BADMAASH

Seven Seas Films’ Badmaash (A) is a gang war film with a routine story. A brave, unemployed young man saves a college girl from being molested by the son of a small-time don and beats him up. The don takes this as an insult and seeks revenge. In the meantime, the young man and his friends form a gang of their own to face the don’s challenge. The don’s son rapes the young man’s sister and kills her. In retaliation, the young man kills the don’s son. Thereafter, the young man’s father and mother are also killed one by one. Ultimately, the don is exterminated.

The drama offers no novelty, and scenes have been seemingly written to accommodate action and violence. What’s more, in spite of having so much action, the makers have opted to avoid putting in some comedy for relief. Even the action scenes are mostly unexciting. Dialogues are ordinary. The film has taken many years to complete and that shows in continuity jerks.

Jackie Shroff goes through his role mechanically. Shilpa Shirodkar is fair. Paresh Rawal’s villainy is quite alright. Pran does a reasonable job. Bindu has done well. Ramesh Bhatkar, Vikram Gokhale, Dilip Dhawan, Shagufta Ali, Tej Sapru, Siddharth Ray, Sanjay Shah and Viju Kohte lend ordinary support. Pradeep Kumar and Jalal Agha, in special appearances, have just one scene each.

Direction is no better than the lacklustre script. Of the songs, ‘Aamchi Mumbai’ has some appeal for front-benchers. The other numbers are ordinary. Song picturisations are dull. Camerawork is not up to the mark. Production values are ordinary.

On the whole, Badmaash has taken a poor start and has nothing much to see a pick-up.

Released on 23-1-’98 at Novelty and 14 other cinemas of Bombay thru Dilsa Distributors Combine. Publicity: good. Opening: poor. …….Also released all over.

MISS 420

Venus’ Miss 420 (UA) is a romantic suspense thriller. The intelligence department of the CBI puts a young spy, Miss 420, on the job to trap the people involved in smuggling defence documents to foreign countries. The department chief senses the involvement of its own officers too. The drama starts with a car being blown up in a bomb explosion by the smugglers to kill Miss 420. They are shocked when they see a similar-looking girl who comes alongwith her lover, in search of her brother who is an investigative journalist. There are several turns and twists thereafter and finally, a climax full of action. Almost three-fourths of the film moves on the romantic track and hardly impresses with its songs and dances. The songs are good and their picturisations, sensual, but they were popular several years ago. Even while the suspense keeps on increasing, the real excitement comes towards and in the climax. Dialogues are ordinary.

Sheeba lends glamour by exposing freely. She is fair as far as acting goes. Baba Sehgal is not impressive. He looks old too. Mohan Joshi does very well. Shakti Kapoor is good and so also Tinnu Anand. Asif Sheikh leaves a mark. Jeet Upendra, Mahesh Anand, Mushtaq Khan, Aroon Bakshi, Goga Kapoor, Anant Mahadevan, Ajit Vachani, Amita Nangia, Shubha Khote, Kuldeep Pawar and Abhimanyyu fill the bill. Johny Lever entertains in a couple of scenes.

Akashdeep’s direction is fairly nice. At least three songs — ‘Aaja meri gaadi mein baith jaa’, ‘Mesmsaab O memsaab’ and ‘Dhak dhak’ — are beautifully tuned but they’ve become stale now. Camerawork is good while the other technical aspects are alright.

On the whole, although it has a good suspense track, Miss 420 lacks in face value and substantive drama and will, therefore, find the going tough.

Released on 23-1-’98 at Maratha Mandir and 6 other cinemas of Bombay by Venus thru Shringar Films. Publicity: fair. Opening: poor. …….Also released all over.

UPHAAR TRAGEDY ACCUSED SUMMONED

CBI special magistrate Brijesh Sethi has taken cognisance of the offences under different sections of the Indian Penal Code in the Uphaar cinema tragedy case in Delhi and has summoned all the accused to his court on 16th February. Eight government officials and six persons of Uphaar cinema have been chargesheeted under sections 304A (causing death by negligence) and 304.

VINOD SHARMA ELECTED RAPA PRESIDENT

Vinod Sharma was elected president of the Radio & TV Advertising Practitioners’ Association of India Ltd. (RAPA) for 1997-98 at its annual general meeting held recently in Bombay. Brij Mittle was elected vice president, Ashok Vaishnavi, hon. secretary, and K.N. Goel, hon. treasurer. Besides the above, Ameen Sayani, Amar Thakur, Madhu Srivastava, Purush Baokar, Rajendra Joshi, Shashi Surendranath, Suren Chawla and Vinod Ganatra were elected members of the managing council.

