Navneet Nishan, Saeed Jaffrey, Tinnu Anand, Dalip Tahhil, Vishwajeet Pradhan, Viju Khote, Dinesh Hingoo and the other artistes lend average support.

Naresh Malhotra’s direction is not very inspiring, maybe due to the weak script. Music is quite good. ‘Jaane jaana’, ‘Ek soni kudi’ and ‘Dil leke gayaa chor’ are hummable numbers. Song picturisations have no novelty or freshness. Photography (Raju Kaygee) is eye-pleasing. Action is quite good. Production values are of a good standard. Technically, up to the mark.

On the whole, Achanak is a dull fare.

Released on 12-6-’98 at Maratha Mandir and 19 other cinemas of Bombay thru Dilsa Distributors Combine. Publicity: good. Opening: fair. …….Also released all over. Opening was dull in many circuits.

HUMSE BADHKAR KAUN

Vee Creations’ Humse Badhkar Kaun (UA) is a routine tale of good versus evil. A pair of twin brothers (played by Sunil Shetty and Saif Ali Khan) gets a shock when they learn that the chief minister of the state is none other than their own mother. Some terrorists will, however, not let them reach their mother. Ultimately, the two brothers fight the villains and thus save the state and their mother.

Neither is the story exciting nor is the screenplay. Scenes are so lengthy that at many places, their impact is lost. Dialogues are commonplace. Except for some exciting action, a couple of emotional scenes and some funny moments, there’s little to please the heart.

Sunil Shetty does well as the simple village boy who comes to the city in search of his twin brother. Saif Ali Khan, as the twin brother, is good in a carefree role. Sonali Bendre and Dipti Bhatnagar do fair jobs, but they are almost missing in the second half. Raza Murad is okay and so are Mukesh Rishi and Mohan Joshi. Beena, as the mother of the twins, does quite well. Shiva and Ashish Balram Nagpal pass muster. Deepak Anand is alright. The rest fill the bill.

Deepak Anand’s direction is reasonable but the uninspiring story and unduly lengthy scenes are sore points. Viju Shah’s music is a letdown. ‘Line maar le’ is about the only hummable number. Its picturisation is good. Camerawork is so-so. Production and other technical values are average.

On the whole, Humse Badhkar Kaun is a dull fare with chances in small centres.

Released on 12-6-’98 at Alankar and 19 other cinemas of Bombay thru Mahalaxmi Film Distributors. Publicity & opening: average. …….Also released all over. Opening was quite dull in many circuits but alright in U.P.

INDUSTRY DELEGATION CALLS ON U.P. CM

A delegation of the film industry, headed by FFI president Santosh Singh Jain, will meet the Uttar Pradesh chief minister on 13th June (today) in Lucknow. The delegation will also go to Dehradun where it will visit the proposed site of Film City. Ramanand Sagar, Surinder Kapoor, Subhash Ghai, Sultan Ahmed and G.P. Shirke will be the other members of the delegation. Shatrughan Sinha and Pahlaj Nihalani will join the delegation from Delhi.

The industry people have been invited by the U.P. tourism minister for the proposed development of Uttar Pradesh as a shooting spot.

GAUTHAMI WEDS

South films’ heroine, Gauthami, was wedded to Sandeep Bhatia, a Bombay-based businessman, on 7th June in Madras.

ANU MALIK, RAHAT INDORI ACCUSED OF PLAGIARISM

Music director Anu Malik and lyricist Rahat Indori have been served legal notices by lyricist Syed Mohammad Hasan Imam for alleged plagiarism of his lyrics, in Kareeb. According to the notice, Hasan Imam had had a sitting with Anu Malik in March ’92 when he had narrated the lyrics of the mukhda of a song written by him, which went as Haan judaai se darta hai dil. The lyrics were also registered by Imam with The Film Writers’ Association. Anu Malik had, at that time, assured Hasan Imam that the lyrics would be used in the then under-production film of producer Salim Akhtar. It is stated in the notice that while this never happened, Anu Malik later used the lyrics, without Hasan Imam’s consent or knowledge, in two songs composed by him for Vidhu Vinod Chopra’s Kareeb.

Accordingly, a notice has also been served on Tips, the film’s audio rights holders, as well as producer Vidhu Vinod Chopra.

NAWAL BABU NO MORE

Leading Bihar exhibitor Nawal Kishore Sinha, proprietor of Kiran Talkies, Gaya, expired on 6th June at Gaya.

‘DUSHMAN’ TAX-FREE IN MAHARASHTRA, DELHI

Pooja Bhatt’s Dushman has been granted tax exemption in Maharashtra for a period of three months starting 12th June. Since the tax-free order was received by the producer after the film’s matinee show started on 12th June, the tax-free rates came into effect from the 3 p.m. show onwards.

The film has also been exempted from entertainment tax in Delhi.

YOU ASKED IT

Will star prices come down due to the spate of failures in the recent times?

– Star prices are already steady and, in some cases, coming down because there aren’t too many announcements. Even in the case of newly announced films, the artiste finds himself unable to dictate sky-high prices as he was capable of doing, say, a year back. But still, prices need to come down even more.

People keep saying that films are flopping one after another because of a bad period. Is it really the period that is bad or is it the films which are poor?

– What are flopping are bad films, but it is also true that the extent to which they are flopping is because of the bad times.

Is it worthwhile to shoot on foreign locations even now or have we had too much of it?

– Foreign locations can be exciting for the audience but our makers should stop repeating the same locations over and over again.

DO YOU KNOW?

* PYAAR KIYA TO DARNA KYA has yielded a distributor’s share that has surpassed the first run share of DIL TO PAGAL HAI and ISHQ at Barsi (Maharashtra). The share of DTPH from Chitra, Barsi was about 1,15,000/- and that of ISHQ from the same cinema, about 1,20,000/-. The share of PKTDK from Asha cinema in the first 5 weeks (4 weeks in regular shows and 1 in matinee) is 1,32,141/- and the film is now in its 6th week. DTPH fetched an additional share of 38,600/- in 3 weeks’ run (2nd run) in matinee shows at Asha.

What’s Hot?

The Aati kya Khandala song of Ghulam is becoming a rage not only in India but abroad too. It is Aamir Khan’s first try at playback singing. Maybe, the craze for the number may translate into a bumper opening for the film next week. Aati/aata kya film dekhne?

The promotional trailer of Major Saab on satellite channels is being well appreciated. People are happy to see Amitabh Bachchan playing his age.

Another film of which trailers-on-air are being hotly discussed is Harmesh Malhotra’s Dulhe Raja. They’re good — that’s the general opinion.

CENSOR NEWS

Vishesh Films P. Ltd.’s Ghulam was given C.C. No. CIL/3/26/98 (A) dt. 9-6-’98; length 4794.88 metres in 20 reels (no cut).

Deepak Arts’ Iski Topi Uske Saar was given C.C. No. CIL/2/20/98 (UA) dt. 5-6-’98; length 3980.47 metres in 16 reels (cuts: 122.80 metres).

Sarav Productions’ Dhadak was given C.C. No. CIL/3/27/98 (A) dt. 10-6-’98; length 4343.13 metres in 15 reels (cuts: 75.05 metres).

