Not A Bad Bargain

The joy that came along with the runaway success of Karan Johar’s Kuch Kuch Hota Hai has been short-lived. Although KKHH continues to do roaring business, what has cast a pall of gloom in the industry is the unfortunate failure of Feroz Khan’s dream project, Prem Aggan.

Since Prem Aggan was the launching pad of Khan’s son, Fardeen, distributors put a lot of confidence in the project and the maker. An exceptionally high price of 1.6 to 1.75 crore was paid per major circuit for the film even though both, Fardeen Khan and Meghna Kothari, were newcomers. Nor did the film boast of a formidable supporting cast. But yet, speculation was the name of the game. And speculate the distributors did. In the process, they’ve burnt their fingers rather badly. On an average, every distributor will lose about 75% of his investment in the film.

Couldn’t this catastrophe have been avoided? Although there’s no readymade acid test to prove so, the fact is that it could truly have been averted. If there were script doctors in India, as there are in Hollywood, chances are, there wouldn’t have been such a major bomb. That is not to say that script doctors, who offer expert and objective opinion on a filmmaker’s script, are infallible or can never go wrong, but they at least give the filmmaker a second opinion. More often than not, the producer, director and writer of a film get so involved in the film during its making that, after a point of time, they may lose all objectivity as far as judging the film is concerned. This is what seems to have happened to Feroz Khan because the film has innumerable mistakes. It is not as if Feroz Khan has forgotten filmmaking, it is just that his judgement failed this time. And failed rather badly in several departments.

A salvage operation could have been carried out by a script doctor, but will Bollywood wake up to the need for such an entity? Such experts are necessary, more so today when the stakes in film production and distribution are so high. If fees of a few lakh of rupees to script doctors can save many crores of the producer, is it a bad bargain?

Here, a word of caution to distributors too. It has become the wont of distributors to cry over losses and yet never act with caution. While on the one hand, they keep cribbing about unrealistic and high prices, on the other, it is these very distributors who do not bat an eyelid before paying fancy prices to producers. It is the fear that ‘if I don’t buy the film, someone else will’, which prompts distributors to pay unrealistically heavy prices. As it seems to have happened in the case of Prem Aggan.

Although this wouldn’t have saved the situation, another related comment would not be out of place here. Feroz Khan, too, like Mani Ratnam (Dil Se..), did not show his film to his distributors. It is strange how producers, whose partners-in-business distributors actually are, work in a style which does not take the partners into confidence. This is not a healthy sign at all.

– Komal Nahta

LATEST POSITION

KUCH KUCH HOTA HAI continues to mesmerise the public from North to South and East to West.

Prem Aggan has been totally rejected. It will entail heavy losses to all its distributors. 1st week Bombay 24,31,295 (60.55%) from 8 cinemas (7 on F.H.); Ahmedabad 4,54,600 from 4 cinemas, Rajkot 1,18,680, Jamnagar (matinee) 12,600; Pune 6,22,972 from 5 cinemas, Solapur 1,46,334 from 2 cinemas (1 in matinee); Delhi 17,24,930 (45.29%) from 8 cinemas; Kanpur 2,25,726 from 2 cinemas, Lucknow 3,04,949, Agra 1,32,000, Varanasi 1,23,211, Hardwar 36,496; Amritsar 51,500; Calcutta 12,32,145 from 15 cinemas; Nagpur 2,07,815 from 3 cinemas, Jabalpur 66,712, Amravati 80,366, Raipur 78,190, Bhilai 38,489, Yavatmal 52,740; poor in Indore, Bhopal 1,51,167 from 2 cinemas; Jaipur 4,34,182 from 3 cinemas; Hyderabad 26,33,918 from 15 cinemas (1 in noon); Vijayawada 1,92,890, Visakhapatnam 1,45,860.

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Hero Hindustani 2nd week Bombay 7,28,422 (41.46%) from 6 cinemas (4 on F.H.); Ahmedabad 1,77,750 from 3 cinemas, Rajkot (matinee) 12,986, Jamnagar (matinee) 8,897; Pune 1,48,878 from 3 cinemas (1 in matinee), Solapur 30,664; Delhi 65,978; Kanpur 45,805, Agra 82,000, Varanasi 59,888, 1st week Hardwar 32,886; 2nd week Nagpur 44,471 from 2 cinemas, Jabalpur 36,955, total 1,27,713, Amravati 64,375, Akola 47,019, total 1,23,775, Raipur 59,923, Bhilai 30,186, total 85,736, 1st week Jalgaon 87,231; 2nd week Bhopal 42,782; Hyderabad 1,91,893 from 3 cinemas (2 in noon).

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Bade Miyan Chote Miyan will fetch commission (part or full) in most of the circuits. 3rd week Bombay 28,19,377 (83.56%) from 9 cinemas (9 on F.H.); Ahmedabad 8,16,643 from 5 cinemas, Rajkot 1,52,715, Jamnagar 86,971; Pune 9,13,384 from 4 cinemas, Kolhapur 2,11,448, Solapur 2,05,902; Delhi 24,70,400 from 8 cinemas (2 on F.H.); Kanpur 3,93,984 from 2 cinemas, Lucknow 4,61,808, Varanasi 1,93,644, Meerut (6 days) 2,02,380, Bareilly (6 days) 78,224 (45.34%); Calcutta 9,56,097 from 13 cinemas; Nagpur 4,35,461 from 4 cinemas, 2nd week Jabalpur 2,25,027, total 6,13,574, Amravati 2,40,514, Akola 2,03,879, total 5,05,961, 3rd week 3 days 70,043, 2nd week Raipur 1,13,960, Bhilai 71,377, total 2,44,120, Jalgaon 1,52,054, Wardha 86,728, Chandrapur 1,85,314, total 4,31,398, Yavatmal 1,08,106, 3rd week 3 days 40,920; 3rd week Indore 2,61,000 (63.74%), Bhopal 1,58,378; Jaipur 3,32,642 from 2 cinemas, 1st Bikaner 2,45,181; 3rd week Hyderabad 7,39,864 from 4 cinemas (1 in noon); 1st week Vijayawada 1,15,706.

Kuch Kuch Hota Hai is par excellence. 3rd week Bombay 55,04,562 (99.70%) from 11 cinemas (5 on F.H.); Ahmedabad 13,45,597 from 4 cinemas, Valsad 3,68,140, Baroda 2,24,855 (100%), Padra 2,26,260, Jamnagar 1,40,735, total 4,42,537, Adipur 1,28,726; Pune 12,61,686 from 4 cinemas, Kolhapur 2,34,115 (100%), Solapur 2,25,595 (100%), Malegaon 100%; Delhi 53,22,316 from 11 cinemas; Kanpur 5,35,369 from 2 cinemas, Lucknow 5,09,135, Agra 3,88,075, Varanasi 2,55,963, Meerut 2,29,289, Bareilly 1,67,466 (59.03%), Muzaffarnagar 95,012, Saharanpur 1,34,712, Hardwar 1,20,906, total 4,13,980; Calcutta 15,91,627 from 8 cinemas; Nagpur 7,56,079 from 3 cinemas, Amravati 2,46,652, Akola 1,73,963, total 5,45,482, Raipur (6 days) 1,58,267, Bhilai (6 days) 1,91,019, total 6,79,554, Jalgaon 1,60,164, Gondia 1,22,185, total 3,88,888; Indore 4,81,524 (79.32%) from 2 cinemas; Jaipur 8,94,506 from 2 cinemas, Ajmer (29 shows) 1,66,380, Bikaner 1,94,425; Hyderabad 11,35,327 from 5 cinemas (2 in noon, 1 on F.H.).

Bandhan 5th week Bombay 3,44,179 (50.73%); Ahmedabad 1,07,045 from 2 cinemas, Rajkot 49,087, Jamnagar (matinee) 11,476; Pune 4,80,093 from 5 cinemas (1 in matinee), Kolhapur 1,04,000, Solapur (matinee) 57,679, 3rd week Barsi 30,538, 1st week Miraj 1,09,004; 5th week Delhi 4,01,134 from 3 cinemas (3 on F.H.); Kanpur 2,19,559 from 2 cinemas, Lucknow 2,00,528, Varanasi 1,14,296, Bareilly 45,435 (21.02%); Calcutta 1,32,739; Nagpur 1,67,855 from 2 cinemas, Jabalpur 1,35,471, total 9,22,662, Amravati 92,397, Akola 91,212, total 5,24,100, Raipur 82,951, Bhilai 60,186, Jalgaon 86,809 (4th 90,096), 2nd week Yavatmal 85,466; 5th week Indore 55,000 (1 on F.H.), Bhopal 94,418; Jaipur 1,72,384, 3rd week Jodhpur 90,000, 5th week Bikaner 35,977; Hyderabad 3,22,842 from 3 cinemas (1 in noon).

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MAJESTIC CINEMA OF CALCUTTA GUTTED IN FIRE

Majestic cinema in Calcutta was gutted in a fire on the night of 3rd November. Although the exact cause of the fire is not known, it reportedly started in the ceiling of the cinema, presumably due to a short circuit. Fortunately, no casualties were reported as the fire broke out after the last show ended on 3rd. The entire building was reduced to ashes.

The cinema had recently been purchased by Bengal distributor Nesar Ahmed.

FFI EXECUTIVE COMMITTEE TO MEET ON 18TH

The seventh meeting of the executive committee of the Film Federation of India (FFI) will be held on 18th November at the IMPPA House, Bombay.

A number of key issues will be addressed and discussed by the committee members. Chief among the items on the agenda are:

(i) consideration of the membership application received from the South Indian Dubbing Film Producers Association, Madras;

(ii) further discussion on the restrictions imposed by the Karnataka Film Chamber of Commerce on the release of non-Kannada films in Karnataka (it may be recalled here that the FFI president and a few other members had discussed the issue with the president and the executive committee members of the KFCC on October 6 and 7 in Bangalore);

(iii) discussion of key issues pertaining to the 30th International Film Festival of India, to be held between January 10 and 20, 1999 in Hyderabad; and

(iv) to initiate the procedure for the adoption of alterations in the Articles of Association of the FFI.

Apart from these main issues, the executive committee will also express its opinion on various items to be considered by the Film Industry Co-ordination Committee, which is likely to meet immediately after the executive committee meeting is over. During the Co-ordination Committee meeting, the selection of the chief guest and films to be included in the mainstream section of the IFFI ’99 will be finalised.

HYDERABAD CINEMA RAIDED FOR SCREENING ‘BITS’

Acting swiftly on a tip-off, the Hyderabad police commissioner’s task force (East zone) raided the Light House cinema at Abids on 2nd November and seized the prints of an English film, Play Nice, and two trailers.The police also arrested manager D. Venkat Rao and projector operator Sardar Khan on the charges of screening obscene films. ‘Bits’ of nude scenes from the film were being screened at the end of every reel, it is reported.

COLUMBIA TO DISTRIBUTE HINDI FILMS

Columbia Tristar has made an application to the Foreign Investment Promotion Board (FIPB) seeking permission to distribute Hindi films in the country. The Board’s approval is awaited. Presumably, distribution of Hindi films is the first step, and the next may well be production of Hindi films.

KUMAR VASUDEV DEAD

P. Kumar Vasudev, the director of India’s first mega TV serial, Humlog, passed away in Pune on 31st October after a protracted illness. He was 60 and is survived by his wife and three daughters.

An alumni of the FTII, Vasudev’s name figured in the Guinness Book of World Records as the maker of the longest TV serial, Humlog (156 episodes). He had assisted Krishna Shah in Shalimar and had directed Ajubey and Kunwari Bahu.

MADANLAL SHAH DEAD

Prominent Gujarat distributor and exhibitor Madanlal T. Shah died on 1st November at Bhuj following a prolonged illness. He was 80.

Madanlal Shah had been a member of the executive committee of the IMPDA for many years. A resolution to condole his death was adopted in the meeting of the executive committee of IMPDA on 5th November.

TARACHAND BHATIA DEAD

Veteran Rajasthan distributor and exhibitor Tarachand Bhatia of Green Light Pictures, Sriganganagar, expired on 1st November at Sriganganagar. He was 83 and had been associated with the film industry for 64 years. He used to mostly distribute Punjabi films and was known for his fair dealings. Tarachand Bhatia was the elder brother of our Sriganganagar representative, R.P. Bhatia.

‘JAB PYAAR KISISE…’ SILVER JUBILEE

Tips Films’ Jab Pyaar Kisise Hota Hai entered 25th week at Dreamland (matinee), Bombay on 6th November.

YOU ASKED IT

Is it true that Hrithik Roshan has been finalised for another film, besides his dad’s Kaho Naa…Pyaar Hai?

– Producer Mohan Kumar has signed Satish Kaushik to direct a film starring Hrithik.

Why are so many horror-sex films being made?

– Distributors consider them safer than other films in the ‘small films’ category. Besides, there’s also scope to add ‘bits’ in such films.

Why has no new film been released this week?

– No reason in particular. It just happened, perhaps. The India-Sri Lanka cricket match played in Sharjah on Friday (6th November) was not the reason for there being no release this week.

DO YOU KNOW?

* It makes news when Mithun Chakraborty gives 16 retakes for a single scene because the actor is known to be averse to giving even three or four retakes. But he did give 16 retakes for a scene for director Jayant Gilatar’s HIMMATWALA. Incidentally, Jayant is directing producer A. Krishnamurthi’s next film also, after HIMMATWALA. It is titled MAWAALI. A heroine, who is turning to production, has also signed Jayant Gilatar to direct her maiden venture.

* Ajay Devgan’s distribution manager, Pinky Badlani, has released ISHQ this week (golden jubilee week) all over Bombay circuit. To match with its golden jubilee, he has released it in 50 cinemas!

* KKHH has created a city record by collecting 1,51,055/- in 1st week, 1,50,747/- in 2nd week, and 1,40,735/- in 3rd week at Galaxy, Jamnagar. Total for 3 weeks: 4,42,537/-.

* KKHH has created theatre records in 3rd week at the following cinemas of Delhi: Chanakya by collecting 9,76,164/-, Batra (5,37,787/-), Vishal (8,26,367/-), Eros (3,49,199/-) and Anupam PVR (5,43,129/-, full).

* KKHH has created a city record by collecting 5,09,136/- in 3rd week at Novelty, Lucknow.

* KKHH has created a city record by collecting 3,51,458/- in 3rd week at Heer Palace, Kanpur. It has also created a theatre record by collecting 1,83,911/- in 3rd week at Anupam, Kanpur.

* KKHH has created a city record by collecting 2,29,289/- in 3rd week at Nandan, Meerut.

* KKHH has created a city record by collecting 1,67,486/- in 3rd week at Kamal, Bareilly.

* KKHH has created a city record by collecting 2,16,224/- in 3rd week at Pawan, Ghaziabad.

* KKHH has created a city record by collecting 2,55,964/- in 3rd week at Taksal, Varanasi.

* KKHH has created a city record by collecting 2,05,203/- in 3rd week at Gautam, Allahabad.

* KKHH has created a city record by collecting 2,43,040/- in 3rd week at Natraj, Dehradun.

* KKHH has created a city record by collecting 1,34,713/ in 3rd week at Kalpana, Saharanpur.

* KKHH has created a city record by collecting 1,64,042/- in 3rd week at Apsara, Aligarh.

* KKHH has created a city record by collecting 1,20,906/- in 3rd week at Shivji Palace, Hardwar.

* KKHH has created theatre records in 3rd week at the following cinemas of Calcutta: Metro by collecting 4,80,218/-, Priya (3,91,923/-, full), Radha (2,21,922/-), Sonali (1,59,141/-), Puspasree-Behala (97,858/-) and Puspasree-Kadamtalla (1,03,897/-).

* KKHH has created a city record by collecting 1,60,164/- in 3rd week at Rajkamal, Jalgaon. It had also created a Jalgaon district record by drawing all 32 shows full in 1st week, and all 28 shows full in the 2nd week. 1st week’s collection: 2,00,323/-. 2nd week: 1,70,271/-.

* KKHH has created a city record by collecting 2,46,652/- in 3rd week at Chitra, Amravati.

* KKHH has created a theatre record by collecting 1,73,963/- in 3rd week at Vasant, Akola. Total 5,45,482/-.

* KKHH has created a district record by collecting 1,22,185/- in 3rd week at Prabhat, Gondia. Total: 3,88,888/-.

* KKHH has created a city record by collecting 1,66,380/- in 3rd week (29 shows) at Plaza, Ajmer.

COMMENTS

GAFFARBHAI NADIADWALA

It is advisable to keep a 15% margin to cover the cost of the film going up due to unforeseen factors, while preparing the budget of a big film.

VASHU BHAGNANI

I don’t think it matters so much if the film goes over-budget or not. It all depends on how the film eventually fares at the box-office. If a film, which has gone way over-budget, turns out to be a hit, then all is forgotten. But if another, made within the budget, flops at the box-office, you will find its producer crying about how much money he spent on it.

ABDUL MAJEED (Controller of Kalpataru cinema, Jodhpur)

Thanks to cable TV, the business of repeat-run films in cinemas has been wiped out completely. We can’t dream of getting shares from repeat-run films released.

3-E
Education-Entertainment-Enlightenment

In All Indian Languages

Looks like the Southern film industry will always be a step ahead of its counterpart here. Over the past many years, the Southern film industry, according to many, has managed to steal a march over our industry simply by showing an exemplary degree of commitment towards work (which should inspire our people) and consistently coming up with bright, new ideas in their films (which actually inspires our people!). Keeping this perspective in mind, it should come as a further proof of the above contention that two of the foremost producers from the South have expressed their individual desires to make at least one film in every single language spoken in India. D. Rama Naidu and Ramesh Prasad (son of the legendary L.V. Prasad) are the two people who are currently (and independent of each other) engaged in making films in various Indian languages. Both, Rama Naidu and Ramesh Prasad — or rather, Prasad Productions set up by his late father — have been veterans with an impressive record in all South Indian languages as well as Hindi films. Moreover, Ramesh Prasad has already completed films in Oriya and Bengali as of present and will soon launch films in Marathi, Gujarati and other languages. For Ramesh Prasad, it is his late father’s unfulfilled desire that is driving him to embark on this untrodden path. D. Rama Naidu, on the other hand, has already made a film in Bengali and is currently making an Oriya film. Once that is completed, he will proceed to make films in other languages including Marathi, Gujarati etc. Whether or not they both succeed in their noble desire, is something only time can tell. On our part, we can only say, hats off and good luck!

Some Good News, Some Bad

Quick on the heels of Dil Se.., Karan Johar’s Kuch Kuch Hota Hai has also found its way into the Weekly Top 10 films showing in the UK. That the blockbuster achieved this in the very first week of its release there, makes it a no mean feat.

A certain news back home about Kuch Kuch Hota Hai is not very encouraging, however. Following stiff protests from several Sikh organisations, the Delhi and Punjab distributors have had to delete references to the Sikh community in the film. It may be recalled that cute little Parzan Dastur plays a lovable Sikh child in the film and there is no denying that a lot of humour involving him comes from the Sardar stereotype. However, what must be said in Karan Johar’s favour is that all references have been kept at a very subtle level. There is absolutely no overt attempt at creating comedy out of hurting the community. Perhaps, this is also the reason why the censors did not object to the scenes. But then, in India, it is fast becoming evident that the CBFC is not the only body that deals with censorship of films. In fact, each and every community — however small it may be — is fast coming up with its own form of censorship. And if this continues in the future too, making a film would very soon be tougher than walking a tightrope.

Of Ajay — Accident And Accolades

Ajay Devgan recently injured himself while shooting for a pre-climax action sequence for Hindustan Ki Kasam, being produced and directed by his father, Veeru Devgan. The accident, which occurred when a dare-devil stunt was being picturised at a village, resulted in Ajay fracturing his leg. The doctors have advised him bed rest for three weeks.

While his bed-ridden status is the bad news, the good news is that Ajay Devgan is winning accolades for his performance in Mahesh Bhatt’s Zakhm. His portrayal of Mahesh Bhatt himself in this latter’s autobiographical film has been marked by brilliance, say all those who have been lucky enough to see the film. Lucky, because the last anyone has heard of Zakhm is that it has been referred to the home ministry by the CBFC and it will be a while before it would be passed.