FIRE DESTROYS CENTRAL CINEMA

Central Plaza cinema at Girgaum, Bombay, was gutted in the early morning hours of 21st January. While the cinema and the furniture were badly damaged in the fire that broke out around 5 a.m., the projection room and the air-conditioning plant of the cinema, which are behind the auditorium, are intact. The police and the fire brigade do not think, it is a case of sabotage or short circuit.

Contract labourers had cleaned up the cinema as usual on 20th night after the last show of Police Story 2. They shut all the exits and left around 4 a.m. Some employees, who were sleeping outside the auditorium, were woken up by the smoke around 5 a.m. The fire brigade was summoned and the fire doused in about 20 minutes. No casualties were reported.

The cinema is owned by Pranlal Doshi who had acquired it from K.M. Modi in 1968. It was built in 1918. It had been renovated by Doshi just two years ago. The cinema was known for screening Marathi films once upon a time. Years ago, it used to screen top Hindi films. Then came a bad patch. Of late, the cinema had started screening English films in regular and late-night shows too. The cinema was originally called Central and it was rechristened Central Plaza only some time back.

UMESH MEHRA’S DAUGHTER TO WED

Nishita, daughter of director Umesh Mehra and grand-daughter of producer F.C. Mehra, will wed Pushkar on 6th February at the Royal Western India Turf Club, Mahalaxmi, Bombay.

WEDDING BELLS FOR J.P. CHOWKSEY’S SON

C.I. distributor Aditya Chowksey, son of J.P. Chowksey, will wed Chhavi on 3rd February in Indore at Sayaji Hotel.

SUBHASH GHAI’S TRIPLE CELEBRATIONS

Subhash Ghai will host a luncheon party on 25th January at Royal Palms to celebrate three occasions: silver jubilee of Pardes, his birthday (on 24th January) and the announcement of his new film.

VINOD KHANNA TO CONTEST LS ELECTION

Vinod Khanna will contest the Lok Sabha elections on a BJP ticket, from the Gurdaspur constituency in Punjab. His candidature was finalised and announced by the Bharatiya Janata Party on 22nd January. He is pitted against former Union minister Sukhbans Kaur.

Vinod flew to Delhi on 22nd morning.

KALYANJI, ANANDJI, MAVJIBHAI BEREAVED

Hansbai Virji Shah, mother of Bombay distributor Mavjibhai Shah and music directors Kalyanji, Anandji and Babla, expired on the morning of 23rd January. She was 92.

Chautha will be held on Sunday, 25th January, from 3 p.m. to 5 p.m. at Karsan Laddhu Hall, Dadar, Bombay.

CENSOR NEWS

Vicky Films Pvt. Ltd.’s Zor (length 4534.08 metres in 17 reels), applied on 19th and seen on 21st, has been offered A certificate, with many cuts.

Sapna Arts’ Banarasi Babu (length 3790.80 metres in 16 reels), applied on 19th and seen on 22nd, has been okayed for UA, with minor cuts. Certificate will be issued soon.

Mark Films International’s Vinashak was given C.C. No. CIL/3/3/98 (A) dt. 20-1-’98; length 4386.51 metres in 15 reels (cuts: 51.24 metres).

Om Films’ 2001, applied on 16th and seen on 20th, has been issued C.C. No. CIL3/6/98 (A) dt. 22-1-’98; length 4423.96 metres in 17 reels (cuts: 39.04 metres).

Damani Pictures P. Ltd.’s Saazish was given C.C. No. CIL/2/3/98 (UA) dt. 20-1-’98; length 3949.75 metres in 16 reels (cuts: 330.19 metres).

Seven Seas Films’ Badmaash was given C.C. No. CIL/3/4/98 (A) dt. 20-1-’98; length 3446.14 metres in 14 reels (cuts: 108.86 metres).

Mirabai Films P. Ltd.’s Kama Sutra – A Tale Of Love (dubbed), cleared vide Bombay high court order dt. 23-12-’97, has been issued C.C. No. CIL/3/5/98 (A) dt. 21-1-’98; length 3043.88 metres in 7 reels (some deletion in sound only).