Rajeev Mohan’s Suraj was given C.C. No. CIL/1/34/98 (U) dt. 9-6-’98; length 1117.20 (16 mm) metres in 10 reels (cuts: 0.80 metres).

ABCL’s Major Saab (length 4812.86 metres in 19 reels), applied on 8th and seen on 10th, has been passed with UA certificate, with minor cuts.

Pramod Films’ Barood (length 4855.55 metres in 18 reels), applied on 10th, was seen on 11th.

Pali Films’ Maut (length 2714.58 metres in 13 reels), applied on 10th, was seen on 11th.

Vishal International Productions (P.) Ltd.’s Jaihind (length 4741.24 metres in 18 reels), applied on 11th, was seen on 12th.

Eastern Epic Production’s Jaag Utha Shaitan (dubbed; length 2496.88 metres in 5 reels), applied on 9th, was seen on 10th.

Columbia Tristar Films of India Ltd.’s Maut Ke Saudagar (dubbed; length 2275.32 metres in 5 reels), applied on 10th, was seen on 12th.

3-E
Education-Entertainment-Enlightenment

Too Many Releases Spoil The Fun

The folly of simultaneous releases of three and four films in a week has always been a topic of discussion in film circles. Such an eventuality invariably leads to bad consequences for all the films in question. To substantiate this point, one can take the case of the simultaneous releases of Gharwali Baharwali, Achanak and Humse Badhkar Kaun this week. In Rajasthan circuit, all the three films have failed to open to full houses in Jaipur. In fact, the opening day’s collection of Achanak was 57%, of Gharwali Baharwali was 53% and of Humse Badhkar Kaun was about 30%. In contrast, Gharwali Baharwali opened to full houses in Ajmer, Kota and Bikaner since the other two films did not open there this week. Even in Udaipur, Gharwali Baharwali opened to full houses because the only other release this week in the lake city was Dushman. This example should serve as an eye-opener for the industry about the merits of spacing out releases.

Major Contribution To ‘Major Saab’

It is often said that people from the film industry lack a sense of camaraderie towards each other. While there are many who subscribe to this view, producer Vashu Bhagnani’s recent deed should force them to reconsider. It all began when the publicity materials of Major Saab were not ready till as late as three weeks before the scheduled date of release. ABCL was even contemplating postponing the film’s release by a couple of weeks because of the delay in the preparation of publicities. Fortunately for ABCL, such a situation was avoided just in the nick of time when Vashu Bhagnani, producer of the Amitabh-starrer Bade Miyan Chote Miyan, stepped in. Amitabh Bachchan is reported to have requested Vashu to help the film out by taking charge of getting the publicity prepared in the shortest possible time. Vashu, on his part, went out of his way to make sure that the publicity materials designed were of a very good quality. As a result, two splendidly attractive back-lit hoardings of Major Saab were put up at two strategic locations in Bombay on 11th June — that is, in just a week’s time from Vashu stepping in. The hoardings, designed by Himanshu and Rahul Nanda, are displayed at the junction of Linking Road and S.V. Road at Bandra and outside Mela restaurant at Worli. In one word, the two hoardings are fantastic. And so was Vashu’s gesture.

Crisis And Losses

D.Y. Pattani was one of the leading sub-distributors of Gujarat territory but the losses he has faced in the last year-and-a-half could frighten anyone. His list of loss-making films released in 1997 and 1998 (so far) includes Himalay Putra, Mrityudaata, Insaaf, Itihaas, Do Ankhen Barah Haath, Ghoonghat, Mere Sapnon Ki Rani, Mr. & Mrs. Khiladi, Aflatoon, Sher-E-Hindustan, Zor, Saazish, 2001, Yugpurush and Salaakhen. Little wonder then that Pattani has suddenly given up buying films for Gujarat and is, instead, concentrating on his exhibition business. As he says, “I’ve completely stopped buying films because of the crisis in the industry and the heavy losses I’ve suffered in distribution. I’m now only interested in releasing films on commission basis.”

Censors Behind Filmmakers

Certain shots in a song from David Dhawan’s Gharwali Baharwali were objected to by the censors, leading to their deletion from the film. The objectionable shots appear in the antra of the song Ek taraf hai gharwali and depict hero Anil Kapoor tapping (as if he were playing drums) on the backsides of heroines Raveena Tandon and Rambha, of course, in humour. The accompanying lines go thus: Yeh mera bongo, yeh meri dafli….! It must be said here that the censors have chosen to literally go by the guidelines even when it is obvious that the shots have been included in jest rather than due to any ulterior motive. Incidentally, a while ago, the censors had not insisted on the deletion of similar shots showing Shah Rukh playfully pinching Juhi’s backside, and Sonali Bendre slapping Shah Rukh’s behind in the song Ek sharaarat hone ko hai from Duplicate. So while the shots of the behind in Duplicate were allowed to remain in the film, those in Gharwali Baharwali were left behind in the editing room.

INFORMATION MEETS

“Ten years from now, I see myself as an actor who has reached heights that no one ever has.”

– ASHUTOSH RANA

RAJ VAIDYA

Quite a few heads turn and eyebrows are raised as he casually saunters into the lobby of Hotel Centaur at Juhu. This newly-found admiration on people’s faces doesn’t seem to flatter him one bit. Down-to-earth, intelligent and extremely self-confident, Ashutosh Rana is a virtual power-house of talent who has impressed one and all with his power-packed performance in Dushman. Soft-spoken and articulate, he comes across as a refreshing change from many other newcomers in films. In a free-wheeling interview, Ashutosh reveals about his journey towards success.

On His Early Days
I hail from Gadarwara, a small town near Jabalpur in Madhya Pradesh. I did my schooling there, in Jabalpur, and in Ahmedabad. I finally graduated in Law from Sagar University (M.P.). Since childhood, I have been actively involved with theatre. My first performance on stage was at the age of 4 years. While still at school, I gradually began to discover an in-built ability to act. This discovery slowly turned into a passion as I moved on to participating in Ram Lilas from acting in plays in school. Eventually, while still in college, I set up a theatre group with a few friends and began performing in our own productions of popular Hindi plays. We also tried our hand at experimental theatre and even wrote and staged a play ourselves. By the time I finished college, I realised that I had evolved into a mature actor.

On Transition From Law To NSD
I studied law only because I needed a degree. My main interest had always been acting ever since my growing-up years. So, after getting my law degree, I began thinking about how to turn my passion for acting into a profession. I sought the advice of Pt. Shastri, my spiritual guru in whom I have complete faith. At his behest, I went to Delhi and joined the National School of Drama in 1991. For the next three years, I received formal education on various aspects of theatre. I graduated from the school in 1994.

On Coming To Bombay
Upon finishing my training at the NSD, I was faced with two opinions. I could either remain in Delhi and join a theatre repertory company or go to Bombay and try my luck in films. You see, by then, acting had become my passion, profession and majboori. Once again, Shastri-ji came to my rescue and made the choice simpler for me. He advised me to opt for Bombay. Soon enough, I landed myself in the middle of the scorching Bombay summer of 1994. All I had with me was my acting ability, and I soon realised that in the absence of any Godfather to launch me, I had to take the rough ride up. Thus began endless months of meeting with producers and auditioning for minuscule roles for TV serials and films. Eventually, I landed a small role in the TV serial Aahat. The role involved only one scene! I was almost disillusioned with the meagre result which my strenuous efforts had paid off into. Later, when director B.P. Singh complimented me on my performance and expressed great admiration for my abilities, my confidence was somewhat restored.