Another ‘Prem’ Bites The Dust

We don’t know whether this may comfort Feroz Khan who is currently recovering from the dismal failure of his Prem Aggan, but there is a definite precedence set by the flopping of 83% of all Hindi films starting with ‘Prem’. As many as 19 out of the total of 23 films made, titles of which began with ‘Prem’, have flopped in the past 36 years. These films are: Prem Patra (1962), Prem Pujari (1970), Prem Ki Ganga (1971), Prem Parbat (1974), Prem Shastra (1974), Prem Kahani (1975), Prem Bandhan (1978), Prem Vivah (1979), Prem Geet (1981), Prem Rahasya (1982), Prem Tapasya (1983), Prem Jyoti (1985), Prem Yudh (1985), Prem Jung (1991), Prem Deewane (1992), Prem Shakti (1994), Premyog (1994), Prem (1995) and Prem Granth (1996). The only exceptions are: Prem Nagar (1974), Prem Rog (1982), Prem Pratigyaa (1989) and Prem Qaidi (1991).

Well, at least Feroz Khan could take solace in the fact that he is not alone — though one is sure, he wouldn’t like to be in such ‘elite’ company either! Incidentally, trade-wallahs are referring to Prem Aggan as Prem Again — that is to say, Boney Kapoor’s Prem again!

Shame Shame!

While the industry should feel sorry about the lakhs and crores of rupees it loses every year due to black-marketing in tickets at cinemas, it is a fact that several cinema managements themselves openly indulge in black-marketing. But Sachinam cinema in Bombay, perhaps, takes the cake — rather, the entire bakery. A letter from the distributor of the film running at the cinema, to deliver some tickets at cost to the holder of the letter, is meaningless if the film is drawing full houses, because the letter adversely affects the revenue (in black, of course!) of the management. Recently, an avid cinegoer, holding such  a letter of the distributor, was in for a rude shock when the management of Sachinam told him that the letter was a worthless piece of paper. Then, changing his mind, the guy told the letter holder: “Since you’ve come with the letter, we will give you a rebate of Rs. 5 per ticket on the black rate which is Rs. 120 per ticket. Please pay at the rate of Rs. 115 per ticket for the 12 tickets you want.” Shame! Incidentally, the cinema keeps its phone off the hook and its fax machine off so that they are not forced to commit tickets to anybody — because that would mean selling the tickets at face value and not in black.

KAREEB

Vinod Chopra Productions’ Kareeb is a love story set in a small town of Northern India. A poor girl and a rich boy fall in love with each other but the boy’s father will not let his son get married to a girl who doesn’t bring dowry. The boy, in order to fool his father, robs his money and gives it to him as if it were the dowry sent by the girl’s maternal uncle. All hell breaks loose when the theft comes to the notice of the father right on the day of the wedding. The marriage is stalled, which gives a heart attack to the girl’s widowed mother. She is shifted to a city hospital but the boy can’t do much because his enraged beloved has asked him to keep away. The boy, nevertheless, goes to the city and keeps tab on the mother’s progress. Finally, when over a lakh of rupees are required for the mother’s heart surgery, the boy comes to the rescue of the poor girl, but again, by unfair means. This not only wins him back his beloved but also prevents her marriage to the doctor attending to her mother.

While the first half has very interesting light moments between the boy and the girl, there is absolutely no romance in the post-interval portion. Not only that, the pace is very slow in the second half, and the drama seems to almost not move. One reason for this is that almost the entire second half has been shot in the hospital and the laundry which is opposite the hospital and in which the hero camps. Further, there’s no heroism of the hero in the whole film. Merely because the heroine has sworn him to keep away, his not coming to her aid in the hospital does not appeal. What’s more, there arises a feeling that he isn’t even trying hard enough to collect money for the mother’s treatment until towards the end. It is for this reason that the emotions simply do not come across because one doesn’t feel sorry for a hero who is not doing his best. The hero being conned by a couple also fails to have the emotional impact, if only because it is not the hero’s hard-earned money that’s lost. Even in the climax, the hero resorts to stealing, and his family members and friends also lie about his winning the lottery, further downgrading the character of the hero.

As against the abovesaid weak points in the story and screenplay, what is appealing is the comedy. While some scenes are hilarious, there are a few which bring a smile to the lips. But the fact remains, the drama after interval is weak. Also, the comedy is more of the kind that will be appreciated by the gentry and city audience. Climax is ordinary.

Bobby Deol does well in the light scenes but is not really good enough in the dramatic ones. His long hair rob him of Indian looks. Neha makes a confident debut and endears herself to the audience with a cute performance. She, however, needs to improve a lot in dancing, the awkwardness showing in the solitary and small dance piece she does in a song. Saurabh Shukla and Manav Kaushik are fantastic and evoke laughter at several places. In fact, they are the best performers in the film. Amit Phalke also impresses with a performance that’s natural to the core. Moushumi Chatterjee does an able job. Johny Lever’s comedy is enjoyable. Abhay Chopra gives a restrained performance but his dialogue delivery is not only too fast, it is also unclear at places. A star figure would have been a better choice for the role. Shammi Kapoor and Sushma Seth lend formidable support, and the change in the character leaves the audience quite shocked. The other artistes provide good support.

Director Vinod Chopra’s handling of the subject is sensitive and he also makes the film a visual delight. But his script sense leaves a lot to be desired. Anu Malik’s music score is good. All the songs are very melodious. Song picturisations do not befit a love story; they are too ordinary. Binod Pradhan’s camerawork is remarkable; the exotic locations have been fabulously captured by him. Editing is loose and the film could do with several deletions. Mixing is improper at places. Production values are fair.

On the whole, Kareeb remains a film for cities and the class audience and can be expected to do well in good cinemas of ‘A’ grade centres. For the distributors, therefore, the going will prove tough. Business in Bombay and South may be better.

Released on 17-7-’98 at Liberty and 10 other cinemas of Bombay thru Yashraj Film Distributors. Publicity: excellent. Opening: very good. …….Also released all over. Opening was good in Delhi and Calcutta but average in almost all the other places.

LATEST POSITION

The week that went by was normal.

Dulhe Raja has done very well. In Bihar, it has done exceptional business, breaking several records, and is expected to cross the crore mark there soon. It picked up in C.P. where the opening was below the mark. 1st week Bombay 48,92,947 (83.67%) from 14 cinemas (7 on F.H.); Ahmedabad 8,15,242 from 5 cinemas, Padra 1,78,772, Jamnagar 1,17,244; Pune 7,69,496 from 5 cinemas; Delhi 39,57,727 (74.08%) from 11 cinemas (1 on F.H.); Kanpur 5,60,425 from 2 cinemas, Lucknow 3,23,043, Allahabad 1,95,000, Bareilly 1,85,403 (85.82%); Calcutta 15,26,093 from 12 cinemas; Nagpur 6,37,267 from 5 cinemas, Amravati 1,65,535, Durg 1,23,540, Jalgaon 1,53,808, Yavatmal 1,58,879, Bilaspur 1,78,877 from 2 cinemas; Indore 4,62,291 from 2 cinemas (2 on F.H.), Bhopal 3,93,684 from 2 cinemas; Jaipur 13,30,631 from 4 cinemas; Hyderabad 18,17,765 from 8 cinemas (3 on F.H.).

Satya (tax-exempted in Maharashtra from 12th July) is doing wonderful business in Maharashtra. It is steady in Gujarat, Delhi-U.P., East Punjab and the Eastern Circuit. The Telugu version is fantastic. 2nd week Bombay (TF) 37,03,878 (95.29%) from 7 cinemas (6 on F.H.); Ahmedabad 99,949 (2 unrecd.); Pune (TF) 10,30,344 from 4 cinemas, Solapur (TF) 1,76,320 (100%); Delhi 4,65,355 from 2 cinemas (1 unrecd.); Kanpur 1,19,407 (1st 3,07,661), Lucknow 1,75,026, Allahabad 72,000, Dehradun 79,416; Calcutta 2,02,373; Nagpur (TF) 4,37,576 from 2 cinemas, Jabalpur 53,095, total 96,524, Amravati (TF) 1,62,561, Akola (TF) 85,611, total 1,62,026; Jaipur 1,49,542, Ajmer 65,808 (1st 62,516); Hyderabad 4,39,391.

Major Saab continues to do well in Gujarat, U.P. and Bihar. It has been granted tax-exemption in Maharashtra (from July 15). 3rd week Bombay (TF) 17,09,693 (57.52%) from 8 cinemas (7 on F.H.); Ahmedabad 73,760 from 2 cinemas (2 unrecd.), Vapi 2,03,660, total 8,17,880, Jamnagar 74,014, total 3,48,126; Pune (TF) 3,35,361 from 2 cinemas, Solapur (TF) 93,748; Bijapur 2 weeks’ total 1,63,000; 3rd week Delhi 22,37,619 from 9 cinemas (1 on F.H.); Kanpur 2,23,462 from 2 cinemas, Lucknow 2,23,065, Allahabad 1,14,000, Bareilly 45,743 (23.98%), Hardwar 25,000; 3 weeks’ billing of Delhi-U.P. is over 1.30 crore; Rohtak 15,088; Calcutta 3,48,363 from 3 cinemas; Nagpur (TF) 76,531 from 2 cinemas, Jabalpur 1,23,749, total 5,32,788, Amravati (TF) 66,276, Akola (TF from 15th) 43,559, total 2,44,040, Jalgaon 54,854, Chandrapur 1,58,084, Yavatmal 17,633, Bilaspur 51,281; Indore 1,12,251, Bhopal 72,035; Jaipur 2,28,100 from 2 cinemas, 2nd week Bikaner 1,62,546; 3rd week Hyderabad 3,61,377 from 3 cinemas (2 in noon).

Ghulam 4th week Bombay 29,39,613 (75.33%) from 10 cinemas (8 on F.H.); Ahmedabad 1,40,150 from 2 cinemas; Pune 5,89,806 from 4 cinemas (1 in matinee), Solapur 1,23,202 from 2 cinemas (1 in matinee and 1 in 14 shows); Bijapur 3 weeks’ total 3,20,000; 4th week Delhi 7,53,746 from 3 cinemas; Kanpur 1,31,247 from 2 cinemas, Lucknow 1,21,238, Allahabad 45,000, Dehradun 61,000; 1st week Rohtak 20,077; 4th week Calcutta 1,72,406; Nagpur 72,012 from 2 cinemas, Jabalpur 1,44,723, total 7,58,836, Amravati 1,22,245, total 7,28,741, Akola 72,053, total 4,52,362, Jalgaon (6 days) 84,303, Bilaspur 58,064; Indore 87,218, Bhopal 86,312; Jaipur 1,35,705; Hyderabad 6,10,504 from 3 cinemas (2 in noon).

SHAH RUKH DISCHARGED

Shah Rukh Khan was earlier this week discharged by a court in Ajmer in a case field against him by a group of lawyers for using allegedly derogatory words for lawyers in Ram-Jaane. The defence argued that Shah Rukh, being an actor, speaks and acts according to the script written for him and he should not be held responsible for words spoken while acting.

ENTERTAINMENT TAX IN RAJASTHAN REDUCED

The Rajasthan government has reduced entertainment tax to 50% on nett admission rates of less than Rs. 10. The earlier rate of entertainment tax (100%) continues on tickets, the nett rates of which are over Rs. 10.

‘SATYA’ TAX-FREE IN MAHARASHTRA

Ram Gopal Varma’s Satya has been granted tax exemption in Maharashtra for a period of three months from July 10.

‘MAJOR SAAB’ TAX-FREE IN MAHARASHTRA

ABCL’s Major Saab has been exempted from payment of entertainment tax in Maharashtra for a period of three months from 14th July.

‘PARDES’ GOLDEN JUBILEE

Subhash Ghai’s Pardes is celebrating golden jubilee this week. Produced under the banner of Mukta Arts (Pvt.) Ltd., it stars Shah Rukh Khan, Mahima Chaudhry, Apoorva Agnihotri, Amrish Puri, Alok Nath and others. Music: Nadeem Shravan. Lyrics: Anand Bakshi, Cinematographer: Kabir Lal.

YOU ASKED IT

Why are state governments like those of Uttar Pradesh suddenly becoming sympathetic towards the film industry?

– Thanks to the efforts of the industry leaders as well as star-MPs like Shatrughan Sinha, the state governments are realising the seriousness of the precarious situation in which the film industry finds itself today. Further, the industry status granted by the central government is acting as a good starting point for states to act.

The Govinda-starrer, Achanak, did not take a decent opening whereas the other Govinda-starrer, Dulhe Raja, opened to excellent houses. Why so?

– DULHE RAJA boasted of a hit song, Ankhiyon se goli maare. ACHANAK had no hit number. Thus the difference in initials of the two films.

Has J.P. Dutta started shooting his Aakhri Mughal? Who is Abhishek Bachchan’s heroine in it?

– J.P. Dutta has reportedly decided to make another film, not AAKHRI MUGHAL. One hears, it will star Jackie Shroff and Sunil Shetty, besides Abhishek Bachchan.

DO YOU KNOW?

* Now, cinema tickets can be booked on fax. West Bengal distributor Pritam Jalan has introduced the booking-on-fax system with KAREEB in Calcutta. Perhaps, this is the first time anybody has tried this. The response is said to be tremendous. The film, released in three cinemas of Calcutta, drew all shows full on the opening day.

* Music directors Jatin Lalit seem to have taken it upon themselves to make stars sing. Having tasted great success by making Aamir Khan sing Aati kya Khandala in GHULAM, the duo has now gone ahead and recorded a song in the voice of Sanjay Dutt. The song, Ae Shivani, was recorded for writer-turned-director Sanjay Chhel’s film, KHUBSOORAT.

* Amit Kumar created a record of sorts on 14th July by recording four songs in a single day. A song each was recorded by music director Viju Shah and duo Jatin Lalit for David Dhawan’s BADE MIYAN CHOTE MIYAN and Dharmendra’s as yet untitled film respectively. The remaining two songs were composed by music director Nilu Gavankar for Super Hit Cinema’s untitled film. 

* A vinyl 20′ x 20′ hoarding of SATYA is the first of its kind in Malegaon. Displayed by Bombay distributors VIP Enterprises at Sandesh cinema, it is attracting the public in large numbers.

MIX MASALA

SILVER COINS FOR SILVER JUBILEE

The silver jubilee of Gunjan Cinema, Vapi, is being celebrated with the distribution of silver coins. The cinema had opened on 12th July, 1973. Perhaps, after 25 years, the cinema’s golden jubilee will be celebrated with the distribution of gold coins.

3-E
Education-Entertainment-Enlightenment

‘Penalty’ For Over-Spending?

While the Maharashtra government’s decision to allow the unspent service charge to be carried forward for a period of two years is laudable, what one fails to understand is why the government has not permitted exhibitors to carry forward the excess spent in a year (more than the amount of service charge collected in that year) to the next year. For instance, if an exhibitor spends Rs. 10 lakh in a year but collects only Rs. 3 lakh, he is not allowed to carry forward the difference (Rs. 7 lakh) to the next year. He will have to spend the service charge collection of the following year in that year or, now, can carry forward that amount for 2 more years. A typical case of an exhibitor being allowed to make a virtue out of not spending enough in a particular year but being penalised for spending more on the cinema in another year! But that’s how the government ‘thinks’.

Competitor Se..

The music of Mani Ratnam’s Dil Se.. is fast receiving both, critical acclaim as well as public appreciation. Released by Venus last week, the audio cassettes and CDs of the film are already so much in demand that Pravin Shah (of Time Audio) remarked that he had never before seen such a tremendous initial craze for any other film cassette in his showroom! Coming as it does from the boss of a rival music company, this compliment must hold a special meaning for Venus. Perhaps, it is time for whizkid music director, A.R. Rahman, to add a few feathers to his cap.

Distributor’s Confidence And Producer’s Magnanimity

Delhi-U.P. distributor Tolu Bajaj, who was to release Gordhan Tanwani’s Pyaar To Hona Hi Tha in Delhi-U.P. on commission basis, has gone ahead and changed his agreement to that for purchase on MG Royalty. Quite rare, one might say, considering that it wasn’t Tanwani’s intention to sell the film on MG royalty basis. Usually, a distributor, who is given a film on pure commission basis, would only too happily release it since he doesn’t have to take any risk. But Tolu’s confidence in the film prompted him to acquire it on MG. In all fairness to Tanwani, it must be mentioned here that he asked Tolu Bajaj to see the film’s first copy and then decide on whether or not he should pay an MG royalty amount for the film, but Tolu thought, it was more graceful to take a ‘blind’ decision. Incidentally, Gordhan Tanwani, who believes in spending lavishly on publicity, has despatched ten times more than the usual quantum of publicity materials, of his film to his various distributors. But the distributors have been told, they’ll be charged only for the usual or normal amount of publicity materials, the cost of the rest to be borne by the producer himself.

Zee To Produce Films

Zee TV is stepping into film production is a big way. Its first venture will be directed by Anil Sharma and will star Sunny Deol. Nitin Keni is incharge of the administrative side of Zee’s production division, and Shyam Gupta (who has directed a film, besides writing the dialogues for films like Ghatak) will head the creative side. The first venture will go on the sets later during the year.

INFORMATION MEETS

“Previously, songs would invariably come from the story. They were not fitted into a story as it is done today.”

– ANAND BAKSHI

RAJ VAIDYA

How can one best describe Anand Bakshi? Calm, collected and soft-spoken, Anand Bakshi’s persona is reflected in the songs that he writes. “Kya karoon, meri tabiyat hi kuchh romantic hai,” says Bakshi in response to a query about his preference for writing romantic lyrics. Having spent 42 years in the film industry, he remains one of the very few vanguards of the older school of lyricists, still very much in business today. He has been able to adapt his writing style to the changing times and, as a result, he remains a much sought-after song-writer, even now. That the younger generations still love his style of poetry has been comprehensively proved by the tremendous popularity of his songs from two hit films last year, viz. Dil To Pagal Hai and Pardes. From being in the Indian Army to becoming an award-winning lyricist, Anand Bakshi has traversed long distances in his career, delivering one classic song after another over the years. Yet, it is his modesty that prevents him from talking about his achievements. He would rather have his songs speak for himself, as they do — in volumes. In this interview, Bakshi allows us to take a peep into the mind of one of the most prolific song writers of our times.

At the risk of asking an oft-repeated question, how did the transition from Army to writing songs for films take place?
– When I was in the Army, I used to love singing — a passion that has refused to leave me even today. During the Army days, I had earned quite a reputation about my singing abilities. But, somewhere along the line, singing gave birth to poetry in me. I don’t know how this happened. Even today, I cannot say why or how I turned to poetry. Anyway, to cut a long story short, I was fully consumed by the desire to write poetry while still in the Army. As both could not be done side by side, I decided to quit the Army and came to Bombay in ’56. After a brief struggle, I began to get a few song writing assignments through which I was able to prove myself.

What, according to you, is the essential difference between literary poetry and film lyrics?
– The basic difference is that as film lyrics are written primarily for mass-appeal, it is very vital that they have simplicity of thought and language. They must be easy for every film viewer to understand. It is a compulsion each film lyricist faces every time he writes a song. In contrast, a literary poet faces no such compulsion. He writes on an independent level without any qualms about the sensibilities of those who read his poetry. In other words, he writes for himself. A film lyricist, on the other hand, must be able to cater to the lowest common denominator through his songs.

Who has influenced you the most as a poet?
– While I was in the Army, I was deeply influenced by the work of D.N. Madhok who had earned the title of Mahakavi back then. Later, I was also influenced by some great film lyricists of yesteryears, like Shakeel Badayuni, Rajinder Krishen and Shailendra.

You are continuing in the 43rd year of a prolific song-writing career in films. How, in your opinion, has the music in films changed over the years?
– All the songs are dances nowadays. You can rarely see songs where heroes and heroines are not dancing with 50 other people. And what kind of dances do they picturise nowadays? Fifty-sixty dancers, all standing in straight lines, with the hero and heroines in front, and moving their hands and legs about in rhythm! It really takes me back to my Army days when we used to exercise in a similar manner every morning. Anyway, the days when a love song or a romantic song was picturised on just the hero and the heroine alone, seem to be over. This is the reason why that intensity, that passion, which was there in the songs of the olden days, is missing today. The very intensity and passion behind each song lent it an individualistic feel in the days of yore. Today, you will find it hard to differentiate between one song and the other. The individuality, or call it the uniqueness, of the older songs is lost today.

What about the process of creating a song — has it changed, too, over the years?
– Of course, it has. Previously, songs would invariably come from the story. They were not fitted into a story, as it is done today. Since the songs emanated out of various situations within the story, the story-writer was able to put in some germs, which were later developed into full-fledged songs by the lyricist. Nowadays, the lyricists and the music directors are asked to compose songs between them and are told that they would be fitted into the story somehow.