YOU ASKED IT

The first month of the new year has been quite disastrous for the industry. Will that be a bad omen?

– Don’t you worry. Things will definitely begin to look up from 30th January. So, cheer up and forget about the bad omen.

Has Jeans (dubbed) been sold for any territories so far?

– Tolu Bajaj, who has the all-India rights of the film, will himself release it in Bombay, Delhi-U.P. and Nizam. Business for the other circuits will be done now. The film’s shooting is complete, and Hindi dubbing will start shortly.

Why do people generally avoid seeing films during election campaigning time?

– People generally prefer to see, talk about and listen to politicians during the one-two months of election campaigning. At places, people avoid frequenting cinemas for fear of tension due to party rivalries. Then, there are also election meetings to be attended.

SIGNED

Priya Gill In ‘Josh’

Priya Gill has been signed opposite Shah Rukh Khan in United Seven Creations’ Josh, being produced by Ganesh Jain, directed by Mansoor Khan and presented by Venus. Others in the cast are Aishwarya Rai, Chandrachur Singh, Sharad Kapoor and Sharat Saxena.

Veeru Devgan Signs Amitabh For Next

Amitabh Bachchan and Veeru Devgan will be together once again in Devgan Arts’ Prod. No. 2. Other cast and credits are under finalisation.

IN & OUT OF BOMBAY

Producer-director Subhash Ghai and Mr. Tolu Bajaj of Metro Films, Bombay, returned from Madras on 23rd January.

Mr. Nanubhai Desani of Vaishali cinema, Bhavnagar, staying at Sahara Hotel (386-1491), will return to Bhavnagar tomorrow (25th January).

MIX MASALA

AWARD KI PUKAAR

It was a lucky flight that brought Anil Kapoor and Madhuri Dixit from Hyderabad to Bombay to attend the Screen Videocon awards function on 17th January. For, both of them won the best acting awards. The two were shooting in Hyderabad for Boney Kapoor’s Pukaar and came to Bombay for a day, only to attend the awards nite.

IDOL CHAT

Of the 25 contenders for the Femina Miss India title due to be conferred shortly, at least three have film personalities as their idols. Twenty-one-year-old Vithika iodlises Sunil Dutt and Sarojini Naidu. Jaspreet, who is 22 years old, says, Shabana Azmi is her idol. And for 21-year-old Smriti, her grandfather and Shah Rukh Khan are her two idols.

DO YOU KNOW?

* Real Image, the DTS frachisees in India, got a shot in the arm when the first DTS film in India, KARUPU ROJA (Tamil), bagged the best sound recordist award for Sridhar in the Tamil Nadu State Film awards announced recently in Madras. Kamal Haasan’s Tamil hit, INDIAN, another DTS film, bagged the award for the best film.

* Bappi Lahiri was the first music director to record a song at Mehboob Recording Theatre when it opened in 1972. The song was for CHALTE CHALTE. On 19th January, 1998, the fully renovated (with new recording machinery) Mehboob was inaugurated, again by Bappi Lahiri who, this time, recorded a song for TUMSE PYAR HO GAYA. Indeed, Mehboob se pyar ho gaya!

* SHAPATH has yielded a distributor’s share of about 1,70,000/- in 4 weeks from Saroj, Amravati. This is better than the shares of films like AFLATOON, DHAAL and QAHAR from Amravati city.

‘Banarasi Babu’ Shrouded In Controversy

As if the several years it has taken in the making wasn’t enough, Nandu Tolani’s Banarasi Babu is in the midst of a controversy even a week before its scheduled release on 30th January.

The film’s West Bengal distributors, PMD Entertainments (P.) Ltd., have obtained a stay order (dated 23rd January) from the Bombay high court, restraining Filmcenter from delivering the prints of the film for West Bengal circuit to anybody except themselves. The film was originally registered in the name of Sapna Film Distributors. PMD Entertainments acquired it on 22nd December, and Sapna Film Distributors accordingly wrote to the EIMPA, asking it to de-register the film from its name. The communication to the EIMPA mentioned that the arrangement was irrevocable.

However, when Zor was postponed, Nandu Tolani (partner in Sapna Film Distributors with Amar Pandey) decided to release Banarasi Babu himself in West Bengal and, accordingly, asked the EIMPA to ignore the ‘irrevocable’ arrangement.