“Guruji Predicted My Swabhimaan Role….”
After my initial break with Aahat, no substantial role came my way for nearly a year. But even during that period, I never once thought of going back to where I came from. In fact, during those trying times, I strengthened my resolve to make it. Then one day, Guru-ji (Pt. Shastri) told me that Mahesh Bhatt would soon be launching a serial, the title of which would begin with ‘S’. He also said that I would be offered a role in it and that I must take it, however small it may be. Sure enough, I was offered the role of a gunda in Mahesh Bhatt’s daily serial, Swabhimaan within just a few days after Guru-ji‘s prediction. I took up the role in spite of the fact that it was to span over only 10 episodes. But as luck would have it, such a small opportunity ended up boosting my career in a major way. My work in the serial was so well-appreciated that the 10-episode role was stretched to more than 650 episodes!

From Small Screen To Silver Screen
My work in Swabhimaan slowly but surely began to interest filmmakers in my acting ability. As a result, I began getting small but significant roles in films. Yet, the kind of roles I had in mind all along, were still eluding me. I acted in small roles in Govind Nihalani’s Sanshodhan and Mahesh Bhatt’s Tamanna. I had only three scenes in the latter film, but director Mahesh Bhatt was so impressed with me that he suggested my name for a one-scene role of a freedom-fighter in director Vikram Bhatt’s Ghulam.

On Bagging The ‘Dushman’ Role
Pooja Bhatt, while still planning Dushman, happened to like my cameo performance in Ghulam, at a preview so much that she asked me to meet her and Mukesh Bhatt after a couple of days. They told me that they had been toying with the idea of casting me in the role of the main villain in Dushman. The only thing they were apprehensive about was that I had a softer look than what they wanted for their villain. I pleaded with them to cast me and argued that if anyone could portray the role in the best possible way, it was me. I must have managed to convince them, for, a few days later, Mukesh Bhatt called me to his office and offered me the role.

On His Dream Finally Coming True
My first reaction on being offered the Dushman role was of disbelief! I asked Mukesh Bhatt if he was serious. When he replied in the affirmative, I just felt like yelling out. I even asked him if I could do so! He said okay and immediately, then and there, I let out all my excitement in a loud yell, only after which Mukesh Bhatt discussed business with me!

On Still Having To Approach Producers For Work
It is true that I still approach people for work, even after my performance in Dushman. But I don’t think, there is anything humiliating about it. I feel that I have a greater desire to work with them than they have, to work with me. So, it’s only logical that I approach them. As far as the creative ego goes, it never gets hurt by such things because the very reason of my existence is my acting ability, and in order to survive, I must be able to prove it. Again, I can only prove my ability through my work. If I were to just sit back and wait for people to flock to me with roles, I may lose out on a lot of precious work that I could otherwise get by approaching the producers myself.

On Current And Future Projects
I have been cast in Vishesh Films’ next film, Sunghursh, being directed by Bunty Luthria. Apart from that, I have also signed Suneel Darshan’s next, tentatively titled Jaanwar, and Pranlal Mehta’s film, to be directed by Esmayeel Shroff.

On Acting
I feel, acting is something that cannot be defined. It is beyond the reach of definition, just like our concept of God is. You can only experience them, but can never describe them in words.

On How He Sees Himself 10 Years From Now
I see myself as an actor who has reached heights that no one ever has. I hate mediocrity and will never want to remain in a mediocre position. For me, it is either all, or nothing. Just as the poem goes:

Dil bhi ek zid pe adaa hai,
Kisi bachche ki tarha,
Ya to sub kuchh mujhe chhahiye,
Ya kuchh bhi nahin.

 

SANAM

Magnum Films International’s Sanam is a love story which has a disjointed script. The drama comprises scenes which often do not have any connection with the ones they follow or precede. There’s a nationalist angle too which has no relevance to the love story. The two tracks are sought to be juxtaposed in the climax but the result is pathetic. The first half deals with a girl unsuccessfully trying to woo a military trainee. The latter, after dodging her for quite a while, reveals why he is doing so. A fairly good part of the second half deals with his revelation. It turns out that he cannot love the girl because his elder brother was killed in an accident, which made him pledge to become a responsible and respectable military officer. This reason for his aloofness sounds strange but so do many incidents in the film. Actually, the love drama takes a backseat a little before interval, and for some reels thereafter, there is a bit of family drama. Then comes the nationalist part. Comedy falls flat most of the times.

If the story is childish, the screenplay is worse still. Dialogues are ordinary. The film has taken years in the making and the staleness shows.

Vivek Mushran does an average job. Manisha Koirala looks pretty and performs fairly well. Sanjay Dutt is okay in a brief and rather inconsequential role. Anupam Kher entertains at places only. Kader Khan is good. Shakti Kapoor and Gulshan Grover are alright. Dalip Tahhil, Harish Patel, Maya Alagh, Razzak Khan, Achyut Potdar, Dinesh Hingoo, Anjan Srivastava, Rami Reddy, Madan Jain, Aroon Bakshi, Ishrat Ali, Asrani, Usha Nadkarni and the rest pass muster.

Aziz Sejawal’s direction is unbelievably poor. Although the film seems to have lost its impact due to the undue delay in its completion, even its handling otherwise is bad. Anand Milind’s music is the only plus point of the film. ‘Kasam se kasam se’, ‘Ishq mein mere Rabba’, ‘Raks mein hai saara jahan’, ‘Aankhon mein neendein’, and ‘Khuda kare ki mohabbat mein’ are all very hummable numbers. But since the music was released years ago, it has become stale. Song picturisations are so so. Action is functional. Camerawork and other technical and production values are okay.

On the whole, Sanam is a weak fare.

Released on 9-5-’97 at Alankar and 15 other cinemas of Bombay thru VIP Enterprises. Publicity & opening: average. …….Also released all over except in East Punjab and C.P. Berar.

LATEST POSITION

Film after film is failing to make a mark at the box-office.

Sapnay (dubbed) has found very limited appreciation and proves losing. 1st week Bombay 20,25,277 (87.23%) from 5 cinemas (6 on F.H.); Ahmedabad 4,16,970 from 3 cinemas (1 unrecd.), Baroda 1,80,472, Rajkot 1,07,557, Jamnagar 87,628; Solapur 96,153; Delhi 13,59,488 (70.98%) from 5 cinemas (1 unrecd.); Kanpur 1,14,942, Lucknow 1,55,646, Agra 1,00,500, Allahabad 80,000, Varanasi 75,430 (27.19%), Dehradun 76,000, Gorakhpur 52,000; Amritsar 42,000; Calcutta 10,53,342 from 12 cinemas; Nagpur 3,71,128, Jabalpur 1,39,882, Amravati 1,49,606, Akola 84,500, Bhilai 52,045; Bhopal 1,73,023 from 2 cinemas; Jaipur 2,22,377, Udaipur 87,870; Hyderabad 6,77,185 from 5 cinemas, share 1,27,322.

……….