Do you feel, the quality of film lyrics has deteriorated in today’s times?
– It depends on how you look at the issue. I will certainly say that the lyrics of songs nowadays are different from those of the earlier times. I think, the main reason why this has happened is because the changing times have brought about the change in the style of lyric-writing. In my opinion, the lyricists of today are okay. You can’t really expect them to continue writing in the same way as before, simply because they — and more importantly, the younger generation of film viewers — haven’t been exposed to the songs of the earlier films.

What do you think about the recent controversy between lyricist Majrooh Sultanpuri and producer Mukesh Bhatt over the song Aati kya Khandala from GHULAM?
– Since I do not know much about the controversy, I cannot comment on it. But as far as the lyrics of the song go, I personally feel that there is nothing wrong with them and hence I do not feel offended by them.

To change tracks, tell us something about your legendary association with Laxmikant Pyarelal…
– I first got acquainted with Laxmikant Pyarelal when they were still assisting Kalyanji Anandji. I had already become a lyricist by then. We used to talk a lot to each other and later, when Laxmikant Pyarelal became music directors, I became their natural choice to pen their songs. We became a team after a couple of our hit songs in the initial years. As we worked more and more together, we were able to develop a very good rapport among ourselves. Another thing that worked in our favour was that all the three of us were nearly of the same age. But the most important thing that made us survive as a team was the fact that we were able to give hit songs at regular intervals. I say this because in our film industry, nothing succeeds like success. Success makes the teams, and failure breaks them.

In recent times, your association with producer-director Subhash Ghai has resulted in a number of memorable songs. What makes you both so formidable as a team?
– Having written all the songs for all of Subhash Ghai’s films, I can say that I understand the style of his filmmaking very well. Similarly, he understands my style of lyric-writing. So, there is a perfect understanding and tuning between us. We think nearly along the same lines on a lot of things. Moreover, apart from being colleagues at work, we also share a warm personal and family relationship. These and, like I said earlier, our successes together are the main reasons why we have been able to continue together for so many years.

Creative people, especially poets, are considered to be eccentric in one form or another. How does the statement apply to you?
– I don’t know about my eccentricities, but I do have this awful habit of chewing paan since a very long time. The habit has affected my health very badly and my doctors have warned me against continuing it. I have succeeded only to a small extent, in kicking the habit so far. Another habit that I have had, right from the time I made my foray into films, is that I am always punctual. In fact, I developed this habit during my Army days when we had to do everything at the appointed time. Sadly, punctuality is not exactly a virtue for the people in the film industry as nobody gets anywhere on time here. Very often, I find myself arriving at filmi functions before anyone else and end up waiting a long time for the functions to start.

Who are your favourite singers?
– Among my all-time favourites, I must include Rafi and Lata Mangeshkar. I also like Kishore Kumar, Mukesh and Asha Bhosle. Among the current lot, I like the voices of Alka Yagnik and Udit Narayan.

Recently, veteran lyricist Kavi Pradeep was awarded with the Dadasaheb Phalke award — the highest honour in the field of cinema in India. Any reactions?
– I would like to say that I am very happy that the contribution of the film lyricists has been appreciated by the government of India. Earlier, Majrooh Sultanpuri had also received the same honour. Kavi Pradeep has given the country some of the most inspirational songs ever written, and rightfully deserves the award.

What is your opinion on the increasing trend of Hindi pop music. Would you consider to write the lyrics of a pop album, if offered ?
– I can neither condemn pop music nor appreciate it for the simple fact that I cannot understand it. As regards the other question, I have already refused a number of offers of writing lyrics for pop albums.

You have seen a lot in your 42 years in the industry so far — be it fame, fortune or happiness. Is there still something that you have always wanted to do but still haven’t been able to?
– Yes, in fact, there is. As I mentioned earlier, I love singing. It is more than a passion with me. Sadly, I haven’t had much of a chance in this direction so far. It is true that Laxmikant Pyarelal gave me a break as a singer in Mom Ki Gudiya, where I sang a duet with Lata Mangeshkar, but after that, I was able to sing only three or four songs over the years. I hope, some day, I will be offered the song that would do justice to my singing abilities. I want to be remembered at least for one memorable song that I have sung.

Finally, what keeps you going so strong even after completing four decades in the industry?
– My need to work. That is the single most important reason for my consistency in films. I firmly believe that necessity pushes people to give their best in whatever fields they are. Those who have all they want, become lax in their work as they do not care whether they would get work the next day. For me, writing poetry is the only source of income I have. My children are yet not well-settled. So, I need to work in order to run the household. In turn, this need pushes me to give off my best in my songs.

Any poetic words, in parting…?
– Tadbeeron se phir jaayen,
Woh taqdeeren nahin hoti.
Jo taqdeeren na badal dein,
Woh tadbeeren nahin hoti.

DEEWANA MASTANA

M.K.D. Films Combine’s Deewana Mastana is a laugh-riot about two guys who love the same girl. While one tries to woo the girl (who is a psychiatrist) by holding himself out to be a multi-millionaire, the other feigns mental imbalance so that he can come close to her by becoming her patient. No sooner do the two realise that the other is his competitor, the game of one-upmanship between them begins. This leads to hilarious situations and funny incidents. The ending is totally unexpected and even though it would have not, in normal circumstances, gone down well with the audience, it is so unexpected that not only will the audience accept it but even enjoy the unconventional ending.

There are a few weak points too in the film. For one, there is hardly any movement in the drama and, after a point of time, the story becomes stagnant. The film begins with a guy trying to woo a girl and this wooing by him and the other guy goes on till the very end. It is as if an episode of a drama has been stretched too far. Secondly, and because of the above, there is a lot of repetition in the proceedings. Nevertheless, the feeling with which one leaves the cinema hall is one of joy.

Anil Kapoor does well but since there are two heroes, comparisons are bound to be made. And in comparison to Anil, it is Govinda who is the real scene stealer. Govinda has an extraordinary sense of timing and complements this with an absolutely effortless performance which will be adored by the audience. Of the two roles too, it is Govinda who has a meatier one. Juhi Chawla looks pretty and acts pretty well. Johny Lever is remarkable as Anil’s sidekick. Satish Kaushik is also truly funny in a comparatively brief special appearance but his language is of the kind which may not win him fans outside Bombay. Anupam Kher is alright; he gets limited scope. Shakti Kapoor has been hopelessly wasted. Saeed Jaffrey, Reema, Avtar Gill and Guddi Maruti lend able support. Shiva is okay. Upasna Singh and Himani Shivpuri deserved better roles. Pratibha Sinha impresses in a solitary dance sequence and a couple of scenes. Kader Khan is fair. Salman Khan gets a mind-blowing response from the audience on his sheer entry because of the drama that leads to his entry in the picture. Raveena Tandon, too, gets loud applause for the same reason.

Director David Dhawan is in great form while picturising the one-upmanship scenes. Even otherwise, he does a praiseworthy job. In particular, the latter part of the second half is extremely enjoyable when both the heroes try to prevent the other’s marriage with the heroine. But David and writer Anees Bazmee should have avoided stretching the drama so much that it stops moving for a while. Dialogues are witty and enjoyable. But background music needed to be better in a comedy film like this.

Music is quite a letdown, considering that there’s not a single hit number. ‘O mummy mummy’ is fairly good. Another drawback is that most of the songs are dream sequences and, therefore, lose their impact.

On the whole, Deewana Mastana has the merits to keep its distributors smiling, although it will have to contend with a bad period ahead. Business in cities will be better. It can prove to be class A in Bombay.

Released on 9-10-’97 at Metro, on 10-10-’97 at 20 other cinemas of Bombay and on 11-10-’97 (today) at Plaza, Bombay, thru V.I.P. Enterprises. Publicity: very good. Opening: good. …….Also released all over. Opening was not quite satisfactory in East Punjab, C.P.C.I. and Nizam.

MR. & MRS. KHILADI

D.M.S. Films’ Mr. & Mrs. Khiladi is a comedy film. It is the story of a good-for-nothing guy who has blind faith in the predictions of an astrologer. A rich girl falls in love with the guy and forces her father to get her married to him. Although the father relents, he will not let the marriage be consummated till his son-in-law earns a lakh of rupees and gives the same to him. The eager son-in-law does all the wrong things to collect Rs. 1 lakh but ultimately learns a lesson in life — that there’s nothing wrong in working hard.

The story is silly and some of the anecdotes in the film are sillier. For instance, the father-in-law keeps slapping his son-in-law, something which the Hindi film-going audience would find it hard to digest even if it is a comedy film. For, comedy too must be within some parameters and not above all norms. What’s worse is that the son-in-law being so slapped is Akshay Kumar who may be playing a comic role in the film but whom the public views as a rough-and-tough hero and will, therefore, not like him being beaten so often. The heroine’s romance is not established and the post-marriage scenes between the couple and the father/father-in-law even border on vulgarity at times and stupidity at other times.

Of course, the film has its good moments too. Some incidents are hilarious and evoke thunderous laughter. In this category are the goat scene, the heroine’s rash driving scene, the insult-in-good-humour of the heroine’s father by the heroine’s uncle, and some others. The climax fight with the Sumo wrestler falls short of the expectations its publicity has generated.

The casting of Akshay Kumar in a comedy film is quite a tragedy. For, in many scenes, Akshay is like fish out of water. In the early part of the film, he seems to be under the mistaken impression that the audience will laugh if he cries. In short, Akshay does not impress, although, it must be said, he looks very fresh and handsome. Juhi Chawla is cute, looks good and acts ably. Kader Khan gives a spirited performance but is not at his best. Paresh Rawal entertains with his one-liners aimed at Kader Khan. Satish Kaushik’s comedy is good at times and falls flat on its face at other times. His kissing Akshay doesn’t raise laughter after a while. Gulshan Grover is okay. Johny Lever is very good in a special appearance. Himani Shivpuri and Prachi hardly have any substantive scenes. Rakesh Bedi, Anil Dhawan, Baban Yadav and the rest lend the desired support.

David Dhawan’s narration bears the stamp of his racy style but the film looks like a job hurriedly done and, what’s more, David’s choice of the subject leaves a lot to be desired. Writer Rumi Jafri seems to have taken the audience too much for granted. Even his dialogues aren’t as good as they should have been in a film of this kind.

Anu Malik’s music has the quality of mass appeal but there’s not a single song that’s a chartbuster. The title song, ‘Aaloo’, ‘Jumma’ and ‘Bangla’ songs are the better ones. Song picturisations are all so similar that they dilute the impact. Moreover, most of the songs have no proper situations and/or are dream sequences. Action scenes have been ably composed. K.S. Prakash Rao’s camerawork is of a very good standard. Production values are nice.

On the whole, Mr. & Mrs. Khiladi does have anecdotes to make the audience laugh but only at a few places. Further, even the hilarious scenes pale into insignificance when considered in totality. Considering the high price, the dull period ahead, the lukewarm opening and the weak merits, this comedy may prove to be a tear-jerker for its distributors.

Released on 10-10-’97 at Novelty and 24 other cinemas of Bombay thru Dilsa Distributors Combine. Publicity: excellent. Opening: average. …….Also released all over. Opening was dull everywhere.

LATEST POSITION

Save in some centres of some circuits, the two big releases of this week have not opened to impressive houses. …Collections of all the films are very poor due to Navratri festival.

Udaan is extremely dull. 1st week Bombay 17,61,824 (50.13%) from 12 cinemas (10 on F.H.); Ahmedabad 3,02,241 from 4 cinemas; Pune 3,87,492 from 6 cinemas (1 in matinee); Delhi 8,08,363 (35.01%) from 6 cinemas (1 unrecd.); Kanpur 1,01,261, Lucknow 1,00,125, Allahabad 58,200, Varanasi 1,37,269, Bareilly 73,015 (36.73%), Gorakhpur 1,00,200; Amritsar 52,300; Bhopal 1,00,568 from 2 cinemas; Jaipur 2,18,376 from 3 cinemas; Hyderabad 10,32,090 from 10 cinemas.

Dharma-Karma proves a disaster. 1st week Bombay 2,28,750 (32.33%) from 2 cinemas (3 on F.H); Delhi 5,34,607 (36.74%) from 5 cinemas (2 on F.H.); Kanpur 90,225 from 2 cinemas, Lucknow 52,588, Varanasi 35,892, Bareilly 32,000 (16.78%), Gorakhpur 35,000; Amritsar 61,270; Calcutta 1,05,106; Nagpur 78,306 from 2 cinemas, Raipur 51,046 (21.66%); Jaipur 95,141, Jodhpur 90,000; Hyderabad 76,732 from 3 cinemas (2 in noon).

……….

Pardes 9th week Bombay (TF) 17,70,016 (67%) from 7 cinemas (5 on F.H.); Ahmedabad 1,98,669 from 2 cinemas (1 unrecd.); Pune (TF) 3,18,069 from 2 cinemas, Kolhapur (TF) 93,000, Solapur (TF) 1,37,685; Delhi 10,58,644 from 5 cinemas; Kanpur (6 days) 56,111, Lucknow 1,54,995, Allahabad 39,035, Varanasi 65,670, Bareilly (6 days) 37,743, Gorakhpur 24,000; 8th week Jabalpur (6 days) 33,324, 9th week Amravati (TF, 6 days) 60,655, Akola (TF) 74,700 (8th 1,06,155), Raipur (6 days) 37,619, 8th week Jalgaon (TF) 78,000; 9th Bhopal 56,288; Jaipur 1,38,062; Hyderabad 4,54,269 from 2 cinemas 1 (in noon).

TRAGEDY OF MYSORE: BOTH COMEDIES NOT RELEASED

Both, Deewana Mastana and Mr. & Mrs. Khiladi, did not open in Mysore yesterday (10th October). Sudhir (Vasupradha Enterprises, Bangalore) is the common distributor of the two films.

Sudhir had reportedly decided to release Deewana Mastana a week later, on October 17. But although he had booked cinemas for Mr. & Mrs. Khiladi, he failed to turn up for its delivery, presumably due to shortage of funds. The cinemas, which had been so booked, had to undergo a lot of inconvenience due to the cancellation of release.

KEY MAN IN GULSHAN KUMAR CASE ARRESTED

The Bombay police on 9th October nabbed a key conspirator allegedly involved in the killing of Gulshan Kumar. The accused, Zafar Sharif alias Nawaz Mohammed Inayatuallh Sheikh (45), was remanded to police custody till October 22.

PLAZA, BOMBAY REOPENS

Plaza cinema of Bombay, which was closed since March 1993 when it was one of the targets of the serial bomb blasts, reopened on 10th October. A day earlier, a puja was held in the cinema.

Smita Thackeray was the chief guest, and Jeetendra, the guest of honour, at the formal reopening on 10th. Anil Deshmukh, Maharashtra’s minister of state for cultural affairs, and Prabhakar More, Maharashtra’s minister of state for home, also attended the reopening.

The cinema has been restarted by Madhura Pandit Jasraj, Vinayak P. Mayekar and the executors of the will of late Dr. V. Shantaram. It is being controlled by V.I.P. Exhibitors.

BIPIN WARTY PASSES AWAY

Well-known Marathi film producer-director Bipin Warty died of a heart attack on 7th October at his residence in Bombay. He had produced and directed Sage Soyare, Changu Mangu and Khara Warasdar and had directed Ek Gaadi Baki Anadi, Fasvafasvi and others. He had also produced Maay Baap which was directed by Sachin. Bipin was the associate director with Sachin for the TV serial, Tu Tu Main Main.

He was 40 years old and is survived by his father, mother, wife and a son.

SAMAR CHATTERJI NO MORE

Producer-director Samar Chatterji passed away on 7th October at his residence in Bombay. He had produced and directed Pyar Deewana in 1972 and had also acted in films like Teesri Kasam, Milan and Mashaal.

SHRINGAR FILMS ENTER EXHIBITION SCENE

Leading Bombay distributors, Shringar Films, have jumped full-fledged into exhibition. Shringar Cinemas, a division of Shringar Films, have acquired two new cinemas on long leases.

Cinemax is the name of the first cinema, which is coming up at Goregaon, Bombay, where once stood Samrat cinema. A 650-seater, this will be the first cinema in Bombay to be equipped with a video wall. It will have Dolby digital and DTS sound, Christie projectors and xenon lamps. Cinemax is expected to open on 21st November with Kamal Haasan’s Chachi 420. Patrons would be offered the facilities of booking tickets on telephone, home delivery of tickets and acceptance of credit cards.

The other cinema — Cinestar — will open on 5th December at Kandivli (West), Bombay, where once stood Sona, Kandivli. It will have 281 seats and will also be equipped with Dolby digital and DTS sound systems.

Both the cinemas will be air-conditioned and are being built by Kanakias. Every seat in both the cinemas will have popcom holders.

Shravan, son of Shyam Shroff, will be incharge of Shringar Cinemas which plan to have an entire chain of cinemas. All the new cinemas will start with the world ‘Cine’ where service of high quality to patrons will be the catchword.

‘PARDES’ TAX-FREE IN DELHI TOO

Subhash Ghai’s Pardes has been exempted from payment of entertainment tax in Delhi. It is already tax-free in Maharashtra.

‘DDLJ’ 100 WEEKS

Aditya Chopra’s Dilwale Dulhania Le Jayenge enterted 100th week of its combined run at Maratha Mandir, Bombay, on 10th October. Starring Shah Rukh Khan, Kajol, Anupam Kher, Farida Jalal, Parmeet Sethi and Amrish Puri, it is produced by Yash Chopra and has music by Jatin Lalit.

VIKAS BHALLA WEDS PREM CHOPRA’S DAUGHTER

Actor Vikas Bhalla got married to Puneeta, daughter of Prem Chopra, on 10th October at Prem Chopra’s residence at Bandra, Bombay.

‘GUPT’ 100 DAYS

Rajiv Rai’s Gupt is celebrating 100 days of its run today (11th October). Produced by Gulshan Rai, it stars Bobby Deol, Manisha Koirala, Kajol, Raj Babbar, Sadashiv Amarapurkar and Ashok Saraf. Music: Viju Shah.

YOU ASKED IT

Why did both the releases of this week not take bumper opening?

– Firstly, the period is not too conducive for a new release. Besides this: DEEWANA MASTANA does not have hit music, while MR. & MRS. KHILADI stars Akshay Kumar who is far from ‘hot’ among the audience today.

What should producers look for in a distributor, and what should a distributor look for in a producer?

– A producer should look for the genuineness of a distributor and the latter’s ability to honour his commitments. If a distributor meets these requirements, there is no harm in selling a film to him at a slightly lower price also. A distributor should gauge the capacity of a producer to complete his film and deliver it at the contracted price.

Can the industry expect a happy Diwali this year?

– It depends on your definition of happiness. When would you call it happy — if all the releases of Diwali click, or a couple of them succeed? I’d say, even if one becomes a major hit, Diwali would be happy.

MIX MASALA

‘D’ GROUP

This week’s release, Mr. & Mrs. Khiladi, has several ‘D’ connections. Its director is David Dhawan (double ‘D’), its Bombay distributor is Dilip Dhanwani (double ‘D’), its Bombay distribution concern is Dilsa Distributors Combine (double ‘D’), it has released on Dassera festival and its banner is D.M.S. Films.

FILMWALI RAVEENA, BAHARWALI MANISHA

For a 2-minute special appearance in Deewana Mastana, producer Ketan Desai and director David Dhawan were considering several heroines, one of whom was Manisha Koirala. But Manisha couldn’t cancel her shooting in Madras to reach Hyderabad where the shot with her was to be picturised. As both, Ketan and David, were keen on completing the film (that was the last shot of the film and also the last shot to be picturised), they opted for Raveena Tandon who was in Hyderabad, shooting with David for Gharwali Baharwali, rather than postponing the shooting to accommodate Manisha Koirala. And when Manisha saw Deewana Mastana in a trial show, she regretted, she couldn’t do the special appearance, and even requested Ketan to reshoot the scene with her. But Ketan politely refused to do so. After all, Raveena had very graciously accepted to do the brief special appearance role without thinking twice.

BROTHER AFTER ‘MOTHER’

When Rakesh Roshan learnt that Sooraj Barjatya’s new film is the story about three brothers, he joked to somebody, “Please tell Sooraj, I’ve started acting again. I can play one of the three brothers.” Hearing this, a wag remarked. “Acting in Mother is one thing and playing a brother is quite another!