Fearing problems, PMD Entertainments moved the court and succeeded in obtaining the injunction order. According to Bipin Savla, representative of PMD Entertainments, “It’s sad that Nandu Tolani is behaving this way. I bailed him out of so many difficulties after PMD acquired the film for West Bengal. Kader Khan had not been paid a single naya paisa and he refused to complete his work on the last day of shooting unless he was paid. He also refused to dub till his further dues were cleared. I paid him for completing shooting and gave an undertaking for further payment before he commenced dubbing. Why, I also paid for the sound negative and for clearing several liabilities of Nandu earlier this month. And Nandu forgot all this no sooner was Zor postponed. Obviously, he was acting on the instructions of some vicious mind.”

‘Kama Sutra’ Censorship
CBFC Ignorance Exposed

Mira Nair’s Kama Sutra (Hindi dubbed) was finally issued censor certificate on 21st January, 1998. The dubbed Tamil and Telugu versions must also have been likewise issued certificates. The three dubbed versions were cleared by the Bombay high court after a long legal battle.

The high court order dated 23rd December, 1997, is worth reading for several reasons. For one, it exposes the ignorance of one government department (Central Board of Film Certification) in matters relating to another government department (I & B ministry). Secondly, it also throws light on the vanity of the CBFC’s examining committee which was under the impression that it was above the I & B ministry and was not governed by its directions!

Although the two-judge bench of Justice B.P. Saraf and Justice A.Y. Sakhare did not say so in their 25-page order, a reading of the same makes one wonder whether CBFC chairman Shakti Samanta and Bombay’s regional officer Sanjeevani Kutty have any moral right to continue in office after such an order.

The gist of the case and the order is given hereinbelow:

Mira Nair’s company, Mirabai Films P. Ltd., filed a writ petition as they were aggrieved by the letters of the regional officer, CBFC, dated 13-10-’97 and 17-10-’97, directing them to delete certain visuals from the dubbed Hindi, Tamil and Telugu versions of Kama Sutra – A Tale Of Love. These directions, according to the petitioners, were illegal and contrary to the existing guidelines of the Central government. They contended that the CBFC had no power to further censor the visuals of the dubbed versions of an already certified film. The English (original) version of Kama Sutra – A Tale Of Love was certified (for adults) on 9th October, 1997. Even this had entailed a long legal battle but that’s not the point here.

When the petitioners submitted the dubbed versions to the CBFC, seeking ‘A’ certificate for them, in terms of the guidelines issued by the Central government regarding the procedure to be followed for certification of dubbed versions of already certified films, they (petitioners), opted that the dubbed versions should not be treated as fresh films and should be subjected to the special procedure laid down therein. According to the Central government guidelines (issued by the I & B ministry by D.O. letter of 10th June, 1993), an applicant in respect of a film claimed to be a dubbed version has been given an option to have his film treated as a fresh film or have his film subjected to the special procedure mentioned therein. The petitioners exercised the second option which clearly stipulates that once the examining committee by majority is satisfied that the dubbed version visuals are exactly the same as the visuals of the original version, there should not be another censorship in respect of visuals of the film except for the titles, credits cards etc.

But on receipt of the application, the CBFC again required the viewing of the dubbed film by the examining committee and later, by its letter dated 13th October, 1997, directed certain cuts in the visuals and dialogues of the Hindi version. By other letters dated 17-10-’97, certain cuts in the visuals and dialogues of the Tamil and Telugu versions were directed to be made. The petitioners complied with the directions of the CBFC as far as the cuts in the dialogues were concerned. But they were aggrieved by the CBFC directions for deletion of certain portions of the visuals in the dubbed versions because, according to them, there could not be any further censorship in the visuals of the dubbed film if they were exactly same as the visuals of the original version, about which there was no dispute. The writ petition was filed in so far as the directions pertained to the cuts in the visuals in the dubbed films.

CBFC regional officer Sanjeevani Kutty filed an affidavit on 21-11-’97 on behalf of the Union of India and the CBFC, the two respondents in the case. In para 14 of the said affidavit, it was stated that the guidelines of the Central government were executive instructions which were to be followed on a trial basis for six months. It was further stated that after six months, the procedure was to be reviewed and appropriate changes were to be made, it was also pointed out that the question of incorporating those executive instructions in the Cinematograph Certification Rules was under consideration of the Central government. It was further stated that even if they were so incorporated, they could not be applied retrospectively in case of the film of the petitioners.