Koyla 3rd week Bombay 6,13,041 (51.44%) from 3 cinemas (10 on F.H., 5 unrecd.); Ahmedabad 52,428 (3 unrecd.), 1st week Padra 88,591, Idar 75,500 (68.63%), 3rd Rajkot 1,01,025; Solapur 88,035; Dharwad 53,665; Delhi 19,15,256 from 10 cinemas; Kanpur 1,57,584 from 2 cinemas, Lucknow 1,60,361, Agra 77,530, Allahabad 74,700, Varanasi 98,577, Meerut (35 shows) 94,781, Bareilly 79,466 (34.58%), Dehradun 65,535, Gorakhpur 84,000 (2nd 1,02,402); Calcutta 8,20,054 from 11 cinemas; Gaya 32,000; Nagpur 2,07,734 from 2 cinemas, Jabalpur 80,137, total 4,32,459, Amravati 1,04,481, Akola 84,074, total 3,03,682, Raipur 1,15,254, Bhilai 31,200, Durg 39,853, 2nd week Khandwa 55,713; 3rd Indore (14 shows) 62,990 (1 on F.H.), Bhopal 94,779; Jaipur 1,72,730, Udaipur 46,640; Hyderabad 5,17,674 from 2 cinemas, share 2,05,692.

Ziddi is still going strong. 4th week Bombay 5,97,781 (73.07%) from 3 cinemas (5 on F.H.); Ahmedabad 1,38,750; Solapur 92,771 from 2 cinemas (1 in matinee); Delhi 9,47,438 from 4 cinemas (1 on F.H.); Kanpur 1,95,398 from 2 cinemas, Lucknow 1,64,689, Agra 1,20,000, Allahabad 85,000, Varanasi 1,00,723, Bareilly 56,468 (29.37%), 3rd week Dehradun 72,000, 4th Gorakhpur 56,000 (3rd 61,700); Calcutta 2,62,324; Nagpur 1,24,285 from 2 cinemas, Jabalpur 89,144, total 5,47,358, Amravati 90,836, Raipur 1,09,875, Bhilai 43,564, Chandrapur 38,649 (3rd 37,609); Bhopal 1,13,630; Jaipur 2,16,014, 3rd week Jodhpur 1,56,000, 4th Bikaner 58,341; Hyderabad 5,75,898 from 4 cinemas.

Judaai 10th week Bombay 3,55,671 (60.66%, 3 on F.H., 1 unrecd.); Ahmedabad 1,71,129 from 2 cinemas, Baroda 1,03,296, Rajkot 52,000, Jamnagar 43,370, total 7,87,807; Solapur (matinee) 18,555; Delhi 82,312; Kanpur 85,399 from 2 cinemas, Lucknow 48,289, Allahabad 41,000, Varanasi 52,560; Amritsar 12,160; Nagpur 1,54,960 from 2 cinemas, Jabalpur 40,779, total 5,74,216, 9th week Amravati 80,113, record, 10th Akola 81,601, record, total 9,15,150, Raipur (last) 49,367, 4th week Wardha (last) 30,937; 10th Indore 82,652, record, Bhopal 75,990, record; Hyderabad 1,77,047.

Hero No. 1 11th week Bombay 4,89,628 (63.43%) from 2 cinemas; Baroda 23,062, 10th week Rajkot 40,007 from 2 cinemas (1 in matinee); 11th Solapur (matinee) 28,222; Delhi 1,77,222 from 2 cinemas; Lucknow 55,442, Agra 45,500, Varanasi (shifting) 44,595, Gorakhpur (shifting) 15,000; Calcutta 86,689; Nagpur (shifting) 30,306, Jabalpur 54,609, total 10,09,311, 1st week Amravati 2,05,785, 11th Akola 46,403, total 6,50,175, share 3,65,140, 1st Khandwa 91,000; 11th week Indore 58,725, Bhopal 49,661; Hyderabad 3,02,940 from 3 cinemas (2 in noon).

CONTROL ON FILM PRICES: CCCA GETS STRICT

No distributor of C.P.C.I. Rajasthan will henceforth be allowed to offer to buy any film which has already been sold by the producer to another distributor. If a distributor makes a counter-offer for an already sold film, he will be liable to a penalty imposed by the Central Circuit Cine Association.

This decision was taken at the meeting of the executive committee of the CCCA held in Bombay on 5th May. The intention of the resolution passed is to avoid the artificial increase in film prices triggered off by over-enthusiastic distributors.

It was also resolved at the same meeting that the price of a film acquired for distribution will have to be fixed on the very day the deal is concluded by paying the signing amount.

The CCCA also resolved to take action against any producer who would make unreasonable demands on its distributor-members at the time of delivery (eg. unjustified dupe charges, price hike, etc.). The CCCA president would in such cases have a right to suo moto issue a circular, asking its members not to deal with the erring producer.

R.K. SORAL DRAGS DD TO COURT

The Bombay high court has admitted a petition alleging that Doordarshan broadcasts films at the instance of touts. Producer R.K. Soral has filed the petition, submitting that his Saveray Wali Gadi was not accepted for screening by DD as, according to DD, it was not found suitable for family viewing.

According to the petition, the Tamil version of the same film was telecast by DD. Soral has alleged that his film had not been accepted because he had not approached the authorities through touts.

Counsel for Soral, P.A. Sebastian, said that the film had been granted tax exemption by the governments of Uttar Pradesh, Rajasthan, Madhya Pradesh and Delhi and that it had been granted a ‘U’ certificate. Therefore, according to him, the film qualified for public viewing.

CINEMA COMPLETES 25 YEARS

Meghdoot Talkies, Vidisha (M.P.), which was opened on 7th May, 1972, completed 25 years on 7th May, 1997. Coincidentally, the opening film at this cinema — Mera Gaon Mera Desh — and the one being screened on 7th May, 1997 — Raja Hindustani — are distributed by the same distributor, Lalchand (Prem Films and Sunil Enterprises, Indore). What’s more, Lalchand has screened all his films in the last 25 years at this cinema only and in no other cinema of Vidisha.

The silver jubilee must be a joyous occasion then for the cinema owners as well as for C.I. distributor Lalchand.

44th National Awards

Swarn Kamal For ‘Lal Darja’
Kamal Haasan, Tabu Bag Awards For Best Actor, Actress

Lal Darja (Bengali) was adjudged the best film of 1996 at the 44th National Film Awards announced in New Delhi on May 6 by jury chairman T. Subbarami Reddy. Awarded for “poetic presentation and exploitation of the complexities of human relationships in a contemporary urban milieu”, the film has been produced by Chitrani Lahiri and directed by Buddhadeb Dasgupta. It gets a Swarn Kamal, besides a cash prize of Rs. 50,000 each for the producer and the director. Maachis, declared the most popular film with wholesome entertainment, also gets a Swarn Kamal and Rs. 40,000 each for its producer, R.V. Pandit, and director, Gulzar.

Kamal Haasan won the best actor award for Indian (Tamil) while Tabu won the best actress award for her “sensitive portrayal of a woman trapped in vortex of conflicts” in Maachis. Nana Patekar was declared the best supporting actor in Agni Sakshi, and Rajeshwari Sachdeva, the best supporting actress in Sardari Begum.