DO YOU KNOW?

* The last shooting day of Yash Johar’s DUPLICATE will be 20th October and his son, Karan, will begin the shooting of his maiden directorial venture, KUCH KUCH HOTA HAI, on 21st October. That’s synchronisation, Johar style!

* So realistic was the robotic model of a crocodile used in a recent crocodile fight scene picturised at National Park, Borivli, Bombay, for Jyotin Goel’s SAFARI that a group of Israeli tourists, who were watching the shooting, thought that a real crocodile had attacked Sanjay Dutt and Juhi Chawla!

Drama, Tension….. Exciting Climax
How ‘Mr. & Mrs. Khiladi’ Almost Did Not Release In West Bengal

History repeated itself in West Bengal this week. And the repetition was pretty fast, considering that a similar thing had happened twice in the recent past — once in the case of Hameshaa and the other time in the case of Mohabbat. This time over, it was in the case of Mr. & Mrs. Khiladi. The interesting part is that the party in two of the above three cases is the same — Kanu Anchalia and Neru Anchalia of Shree Ramdevji Art International. As in Hameshaa, the Anchalia brothers pleaded inability to take delivery of Mr. & Mrs. Khiladi at the contracted price.

The Anchalias struck the deal for Mr. & Mrs. Khiladi for West Bengal a couple of weeks back. They paid the signing amount agreed upon, but, according to the producers, they refused to pay up the balance amount at the time of delivery. Perhaps, their intention was to put indirect pressure on the producers at the eleventh hour so that they would agree to a price reduction which the Anchalias were looking for.

On the other hand, Neru Anchalia claims that Time people were playing dirty with him by going back on their word and demanding a higher price than that agreed upon.

According to Hasmukh Shah of Time Audio Video, which presents the film, the Anchalias were not serious about releasing the film but rather interested in reducing their price. Neru Anchalia came to Bombay on Wednesday and, according to Hasmukh Shah, conveyed to the Time people that he hadn’t been able to collect enough monies from exhibitors to take delivery at the contracted price. That started the tension.

The Time people, having no time on hand, approached their Association, the AMPTPP, which forthwith faxed a letter to the EIMPA, the Association of West Bengal distributors, explaining the default of Shree Ramdevji Art International. The Time people also conveyed to EIMPA their desire to sell the film to Anjana Movies P. Ltd.

Hasmukh Shah alleges that the EIMPA did not act fast enough even though its member was in the wrong and despite Time depositing Rs. 6 lakh received from Ramdevji with the EIMPA.

Reportedly, the Anchalia brothers were being harassed by exhibitors in Calcutta who had paid advances/MGs etc. for the film when they learnt that Ramdevji would not be in the picture soon.

Confusion was compounded as Ramdevji moved out of the picture but Anjana did not get the green signal from the EIMPA. Nor was Anjana able to arrange the funds for taking delivery. In Calcutta, the EIMPA leaders were working overtime to arrive at some solution, and in Bombay, it was AMPTPP president Pahlaj Nihalani trying to ensure that the film was released in West Bengal. The efforts of Wednesday and Thursday bore no fruits till Friday morning.

It almost appeared that the film would not be released in West Bengal. But to Time’s good luck, the matter was settled only insofar as the film was released by Anjana in some cinemas of Calcutta in the 6 p.m. show on Friday. The monies from Anjana have yet to come to Time, it is learnt.

As said above, this is not the first time, the Anchalias have behaved this way. And definitely, not the first time in the last few weeks. Why do the Anchalias buy films when they are not sure that they’d be able to take deliveries? Or rather, why do they buy films when they are sure that they’ll not be able to take deliveries?

Neru Anchalia’s version of the Mr. & Mrs. Khiladi episode is that the Time people wronged him by asking for Rs. 10 lakh more than the agreed price, at the time of delivery. He claims to have paid a substantial part of the signing amount in cash, on Time’s request. This is being denied by the Time people.

Whatever the outcome of this entire drama, the tension it caused to the producers cannot be described. It is to be seen what happens to the claim of Ramdevji, alleged to have been paid by them in cash to Time. It also remains to be seen how the shares from the film are adjusted. What will be the stands of the EIMPA and of the AMPTPP?

If Time are blaming Ramdevji for backing out of the agreement, they must also own responsibility for committing a blunder. For the lure of a few lakhs more, Time did not verify the antecedents of the distributor to whom they were selling their film. In the process, they did not even recover what they would have, had they sold the film cheaper to a more reliable distributor.

This is a malady afflicting many producers and distributors. Producers often tend to overprice their films for a circuit or two, simply because an eager and excited buyer comes their way, without thinking of the possibility of that distributor not being able to take delivery. And distributors often agree to any fancy price in the hope that they will be able to pressurise the producers into reducing the price at the time of delivery.

The whole thing boils down to this: Producer’s bhookh and distributor’s badmaashi.

Hats Off!

My hearty congratulations to Akshay Kumar for not commanding even a decent initial, what to talk of a bumper opening, and yet demanding a sky-high price. Keep it up, Akshay.

My felicitations to Anil Kapoor and Govinda, who should have together ensured a 200% opening but are satisfied with a 60% opening to their Deewana Mastana. I say ‘satisfied’ because only a contented person lets the status quo prevail. Had they not been satisfied with the dull opening, they would have taken corrective measures like reducing their price. But no, they will not do anything of the sort. Bravo, boys. You deserve pats on your thick-skinned backs.

And Chandrachur Singh, you are bound to go places. You know how to behave like a true star, so what if you have no star pull whatsoever. Remember your Betaabi and how it caused unbelievable losses to all its distributors? Like a true star, you will continue to stick to your unrealistic price even as your distributors bear the brunt of the losses.

Oh, Shah Rukh. You are the darling of the public. But have you bothered to verify what happens to most of your films in circuits like Bihar or in ‘B’ and ‘C’ class centres? Don’t ever venture to do that. You will get a shock of your life. And stars should not be subjected to shocks. It is in the destiny of producers and distributors to suffer shocks. So you keep holding on to your price line even as your distributors continue to get shocked by the figure of your remuneration on the one hand and the box-office figures of your films, on the other.

Sunil Shetty, the industry must felicitate you. You’ve shown producers, distributors and exhibitors that a star doesn’t require hits to survive. Flops can leave you unscathed so long as six ‘fools’ are ready to invest in your starrers. And finding six fools is not a difficult job, so you continue to demand six — sorry — eight-figure remuneration. How lovely!

Bobby Deol, you are brilliant. You’ve followed in your successful brother’s footsteps without even giving a tenth of what he has given. You’ve actually done a great deed to the distributors of your …Aur Pyar Ho Gaya by giving them a chance to adjust their huge profits. What did smart Alec say? That where are the profits? No Bobby, no, don’t get involved in business figures. Instead, check up other star-prices and ask bhaiyaa Sunny if you, too, can further hike your price.

Hey, Aishwarya and Sushmita. You are the beauty queens and isn’t it said that beauty and brains don’t go hand-in-hand? So why should anybody blame you for your brainless prices? Go ahead, hike your prices after every flop you give.

Sanjay Dutt, you must’ve forgotten what success means. Distributors of your starrers have indeed forgotten what it means. But they can’t forget that your price contributes to their pathetic condition. Hats off!

Arshad, Sharad Kapoor, Mukul Dev — try starring solo and then try finding buyers for the film. And you will know your true worth. Wonderful — you are the industry’s tomorrow!

Yes, Amitabh Bachchan. If the youngsters can charge so much, why not a veteran like you? You must charge five times what they charge. And see, if people say, you look old, just tell them, ‘Old is gold’. And oh, what am I giving you a lecture on pricing of a brand name? You run a company like ABCL, so you know much better than I do.

But listen, all you stars — those abovenamed as well as all others. Distributors are crying tears of blood, exhibitors of your films are panicking.

Can you let them die? If yes, go ahead and don’t give your price a second thought. If not, give this piece a second reading. It might help.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

The Religious Touch

Nana Patekar did the dubbing of the portion in Ghulam-E-Musthafa in which he offers namaz to Allah, on a Friday, 3rd October, that too, between 1 p.m. and 2 p.m. It is common knowledge that Muslims consider Fridays as the most auspicious day and offer namaz on Fridays between 1 p.m. and 2 p.m.

And while on Musthafa, rumours are rife that the film has been postponed and will now be released after Diwali. But this is far from true. With the film already having been censored (for adults), its release on 31st October is now a certainty.

The Voice Connection

Sudesh Bhosle, who can imitate Amitabh Bachchan’s voice and has rendered several songs for Bachchan, has very appropriately asked him to do the inauguration honours for his recording room — Shruti Recording Studio — tomorrow (12th October) at Goregaon, Bombay. After all, what better person to inaugurate a recording theatre than the one whose voice you’ve imitated so often in so many other recording theatres.

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!

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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.

THREE CINEMAS REOPEN WITH ‘RAJA HINDUSTANI’

Three cinemas in C.P. Berar, one each in Jalgaon, Dhulia and Nandurbar, reopened on 24th January despite the ongoing cinema closure in Maharashtra. All the three cinemas — Natwar (Jalgaon), Bhattal (Dhulia) and Bhatwal (Nandurbar) — are screening Raja Hindustani.

The Amravati film trade on 24th January met and expressed deep anguish over what it described as “gross violation of CCCA’s directive” by the three cinemas. The trade felt that Mihir Pictures, the film’s distributors, had provoked the said exhibitors directly or indirectly to violate the directive of the CCCA, which had threatened the Association’s unity.

The meeting resolved to request the CCCA to take disciplinary action and impose penalty of Rs. 1 lakh per day per violation against the three exhibitors as well as against Mihir Pictures. It also resolved to request the CCCA president and its executive committee not to entertain any case of those exhibitors and the distributor in any adjudicating body for at least 3 years. Further, all distributors irrevocably agreed that they would not supply any film print, whether contracted or not, to the three erring cinemas for one year.

As Cinema Closure Enters ‘Silver Jubilee’ Day
Maharashtra Government Takes Film Industry For A Royal Ride

Empty Promises But No Action

The Maharashtra government seems to be taking the film industry for a long ride. The ministers and politicians are making the proverbial promises every day but not keeping them. As a result, the cinema closure in the state entered its 25th day today with sure signs of cracks in the unity.

The action committee of the film industry met Shiv Sena chief Bal Thackeray on 19th January when the latter is said to have assured the delegation that he would see to it that conditions conducive to the reopening of cinemas were created very soon. When nothing came out of the promises for three days after that, the industry kept its fingers crossed in the hope that an announcement of some relief or concession would be made on 23rd January, the birthday of Bal Thackeray. But even the birthday passed without any gift from the birthday boy to the industry.

In the meanwhile, a group of exhibitors of Marathwada region, including Ravi Machhar, met Maharashtra chief minister Manohar Joshi and deputy chief minister Gopinath Munde in Aurangabad earlier this week and appealed to them for relief in entertainment tax. Both the ministers were sympathetic to the demands of the industry and promised to look into the matter.

Rumours were rife on 23rd that a slab system of entertainment tax on the lines of that finalised by Pramod Navalkar and the action committee on 6th January would be announced by the government on 24th. Another rumour had it that 50% tax would be retained and an announcement to that effect would be made by the state government on 24th. The rumours mentioned that the announcement would be made as soon as the governor gave his assent to the concession. Of course, the rumours were completely baseless. And so, like the earlier days of the week, the 24th day of January too passed without any news from the government’s side. Obviously now, nothing would be forthcoming till Monday (27th) at least.

The industry leaders are likely to meet Bal Thackeray again today (25th January). In its meeting of 19th, the action committee members also had a brief discussion with L.K. Advani who also, like Bal Thackeray, was of the opinion that the industry needed to be granted reliefs.

In the meantime, exhibitors and distributors in various parts of the state are becoming more and more impatient with each passing day. Some exhibitors in C.P. Berar (Vidarbha region of Maharashtra) even put up notice boards outside their cinemas on 22nd January, announcing their reopening on and from 24th. The CCCA intervened and succeeded in persuading many of them to hold themselves back in the interest of unity. Even then, at last three cinemas did reopen on 24th.

CRUCIAL MEETING ON MONDAY

A joint meeting of the BJP and Shiv Sena ministers with the action committee will be held on 27th January to arrive at a consensus settlement. This was decided at a meeting the action committee members had with Maharashtra deputy chief minister Gopinath Munde on 24th. During the meeting, Munde is said to have expressed his displeasure over the industry leaders’ complete bypass of the BJP ministers in their earlier talks of settlement with the state government. The leaders apologised for their lapse and cleared the misunderstanding, it is learnt.

Veeru Devgan Hurt On ‘Sar Utha Ke Jiyo’ Sets

Action director Veeru Devgan hurt his shoulder recently while performing a stunt for P.M. Films’ Sar Utha Ke Jiyo at Film City. He was facing the camera under the direction of another action director, Mohan Baggad.

‘Jab Pyar Kisi Se Hota Hai’ Major Spell

Director Deepak Sareen started a 25-day marathon shooting schedule of Tips Films (P.) Ltd.’s Jab Pyar Kisi Se Hota Hai from Jan. 16 on a set at R.K. Studios. All the artistes are participating. The film stars Salman Khan, Twinkle Khanna, Johny Lever, Mushtaq Khan and Anupam Kher. It is based on a screenplay by Honey Irani and has music by Jatin Lalit, lyrics by Anand Bakshi, cinematography by Manmohan Singh, editing by Renu Saluja, art by Sharmishtha Roy and dialogues by Javed Siddique.

‘Virasat’ Dubbing Complete

Dubbing and effects and special effects work of M.R. Productions Pvt. Ltd.’s Virasat have been completed in Madras. Recording of background music will start next week. The film stars Anil Kapoor, Tabu, Pooja Batra, Milind Gunaji, Govind Namdeo, Tiku Talsania, Neeraj Vora, Satyen Kappu, Dilip Dhawan, Sulbha Deshpande, Anjana, Reena, Ajay Ratnam, Ajit Kumar, Dev Sharma and Amrish Puri. It is directed by Priyadarshan for producers Mushir Riaz. Dialogues: Vinay Shukla. Music: Anu Malik. Lyrics: Javed Akhtar.

‘..Aur Pyar Ho Gaya’ Last Schedule

After completing a 15-day shooting schedule in Singapore, the unit of Essem Entertainment’s ..Aur Pyar Ho Gaya has now shifted to Bombay where it is being shot in bungalows, on sets and locations and will be so shot till February. All the artistes are participating. The film will be complete after this schedule. A Bharat Shah presentation, it is being directed by Rahul Rawail and written by Rumi Jafri. It stars Bobby Deol and Aishwarya Rai in the lead. Music: Nusrat Fateh Ali Khan. Lyrics: Javed Akhtar.

‘Auzaar’ Copy Out

The first copy of Tips Films (Pvt.) Ltd’s Auzaar is out. Due for release next month, the film has been applied for censorship. It stars Salman Khan, Sanjay Kapoor, Shilpa Shetty, Paresh Rawal, Johny Lever, Kiran Kumar, Asif Sheikh and Nirmal Pandey. It is written and directed by Sohail Khan and has dialogues by Anwar Khan, music by Anu Malik, lyrics by Rahat Indori, Qatil Shifai, Ila Arun and Anu Malik, art by R. Verman, action by Mahendra Verma, editing by A. Muthu, dances by Raju Sundaram, Saroj Khan and Raju Khan, cinematography by Kaka Thakur, and sound by Narendra Shinde.

‘Mrityudand’ Complete

With the completion of a song picturisation on Madhuri Dixit and Ayub Khan from Jan. 14 to 17 at Panchgani, the entire shooting of Prakash Jha Productions’ Mrityudand is complete. Directed by Prakash Jha, who also produces the film in association with G.S Mayawala, it co-stars Shabana Azmi, Om Puri, Shilpa Shirodkar, Mohan Joshi, Mohan Agashe, Rajkamal, Dashrat, Pyare Mohan Sahay, Brijgopal, Ajit Vachani, Abha Dhulia, Mona Ambegaonkar and Harish Patel. Music: Anand Milind. Lyrics: Javed Akhtar. Cameraman: Rajen Kothari. Manmohan Shetty presents the film.

DO YOU KNOW?

* RAJA HINDUSTANI has created a theatre record by collecting 99,970/- in 11th week at Apsara, Meerut.

* RAJA HINDUSTANI has created a city record by collecting 1,01,239/- in 10th week at Babulal, Raipur.

* RAJA HINDUSTANI has created a city record by collecting 1,79,676/- in 8th week at Jyoti, Jabalpur. Total: 16,26,695/-.

* RAJA HINDUSTANI has created a theatre record by collecting 1,11,692/- in 10th week at Radha, Bhopal, and another record by collecting 85,018/- in 5th week at Jyoti, Bhopal.

* RAJA HINDUSTANI has created history in Rajasthan by collecting a total of 34,48,448/- in 10 weeks at Premprakash, Jaipur. Distributor’s share in 10 weeks is 21,91,358/-!

* Some big films like JUDWAA, KOYLA, MRITYUDAATA and HERO NO. 1 have been already booked at Itarsi on fantastic terms.

* 1997 should be a crucial year for Bengal distributor Dr. Sunil Kumar. For, he has, besides other films, four big films due for release in West Bengal and Bihar this year. The big and costly projects are MRITYUDAATA, GUPT, AEY WATAN TERE LIYE and DIL TO PAGAL HAI (the last-named film is for Bihar only).

ANNOUNCEMENT & LAUNCHING

Mehul Kumar’s ‘Aey Watan Tere Liye’ Launched With Fanfare

Mehul Movies P. Ltd.’s Aey Watan Tere Liye was launched on Jan. 23 at Filmalaya Studios in the presence of a huge gathering. Writer-director-producer Mehul Kumar’s daughter, Jahan, switched on the camera, and music director Laxmikant performed the coconut-breaking ceremony as Dinesh Gandhi sounded the clapper-board for the inaugural shot. Amitabh Bachchan and Arshad Warsi performed on a specially erected stage with the Parliament forming the backdrop. Both of them performed a scene with some pre-recorded dialogue on the independence and the state of law and order in the country, being played in the background.

The film, which has story and screenplay by producer-director Mehul Kumar, co-stars Dimple Kapadia and Ranee Mukherjee. Music is by Nadeem Shravan and lyrics, by Sameer. Dialogues: Jalees Sherwani. Cinematography: Russi Billimoria. Editing: Yusuf Sheikh. Action: Shakoor Pathan. Audiography: Sarosh Italia. Art: Sunil Singh.

* * *

Nandu Tolani Announces ‘Dada Thakur’

Producer Nandu G. Tolani has signed Amrish Puri to play the title role in Sapna Arts’ Dada Thakur. To be directed by Jayprakash Shaw, the film co-stars Raakhee, Indra Kumar, Shakti Kapoor, Ashok Saraf, Laxmikant Berde, Tinnu Anand, Ajit Vachani, Tej Sapru, Tiku Talsania, Ahmed Sohail, Arjun and Jack Gaud. A female lead is to be finalised. It is written by Anwar Khan. Music by Anand Milind, lyrics by Sameer, cinematography by Harish Joshi, art by R. Verman, action by Mahendra Verma, editing by A. Muthu, and sound by Jagmohan Anand are the other major credits. The film will go on the floors in March.

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Education-Entertainment-Enlightenment

Exciting Entertainer

Boney Kapoor’s Judaai has turned out to be an extremely entertaining film. Remake of the very successful Telugu film, Shubhlagnam, it boasts of a mind-blowing performance by Sridevi and a brilliant show of talent by Urmila Matondkar. Although Anil Kapoor does not have histrionics to perform, his role is as difficult as tight rope-walking and he carries it off with the ease of a veteran. Farida Jalal is yet another actress whose role and performance will be loved by ladies, never mind if it is not a very lengthy role. Comedy (of Johny Lever, Paresh Rawal, Kader Khan and, of course, Sridevi) is a major highlight of the film. In fact, Judaai can best be described as a David Dhawan kind of comedy but with a definite and strong story-line. Music is racy and the song picturisations, especially those on picturesque and hitherto unexploited foreign locales, are a treat for the eyes. Director Raj Kanwar and dialogue writer Jainendra Jain have both done a swell job in making Judaai an exciting and truly promising film.