Thereafter, vide an affidavit filed by an outsider, reference was made to the statement of the I & B minister to the effect that instructions had already been issued that visuals of dubbed films need not be re-certified and only dialogues would have to be examined by the examining committee. In support of the above contention, a copy of the communication dated 28-7-’97 from the joint secretary, government of India, ministry of I & B, addressed to FFI president K.G. Dossani, and various other documents were annexed to the affidavit. One of the documents so annexed was a copy of the record of discussion of the meeting of the I & B minister with representatives of the film industry, held on 15th July, 1997.

The court asked the counsel of the CBFC to tell them as to how on the face of these documents and the statement of the minister concerned, the CBFC could say that the guidelines/executive instructions, issued by the government on 10th June, 1993, were applicable only for a period of six months and were no more in force. The counsel told the court that CBFC was not aware of the above documents furnished by the petitioners (emphasis ours). In a further affidavit, filed by Sanjeevani Kutty on 16-12-’97, she explained that the documents referred to and relied upon by the petitioners were not in the possession of the CBFC when her earlier affidavit was filed. She, however, stated that the said documents had been confirmed by the ministry. It was, therefore, contended that since the CBFC was under the administration purview of the I & B ministry, it would not like to take a stand contrary to that of the ministry on that point.

But this was not the end of the matter. After the CBFC changed its stance, nothing should have survived in the writ petition. But the counsel of the CBFC submitted that in view of the above report of the examining committee, appropriate directions may be given by the court to the CBFC not to re-censor visuals of the dubbed films or, in the alternative, give it (CBFC) some time to enable it to modify the impugned letters. After time was allowed, the CBFC counsel told the court that the examining committee, appointed by the CBFC, did not agree to certify the dubbed films without the cuts in the visuals suggested by them despite the above directions of the Central government. The examining committee, it was added, felt that the executive instructions of the ministry, with its blanket prohibition on cuts in the visuals in dubbed films, restricted them from exercising their free opinion. The court asked the CBFC counsel to tell it as to how the examining committee could examine the visuals when the scope and ambit of its power was confined to the re-examination of the dialogues only. The counsel pleaded helplessness with respect to the wrong stance of the examining committee.

The court held that the examining committee was not correct in law in refusing to follow the guidelines issued by the Central government in respect of censorship of dubbed films. Section 5-B of the Act clearly empowers the Central government to issue such directions as it may think fit, setting out the principles to guide authority competent to grant certificate under the Act in sanctioning film for public exhibition. In the special procedure laid down for dubbed films, paragraph 5 clearly states: ‘The examining committee shall confine itself to censorship of the audio track (dialogue, lyrics etc.) in terms of the guidelines issued by the Central government for certification of film.’

Virendra V. Tulzapurkar with Virag V. Tulzapurkar, A. Deasi and C. Rana, instructed by M/s. Shah Desai Doijode & Phatarphekar appeared for Mirabai Films P. Ltd. R.V. Desai with Anoop V. Mohta appeared for the respondents.

FRUITFUL MEETING OF INDUSTRY, CABLE TV OPERATORS

The additional commissioner of police, North-West region, Bombay, Dr. Satya Pal Singh, on 15th January did for the industry what nobody has done so far. He organised a meeting of film personalities and cable TV operators, who have been at loggerheads over the issue of illegal screening of films on cable TV networks and in video parlours, at Otters Club, Bandra, Bombay.

Issues such as the above do not have readymade solutions, and the meeting in question assumes significance if only because a police officer of the rank of additional commissioner of police has (a) sympathetically heard the woes of the industry, (b) got two warring parties to meet and interact.