Other award winners are:- Best director and best screenplay: Ahathian for Kaathal Kottai (Tamil) which is being remade in Hindi by Boney Kapoor in association with Neha-MAD Films Combine; best music: A.R. Rahman (Minsara Kanavu, Tamil); best choreography: Prabhu Deva (Minsara Kanavu); best male playback singer: S.P. Balasubrahmaniam (Minsara Kanavu); best female playback singer: Chitra (Minsara Kanavu); best lyrics: Javed Akhtar (Saaz); best cinematography: Mrinal Kanti Das (Adajya, Assamese); best audiography: Krishnanunni (Desadanam, Malayalam); best art director: Thotta Tharani (Indian); best special effects: Venki (Indian); and best costume designer: M. Dandapani (Kulum, Malayalam).

Best film on social issues: Tamanna, produced by Pooja Bhatt and directed by Mahesh Bhatt.

Indira Gandhi award for best first feature film: Raag Biraag (Assamese) by director Biddu Chakraborty. This film also won the best editor award for A. Sreekar Prasad.Nargis Dutt award for best feature film on national integration: Kanakkinavu (Malayalam) by Sibi Malayil.

Best film on family welfare: Laathi (Bengali) by Prabhat Roy.

The films awarded in the regional categories are: Gudia (Hindi); Sardari Begum (Urdu); Adajya (Assamese); Sanghat (Bengali); America America (Kannada); Desadanam (Malayalam); Rao Saheb (Marathi); Shunya Swaroopa (Oriya); Kaathal Kottai (Tamil); and Ninne Pelladutha (Telugu).

Raja Sen’s Damu (Bengali) won the best children’s film award, and Kumar Kavya and master Kumar jointly won the best child artiste award for their performances in Little Soldiers (Telugu) and Desadanam (Malayalam) respectively.

The Special jury award went to Amol Palekar for Daayra, and to Kiron Kher, for her performance in Sardari Begum. The jury also made special mention of the performances of Dolon Roy in Sanghat, and Bhagirathi in Adajya.

TV & VIDEO INFORMATION

BINDU ON SMALL SCREEN

Bindu will appear on the small screen for the first time in Kamroop Kanakhya Productions’ untitled TV serial. It will co-star Ajit Vachani, Bharat Kapoor, Suhas Khandke and others, and will be directed by Sanjay Upadhyay from a story written by S.P. Shrivastava and screenplay by M. Saleem. Producer: Bina S. Shrivastava. Regular shooting will begin from May 11.

YOU ASKED IT

What is the estimated loss likely to be in Mrityudaata?

– It would be in the region of 1.5 crore per major circuit.

Will Ishq be released in June? What is the delay?

– ISHQ will not come before July or August. Two or three days’ shooting remains to be done, besides picturising a song on Amitabh Bachchan (special appearance). All the artistes have finished their dubbing.

When vacations should prove beneficial for films, why have the releases of April bombed one after the other?

– Films have bombed because they weren’t good. Whatever business they’ve done, it’s partly due to the vacation period. ZIDDI, a good success, was also an April release. The vacation period is helping good films like HERO NO. 1, JUDAAI and ZIDDI.

MIX MASALA

VAASTU SET

The science of vaastu shastra has a good number of takers in the film industry. Film folk often build their houses and offices in accordance with the principles of vaastu shastra. But some art directors of the South take the cake. While constructing film sets also, they keep in mind the vaastu principles. One such set, constructed in accordance with the rules of vaastu shastra, is that for Tutu Sharma’s Gharwali Baharwali at Padmalaya Studios.

“It was an inner voice in me which kept telling me not to give up!”

– AFZAL KHAN on ‘Mahaanta‘

Mahaanta may have been inordinately delayed due to Sanjay Dutt’s arrest three years ago but the enthusiasm with which its director, Afzal Khan, has completed the film is admirable. Not just completed, he has actually re-shot about 60% of the film. Coupled with Afzal’s excitement in the project was Sanjay Dutt’s and the rest of the cast’s complete involvement. In this brief interview, Afzal Khan talks about his first directorial venture and how his distributors have stood by him. Excerpts:

Why did you think of re-shooting so heavily?

– After Sanjay Dutt’s release from jail, when I completed picturising a song on Sanjay Dutt and Madhuri Dixit, I saw the rushes, sat down and thought, and realised that if I didn’t re-shoot, there would be a lot of continuity problems and jerks. Ultimately, I realised, there would be problems at the time of delivery. Besides, I was too bothered about my name and respectability as a director. Secondly, I also feel that in a film, if there’s even a bit of upsetting of something, the final result can be disastrous. Also, when I decided to re-shoot, I got a chance to change the script a bit to reduce the footage of the stars who don’t run today, like Mohsin Khan.

How long did it take you to re-shoot?

– I re-shot during the period from July ’96 to October ’96, and then again in December ’96. In between, I completed the film’s background music in November.

Why did the background music recording take so long? And why have you gone in for DTS mixing — because it is the in-thing today or because your film needs it?

– We took Pyarelal-ji to Madras to record the entire background score. Everybody knows the perfectionist Pyare-ji is. And we didn’t use stock music at all. As for DTS sound, we realised that the film needed it. After all, we wanted Mahaanta to be today’s film.

When you took the decision to re-shoot, did you take your distributors into confidence or did you break the news to them gradually?

– No, we didn’t inform them before re-shooting. We involved them slowly, after re-shooting had started. We had to inform them sooner or later because they were going to bear the additional cost.

What has been the reaction of your distributors? What is the new ratio of your film?

– My distributors have been cooperating fabulously. When they saw excerpts from the film, they all were unanimous in their feelings about my work. They told me, it didn’t look like Mahaanta was my first film. We’ve re-fixed the ratio at about 1.75 crore to 2 crore.

How did your producer react when you told him of your plans to re-shoot?

– Producer Ayub Khan, presenter Nasir Khan and myself are all related. One sister of Ayub Khan is my wife and another sister of his is Nasir’s wife. Both, Ayub and Nasir, gave me the green signal without so much as even batting an eyelid.

How much was your film complete when Sanjay was jailed?

– 75% approximately. Had I thought like some other producers, I too could’ve completed the film by engaging the services of duplicates. But I had mentally decided not to complete it without Sanjay Dutt. He’s a genuine friend.

After the re-shooting and increase in ratio, will the producer be in the red or will he break even?

– No, it is a big setback for the producer. After all, besides the re-shooting, he has spent for 43 days for background music. DTS mixing has taken a month and ten days.

Who was your moral support during the time between the starting of MAHAANTA and its completion?

– No amount of external support can help until you yourself are convinced that what you are doing is right. It was an inner voice in me which kept telling me not to give up. That voice was my greatest moral support. Anybody else in my place would’ve broken down under the pressure, but I never looked back. The secretaries of my artistes also co-operated wonderfully and so did the stars themselves. Amrish Puri used to invariably joke with me and say, “You’ve taken so many of my dates, I almost feel as if I am the hero of the film.” The technicians also cooperated fabulously but I gave them extra remunerations. Here I must mention what (action director) Veeru-ji (Devgan) used to say. Looking at my unfailing confidence in the film, my undying spirit and my extensive re-shooting, he used to joke, “We should take out his heart and see the stuff it is made of.”