The Best Of Saurashtra

Sooraj Barjatya was in Rajkot recently where he saw the Gujarati film, Oonchi Medi Na Ooncha Mol, and Raja Hindustani at Galaxy, the best cinema not only in the city but in the whole of Saurashtra. Rajeshbhai and Rashmibhai Patel’s Galaxy cinema is equipped with digital Dolby sound. It screens Hindi films in the 12 noon and 3 p.m. shows and English films in the 6.30 p.m., 8.30 p.m. and 10.30 p.m. shows daily. Since there is more demand for tickets in the 3 p.m. show, the admission rates are hiked slightly in that show.

Republic Day Wishes From Raja Hindustani

Shringar Films, the Bombay distributors of Raja Hindustani, have got made special flags for the Republic Day. The flags will carry the film’s logo and a picture from it, with the slogan, “Hindustan ko Raja Hindustani ka salaam”. The flags will be distributed among the public as a publicity for the film.

JUDAAI

S.K. Films Enterprises’ Judaai, remake of the Telugu super-hit Shubhlagnam, has an unusual story of a greedy lady who, despite being happily married, sells her husband to another girl for the lure of luxury. The other girl is filthy rich and madly in love with the greedy lady’s husband and initiates the deal (of buying the husband) when she learns of the lady’s greed. At first, the first wife revels in her new riches, but slowly, as the second wife starts taking her place in the day-to-day life of her ex-husband, she realises the blunder she has committed. All hell breaks loose in the lives of the three people when both the wives want the husband exclusively. The first wife repents; the second wife refuses to relent. Finally, the tension is resolved in a tear-jerking and moving climax.

The film’s first half is light and full of fun. The drawback is that except for the wife’s comedy track, all the other comedy tracks (yes, there are several comedy angles) are completely unrelated with the main story. Further, there is an overdose of comedy and hardly any seriousness. The film takes a serious turn a little before interval. The initial part of the second half is once again very comic but slowly, the drama becomes tense and, to an extent, even emotional. Overall, it is the second half of the film which is its mainstay due to the scenes of the two wives and the helpless husband together. The best part of the film is its Indian ending which justifies the unusual story too. Some scenes like the one in which the second wife applies teeka to her husband, the sarcastic comments directed towards the first wife by her mother, her friend, her children, her husband and even an outsider are a highlight.

Performances of the entire cast are first-rate. Anil Kapoor does an excellent job in a role that is very difficult. He plays with feeling the silently suffering husband, ruled by the emotions of his two wives, both of whom forget that he too is a human being. Sridevi is mind-blowing as the money-hungry wife and mother of two kids. She shines in light scenes and excels in emotional ones. So brilliant is her performance that it is impossible to imagine another actress who could have done such justice to the role. Urmila Matondkar proves that she too is a performer par excellence. As the moneyed girl, she looks gorgeous, her entry being very mass-appealing. Her changeover to an understanding wife in the post-interval portion is so remarkable and her performance, so sincere that one can’t help falling in love with Urmila’s character. This girl is bound to go places. Paresh Rawal’s comedy is simply hilarious; his poker-faced dialogue delivery is terrific. Johny Lever plays to the gallery and entertains a lot. Kader Khan is superb. Upasna Singh is very good and her ‘Abba dabba jabba’ dialogue should be liked by front-benchers. Farida Jalal shines in a brief role. Saeed Jaffrey, Junior Mehmood, master Omkar Kapoor, baby Alisha Baig, Dharmesh Tiwari, Shehzaad and Dinesh Hingoo lend admirable support. Poonam Dhillon, in a guest appearance, comes as a pleasant surprise and performs ably.

Raj Kanwar’s direction is superb. Not only has he extracted excellent work from his team of artistes, he has also handled the subject with maturity. Nadeem Shravan’s music is good but a couple of super-hit songs were very necessary. ‘Allah miya’ is the best number, followed by ‘Judaai judaai’ and ‘Pyar pyar karte karte’. Song picturisations are heavenly. Foreign locations are beautiful and they’ve been ably captured by cameraman Harmeet Singh. Dialogues (Jainendra Jain) are wonderful. Production values are rich.

On the whole, Judaai may meet with initial resistance due to its offbeat story but can be expected to pick up by word of mouth and ladies’ patronage to keep its investors of most circuits happy.

Released on 28-2-’97 at New Excelsior and 15 other cinemas of Bombay thru V.I.P. Enterprises. Publicity: excellent. Opening: below average. …….Also released all over except in Mysore. Opening was poor in C.P.C.I. and Punjab, and excellent in Bihar and Rajasthan.

AUZAAR

Tips Films Pvt. Ltd.’s Auzaar (UA) is the story of two friends, one a CBI officer and the other, son of an underworld don. The don’s son has murdered another don and the latter’s son now wants to wipe out his father’s murderer and his entire family. The CBI officer comes to the rescue of his friend and, together, the two of them succeed in killing the villain. There is nothing new by way of story. Even the screenplay, especially in the slow first half, is routine. But what makes the film somewhat interesting is the brilliant action, particularly in the lengthy and exciting climax, the racy music and eye-catching song picturisations, and the big canvas of the film. The pre-interval portion is not only routine, it also sometimes moves at a terribly slow pace unnecessarily.

Salman Khan does a splendid job as the college boy who later becomes a CBI officer. Sanjay Kapoor shows improvement and does quite well. Shilpa Shetty is alright and she dances very gracefully. Paresh Rawal is fair. Nirmal Pandey, as the eccentric son of the murdered don, is the film’s surprise packet and he leaves a mark in every scene he comes. Johny Lever provides the much-needed light moments but such moments are few and far between. Asif Sheikh is effective. Kiran Kumar is okay. Jeetu Verma impresses with his Rajasthani dialogues. Vishwajeet Pradhan, Tiku Talsania, Ila Arun and the rest lend adequate support.

Sohail Khan’s approach to the scripting seems to be a bit too casual. For a debut effort, his direction is fair, but more concentration on the writing is necessary if he is to really make a mark. Dialogues are good only at places. Anu Malik’s music is very catchy. ‘Masti ka aalam aaya hai’, ‘I love you’, ‘Chalte chalte mila ladka deewana’ and ‘Dhoondhte reh jaaoge’ (good lyrics) are extremely well-tuned numbers. Picturisation of ‘Masti ka aalam’ is the most mass-appealing. ‘I love you’ has tremendous visual appeal. Camerawork (Kaka Thakur) is very nice. Production values are rich. Action (Mahendra Verma) is excellent. Background music should have been better.

On the whole, despite being a routine film, Auzaar has good initial value, action and music to sail safe in majority of the circuits.

Released on 28-2-’97 at Maratha Mandir and 18 other cinemas of Bombay by Tips Films P. Ltd. thru R.G. International. Publicity: excellent. Opening: good. …….Also released all over. Opening was excellent in Delhi-U.P. and Rajasthan, and very good in other circuits except C.I. where it was below the mark.

LATEST POSITION

Hero No. 1 started declining from 5th/6th day onwards everywhere. Should prove to be, at best, a commission-earner/overflow film. 1st week Bombay 51,76,378 (95.21%) from 16 cinemas (11 on F.H.); Baroda 2,81,300 from 2 cinemas, Bharuch (gross) 2,33,868, Rajkot 1,63,376 (1 in mat. unrecd.), Jamnagar 1,19,341 from 2 cinemas (1 in mat.); Kolhapur 1,86,400, Solapur 1,75,207 from 2 cinemas (1 in mat.); Delhi 48,20,530 (90.65%) from 13 cinemas (1 unrecd. and 3 on F.H.); Kanpur 2,15,514 (2 unrecd.), Lucknow 2,45,951 (100%), Agra 2,21,000, Varanasi 1,82,209 (88.55%), Allahabad 1,46,100, Aligarh 1,84,288, Gorakhpur 1,53,000 (72.40%); Amritsar 52,350; Calcutta 20,96,561 (82%) from 17 cinemas (6 on F.H.); Nagpur 6,00,240 from 4 cinemas, Akola 1,19,754, Raipur 2,16,881, Risali 78,982, theatre record, Bhilai 2,24,217 from 2 cinemas, Wardha 77,587, Chandrapur 1,08,912, share 83,912; Indore 4,70,626 from 2 cinemas (1 on F.H.), Bhopal 3,96,842 from 2 cinemas (1 on F.H.); Bikaner 1,71,123; Hyderabad 37,73,978 from 20 cinemas, share 18,95,295.

Judwaa proves overflow in some circuits and class A in other circuits. 3rd week Bombay 19,52,953 (80%) from 8 cinemas (5 on F.H.); 1st Padra 1,31,502, 3rd Rajkot 1,47,971 from 2 cinemas (1 in mat.), Jamnagar (mat.) 7,080 (1 unrecd.); Solapur 85,824 from 2 cinemas (1 in mat.); Delhi 15,67,094 from 8 cinemas; Kanpur 2,57,542 from 2 cinemas, Lucknow 1,96,136, Agra 1,35,217, 2nd Allahabad 1,00,000, 3rd Varanasi 96,225, Bareilly 53,153 (29.15%), Aligarh 64,299, Gorakhpur 57,000; Calcutta 6,82,941 from 8 cinemaas; Nagpur 2,49,163 from 3 cinemas, Amravati 66,700, Akola 48,516, total 2,32,784, Raipur (6 days) 81,237, Bhilai 50,960, Jalgaon 52,997, Bilaspur (6 days) 55,974; Bhopal 1,14,045; 2nd week Hyderabad 7,60,040 from 5 cinemas.

Yeshwant is also an overflow film. Class A in Maharashtra. 3rd week Bombay 16,78,317 from 11 cinemas (5 on F.H.); Baroda 1,35,672, Jamnagar 90,862, total 3,46,206; Solapur 1,42,571 from 2 cinemas (1 in mat.), 1st week Miraj 70,400 (96%); 3rd Delhi 8,49,451 from 3 cinemas; Kanpur 1,41,800 from 2 cinemas, Lucknow 1,32,827, 2nd Agra 1,38,000 (1st 1,86,000), 3rd week Allahabad 84,600, Varanasi 1,13,880, Bareilly 52,183 (29.15%), Aligarh 78,655, Gorakhpur 99,000, theatre record; Calcutta 10,00,199 from 14 cinemas; Nagpur 1,67,344 from 3 cinemas, Amravati 1,41,218, total 4,82,761, share 3,54,413, Akola 97,327, total 4,32,497, Raipur 1,24,809, theatre record, Bhilai 51,110, Durg 59,981, Jalgaon 1,00,016, theatre record; Indore 1,30,898, Bhopal 1,04,050, Ujjain 72,983; 1st Bikaner 60,856; 3rd Hyderabad 5,92,263 from 3 cinemas; 1st Vijayawada 2,97,718.

Raja Hindustani 11th week Bombay 21,23,741 (73.73%) from 8 cinemas (3 on F.H.); Solapur 1,21,906, 10th Barsi 14,562; 15th Delhi 9,27,923 from 5 cinemas (1 on F.H.); Lucknow 1,58,021, Agra 1,10,820, 16th Allahabad 63,000, Varanasi 77,686, Meerut 1,18,326, theatre record; 15th Bareilly 56,898 (30.57%), Aligarh 1,06,200, 16th Gorakhpur 56,000, city record; 15th week Calcutta 1,33,631; 12th Nagpur 1,77,978 from 2 cinemas, 13th week Jabalpur 1,48,593, total 24,29,238, 11th Akola 58,320, total 12,48,576, 15th Raipur 55,041, 16th Bhilai (6 days) 29,970, 11th week Wardha 31,548; 15th Indore 1,97,006, 14th Bhopal 1,19,297; 15th Jodhpur 91,000; Hyderabad 3,47,995 from 2 cinemas.

KAVIRAJ INDEEVAR BIDS GOODBYE

Veteran lyricist Indeevar passed away on 28th February in Bombay at Lilavati Hospital due to a cardiac arrest. He was 73 and is survived by his wife and a son. He had been admitted to hospital on 17th on account of a heart ailment.

Kaviraj Indeevar, as he was respectfully called, had written over 2,500 songs for almost 450 films. Among his evergreen and popular hits are such songs as Chandan sa badan (Saraswatichandra), Kasme vaade pyar wafaa sab (Upkar), O laal duppatte wali (Aankhen), Suraj kab door gagan se and Jaati hoon main (both from Karan Arjun). Almost 50 films for which he has penned lyrics are currently in various stages of production.

Shyamlal, which was the real name of Indeevar, came to Bombay in 1941 from a village in Uttar Pradesh. He got his break in 1946 in Shyambabu Pathak’s Doubleface. He had completed half a century in the film world just last year. During his 51 years as lyricist, he worked with almost all the music directors. Perhaps, the only notable music director for whom Indeevar never wrote lyrics was Naushad. Even for Naushad, he did write a song in Kishore Sharma’s Chanakya Aur Chandragupta, directed by B.R. Chopra. That song was rendered by Lata Mangeshkar, but the film got shelved mid-way. He also composed the music for the 1996 Miss World contest in Bangalore.

If Indeevar’s lyrics could move a listener to tears or bring a grin on one’s face, they could also irritate the Britishers so much that the lyricist was put behind bars for a year. His ‘crime’: he had written anti-British songs.

A typicality of Indeevar’s songs was that they were almost always written in chaste Hindi and were simple, yet meaningful. Like his lyrics, Indeevar too was simple in his thoughts and living. He had a smiling face and a down-to-earth nature.

Among the hundreds of films Indeevar penned lyrics for are Nirmoy, Madari, Bhool Na Jana, Badbaan, Himalay Ki Godmein, Safar, Purab Aur Pachhim, Mohra, Qurbani, Karan Arjun, Khudgarz, Koyla (unreleased).

It is difficult to imagine what the film music scene will be like without Indeevar. His sudden death has left the industry shocked. The genius lyricist, who had a song for every occasion and mood, didn’t even give a hint that he was going. Even if he had said, “Jaata hoon main….”, the industry could have pleaded to the Gods up there with a line from Indeevar’s own song. “Jaldi hai kya?”

‘JUDAAI’ RELEASE IN KARNATAKA POSTPONED

Boney Kapoor’s Judaai has not been released in the state of Karnataka this week. While Mysore circuit comprises many parts of Karnataka, Bombay circuit also consists of a part of the state. A couple of stations of Karnataka also fall in Nizam circuit. While Judaai has been released in other parts of Bombay and Nizam circuits, it has not been released in Mysore circuit at all.

The Kannada version of the Telugu super-hit, Shubhlagnam, of which Judaai is a remake, is due for release next week in Karnataka. It stars the son of matinee idol of Kannada films, Rajkumar, as hero. Because of the immense power Rajkumar wields there, he saw to it that the release of Judaai was stalled till after his son’s film hit the screens. At first, Mysore distributor Pal Chandani is reported to have refused to postpone the release of his Judaai, but he relented later.

Another reason for the stalling of the release of Judaai seems to be the controversy which Anil Kapoor landed himself in recently with Kannada film actress Malashri who is the heroine opposite Rajkumar’s son in the Kannada film due for release next week. It is learnt that Malashri had wanted Anil Kapoor to make a special appearance in Lady Commissioner, being produced by Ramu (who is now her husband) and starring herself. Anil had initially agreed to act in the film but later decided against it. This seems to have agitated Malashri who, it is likely, may have pulled the strings on the eve of release of Anil’s Judaai. Before that, she had also filed a case against Anil Kapoor in her Association.

DHANNALAL THAKURIA NO MORE

Dhannalal Thakuria, owner of Regal cinema, Indore, expired on 21st February in Indore. He was 95. Thakuria was also a distributor and, in fact, the oldest living distributor.

DILIP KUMAR TO ATTEND HIS RETROSPECTIVE IN JODHPUR

Dilip Kumar will attend the opening of a retrospective of his films in Jodhpur on 7th March at Girdhar Mandir cinema. The retrospective is being organised by the Film Society of Jodhpur with a week-long festival of Dilip Kumar starrers.

Dilip Kumar will be publicly honoured at a function on 7th. According to the secretary of the Film Society, Mohan Swaroop Maheshwari, two shows each of 14 Dilip Kumar starrers will be held in the week-long festival. Among the films to be screened are Amar, Andaz, Aan, Devdas, Babul, Mughal-E-Azam, Ram Aur Shyam, Udan Khatola, Madhumati and Mashaal.

U.A. THADANI HOSPITALISED

Veteran Bombay exhibitor and distributor U.A. Thadani took ill on 26th February while he was attending to his work in office and was rushed to the ICU of Hinduja Hospital. He is recuperating at the hospital and his condition is reported to be steady now.

MALASHRI WEDS RAMU

Kannada film heroine Malashri announced at a press conference in Bangalore this week her marriage with producer Ramu. The wedding took place at her Bangalore residence.

Malashri became close to Ramu during the making of his Muttinantha Hendthi some years ago. She is currently working in two forthcoming films of Ramu, CBI Durga and Lady Commissioner.

‘AUZAAR’ PROMOTION IN BOMBAY

Tips Films has worked out an innovative advertising and promotion plan for Auzaar in Bombay. The message of the film’s release is being reached out to people in a rally of uniformed motor-cyclists who are doing the rounds of the city. The rally was flagged off by Salman Khan.

A contest for viewers is also currently on in cinemas screening the film, where over 10,000 prizes can be won.

URMILA BHATT MURDERED

Urmila Bhatt was murdered at her residence in Bombay on the night of 22nd February. Although the identity of the murderer is not known, the motive behind the killing seems to be a dispute over money. According to the police, there was a transaction of about Rs. 8 crore between Urmila Bhatt and somebody for whom the police are on the lookout. Urmila Bhatt’s husband was not in Bombay when the murder took place.

The police suspect that the TV serial, Zee Horror Show, may have inspired Urmila’s murderer because she was murdered in the same way as she was killed in the said serial which was telecast just four days prior to the murder.

Urmila Bhatt had received a telephone call at around 7 p.m. the same day, and the caller threatened to kill her. The actress told this to an undisclosed friend who also was reportedly threatened over the phone on Sunday night. Urmila Bhatt was cremated on Sunday evening.

The murder came to light when a relative visited the veteran actress. When nobody answered the door-bell, he got scared and, alongwith Urmila’s daughter and son-in-law, opened the door, only to find her dead body. Her throat had been slit with the help of a sharp instrument. The rear door of the house was partly open.

Urmila Bhatt had acted in a number of Hindi, Gujarati and Rajasthani films. Among her Hindi films are Phir Bhi, Tapasya, Toofan, Preetam, Pratiggya, Koshish, Dhund, Jheel Ke Us Paar, Pyasi Nadi, Sankoch, Chattan Singh, Call Girl, Chhatis Ghante, Vardan, Dharam Karam, Geet Gata Chal, Jaan Haazir Hai, Pratikaar, Touheen, Dosti Ki Saugandh, Izzat Ki Roti, Zakhmi Rooh etc.

PRODUCTIONS NEWS

‘Pyar Kiya To Darna Kya’

A week-long shooting stint of G.S. Entertainments’ Pyar Kiya To Darna Kya began on Feb. 26 at Madh Island and on Bombay locales. A song on Salman Khan, Kajol and a huge crowd is being picturised under the supervision of choreographer Ganesh Hegde. The film co-stars Arbaaz Khan, one more heroine, Asif Sheikh, Kunika, Tiku Talsania, Rajoo Kariya, Kiran Kumar, Shakti Kapoor and Ashish Balram Nagpal who has been recently signed. It is being directed by Sohail Khan from his own story and screenplay, and produced by him jointly with Bunty Walia. Music: Jatin Lalit. Lyrics: Sameer. Vashu Bhagnani presents its.

‘Barood’ Unit Back From Europe

Producer and director Pramod Chakravorty and the unit of Pramod Films’ Barood returned to India this week after completing a 20-day shooting schedule in Europe. Action and other scenes as well as songs were picturised featuring Akshay Kumar, Raveena Tandon, Mohnish Bahl and fighters. The film co-stars Raakhee, Gulshan Grover, Mohan Joshi, Aroona Irani and Amrish Puri. It is being co-produced by Bharat Shah, and has music by Anand Milind and lyrics by Sameer.

YOU ASKED IT

Big banners pay low prices to their artistes and technicians but charge double the price while selling their films to distributors. Are they justified in doing so?

– Who are you and I to talk about justification when the price is governed by the laws of demand and supply? The big banners charge a big chunk for their goodwill.

When music has always been an important part of Hindi films, why is it said that ‘today’, hit music is very necessary?

– Hit music generally ensures good opening, and since the prices of films these days are phenomenal, a good opening is very essential. Hence the importance of hit music these days.