Yash Chopra, K.D. Shorey, Shyam Shroff (Bombay distributor), Kiran Shantaram, N.N. Sippy, U.A. Thadani (Bombay distributor-exhibitor), Sultan Ahmed, Ravi Chopra, Surinder Kapoor, Paresh Manjrekar (20th Century Fox), Ram Dayal, Gaurav Sharma, Ravi Reddy (raiding organisation) and C.L. Shukla (retired ACP) represented the film industry at the meeting. The cable TV operators, who attended the meeting, were Nadirali Jairaj, Kalpesh Shah and R.K. Mishra of 7 Star Satellite Network, Yogesh Shah, Ketan Kanakia, Avinash Batra, Dinesh Bhadarkar and Paresh Ashar of IN Cable Net, Ajay Patkar (Major Time Cable), S.E.B. Palanna (ICT Network), Ajit Rane (Aashish Vision), Paresh Thakkar (Rajesh Cable), Arvind Turbhe, Ravi Singh, Govind Ubhe, B. Raja and Sunil Thakur (of Siti Cable), Randeli Pereira, Rahul M. Patil, Virendra Pathak (Bhavani Cable), Pravin Patel (Space Vision), Jairam Palav (Bi TV), Ravi Agarwal (Rohit Vision), Rohinton Dadybujor (UCN-Space Vision), Aamir Gabaji, Mansoor Taiyabbhai (Super Cable TV), Brian D’souza and Suvarna.

DCPs of zones VII, IX and X and ACP and S.O. of North-West region were also present along with Dr. Satya Pal Singh.

At the outset, the addl. C.P. wecomed all the members of the film industry and cable TV operators for attending the meeting in response to the invitation from police. He explained the purpose of the meeting, saying that illegal screening of feature films was gross violation of the Copyright Act, causing tremendous loss to government revenue and also considerable loss to the film industry. The addl. C.P. further said that it was expected from the cable TV operators to present their views frankly about the truth in the allegations of the film industry and whether they wanted any change in the existing law. This is not only the problem of Bombay city but the entire country, he added. He explained that all had come together to discuss about the probable solutions.

K.D. Shorey began the meeting on behalf of the film industry. He said that normally, video rights were released after two weeks, and cable TV rights were released from the date of release of the film. He said that the amendment in copyright law came into force from June 1994 and the punishment is decided to the extent of minimum imprisonment for six months and fine of Rs. 50,000 for violation of copyrights. He explained the scope of Section 19 of the Copyright Act, that no right can be transferred unless it is in writing signed by the assignor or by his duly authorised agent. It is, therefore, compulsory for every cable TV operator to have copy of such assignment of copyrights, without which he should be prosecuted. The producer invests crores of rupees in the making of a film, and nobody has the right to exhibit it without copyrights, he explained.

Sultan Ahmed said that the Bombay high court had categorically defined home video rights, cable rights and satellite rights. He pointed out that he had sold the home video rights of his film but later on, the said film was also being shown on Cable TV. He quoted few instances of raiding the cable operators and appealed to the police to take stern action against infringement of the Copyright Act. He suggested that every cable TV operator may furnish the list of films to be shown in the next month, to the local police station so that assignment of copyrights could be found out.

Yash Chopra spoke about his Dil To Pagal Hai and appreciated the operation from the city police commissioner. However, he mentioned in dismany that after about 2½ weeks, DTPH was shown by cable operators. As many as eight cases were registered in Bombay, he said, but due to weak laws, the offenders continued showing DTPH. He also mentioned that there was no response from Ashok Hinduja of IN Cable Net. Chopra said that in spite of stern action, the violation continued, and the government was not serious about it. He, therefore, appealed to the cable operators to co-operate and stop violation of copyrights.

Yash Chopra proposed that a special cell to deal with copyright cases be formed for which the film industry was willing to share the expenditure.

N.N. Sippy bitterly pointed out that many theatres in Bombay had been demolished since the inception of Cable TV. He described the financial liabilities of a film producer and the rate of interest paid in the raising of funds for making a movie. He insisted that licences of cable TV operators committing violation of copyrights be cancelled and also appealed to them to not encourage such violation, else law would take its own course. He also supported the idea of formation of a special cell and assured that the film industry would bear the expenditure.

U.A. Thadani, president of the Theatre Owners’ Association, ruefully said that copyright violation was affecting the business of theatres the most. He pointed out that 46 cinemas had been demolished and only 106 cinemas were left in Bombay and if the violation of copyright continued with the present speed, there would be no cinemas left in the city.

Shyam Shroff pointed out that he had to withdraw his Chachi 420 early because it was released on 19th December and shown on cable networks on 22nd December and, therefore, collections fell down so much that he could not afford to pay the theatre rent.

Satish Kulkarni angrily said that if somebody picked a pocket, he was beaten up, but here, dacoity was being committed by cable TV operators and no action was taken. He lamented that dacoits had been invited in the meeting. The addl. C.P. admonished him and asked him to mind his language.