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

The Hit Pair

Two films, the songs of which are currently very popular, are Virasat and Border. At least three songs of the former film have become the favourites of music lovers. And in the case of Border, the ‘Sandese aate hain’ song is quite a craze, more so in Punjab. The coincidence is that the music of both the films is scored by Anu Malik and the lyrics are written by Javed Akhtar. And before we know it, so many producers will rush to sign the lyricist and the music director that the hit pair will also become the ‘hot’ pair!

Enter The Ad Film People

Ad film people are entering the film industry. At least two leading persons from the ad world have already started their film projects in 1997. Shantanu Sheorey, ace photographer, is directing Kamal Haasan’s Chikni Chachi, the Hindi version of the English flick, Mrs. Doubtfire. Well-known ad filmmaker Kailash Surendranath also makes his bow as a feature film director with Ashok Amritraj’s Love You Hamesha. Who knows, as the year progresses, we may have a couple of more from the ad world come into this ‘mad’ world.

Of Luck — Good And Bad

There have been umpteen incidents of major losses being averted by sheer good luck, or windfall gains accruing due to plain luck. One such incident deals with Mani Ratnam’s Tamil film, Iruvar. Before it was released, Jhamu Sugandh had finalised the negotiations for the Hindi dubbing rights of the film. Something went wrong between Ratnam and Sugandh, and the deal was cancelled. Reportedly, Mani Ratnam asked for a price higher than that committed earlier, which agitated Jhamu Sugandh and prompted him to call off the proposed deal. Mysore distributor N.R. Sudhir jumped in and clinched the deal at the enhanced price. A few days later, Iruvar was released in Tamil Nadu and it bombed miserably at the box-office. Jhamu Sugandh must be thanking his stars, and Sudhir, cursing his!

Involvement, Not Interference

Amitabh Bachchan has come in for a lot of criticism for Mrityudaata. But Bachchan has preferred to pass on the blame to whoever by saying that he never interfered during the film’s making and that he had seen it only in bits and parts and not in totality. What Amitabh fails to realise is that he is not just the hero of Mrityudaata but also its producer. So long as he was only an actor, the statement that he had seen the film only in bits and parts would have been understandable. But now that he has a dual role — that of a producer and a hero — making such comments does not behove Bachchan. He should realise that when a producer takes interest in his project or makes suggestions to his director or asks for changes to be carried out in script/
music/action etc., it is not called ‘interference’. The right word to describe the same is ‘involvement’. And a producer’s involvement is needed even if an actor’s interference must be avoided. And yes, even if Amitabh saw Mrityudaata only in bits and parts, he couldn’t have liked it. After all, other than the Daler Mehndi song, no bit and no part of the film could have appealed to him or to anyone else. Incidentally, Amitabh himself has said that including a Daler Mehndi number in the film was his (Amitabh’s) brainwave. While it must be said that it was a truly good idea, what should one call it — interference in Bachchan’s lingo, or involvement in ours?

Panic Everywhere…

There is all-round panic in the trade after Mrityudaata and Koyla. In Bombay trade circles, the panic is most pronounced among sub-distributors of Gujarat, Saurashtra, Thane and Karnataka. In the case of Koyla, Dilip Dhanwani acquired the aforementioned four sub-circuits at an unheard of MG price and stands to lose at least 1.5 crore. The sub-distributors of Mrityudaata for Gujarat and Thane will also lose heavily. These losses and the consequent panic situation have resulted in sub-distributors shying away from buying new films. But Bombay distributors have some reason to smile amidst all the panic. It’s because of the reduction in entertainment tax in the state of Maharashtra from 7th May.

…And Confusion At Places

While it was first reported that the new entertainment tax rate in Maharashtra would come into effect from 2nd May, it was later clarified by the authorities that the reduced rate would apply only from May 7. It is learnt that several cinemas of Bombay have refrained from making DCRs of May 7 and 8 (Wednesday and Thursday), awaiting a decision on whether to pay 100% tax or 60%. Some cinemas have prepared the DCRs showing tax calculated at 100% for May 7 and 8 too. But in some centres of Maharashtra, some exhibitors have prepared DCRs showing 60% tax from 2nd May itself.

In Defence Of ‘Border’

Even before Border has been released, all efforts are being made to seek tax exemption for the film in the various states. Towards this end, the film was shown to the defence ministry on 9th May in Delhi. With the Indo-Pak war as its base and the reported nationalist flavour of the film, J.P. Dutta shouldn’t find it difficult to convince the state governments to grant tax exemption to the film. Reportedly, Javed Akhtar, who has penned the wonderful lyrics of the film, is very close to defence minister Mulayam Singh Yadav.

Barter Exchange

J.P. Dutta’s Border has changed hands in C.P. Berar. The film, which was earlier with Raju Kothari, has now been acquired by the Kabras. As if to settle scores, Tutu Sharma’s new film, Gharwali Baharwali, has been acquired for C.P. Berar by Raju Kothari. The Kabras have been distributors of all of Tutu’s earlier films but his latest project has been bagged by Raju Kothari.

SALAAKHEN

Cinema Arts’ Salaakhen is a revenge drama with a difference. It tells the story of a man who dares to raise his voice against the crimes committed by an influential person who is actually an underworld don but who wears the garb of a social worker. Since the police are hand-in-glove with the don, they make life miserable for this man, an honest teacher, who pledges to give witness in the court and who thinks he is, therefore, helping the police. The torture gets too much for the simpleton teacher and then, his son, an angry young man, decides to take law into his hands. He breathes fire and, one by one, kills all those responsible for torturing his father. A major part of the film is in flashback.

The opening couple of reels (before the flashback begins) are stunning because the drama is absolutely unusual. Once the flashback begins, the film has some highs and also some lows. The plus points are the arresting second half, especially the long climax, the performances of the main characters, and the action. The lows are that the film has less relief and the ending is not as effective as it should have been. Since the hero is a criminal in the eyes of law but a true hero in the public eye, greater participation of the public in getting justice for the hero would have had a more hair-raising impact. Nevertheless, the climax action (Tinnu Verma) is simply astounding and keeps the audience at the edge of their seats. The murder of the police officer in the dhobi ghat and the car stunts and explosions are breathtaking. Too much footage has been given to the hero’s father, and his death in the court looks contrived. The first half is dull at places but the second half is good.

Sunny Deol does a remarkable job as the angry young man. He breathes fire into his character and performs brilliantly. As a result, all his action scenes and otherwise unbelievable dare-devilry look absolutely believable. Raveena Tandon has hardly any role but she is good in whatever little she has to do. Her dances are appealing. Anupam Kher is simply fantastic as the simple teacher who takes on the don. His little nuances are proof of how much pains he has taken to portray his character. In one word, he is superb. Farida Jalal, playing his wife and Sunny’s mother, also gives a memorable performance. Her scenes when she curses the evil-doers is stunning. Amrish Puri plays the don with conviction and with the ease which he has mastered. Mohan Joshi is good. Mahavir Shah leaves a mark with an able job. Harish Patel provides a couple of light moments with his natural acting. Deven Varma has a brief role and is good. Rummy Dhillon is average. Ravi Patwardhan acts ably. Dinesh Hingoo is okay. Manisha Koirala appears in just one dance number but her presence is not electrifying.