What happened to Sudhakar Bokade’s Kalinga? Its director, Dilip Kumar, had over a year ago said in a press conference that differences between him and Bokade had been cleared.

– But the film is incomplete as yet. Maybe, another press conference would have to be called to clear matters again.

DO YOU KNOW?

* For Naaz cinema, Parbhani (Nizam circuit), it is double celebration time. While RAJA HINDUSTANI completed 100 days at the cinema in regular shows on 19th February, TERE MERE SAPNE completed 50 days in morning shows.

* Producer Surendra Bohra seems to be a lucky mascot for his artistes as far as awards are concerned. When his SAAJAN KA GHAR was being made, Juhi Chawla bagged her first Filmfare award (for HUM HAIN RAHI PYAR KE). This year, Chandrachur Singh and Arbaaz Khan have bagged the Filmfare awards and both of them are acting in Bohra’s films.

MIX MASALA

RECORD CUTS!

One has heard of censors banning a film completely but Mohan Sulibhavi’s Duniya Ki Rangeen Raatein may, perhaps, be the film which has been passed with the maximum number of cuts in the history of Hindi cinema. Believe it or not, it has been cleared for adults after the deletion of 4,046.14 feet (1,233.49 metres) which is almost of a running time of 45 to 50 minutes! And these cuts have been offered by the Film Certification Appellate Tribunal. The total length which has been passed is 2,286.43 metres. The producer, it may be mentioned here, has accepted the cuts, and the censor certificate has also been issued. Incidentally, the producer (Mohan Sulibhavi) is a censor script writer who does the liaison work of producers in regard to censorship of films.

3-E
Education-Entertainment-Enlightenment

Unusual Twists Are The Real Challenge

It is not for nothing that Rajkumar Santoshi is considered a director of great standing. Some of his views are truly worth appreciating. Like, for instance, he says, while talking of film stories: “When we sit for story discussions, I never get put off by such remarks as ‘…..But how can this be possible? Who will do such a thing? Nobody can do such and such a thing.’ Rather, such reservations inspire me to take up the challenge because that is the unusual twist in the story. Yudhishtir in Mahabharat put his wife at stake while gambling, which no human being would dream of doing. But because Yudhishtir did it, Mahabharat was born. And if Mahabharat can appeal to mankind, a film story with some unusual twist, which is least expected, can surely be lapped up by cinegoers.”

And while on Santoshi, the best compliment anyone must have paid him was the one paid by financier Bharat Shah. This was when Santoshi was making Damini. He was planning a film with a top South actor, but everybody kept dissuading him, saying that the project wouldn’t be financially viable since the hero, despite being a great actor, doesn’t sell in the Hindi belt. When Rajkumar Santoshi asked Bharatbhai Shah whether he would finance the project, the latter told him, “Even if you make a film with my peon as hero, I’ll back the project!” Rajkumar Santoshi even today cherishes this compliment as the most valued one.

Sorry For The (Leg) Break

That Mamta Kulkarni fractured her leg in the recent shooting spell of Rajkumar Santoshi’s China Gate at Gangavati (near Bangalore) is common knowledge. But not many know that another actor also fractured his leg in the same shooting spell. The only difference is that while Mamta got hurt while getting off the horseback, this actor — Mukesh Tiwari — fractured his leg while doing stunts on horseback for the film. Action director Tinnu Verma must be feeling doubly sorry for the leg breaks! Mukesh Tiwari, it may be mentioned here, is a new villain who is being introduced in China Gate. He is from the National School of Drama. Incidentally, the Gangavati shooting schedule, which remained incomplete due to the leg breaks, will be continued once the two artistes recover — that is, after quite a long break!

Big Bengali Hits

If Raja Hindustani is doing roaring business in West Bengal (it is expected to do a business of 2.5 to 3 crore!), so are two Bengali films. Ravi Agarwal’s Lathi, inspired from Mohan Kumar’s Avtaar, is expected to touch the 2-crore mark. Dhanuka’s Swami Keno Asami, imported from Bangladesh, is also doing very good business. This hit stars Chunkey Panday, Rituparna and others. So even if Chunkey doesn’t have exciting Hindi films on hand, he has reason to celebrate all the same.

From Clerk To ‘King’: What A Success Story!

The life story of Nizam distributor and exhibitor B.G. Upadhyaya would read like a fairy tale. Son of a post-master, he started out as a booking clerk in Krishna cinema of Parli Vaijnath (Maharashtra). He rose to the post of a manager in the same cinema and then became its controller. He then purchased the cinema and another cinema too (Gopal Krishna) at Parli Vaijnath. His enterprising activities didn’t stop there. He also acquired the other two cinemas, Shree and Shreenath, of Parli Vaijnath, on lease. All of which makes him a monopolist at Parli Vaijnath. Not content with being only an exhibitor in Nizam, Balaprasad Gangadhar Upadhyaya then decided to dabble in distribution. And dabble he did. In a short span of some years only, he has released (distributed) as many as 40 films in Nizam circuit, including many of K.C. Bokadia and Anil Ganguly. In fact, he started his distribution office, Aruna Enterprises, with Anil Ganguly’s Dil Ki Baazi. Having become an exhibitor and distributor, Upadhyaya is now trying his hands at production. He has started out by dubbing a Tamil film (Sangotte which means ‘Red Fort’) which is now ready for release in Hindi as Kalyug Ka Arjun. A bold political film, Upadhyaya is confident that it will be exempted from entertainment tax, at least in Maharashtra. And not just because Maharashtra deputy chief minister Gopinath Munde was his classmate, but also because the film, he feels, deserves tax exemption. Upadhyaya will now be producing a Hindi film. He has acquired the remaking rights of the Malayalam hit, King.

CBFC Hits Back At Ratnam

The Central Board of Film Certification (CBFC) in Madras has taken exception to Mani Ratnam’s critical comments on its functioning and on the procedure adopted by the censors in clearing his recently released Tamil film, Iruvar. The CBFC has described a recent interview of Mani Ratnam as “misleading”. In the said interview, Mani Ratnam is said to have cast aspersions on CBFC members and officials, according to regional officer of CBFC (Madras), G. Rajasekaran. The celebrated filmmaker, who is known as much for his controversial films as for his films getting stuck up at the censors, said in the interview that censors lacked guts to take decisions on their own and tended to pass the buck to curry favour with politicians. It may be recalled here that Ratnam’s Iruvar has two main characters bearing striking resemblances to Tamilnadu chief minister M. Karunanidhi and late M.G. Ramachandran. The film was referred to the state home department before it was cleared by the CBFC, with cuts. Mani Ratnam has wondered whether the censors had the legal right to refer the film to the home department. He has alleged that the censors seemed to have a prejudice against Iruvar even before seeing it. In a three-page statement issued by the regional officer (RO), the RO has noted that the CBFC had acted in accordance with the rules. He has explained that in certification of a film, the CBFC had to ensure that the public order was not endangered. The state home department, which was responsbile for law and order, had been asked to review the film in view of the possibility of it provoking a clash between rival political groups. That was in order, according to G. Rajasekaran, who has noted that the entire procedure adopted by the CBFC was recorded in writing, and nothing prevented Ratnam from going to the Film Certification Appellate Tribunal or even the court of law if he considered that the CBFC had violated the law in referring his film to a committee of the home department.

Quite A Mouthful

When it comes to coinage of certain film trade phrases and terminology, you can’t beat West Bengal distributors. For them, drop in collections means ‘droppage’. Kitna droppage aaya?, is the common question among Calcutta distributors. Of course, it’s a different thing that there is no such English word as ‘droppage’.

And when it comes to seeking advice on which film to buy, a Calcutta buyer is sure to ask: Kya yeh picture main kha loon? So, next time, if a West Bengal distributor asks you “Kya kha loon?”, don’t give him a list of delicacies. Instead, give him a list of probable hits — films, that is.

MOHABBAT

Dashaka Films’ Mohabbat is a love triangle with an element of suspense. A girl and boy fall in love with each other and their romance is even approved by the girl’s guardian (brother). But the boy’s young boss is also in love with the same girl, although he cannot get himself to express his love to her. The suspense angle follows; there’s tragedy and more tragedy. Ultimately, one guy gets the girl.

The film reminds of Saajan which also had one girl and two boys. Although there’s no blind love as in Saajan, the resemblance does remind one of the film. The first half of Mohabbat is light. The drama and tension begin in the post-interval portion which also has a couple of emotionally moving scenes. While some of the light scenes in the film are very enjoyable, at least one dramatic scene — that in which the identity of the sacrificing boy comes to the fore — in the second half draws instant applause. However, a couple of reels immediately after interval are dull. Similarly, the last reel is predictable. Another drawback is that in the entire second half, the heroine has no dialogue as she loses her voice. Nevertheless, the character of the boy (boss’ employee) is so lovable that it does make up for some drawbacks.

Madhuri Dixit does a good job. She has a look that’s quite different from her past films. Her introduction dance is very good. But she does not have a single dramatic scene in the film. Sanjay Kapoor springs a surprise with a restrained performance that is good. Akshaye Khanna is the darling of the drama. He looks very handsome and delivers a performance that’s truly brilliant. Within minutes of appearing on the screen, Akshaye endears himself to the audience and has them craving to see more of him. His dances are simply superb. Farooque Shaikh is fair. Farida Jalal and Saeed Jaffrey are good. Tej Sapru is miscast. Shiva, Sulbha Arya, Ashwin Kaushal, Dimple Ghosh, Guddi Maruti and Bob Brahmbhatt lend able support.

Reema Rakesh Nath makes a confident debut as director. Although her script is not too novel, her narration of the same is impressive. Music comprises one hit number — ‘Don’t break my heart’ — and a couple of fairly hummable numbers. But a song or two are quite boring. Song picturisations (Saroj Khan) are superb, the best being ‘Don’t break my heart’ and ‘Main hoon akela’. The dance steps of these two songs are fabulous and both, Madhuri and Akshaye, are at their graceful best. Foreign locations, on which the songs have been picturised, are beathtaking. Rajan Kinagi’s camerawork is wonderful. Editing is very appropriate. Dialogues should have been more fiery.

On the whole, although Mohabbat does remind of Saajan, it has fair merits and some freshness to fetch returns to its distributors.

Released on 19-9-’97 at Liberty and 20 other cinemas of Bombay thru Metro Films. Publicity: excellent. Opening: average. …….Also released all over except in West Bengal. Opening was very good in Delhi-U.P. and C.I. but not up to the mark in C.P. and Rajasthan. It opened in Malegaon on 16th (Tuesday) where it collected 100% on first 2 days.

ENT. TAX DOWN IN KARNATAKA

The Karnataka government has reduced entertainment tax for non-Kannada films from 110% to 70% with effect from September 20, 1997.

TWO FILMS, ONE TERRITORY, ONE STORY

It happened last week in Bengal. And it has happened this week too — in Bengal again.

Sri Ramdevji Art International, the West Bengal distributors of G.P. Sippy’s Hameshaa, did not honour their commitment of the delivery amount and thereby pleaded inability to take delivery of the film. As a result, Hameshaa could not be released in West Bengal. Going by its disastrous fate in the rest of the country, it is likely that the film will now never be purchased by any distributor for West Bengal. But that is not the point. What is shocking is that this should have happened to a film produced by G.P. Sippy, who has given films like Sholay.

This week, the same story has been repeated in the case of Rikkoo’s Mohabbat. It was acquired less than a month ago by one Kesri Pictures for West Bengal. The concern had, prior to this, released Vijeta in West Bengal. Having reportedly acquired the film at 37.5 lakh MG royalty, the distributors pleaded inability to meet their commitment at the time of delivery and announced that they just had 30 lakh for payment towards MG royalty, prints cost and publicity! The producer declined to effect delivery at the new reduced price and so this film too could not be released in West Bengal.

CAA ASKS POLICE TO SHOW RESTRAINT

The Cine Artistes’ Association has taken strong objection to the lack of restraint shown by police officials who leak information to the press, of the names of stars who are going to be interrogated by them in the Gulshan Kumar murder case. As a result of this, the stars, feels CAA, are subjected to humiliation by the media which projects the news as if the interrogation had something to do with the crime (by using words such as ‘so-and-so star grilled’), although the stars are actually merely co-operating.

The CAA has requested the deputy commissioner and the commissioner of police of Bombay to instruct their officials to exercise restraint and avoid unnecessary depiction of its members.

PURU RAAJ KUMAR CONVICTED

Puru Raaj Kumar, son of late Raaj Kumar, was convicted by metropolitan magistrate K.H. Holambe Patil of Bombay’s Bandra court on September 15 for running over a group of persons sleeping on a pavement at S.V. Road, Bandra, three years ago. He has been directed to pay Rs. 90,000 each to the next of kin of the three deceased, and Rs. 5,000 each to those who were seriously injured. For committing driving offence, he has been fined Rs. 2,000, to be deposited in court.

SINGER NOOR JAHAN HOSPITALISED

Melody queen Noor Jahan has been hospitalised in Islamabad with serious heart problems. The 78-year-old Noor Jahan, who rendered thousands of songs in Urdu and Punjabi films, besides highly popular national songs, started her career in India before the 1947 Partition.

NADEEM ARRESTED IN LONDON, RELEASED ON BAIL

Music director Nadeem, prime accused in the murder of Gulshan Kumar, was arrested by Scotland Yard on the morning of 17th September in London. According to the Scotland Yard, the police invoked the Interpol alert and got in touch with the music director who agreed “to give himself up”. The police surrounded his sister’s house at Kingsbury in north-west London, where he was staying.

Nadeem was produced before the Bow Street magistrate the same morning and released on conditional bail. The conditions say that he will not leave Britain, make himself available for questioning by the police and surrender his passport which has been revoked.

The Indian authorities have since started extradition proceedings against Saifi Nadeem Akhtar and the same will come up for hearing on 24th September.

Nadeem, who has retained a top London law firm, Henri Bradman & Co., told the magistrate that he had every intention of responding to the arrest warrant issued against him by a Bombay court, but required time as his wife was ailing in London.

MUKESH THAKKAR KILLED IN ACCIDENT

C.P. Berar distributor Mukesh Thakkar (Mukesh Films, Amravati) was killed in a road accident on 16th September near Karanja. He was returning to Amravati in a luxury bus from Nagpur where he had gone to attend the reopening of a cinema, Bharat, in which he was a partner. The bus overturned, killing two persons of which one was 40-year old Mukesh.

Mukesh Seth, as he was fondly called by the C.P. trade, was the son of will-known film agent Shyamsunder Thakkar. He had recently released Kaun Sachcha Kaun Jhootha, Muqadar and Chudail in C.P. Berar. He had acquired China Gate and Aankhon Mein Tum Ho for distribution.

The Amravati trade remained closed on 17th as a mark of respect to Mukesh. He is survived by his father, three brothers, wife, a son and a daughter.

His funeral was held on 18th September.

The Amravati film trade, under the chairmanship of Vijay Rathi, paid homage to Mukesh Thakkar at a meeting on 18th September in Amravati. The trade remembered him as a sincere and devoted worker and paid glowing tributes to him. The Raipur cine trade also paid homage to him in a condolence meeting held on 17th September at the office of Raj Pictures, Raipur.

COURT RESTRAINS ZEE TV

The Bombay high court has restrained Zee TV (Essel Vision) from telecasting five films of producer Gobindram Ahuja and has appointed a court receiver in respect of the said films with a direction that in case Zee TV seeks further telecast of the said five films, the court receiver will seek permission of the appropriate court and, at that time, appropriate directions will be passed with regard to the said films.

Satellite telecasting rights of nine films of Ahuja were given to Zee TV in 1994 with the express condition that each film was to be telecast for a maximum of five times in India. Gobindram Abhuja alleged in his notice of motion that in violation of the agreement, three of his films had been telecast more than five times. Two other films had been telecast five times, and four others had been telecast less than five times. The court, therefore, appointed a court receiver in respect of the five films which have been telecast five or more times in India.

Ahuja has further alleged that despite the court order, Zee TV has continued to violate the terms and conditions of his agreement for which contempt of court proceedings are being launched.

N.N. Sippy Re-Elected IMPDA President

N.N. Sippy was unanimously re-elected president of the Indian Motion Picture Distributors’ Association for 1997-98 at the first meeting of the newly elected executive committee, held on 19th September. This is N.N. Sippy’s twelfth consecutive term as president. Indravadan Shah was elected vice president, and Kantilal Mehta, hon. treasurer. Devendra Shah and Haresh Bhatia were elected hon. secretaries.

Earlier, the following members were declared elected to the executive committee on 18th after the 58th annual general meeting of the IMPDA at Birla Kreeda Kendra, Chowpatty, Bombay: Ordinary class: Ayub Selia, Balkrishna Shroff, Devendra Shah, Guru Shenoy, Haresh Bhatia, Kantilal Mehta, N.N. Sippy, Ramesh Sippy, U.A. Thadani, Tolu Bajaj, Vijay Choksey and Vinod Kakkad. In the Associate class, the following were declared elected: Indravadan Shah, Mohan Susania and D.Y. Pattani.

There were no elections this year as there were as many nominations and sitting members in both the classes as the number of seats. Gulshan Rai and Sharad Doshi, two sitting members, did not offer themselves for re-election. In their place, Ramesh Sippy and Tolu Bajaj were declared elected. Four others — Dilip Dhanwani, Manoj Khivasara, Pradeep Singh, Tekchand Anchal — had filed their nomination papers in the Ordinary class but withdrew the same before elections. The nomination of the fifth member, Sanjay Chaturvedi, was rejected on technical grounds.

Gulshan Rai Feted

Gulshan Rai, a senior member of the IMPDA, was felicitated at the annual meeting. He was presented a shawl, a shriphal and flowers.

Anti-Video Piracy Cell

Bombay distributor Shyam Shroff suggested at the meeting that a separate cell to combat video piracy be set up by the IMPDA. His suggestion met with a favourable response and it was agreed that an anti-video piracy cell be formed soon.

A cocktail dinner party was held at Garware Club on the evening of 18th September.

PRODUCTION NEWS

‘Lal Badshah’ In Rajasthan

Writer-producer-director K.C. Bokadia will start a 25-day shooting schedule of B.M.B Productions’ Lal Badshah on Sept. 21 in Jaipur, Udaipur and Bikaner. Many scenes and songs will be picturised featuring all the artistes. After this last outdoor spell, the film will be almost complete. Starring Amitabh Bachchan, Manisha Koirala, Shilpa Shetty, Shakti Kapoor, Mukesh Rishi and Amrish Puri, it is presented by M.S. Combines (P.) Ltd. Music by Aadesh Srivastava and dialogues by Anwar Khan are the other major credits.

‘Sarfarosh’ Forges Ahead

A 10-day shooting schedule of Cinematt Pictures’ Sarfarosh will be held from Sept. 21 to 30 on Bombay locations. Dramatic and action scenes will be picturised. The film stars Naseeruddin Shah, Aamir Khan, Sonali Bendre, Mukesh Rishi, Govind Namdeo, Akhilendra Mishra, Akash Khurana, Smita Jaykar, Sukanya Kulkarni, Rajesh Joshi, Makrand Deshpande, Salim Shah, Ahmed Khan, Pradeep Raut and Ali Khan. It is being produced and directed by John Mathew Matthan. Music is scored by Jatin Lalit. Lyrics: Sameer. Action: Abbas Hanif.

25-Day Initial Stint Of ‘Champion’

A 25-day shooting schedule of Shree Shiv Bhakti Films’ Champion will start on Oct. 1 in Hyderabad. Sunny Deol, Raveena Tandon and Rahul Dev will participate in this first schedule. Producer Sujit Kumar and director Padma Kumar have just returned from a tour of England, Hungary and Czechoslovakia, where they had gone to finalise locations for the film. It has music by Anu Malik, lyrics by Javed Akhtar, cinematography by Thiru, screenplay by Maharajan, and dialogues by Sanjay Masoom.

MIX MASALA

BABA BOY

Indra Kumar, who is directing Ishq for Baba Films, was blessed with a baba on 9th September. The ace director earlier had two baby girls and no baby boy. With the third child being a baba, it’s now a complete family.

IN & OUT OF BOMBAY

Mr. Ravi Machhar of Sahyog Films, Secunderabad, and Abhinay cinema, Aurangabad, left Bombay for Vaishnodevi on 18th September and will return to Bombay on 24th.

Producer-director Subhash Ghai left for the USA on 18th September and will return to India after a month.