Director Guddu Dhanoa has extracted superlative performances from his cast. Although he has not let the action fare remain just that and has handled the subject with reasonable confidence, providing some emotions too, he has not balanced the tension with light scenes or refreshing romance. Dilip Shukla’s screenplay is good and his dialogues are also very nice. But it must be mentioned that Sunny’s character is such that his dialogues should have been much more fiery. Dilip Sen Sameer Sen’s music is catchy but the absence of a hit number is felt sorely, especially because there’s not much relief otherwise. ‘Pichhu pade hain’, ‘Dhak dhak’, ‘Punjabi kudi’ and ‘Zubaan pe jo nahin aaye’ are the better songs. Song picturisations are not novel. Camerawork is quite good. DTS mixing is very effective. Other technical aspects are proper. Production values are grand.

On the whole, Salaakhen has appeal for the masses. Despite a heavy price, it has the merits to keep everybody satisfied.

Released on 24-4-’98 at Novelty and 21 other cinemas of Bombay thru A.B.C. Pictures P. Ltd. Publicity: very good. Opening: good (affected due to Sharjah Cup cricket match finals). …….Also released all over. Opening was excellent in U.P., C.P. Berar and Orissa (in all these circuits, the film opened on Thursday) but not as good in C.I.

VIJAY SIPPY’S DEATH STILL A MYSTERY

Mystery continues to surround the death of producer Vijay Sippy, son of G.P. Sippy and brother of Ramesh Sippy, whose body was found lying in the building adjacent to the one in which he used to stay, on the morning of 17th April. Police investigating the case are confused about whether the death is a case of suicide or murder.

Vijay Sippy was 52 and a law graduate. He joined his father’s business when he was 22 years old. Starting as a trainee, he went on to eventually run the company.

Vijay was a private person by nature and, therefore, socialised very little. He is survived by his parents, two wives and a son.

A condolence meeting will be held on Sunday, 26th April, between 5.30 p.m. and 6.30 p.m. at the residence of G.P. Sippy, Shree Vijayaa Bhavan, Altamount Road, Bombay.

CHANDRA SHEKHAR BEREAVED

Satyamma, mother of veteran actor Chandra Shekhar and grandmother of television serial producer Ashok Shekhar, expired on 22nd April in Hyderabad after a prolonged illness.

SOUND RECORDIST H.D. MISTRY DEAD

H.D. Mistry, senior sound recordist, expired in Bombay on 8th April after a brief illness. He was 84 and active till the end. He was president of the Western India Motion Picture & Television Sound Engineers’ Association and chairman of WIMPSE Welfare Trust.

Before turning a freelance sound recordist in 1969, Mistry was attached to Ranjit Studios. He recorded the songs of late singers K.L. Saigal and Khursheed at Ranjit with only one microphone for both, the singer and the musician. The famous Vande Mataram song, rendered by Lata Mangeshkar, Hemant Kumar and chorus for Anand Math, was recorded by H.D. Mistry in 1950 with just three microphones in a non-airconditioned and non-sound-proof shooting stage of Filmistan Studios.

Mistry had recorded the sound for 100 feature films.

He is survived by his wife, son and three daughters.

C.I. REVERTS TO THURSDAY RELEASE SCHEDULE

Beginning this week, films are being released in C.I. on Thursdays again, instead of Fridays. The system of releasing films on Thursday was discontinued from 13th November, 1997, as a result of a decision taken by the Indore Distributors Forum. But the system of releasing films on Fridays did not find favour with distributors and exhibitors alike. The trade has, therefore, shifted to the old system of releasing films on Thursdays.

In C.P. Berar, it had been left to the discretion of the distributor to release films on Thursdays or Fridays. But now, even the C.P. trade has decided to stick to the Thursday release pattern.

HINDI FILMS ‘BANNED’ IN MANIPUR

Hindi films have been ‘banned’ in Manipur with effect from 25th April by extortionists who were demanding protection money from cinemas screening Hindi films. When the cinemas refused to oblige, the extortionists ordered an unofficial ban on Hindi films.

The ban has spread panic among Assam distributors who fear, they will face a loss of at least 20% in their revenue.

YOU ASKED IT

With star-cast films like Qila, Kabhi Na Kabhi, Zor, Yugpurush and Keemat flopping, will film prices come down?

– They may not come down but they surely won’t go up indiscriminately.

Which was the first cinema to be built in India?

– It was Elphinston Picture Palace, built by J.F. Madan in Calcutta in 1907. The first cinema show was arranged by the Lumière brothers of France at Watson Hotel in Bombay on 7th July, 1896.

What is essential for a non-star-cast film to click?

– Novelty in subject or presentation or hit music or all three.

CENSOR NEWS

Lata Films’ Aunty No. 1, seen by the revising committee on 21st, has been issued C.C. No. CIL/1/25/98 (U) dt. 24-4-’98; length 3933.90 metres in 16 reels (cuts: 158.81 metres).

M.V. Gopalram’s Mera Desh (dubbed) was given C.C. (in Madras) No. CIL/3/0099/98 (A) dt. 27-3-’98; length 4013.31 metres in 15 reels (no cut).

Venus Corporation Ltd.’s Satya (length 4999.19 metres in 17 reels), applied on 17th and seen on 20th, has been offered A certificate, with cuts.

Sarav Productions’ Dhadak was seen by the revising committee on 20th.

P.M. Films’ Sar Utha Ke Jiyo was seen on 22nd.

Promise Pictures’ Jungle Love Story has been offered UA certificate, with cuts.

IN & OUT OF BOMBAY

Mr. Sunil Bansal of Jai Pictures P. Ltd., Jaipur, is in town (630-2376).

Mr. S.M. Kothari of Indore will reach Bombay today (25th April).

Producer N.N. Sippy, associate producer Pravesh Sippy and cameraman Debu Deodhar left for France and Czechoslovakia on 23rd April to scout locations for SILSILA HAI PYAR KA. They are expected back after a fortnight.

Mr. Sunderdas Sonkiya and Mr. Ramavtar Rana of Jaipur Films P. Ltd., Jaipur, are in town (611-5808).

DO YOU KNOW?

* Three Mithun starrers are ready for release. All the three — MARD, HITLER and HATYARA — might hit the screens in May.

* The Aati kya Khandala song, rendered by Aamir Khan (and Alka Yagnik) for GHULAM, should soon become very popular. It has endearing lyrics by Nitin Raikwar and soft music (Jatin Lalit).

* M.F. Hussain’s GAJ GAMINI has taken off with song recordings.

* A.R.B. Arts, the East Punjab distributors of SALAAKHEN, have released as many as 28 prints in the circuit. Two prints were added to the original 26 on Friday itself. 

* The US assistant secretary of state for South Asian affairs, Karl Frederick Inderfurth, saw DTPH on 22nd April at Bombay’s Liberty cinema. Persis Khambatta was his interpreter. Inderfurth could see just 45 minutes of the film as he had to keep another appointment, but he said, he was dying to know the ending of the interesting film.

* Rajshri’s MAINE PYAR KIYA has been revived in Bihar this week with six prints. …….At Chitrabani, Begusarai, it was PYAAR KIYA TO DARNA KYA which was booked from 24th April but due to the print not reaching the cinema on time, MAINE PYAR KIYA is being screened there for a week. PKTDK will open next week in continuation to MPK. That’s MAINE PYAR KIYA TO DARNA KYA, then!