Mr. Manohar Kankaria of Musical Films P. Ltd., Calcutta, is in town (388-4190/ 387-5393/98210-47403).

Mr. Ajit Singh of Ajit Films, Delhi, is at Hotel Ramada Inn Palm Grove and will return to Delhi on 22nd September.

DO YOU KNOW?

* Efforts are on to find a suitable director who will complete the unfinished DUS of late Mukul Anand. J.P. Dutta and Priyadarshan are reportedly being considered.

* Rajiv Babbar has launched his fifth film and, like his previous four (CHEETAH, JALLAAD, MUQADAR and the under-production SHAPATH), this one — SHER-E-HINDUSTAN — also stars Mithun Chakraborty.

* PARDES (tax-free) has created a theatre record by collecting 3,35,737/- in 6th week at Rahul, Pune. Also creates a theatre record by collecting 79,634/- in 6th week at West End, Pune.

* PARDES is showing a marked improvement week by week at Triveni, Bangalore, where it collected 2,25,000/- in 4th week, 2,46,000/- in 5th week, and 2,70,000/- in 6th week.

* THE LOST WORLD (Hindi) has created an all-time record by collecting 4,19,619/- (nett) in 1st week at Prem Prakash, Jaipur.

* THE LOST WORLD (English) has created a record by collecting 2,54,693/- in 2nd week at Smruti, Nagpur.

It Happened In Bangalore

The song being picturised at the Capitol Hotel in Bangalore for Pardesi Babu is truly catchy. ‘Paaon mein payal, haathon mein kangana, ho maathe pe bindiya / It happens only in India’ go the lyrics.

If the song reminds you of the ‘I love my India’ song of Pardes, it’s nobody’s fault. For, this number of Pardesi Babu is not inspired from that song of Pardes. In fact, the Pardesi Babu song was recorded six months back.

Anyway, it is being picturised on 10th September in Bangalore. Govinda and Shilpa Shetty, both good dancers, are in great form and we suspect, it has something — rather, a lot — to do with the catchy lyrics and the catchier tune. Both are the work of Anand Raaj Anand.

In fact, so involved is Govinda that he gives as many as 10 and 12 retakes for one difficult step. Why, even after dance director Chinni Prakash has okayed the shot and is very happy with it, Govinda pleads for another retake and another and another….. Chinni and director Manoj Agarwal are thrilled with the devoted actor’s commitment. A beaming Kulbhushan Gupta (producer) says, “It is this involvement of his which more than makes up for Govinda’s latecoming on the sets.”

Well, Govinda has actually arrived a day late in Bangalore. We are informed that it was his revolver (which Govinda carries these days for security reasons) which was not allowed on the fight and because of which Govinda preferred to miss the flight the previous day . But when Govinda does reach Bangalore, he informs that it was his allergy which held him up in Bombay. Saying thus, he asks his Man Friday, Gauri Shankar, to scratch his itching back.

If Govinda is a day late, the film’s other heroine, Raveena Tandon, hasn’t showed up at all. And how could she? The poor girl was laid up in bed in a hospital in Bombay, suffering from meningitis. Thankfully, she’s alright now. Rather than waste the dates of the other artistes, the director decides to shoot the scenes and the song involving Govinda with Shipa Shetty. “Our script is completely ready,” informs Kulbhushan, “and so we could do this.” Therefore, what’s being picturised in Bangalore was to have actually been shot in Bombay.

Besides the hotel where the song picturisation was completed in four days (Govinda shot the whole night on the last shooting day as the following day was a holiday being the second Sunday), the film was shot on a set erected at Abhay Naidu Studios as also in a garment store — Twinkle — in a shopping complex.

Twinkle is owned by the brothers-in-law of the film’s presenter, Chetan Avlani, and it was the stars who were twinkling in the shopping complex that night. Chetan, too, participated with Govinda and Shilpa Shetty, playing the cashier of the shop. But while he received cash in the shot, off-screen Chetan has, obviously, not been at the ‘receiving end’, having had to shell out crores for this expensive project.

Lavish the film might be. But equally lavish are Govinda’s praises for director Manoj Agarwal. In fact, it is on Govinda’s recommendation that Manoj has been signed by producer Vimal Kumar to direct his next. This is the same film which was to have been directed by David Dhawan. David being busier than the proverbial ‘D’ — sorry, bee — Vimal has decided to make the film with another of Govinda’s favourite, Manoj.

Satish Kaushik plays a Sardar in Pardesi Babu and, as Kulbhushan puts it, “He will be the highlight.” Satish’s name in the film is Happy Singh but in the film, he is anything but happy. Rather, he is always tensed up about something or the other.

As we are tense about our return flight to Bombay. Unconfirmed seats on the Indian Airlines flight don’t get confirmed so easily and we, therefore, return from the airport to the hotel. Even though we are jittery, Kulbhushan is ‘kool’ as a cucumber. He is the Happy Singh on the sets — and in the true sense of the term. Raveena’s illness, Govinda’s latecoming, Kulbhushan’s wife’s hospitalisation even while the schedule is in progress — all this, besides the regular production hassles, and even then, ‘Kool’bhushan is not one bit tense.

Perhaps, that’s why he can produce three films at a time. His Vidroh with Akshay Kumar is on the completion stage. The third project is Shivam, with Raaj Kumar’s younger son, Panini.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Aftermath Of Shoot-Out: Decline In Shootings

The murder of Gulshan Kumar last month and the string of threatening telephone calls from underworld dons to leading producers, actors and financiers have started telling on filmland activities. Not only have lavish film parties stopped, even film shootings have reduced. Yes, film finance is hard to get these days, with several financiers having pulled out from the game for the time being and some others having decided to take it easy. It will not be wrong to say that the number of film shootings has declined by 30 to 40%. According to director K. Ravi Shanker, who has an equipment division, “The decline in shootings is to the tune of 40% to 50%.”

Unimaginable Prices

Gujarat and Saurashtra have become heavenly sub-territories for the Bombay distributors of big films. Star cast and big-banner films are fetching even more than a crore from Gujarat, and half that price from Saurashtra. Why, so ‘hot’ are these sub-circuits that one big film, due for release on Diwali, is simply not being offered for sale in the sub-circuits. Another big film, due again for Diwali release, is being offered for sale at over 2 for Gujarat and over 1 for Saurashtra! Yes, 2 crore and 1 crore!!

Eastern Circuit Ratio Needs Redefining

It is baffling how the Eastern circuit is considered almost the same as Bombay circuit in the fixing of a film’s ratio/price. Businesses of almost all films reveal that the returns in Bombay circuit are greater than in the Eastern circuit. At times, business of a film in Bengal is just about 70% of that in Bombay. Sometimes, it is even less than that. Of course, the distributors of Eastern circuit do save in print costs because the number of prints they take are invariably much lesser than that taken out by a Bombay distributor. Even the publicity costs of the two circuits are very different, being much higher in Bombay and comparatively lower in Bengal. But despite these savings, the ratio of the Eastern circuit needs to be not more than 75 to 80% of that of Bombay.

Partners Abroad

Aditya Chopra and Bombay distributor-exhibitor Anil Thadani have opened a distribution office for the United Kingdom, in London. Of course, the new company’s — not named as yet — first release in the UK will be Yash Chopra’s Dil To Pagal Hai. Aditya and Anil had released the former’s Dilwale Dulhania Le Jayenge in Bombay circuit through their concern, A.A. Films. With Dil To Pagal Hai, Yash Chopra has opened an independent distribution office for Bombay.

For The Small Screen, Of Course

Romesh Sharma’s experience with his first TV serial, Ajnabi, has been so rewarding that he has commenced yet another serial, Usool. Like Ajnabi was made as a film more than six years ago (a film which no distributor was prepared to touch even with a barge-pole) and then ‘converted’ into a money-spinning serial, Usool too was planned as a film. To be telecast on Sunday mornings at 10.30, beginning 28th September, on the national network of Doordarshan, the ambitious serial, produced and directed by Romesh Sharma from his own story and screenplay, stars Danny Denzongpa, Parikshat Sahni, Tinnu Anand, Tom Alter, Shashi Sharma, Neena Softa, Deep Dhillon, Virendra Saxena, Siddharth Ray and Romesh Sharma himself. It is mounted on a colossal scale, and a major part of the serial is shot in Mauritius.

AA AB LAUT CHALEN

R.K. Films & Studios’ Aa Ab Laut Chalen is a love story of two Indians who meet in America. The film also seeks to tackle the problem of brain drain and gives a healthy message to the youth of today. There’s one more track — that of the hero and his father. The hero and his family in India are under the impression that the father was killed in an accident but the truth is that he had survived the accident and had seized the opportunity to flee to America where he got married again and became a multi-millionaire.

The story is about an ambitious boy who leaves India and comes to America to earn a lot of money. He meets an Indian girl there and she immediately falls in love with him. But the boy tries to hook a rich NRI girl so that he can settle there and fulfil his ambition of amassing wealth. After some time, he realises his folly and goes back to the Indian girl. By chance, he meets his father in America and, after an emotional drama, they all return to India.

The film is a visual delight and is almost like a trip to America. It offers breathtaking foreign locales captured beautifully. But its content, unfortunately, is not as exciting as the gloss. The reasons for this are several — one, the script has some inherent flaws/drawbacks (example: the hero hooks the NRI girl even though he is aware that she smokes, drinks and moves around with guys. Although she picks up no new vice, the hero, after some days, fires her for her behaviour and expresses shock over the same. The audience wonders why the hero got into the relationship in the first place if he had to be shocked a couple of reels later.); secondly, too much has been squeezed into a 3-hour drama; thirdly, the screenplay writer has taken recourse to convenience more than common sense to further the drama on occasions; fourthly, since the misery of the family sans the father is not shown, the impact of the emotional climax is diluted; fifthly, the hero’s character is not what it should be (he comes to America because his friend tells him so; he tries to hook an Indian settled in America because another friend tells him so — why doesn’t he use his brains?). Further, there is not much romance in the romantic story! This is not to say that the film has no plus points. It does have several of them. Besides the eye-pleasing locations, its other winning points are: some good comedy (of Jaspal Bhatti), a couple of heartwarming scenes, Rajesh Khanna’s entry and performance, liberal body exposure by Suman Ranganathan, and the mini-India shown in America.

Akshaye Khanna does a fair job. He has not been photographed well in some scenes. He dances extremely gracefully. Aishwarya Rai is plastic at times and wooden at other times. But she looks very pretty. The girl should stop behaving as if she were a kid and should open her mouth fully while talking. Rajesh Khanna acts very well and is restrained. But care should have been taken of his appearance; he looks red. Suman Ranganathan exudes oomph and sex appeal and impresses with a free performance. Kader Khan is quite good. Jaspal Bhatti is cute. Satish Kaushik is not very funny except in one scene. Himani Shipvpuri has been wasted. Viveck Vaswani is alright. Alok Nath leaves a mark in a brief role. Moushumi Chatterjee is restrained and very effective. Paresh Rawal is superb and goes through his role with aplomb. Newcomer Aditya Hitkari does reasonably well. Jatin Sial is okay. Navin Nischol, Sulbha Arya, Achyut Potdar and Vishwajeet Pradhan lend fair support.

In his maiden directorial venture, Rishi Kapoor shows that he has an excellent sense of visuals. But his script sense leaves something to be desired. His direction, though, is smooth. Music does not befit the canvas of the film. ‘Otashi Anata’, ‘Mera dil tera deewana’, the title song and ‘O yaaron maaf karna’ are well-tuned but the lack of super-hit songs is sorely felt. Song picturisations are colourful and eye-filling. Production values are grand. Editing could have been a bit more crisp.

On the whole, Aa Ab Laut Chalen will have to depend upon its visual beauty and the clear field ahead (few major releases in the forthcoming weeks) more than its content to lure the audience (mainly class audience and youth) to cinemas. Its business will vary from circuit to circuit. It may sail safe in some circuits (like Delhi-U.P.) on the strength of business in cities.

Released on 20-1-’99 at Minerva and 2 other cinemas and on 22-1-’99 at 11 more cinemas of Bombay thru V.I.P. Enterprises. Publicity: excellent. Opening: very good. …….Also released all over. Opening was fair in some circuits but poor in others. (1st day Jaipur 79,074/- (50.56%) from 2 cinemas.)

HUM AAPKE DIL MEIN REHTE HAIN

Suresh Productions’ Hum Aapke Dil Mein Rehte Hain is an unusual story about a boy entering into a one-year contract of marriage with a girl. At the end of the contract period, he decides to call it quits with the girl, although he likes her and finds her excelling in all household work. The reason for his separation is that she is not his idea of a wife. But once the separation comes around, the guy starts missing her and, slowly but surely, realises that she was, in fact, the perfect wife for him. He apologises to her but, having been humiliated by society, she is reluctant to forgive him and go back to him. Not the one to give up easily, he tries to woo her in every possible way. Ultimately, after a game of insults and counter-insults and also a good deal of melodrama, the girl realises her mistake in not overlooking her husband’s mistake. The two are then united.

The best part of the film is the novelty of its subject. Although the point of contract marriage may sound improbable (like the point of the wife selling her husband in Judaai), it is presented in a believable manner and so smoothy (again as in Judaai) that once the contract marriage is solemnised, the viewer doesn’t really mind its improbability. Yes, the reason for the hero agreeing to a contract marriage may be flimsy but that’s not the issue. Secondly, the reluctance of the wife to forgive her husband may look a bit too stretched in the post-interval portion but again, that may make the film seem a bit long but it cannot rob it of its intrinsic worth. The wife’s reluctance, however, could have been made more appealing had the director shown her humiliation in society not once but at least three or four times differently.

If the story is novel, the screenplay is quite consistently well-written. Dialogues (Jainendra Jain) are excellent at several places. Emotions touch the heart at times. Climax should have been more effective.

Anil Kapoor underplays his character beautifully and shines in a film that otherwise belongs to the heroine. His casual handling of the issue of contract marriage makes it pretty believable. He is excellent in the gode bharayee scene. Kajol is extraordinary and lives her role. Before marriage, as the sole bread-winner of a family of five, after marriage, as the caring wife and daughter-in-law, and after separation, as the unrelenting bold lady, she does it all with such sincerity that the viewer falls in love with her. Kajol is so natural that one’s heart goes out to her. Her emotional scene, in which she announces that the entire family would commit suicide together, shakes one to tears as much for its starkness as for the girl’s brilliant performance. Her fiery and emotional outburst against her family members in the second half is also excellent. She also looks pretty. Anupam Kher is good. Johny Lever, Satish Kaushik and Rakesh Bedi evoke laughter with their hilarious comedy. But it must be said here that their comedy track has no relation to the film’s subject. Besides, it gets repetitive after a while. Parmeet Sethi leaves a mark. Shakti Kapoor is wasted. Sudha Chandran, Smita Jayakar, Rajoo Shreshtha, Gracy Singh, Adi Irani, Mink, Sadhu Meher and Dinesh Hingoo lend admirable support.

Satish Kaushik’s direction deserves praise. His narration is smooth and the tense drama and comedy portions have been well-balanced. Anu Malik’s music is melodious but one misses the title song in the film (it comes in bits and parts and, therefore, loses in impact). Another good song, ‘Yehi mera dil hai’, will be added a couple of weeks later. ‘Chhup gaya badli mein chaand’ is appealing. The ‘Dil hai Hindustani’ number is weak. Song picturisations should have been better. Kabir Lal’s camerawork is marvellous. Other technical and production values are of standard.

On the whole, Hum Aapke Dil Mein Rehte Hain may be a slow starter (except in Bombay where it has opened to excellent houses) but it has the germs to pick up by word of mouth and on the strength of ladies and family audience. It has chances of proving class A.

Released on 22-1-’99 at Novelty, New Empire and 15 other cinemas of Bombay by Vimal Agarwal thru R.M. Ahuja & Co. Publicity & opening: excellent. …….Also released all over. Opening was ordinary in some circuits, dull in some and fairly good in others. (1st day Amravati 5 shows 23,800/-, 2nd day 4 shows 22,803/-; 1st day Jabalpur 5 shows 19,000/-, 2nd day 4 shows 18,200/-; 1st day Raipur 5 shows 22,000/-, 2nd day 4 shows 21,600/-; 1st day Bhilai 5 shows 14,306/-, 2nd day 4 shows 14,635/-; 1st day Chandrapur 5 shows 22,000/-, 2nd day 4 shows 20,700/-; 1st day Bilaspur 5 shows 30,500/-, 2nd day 4 shows 26,300/-; 2 days Indore 1,62,460/- from 4 cinemas; 1st day Jaipur 1,26,155/- (51.32%) from 4 cinemas.)

HU TU TU

Time Films International’s Hu Tu Tu (A) is a comment on political dramas being enacted today. It is about the power games played by politicians to further their personal interests which, almost always, are at variance with the interests of the nation. The daughter of a lady politician and the son of a super-rich industrialist fall in love with each other but before they can get married, are separated in a serious accident. Both of them, even when they are together, are disillusioned by the political games and disturbed by the plight of the common man. After the accident, the boy joins a terrorist group to seek justice from the evil politicians and, in one such attempt, has his ex-beloved kidnapped to settle scores with her mother. Ultimately, the two lovers get even with their mother (girl’s) and father (boy’s) who, in the meantime, have joined forces to take care of their personal gains. There is also a commoner Dalit leader who entertains his brethren with his witty and caustic comments while fighting for their rights too.

The subject is unusual but its treatment is so abstract that the narration bores the viewer no end. Continuity has not been cared for and the drama looks incomplete as the reasons for the behaviour of some characters at times are left to the intelligence of the viewer. A lot of the script is in the director’s mind but it never really comes out on the screen. The pace is so slow that viewing the film becomes a tedious and boring exercise. One actually wonders whether the director has made the film as an exercise in entertainment or in trying the audience’s patience. Frankly, not many among the audience would have the patience to see such a slow-moving film. Few among those who have the patience may have the inclination to go through the drama devoid of entertainment and full of tension.

Dialogues are very good at many places. But the Maharashtrian flavour and the Marathi language, used at several places in the film, further limits its appeal. Even the tunes of some songs have a predominantly Maharashtrian flavour. Climax, though predictable, is quite good.

Nana Patekar does well as the Dalit leader. Sunil Shetty is very effective and restrained in his performance that offers no scope for action which is his forte. Tabu is simply splendid. She lives the character she plays and comes up with a performance that’s heartwarmingly natural. In fact, Tabu’s award-winning performance is the best thing in the film. Suhasini Mulay is very natural as also effective. Dr. Mohan Agashe is fair. Kulbhushan Kharbanda does a capable job. Shivaji Satam leaves a mark. Raj Zutshi, Ajit Vachani and the others lend adequate support.

Director Gulzar seems to be under the mistaken impression that the public has plenty of patience and all the time in the world. Although his handling of the complex subject is very good, he adopts such an abstract style of narration that the film ultimately turns out to be a commentary for a very select elite audience. Its slow pace is unpardonable. Vishal’s music is good. ‘Chhai chhappa chhai’, ‘Gaphla hai’ and ‘Itna lamba kash lo yaaron’ are well-tuned. While the first-mentioned song has universal appeal, the second will be liked in Maharashtra. Lyrics are very meaningful. Action scenes are appropriate. Camerawork (Manmohan Singh and Rajen Kothari) is excellent. Other technical values are of a good standard. Art direction is superb.

On the whole, Hu Tu Tu is too slow, dry, dull and drab to appeal to the viewer. Except in Maharashtra and a couple of big cities, where it would fare a bit better, its box-office result would be disastrous.

Released on 20-1-’99 at New Excelsior and 10 other cinemas and on 22-1-’99 at 1 more cinema of Bombay by Time Films International thru Shringar Films. Publicity: excellent. Opening: very good. …….Also released all over. Opening was fair at some places but poor at many others.

LATEST POSITION

Despite Idd festival, none of the new releases could get the benefit all over India. The films did take good starts but that was not universal. However, films like KKHH, CHINA GATE and SOLDIER did record fantastic collections due to Idd.

……..

Soldier 9th week Bombay 8,48,434 (62.51%) from 4 cinemas (3 on F.H.); Ahmedabad 5,12,474 from 3 cinemas (1 unrecd.); Delhi 1,73,445; Kanpur 2,30,446 from 2 cinemas, Lucknow 1,80,984, Varanasi (27 shows) 1,45,613, Dehradun 87,555; Calcutta (6 days) 1,42,266; Nagpur 83,954 from 2 cinemas, 8th week Amravati (6 days) 46,627, 9th week Akola 75,601, Raipur (6 days) 39,362, 3rd week Jalgaon (6 days) 92,371, 9th Bilaspur (6 days) 32,300; Bhopal 1,20,000; Jaipur 2,50,434; Hyderabad 3,82,009.

Kuch Kuch Hota Hai 14th week Bombay 22,62,367 (64.04%) from 7 cinemas (4 on F.H.); Ahmedabad 5,21,682 from 3 cinemas, Baroda 1,61,068, Jamnagar (noon) 16,822; Solapur 1,23,396; Delhi 16,60,371 from 8 cinemas; Kanpur 2,21,673 from 2 cinemas, Lucknow 3,02,475, Dehradun 90,000; Calcutta 3,94,610 from 3 cinemas; Nagpur 1,04,210, 1st week Kamptee 71,316, 9th week Jabalpur 1,58,369, total 17,50,713, 14th week Amravati (6 days) 80,166, Akola 67,246, total 15,49,047, Raipur (6 days) 64,671, Bilaspur (6 days) 45,212, 2nd week Balaghat 80,696, total 1,61,392; 14th week Indore 1,09,490; Jaipur 4,70,492, Ajmer 60,026; Hyderabad 4,74,772 from 2 cinemas (1 in noon); Vijayawada 3 weeks’ total 3,54,052.

………

‘KKKH’ 100 DAYS

Yash Johar’s Kuch Kuch Hota Hai completed 100 days of its run today (23rd January) all over. Written and directed by debut-making Karan Johar, the film stars Shah Rukh Khan, Kajol, Ranee Mukerji, Johny Lever, Farida Jalal, Anupam Kher, Archna Pooran Singh, Reema, Himani Shivpuri, master Parzan Dastur, baby Sana Saeed and Salman Khan and Neelam in friendly appearances. Its music is scored by Jatin Lalit.

G.P. SHIRKE DEAD

Producer G.P. Shirke expired on 20th January in Bombay. He was president of the Chamber of Motion Picture Producers and the Western India Film Producers Association, chairman of the Film Makers’ Combine and also chief of the Shiv Sena Chitrapat Shakha.

A meeting to condole his death was held at IMPPA House on 21st January.

PRADEEP CHHABRA DEAD

Pradeep R. Chhabra, son of late Ramchandra Chhabra of Chhabra Film Exchange, Bombay, expired on 22nd January due to heart failure. He was rushed to Jaslok Hospital after he complained of uneasiness. He breathed his last soon thereafter at the hospital.

He was 42 and is survived by his wife, two sons and a daughter.

DO YOU KNOW?

* The Murad family seems to have a strong affinity for the title APRADHI KAUN. Actor Murad appeared in Bimal Roy’s film of that title in 1956. His son, Raza Murad, acted in Mohan Bhakri’s film of the same title in 1982. Mohan Bhakri is once again making APRADHI KAUN? and has singed up Raza Murad for a role in it. What’s more, Raza was also seen in a television serial of that name in 1985.

* KKHH is the 10th film to celebrate 100 days’ run at Vasant Talkies, Akola. The earlier nine films in the same league are GOPI, PREMNAGAR, KRANTI, DESH PREMEE, MUQADDAR KA SIKANDAR, NAGINA, HUM AAPKE HAIN KOUN..!, RAJA HINDUSTANI and DIL TO PAGAL HAI.

ANNOUNCEMENT & LAUNCHING

‘Har Dil Jo Pyar Karega’ To Roll

Nadiadwala Grandson’s Har Dil Jo Pyar Karega will be shot from Jan. 27 till Feb. 4 in Bombay. A team of experts from America will picturise thrilling scenes (with special effects to be done by CMM) on two Rajdhani trains between Bombay Central and New Delhi. Salman Khan, Karisma Kapoor and Ranee Mukerji will participate. Producer: Sajid Nadiadwala. Director: Raj Kanwar. Screenplay: Rumi Jafri. Dialogues: Javed Siddiqi. Scenario: Rakesh Malhotra. Lyrics: Sameer. Music: Anu Malik. Cinematography: W.B. Rao. Action: Abbas. Editor: A. Muthu.

3-E
Education-Entertainment-Enlightenment

Who’s The Winner? Nobody!

Four big films were released this week to take advantage of the Idd festival. But the funny part is that no film can claim to have reaped the benefit of the festival throughout India. If one film opened well in Bombay, its opening in C.I. and Rajasthan left a lot to be desired. If another had a decent opening in Maharashtra, its collections in some other circuits were pathetic. If a third opened to full houses in Patna, its opening day’s collections in Gujarat were 40%! Not only did Idd not prove bountiful for the films, the excess number of releases simultaneously also cut into one another’s collections. So there!

Varma’s Ventures

After completing Kaun, which has just one song, director Ramgopal Varma has now started shooting Mast which has — hold your breath — 11 songs! The music is scored by Sandeep Chowta, a well-known name in the South. Sandeep had recorded the background music in Ramgopal Varma’s Satya and has also composed the background score in his current Kaun. After Mast, which is supposed to be a ‘quickie’ (it is scheduled for a June ’99 release), Varma will soon start another film, starring Shah Rukh Khan.

No Difference

Producer Salim has shot a new climax for Mehndi. The new-look Mehndi was released yesterday but the response to the film is said to be not very different from what it was with the old climax.

PRODUCTION NEWS

‘Hindustan Ki Kasam’ Shooting Complete

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

LATEST POSITION

Examinations are affecting collections all over the country.

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

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

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

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

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

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

‘MOTHER 98’ TAX-FREE IN U.P.

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

‘GODMOTHER’ RELEASE PERMITTED

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

STANLEY KUBRICK DEAD

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

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

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

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

AUDIO PIRATE NABBED

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

JATIN, LALIT ARRESTED

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

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

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

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

UNI TENDERS APOLOGY TO MUKESH KHANNA IN DELHI HC

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

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

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

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

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

JAWAHARLAL BAFNA MISSING

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

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

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

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

Industry Loses Honest, Sincere Leader

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

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

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

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

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

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

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

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

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

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

RAM UDAR JHA NO MORE

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

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

ANNOUNCEMENT & LAUNCHING

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

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

YOU ASKED IT

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

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

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

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

Which heroine will Kajol’s marriage benefit the most?

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

MIX MASALA

CAR THEFTS

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

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

A SLANGING MATCH

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

DO YOU KNOW?

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

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

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

3-E
Education-Entertainment-Enlightenment

A News, Out Of Sur, Out Of Taal

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

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

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

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

Akshay And Action

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

Heroine Changed

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

Manoj Kumar’s Success Story: How It Began

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

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

Jai State Governments

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

‘Khiladi’ Ek, Films Anek

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

Filmi Threats

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

Naam — The Title

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

Dream Merchant

Buraa Na Mano, Holi NAHIN Hai!

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

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

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

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

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

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

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

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

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

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

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

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

– Komal Nahta

 

 

 

DILIP KUMAR RECOVERING

Dilip Kumar, who underwent bypass surgery of the heart on 1st January at Lilavati Hospital, Bandra, Bombay, is recuperating.

‘PYAAR TO HONA HI THA’ SILVER JUBILEE

Baba Films’ Pyaar To Hona Hi Tha entered combined silver jubilee week on 8th January at Alankar, Bombay (in matinee shows). The film stars Ajay Devgan, Kajol, Om Puri, Bijay Anand and Kashmira Shah. Producer: Gordhan Tanwani. Director: Anees Bazmee. Music: Jatin Lalit. Lyrics: Sameer.

KARISMA KAPOOR INJURED

Karisma Kapoor was injured recently while shooting for Hum Saath Saath Hain. She, however, participated in the shooting of Biwi No. 1 in Hyderabad last week and this, for scenes not requiring much movement. Since she is not completely alright, she has been advised rest. Following her injury, the foreign shooting schedule of Haseena Maan Jayegi, starring her, has had to be postponed. The schedule was to have begun this week.

TWO AHMEDABAD CINEMAS RAIDED FOR SCREENING ‘BITS’

Two Ahmedabad cinemas viz. Hanjer and Sheetal, Gomtipur, were raided by the city police last week, following a tip-off that the cinemas were screening uncensored portions from foreign erotic films. During the raid, it was discovered that uncensored ‘bits’, added to Jail House Girl (at Hanjer) and Chained Girls (at Sheetal), were being screened regularly in the late night shows. Nine persons, including the manager and staff of Sheetal cinema, were arrested, while action was initiated against Harish Popat, the manager of Hanjer cinema.

GIRISH SHAH’S DAUGHTER TO WED

Marriage of Kunti, daughter of Gujarat distributor-exhibitor Girish Shah, with Anand will be solemnised on 24th January in Ahmedabad. A reception will be held the same evening.

PRODUCTION NEWS

Salim’s Film In Full Swing

The unit of Aftab Music Industries’ Prod. No. 7 left on Jan. 6 for a 7-day shooting stint at Khandala. The film is being produced by Salim and stars Bobby Deol, Rani Mukerji, Kulbhushan Kharbanda, Ashish Vidyarthi, Ashutosh Rana, Vishwajeet Pradhan, Razzak Khan, Mushtaq Khan and Amrish Puri. Story writer & director: Raj Kanwar. Screenplay: Robin Bhatt and Sutanu Gupta. Dialogues: Santosh Saroj. Music director Anu Malik recorded the first song of the film at Sahara India on Jan. 5. It was penned by Sameer.

‘Arjun Pandit’ In Dehradun, Hardwar

Ratan International’s Arjun Pandit is being shot in Dehradun, Hardwar and Rishikesh. Sunny Deol, Juhi Chawla, Shahbaaz Khan and others are participating in the month-long schedule. The film is being directed by Rahul Rawail for producer Babloo (N.R.) Pachisia.

‘Pukaar’ Complete

Boney Kapoor and S.K. Films Enterprises’ Pukaar is complete following the 4-day shooting spell at Surve Farm in Panvel near Bombay. Only a few days’ patchwork shooting now remains to be done. Directed by Rajkumar Santoshi for producer Surinder Kapoor, the film stars Anil Kapoor, Madhuri Dixit, Namrata Shirodkar, Mukesh Rishi, Girish Karnad, Mohan Agashe, Om Puri, Govind Namdeo and Danny Denzongpa. Majrooh Sultanpuri’s lyrics are set to tune by A.R. Rahman. Action: Tinnu Verma. Bharat Shah is the associate producer.

‘Aa Ab Laut Chalen’ On January 22

The first copy of R.K. Films & Studios P. Ltd.’s Aa Ab Laut Chalen will come out today (Jan. 9). It will be seen by the CBFC on Jan. 11/12. The film, directed by Rishi Kapoor and produced by him jointly with Randhir Kapoor and Rajiv Kapoor, stars Rajesh Khanna, Akshaye Khanna, Aishwarya Rai, Suman Ranganathan, Moushumi Chatterjee, Paresh Rawal, Jaspal Bhatti, Satish Kaushik and Kader Khan. Music is scored by Nadeem Shravan and lyrics are penned by Sameer. The film will be released positively on January 22.

Shah Rukh, Juhi Starrer Progresses

Director Shashilal K. Nair began a 13-day shooting spell of Glamour Films’ Prod. No. 2 on different locales of Bombay on Jan. 4. Shah Rukh Khan and Juhi Chawla are participating alongwith Nirmal Pandey, Bharat Dabholkar, Dilip Joshi, Rehman Naushad and child artistes. Jackie Shroff also plays a stellar role in the film being produced by Nazir Ahmed. It has music by A.R. Rahman and lyrics by Mehboob. Dialogues: Sanjay Chhel. Cinematography: S. Kumar. Art: Nitin Desai.

‘Haseena Maan Jayegi’ 8-Day Spell

An 8-day shooting stint of Rahul Productions’ Haseena Maan Jayegi will begin in Bombay on various locations from Jan. 13. Sanjay Dutt, Govinda, Kader Khan, Anupam Kher, Satish Kaushik, Aroona Irani, Razzak Khan and Ashish Vidyarthi will participate. The film, being directed by David Dhawan for producer Smita Thackeray, stars Karisma Kapoor and Pooja Batra in the female leads. Other cast: Paresh Rawal, Mohan Joshi, Aasif Sheikh, Pushpa Verma, Asrani and Bindu (in a guest appearance). Story-screenplay: Yunus Sejawal and Imtiaz Patel. Dialogues: Rumi Jafri. Music: Anu Malik. Lyrics: Sameer. Cinematographer: K.S. Prakash Rao. Art: R. Verman. Bharat Shah presents the film.

Chandrachur Starts Dubbing For ‘Silsila Hai Pyar Ka’

Chandrachur Singh commenced his dubbing for N.N. Sippy Productions’ Silsila Hai Pyar Ka yesterday (Jan. 8) at B.R. The film, shooting of which is almost complete, co-stars Karisma Kapoor, Shakti Kapoor, Mishka Khanna, Aroona Irani, Saeed Jaffrey, Nilam Singh, Alok Nath and Danny Denzongpa. It is directed by Shrabani Deodhar for producer N.N. Sippy. Cameraman: Debu Deodhar. Music: Jatin Lalit. Lyrics: Sameer.

SIGNED

Dev Anand Signs New Girl For ‘Censor’

Dev Anand will introduce Mohini Sharma in his new film, Censor. She will play the romantic lead opposite Vinay Anand.

YOU ASKED IT

What, according to you, should have been the correct price of China Gate for a major circuit, taking into consideration its cast and director but not bearing in mind its cost and business?

– The appropriate price would have been Rs. 1 to 1.25 crore per major circuit.

How many releases will Aamir Khan have in 1999?

– Four — SARFAROSH, 1947 (EARTH), MANN and MELA. In all probability, all the four will be released before August.

What price would an ‘A’ grade producer’s Shah Rukh Khan starrer fetch for the Overseas circuit?

– More than 6 crore! Maybe, even 7 to 8 crore.

CENSOR NEWS

Suresh Productions’ Hum Aapke Dil Mein Rehte Hain, seen on 8th in Hyderabad, has been passed with U certificate, without cut.

R.K. Films & Studios’ Aa Ab Laut Chalen (length 4848.05 metres in 19 reels) was applied on 8th.

Jackie Shroff Entertainment Ltd.’s Grahan (length 4276.04 metres in 16 reels), applied on 5th and seen on 6th, has been passed for adults, with cuts.

IMPORTED FILMS

Pam Coats & Buena Vista International’s Mulan was given C.C. No. CFL/1/1/99 (U) dt. 4-1-’99; length 2406.45 metres in 5 reels (no cut). Applicant: Columbia Tristar Films of India Ltd.

D.R.M. Combines’ Mata Hari was seen on 5th.

Columbia Tristar Films of India Ltd.’s Jane Austin’s Mafia was applied on 6th, and I Still Know What You Did Last Summer was applied on 7th.

Warner Brothers (F.E.) Inc.’s Blade (revised) was applied on 5th.

Virgo Films’ Snake Lady was applied on 6th.

20th Century Fox India Inc.’s The Siege was applied on 7th.

Koneru Films’ Save Me was applied on 8th.

DO YOU KNOW?

* The video cassettes of Rajshri’s blockbuster, HUM AAPKE HAIN KOUN..!, were released on 30th December ’98 — that is, more than four years after the film’s theatrical release. Ultra has released the video cassettes with beautiful packaging. Ultra had also released Rajshri’s earlier hit, MAINE PYAR KIYA, on video on the same date nine years earlier — that is, on 30th December, 1989.

* The Bombay distributors of PYAAR TO HONA HI THA have released 25 prints of the film this week in Bombay city and suburbs and Maharashtra to coincide with the film’s silver jubilee. The same distributors (Devgan’s Entertainment) had revived their ISHQ with 50 prints in its golden jubilee week last year.

* A Tamil film — RAJASTHAN — will be released on 14th January in the Overseas circuit with as many as 150 prints! No film, not even a Hindi one, has so far been released in Overseas with such a large number of prints. The film, directed by R.K. Selvamani, stars Sarath Kumar and Vijayashanti and has cost about Rs. 20 crore to make!

* V.N. Films, the Miraj district sub-distributor of KKHH, has sent expensive vinyl boards of the film for display at ‘B’ and ‘C’ class centres of Miraj region. This is, perhaps, the first time that such expensive publicity is being displayed in ‘B’ and ‘C’ class centres like Wadgaon, Shirol, Wai and Gadhinglaj.

* FIRE, which was released in Hardwar at Payal Palace last week without prior publicity, collected only 4,602/- on the opening day but the week closed at 78,565/-. Two shows on the second day were cancelled due to agitation against the film by Bajrang Dal activists, and it collected 1,883/- in the remaining two shows. But collections shot up from third day (due to publicity by cinema management as also the controversy). The collections were: 3rd day 11,870/-, 4th day 12,964/-, 5th day 13,612/-, 6th day 20,926/-, and 7th day 12,708/-.

3-E
Education-Entertainment-Enlightenment

Bhatti Springs One More

Trust Jaspal Bhatti to come up with something like this. The master satirist thought up a clever gimmick for the premiere release of his Mahaul Theek Hai (Punjabi) at Batra cinema, Chandigarh, a couple of weeks back. On the occasion, Bhatti invited the director general of police of Punjab & Haryana and in his presence, he felicitated three top black marketeers of cinema tickets in Chandigarh. He offered them shawls and coconuts and reasoned, among peals of laughter, that he was doing so simply because it is the black marketeer who has the power to make or break a film.

Line Inspectors Aapke Office Mein Rehte Hain?

Producer D. Rama Naidu has appointed 25 line inspectors to supervise the business transacted by the distributors of his forthcoming, Hum Aapke Dil Mein Rehte Hain. The line inspectors will visit distributors of the various territories and oversee the film’s business in the different circuits. Last heard, the distributors were humming something to the effect of Hum aapke sar pe baith-te hain…!

The Birthday That Never Was

“Happy birthday” and “Many happy returns of the day” read the messages on the numerous bouquets of flowers top financier Bharat Shah received on 2nd January. But it wasn’t his birthday that day. Obviously, some florist, who had sent out a list of birthdays, had goofed up and the result was that Shah had his house full of flowers sent by friends. Incidentally, Bharat Shah is a Leo and his birthday falls on 5th August.

A Hit Film: Reason To Rejoice Or Repent?

It would shock trade people to know that although Bandhan has done and is still doing wonderful business all over India, its producers have not received a single naya paisa as their share of overflow from distributors of most of the circuits. And this when the successful film is celebrating 100 glorious days of its run everywhere today. Glorious? Yes, of course, for the distributors who paid reasonable MG royalties (at places, the ratio was less than a crore) for the film. But there’s nothing glorious about its success for the producers, Shyam Bajaj and Narendra Bajaj. Except, perhaps, the good feeling that they have at long last delivered a hit. Some distributors have not even bothered to send the business statements to the producers, leave alone overflow.

The case of Bandhan is not a lone one. It has often been seen that a producer never gets to share overflow from his film if that film happens to be his first hit, after a line of flops. This could be true even if the hit is distributed by distributors who had nothing to do with his earlier flops. Of course, this is not to say that if the distributor of the hit and the earlier flop/s is the same, he has a right to not submit true accounts of the overflow. When a producer’s film flops, it is a painful experience for him. But if he gets no share from his hit film, the pain is even greater.

Many distributors have this mistaken impression that they are well within their rights to offset their losses of some films against profits of the other films released by them. So what if the producers of the flops and the hits are in no way related or connected! Even a child would say, this practice is unethical, but our distributors have been following it since years. The MG royalty agreements of distribution, under which the distributors are to share overflow with the producer, lose their sanctity in cases like these.

The reasons for the producers of Bandhan not being able to share in its success are a combination of the above. One has heard of aate mein namak jitni (chori) but the case of Bandhan looks like namak mein aata! Why just Bandhan, a distributor of a 25% circuit has just sent about Rs. 20 lakh overflow to the producers of a blockbuster like Raja Hindustani. And about 50% of this has come one whole year after it became due. The actual share of the producers in the overflow would be at least Rs. 50 lakh!

If distributors crib and cry about high film prices and the practice of producers to not show trials of their films to them before their release, why don’t they do something about their dishonest brothers too? Shocked that I refer to them as “dishonest”? Actually, I too am shocked at my usage of the word. Can somebody help me with a more appropriate word which would be at least 10 times harsher than the word “dishonest”? Because that would be the honest description of such…… you know what I mean.

– Komal Nahta