Dream Merchant

‘Titanic’ Fever In Bollywood

It’s Titanic fever all around. Whether at parties or other social gatherings, the film being discussed is the 11-Oscar winner. So, it was natural for me to dream about the film industry in Bollywood trying to ape Titanic. Bhed chaal, you know.

I first dreamt about Mahesh Bhatt who told me that after the super-success of Titanic in India, he had decided to postpone his retirement by one film. “I’ll quit direction after I’ve made a Hindi Titanic,” he said. “What Hollywood can do, Bollywood can do better and with double the results and efficiency. My film will start after the release of my Duplicate and it will be called Duplicate Titanic. There will be not one but two Titanic ships in the film, and catastrophe will strike both of them at the same time. That would mean double the thrill for the price of a single ticket.”

David Dhawan was busy on the sets of Smita Thackeray’s Haseena Maan Jayegi. Without giving much thought, he told me, “My next will be titled Haseena Teri Jaan Jayegi. In that film, it will be the heroine who will die due to the cold waters the lovers will land themselves into after the ship tragedy as in Titanic. Karisma will play Kate Winslet’s role and, of course, Govinda will be her hero. Govindo Di Virario.”

Subhash Ghai had not yet recovered from the blacklash of the “nasty journalists” who had been “writing nonsense” about his legal battle with Mahima Chaudhary. About Titanic, he said, “I plan to make a sequel to Titanic. It will be called Titanic Chali Pardes. My film will start where the Hollywood film ended. I will show the ship-owner taking the ship-builder to court for breach of his contract. How could the ship sink like that?” Then, sensing my bewilderment, he added, “Don’t worry, I may have lost in a real court of law, but that doesn’t mean, I don’t know to direct a courtroom drama. Coming back to my film. It will be so titled because the Titanic will be shown heading for pardes when calamity will strike. Since I’ve got a contract with Mahima, she will have to play the heroine in the film. The boy? It could be anybody. But not a newcorner. I don’t want more courtroom dramas in real life!”

Umesh Mehra was still trying to figure out why Qila bombed so miserably, when I met him. “See, we Indians have got a Hollywood complex,” he thundered. “Why should I make a Titanic or a sequel or an inspired version of it? If Titanic was a disaster film, so was my Qila. But nobody praises me as they praise the Titanic director.”

Vashu Bhagnani was not in his office when I reached there. His peon told me, he had gone to IMPPA to register a line of titles like Ship No. 1, Disaster No. 1, Iceberg No. 1, Love Story No. 1, Titanic No. 1, Luxury Liner No. 1, Water No. 1, Sea No. 1, Samudra No. 1, Accident No. 1…… I excused myself to use Vashu’s toilet to do what they call ‘no. 1’.

Randhir Kapoor said, he had finally been inspired to start a film. “It will be called Ram Teri Ganga Phir Maili Ho Gayee because the ship disaster will take place in the Ganga in my film.”

Yash Chopra and Rajkumar Barjatya, being the most forward-looking producers in India, told me, they had decided to join hands for the Titanic film in India. “Oh, like Paramount and 20th Century Fox joined hands in Hollywood,” I exclaimed excitedly. “Yes,” nodded Barjatya. But the two pillars were undecided about the title. While Barjatya wanted the film to be called Nadiya Ke Paar because it would be the endeavour of Titanic to go nadiya ke paar, Chopra suggested that more prominence should be given to the romance portion of the story and preferred the title Dil To Saath Saath Hai. “This film,” revealed Chopra, “will be longer than even the Titanic. It will be of 21 reels and saat-saat-saat reels will be directed by me, Sooraj Barjatya and Aditya.”

Ram Gopal Varma scoffed at the idea of being inspired from Titanic. “This is not Hollywood,” he said. “Special effects don’t work in our films,” he sighed, adding, “Remember my Daud? It had so many special effects, still it bombed.” I had half a mind to tell him, his film had flopped not because of the special effects but rather because of the special defects!

Pranlal Mehta was despondent. My Yugpurush has put me to such major losses, I can’t dream of starting my next so soon. But yes, I’ve thought of a title. If I could make Jeeo Shaan Se, I can also make Doobo Shaan Se. And yes, if I do make this Titanic-inspired film, it will be directed by…….” “Ramesh Sippy,” I interrupted him.

B.R. Ishara was in a dubbing studio. He told me, “If Hollywood can send a Titanic to India, so can I send a film to Hollywood. I’m dubbing my old film, in English, and just wait and watch, it will give Titanic a run for its money. “Which film?”, I queried. “Of course, Kaagaz Ki Nao,” he announced.

The last on my list was Priyadarsan. “I’m no less than James Cameron,” he said with unmistakable pride. “Saat Rang Ke Sapne and Kabhi Na Kabhi have given me more confidence than ever before. Cameron only made the ship sink. I’m capable of drowning the entire Bombay film industry, just you wait.”

I woke up with a start. I didn’t want to drown.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Colleagues Before Becoming Man And Wife

Before Shravani Deodhar got married to cameraman Debu Deodhar, she used to be Amol Palekar’s fifth assistant. In fact, the two met each other when Debu was Amol’s cameraman, and Shravani, his assistant. Being the fifth assistant, she used to sound the clapper-board before every shot but since she used to be a bit slow in moving out of the frame after sounding the clap, Debu used to get irritated and often chided her for wasting precious raw stock. He used to tell Shravani to move out of the frame quickly and used to advise her to decide beforehand on the place where she would run after giving the clap. Those were the days when Shravani and Debu were just colleagues. Shravani ultimately did find the right place — in Debu’s heart. This was revealed by Shravani recently.

A Promise Fulfilled

Late actor Yeshwant Dutt, perhaps, had a premonition of his death. After completing the shooting of Ajey Jhankar’s Marathi film, Sarkarnama, he had been hospitalised for an ailment. When the film’s director, Shravani Deodhar, and cameraman, Debu Deodhar, went to visit him in hospital, he told them not to worry because he wouldn’t die before completing his dubbing. When he was discharged from hospital, he dubbed for Sarkarnama at Film City from morning to 2.30 in the night. Only after completing his dubbing did he return home. The following day, Yeshwant Dutt breathed his last. But he had kept his promise to the Deodhars about completing Sarkarnama before dying.

Thoughtful Gesture

Vinayak Mayekar, the controller of Plaza cinema, Bombay, where Marathi film Tu Tithe Mee opened this week, was so impressed with the film when he saw it that he agreed to forgo one show’s rent (approximately Rs. 10,000) at Plaza. It’s not the amount but the thought which counts.

Hindustani-Pakistani

After late Nusrat Fateh Ali Khan, it is Pakistani singer Ataullah Khan who has lent his voice to a Hindi film song. And this Pakistani has sung for a film with a title no less than Hero Hindustani! Which makes it: Film Hindustani, singer Pakistani.

The ‘D’ Factor

‘D’ has been a particularly lucky alphabet for Yash Chopra. Some of the biggest hits of his, either as director or producer or both, have had their titles beginning with ‘D’ — Dhool Ka Phool, Daag, Deewaar, Darr, Dilwale Dulhania Le Jayenge and Dil To Pagal Hai.

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.