After the representations from the film industry were over, Atul Saraf from 7-Star Cable Network pointed out that there was no high gain in screening of new films, but this was happening due to unethical competition between the cable TV operators. He also pointed out that there were instances of extortion by private agencies working for copyright owners. The contentions of Saraf were further elaborated by his partner, Sudeshkumar Mishra. He said that some cable operators form a common control room for 100 to 150 points and some of them are promised free connections and showing of blue films, which attracts customers. He also pointed out that some big people, who have entered in the business, had applied all the tactics to finish small cable TV operators, which had ultimately put this competition on the wrong path of copyright infringement.

Jairam Palav of Bi TV also said that due to rivalry, the violation of copyright took place, and the raiding agencies were taking advantage of the situation. He suggested that sooner or later, cable industry would merge into the film industry and, therefore, a common association of film industry and cable operators could solve the problems.

Ketan Kanakia of IN Cable Net, which covers over 2,500 cable operators, said that the parent network had no control over its franchisees because a franchisee could insert a new channel without the knowledge of the parent network, and commit violation of copyright.

Arvind Turbhe of Siti Cable agreed that violation occurs due to competition and supported the idea of a common association.

Anilkumar Shravan of Feature Film Copyright Association clarified about the allegation of selective raids, saying that Siti Cable and IN Cable Net operators stopped the film whenever they telephoned the control room about the violation of copyright. Here, K.D. Shorey interrupted and said that such cable operators be arrested and prosecuted. It cannot be an excuse that the producer has not assigned the right. The most common allegation is that there are about 17 to 18 companies in operation for raiding cable TV operators and most of them ‘settle’ with the cable operators.

Yogesh Shah of IN Cable Net (Hindujas) said that the root cause was availability of the cassette, and he said that if the import of video cassettes could be stopped, controlling the violation of copyrights would be possible.

The addl. C.P. appreciated that the police had got an insight into the problem through this discussion. Police have also understood the grievances of both the sides, he added, but emphasised that there was no second opinion about illegal screening being a crime and where there was a crime, police was bound to take action. If somebody was violating the law and the other was following him, it is not justified at all, he explained. Without a gain, there cannot be competition and, therefore, there should be a common association of film industry and cable operators to smoothen the business in the interest of both the industries, he concluded.

The monthly programme of cable operators was jointly turned down by them on the ground that the schedule depends on availability of cassettes and hence it was not possible to furnish a schedule.

Shyam Shroff said that the list of persons raiding cable operators was already given to Social Service Branch, Crime Branch, C.I.D. etc.

The addl. C.P. frankly admitted that there were so many priorities before the police that this could not be a priority for them. However, in agreement with a suggestion to form a special cell, he opined that there could be a specialised agency with necessary expertise and more incentives for the staff working in the said cell. Here, K.D. Shorey said that there was an apex body on the national level, where it had been discussed and decided about the formation of a special cell. The addl. C.P. requested him to get the minutes of the said meeting for guidance and to submit to seniors in the department to consider it.

The addl. C.P. further said that the problem was really serious but the police had no control over law and judicial proceedings. He, therefore, appealed to the film industry being equipped with money power and media, to mould the minds of people to stand against the violation of copyrights. The idea of forming a special court to deal with copyright cases was also appreciated by the addl. C.P.

At the end, the big cable networks (Hidujas, 7-Star etc.) came up with a proposal to record a two-three-minute interview of the addl. C.P. emphasising that it was illegal to screen films without copyrights, and this interview could be shown before every film (with copyrights) on cable networks so that there was no moral or professional pressure from the public on cable TV operators to show the viewers newly released films. The addl. C.P. welcomed this idea and gave his consent for an interview.

The addl. C.P. concluded the meeting saying that the police wanted the co-operation of everyone and it was the bounden duty of the police to protect the legal interests of every citizen but where there was a crime, police would certainly take action against the offenders. He thanked all the invitees for their attendance and for sharing their views with the police.

Release Schedules
Was It Worth All The Tension & Speculation?

The postponement of the release of Zor from 30th January to 13th February, announced on 22nd January, put to an end two weeks of tension and uncertainty. Rarely has there been as much speculation on the release date of a film till the eleventh hour as in the case of Zor. And not without reason was there such a guessing game being played.

Firstly, alongwith Zor, there were two more major releases scheduled for 30th January, viz. Vinashak and Banarasi Babu. Quite understandably, there was a scramble among distributors of the three films in every circuit to book the best cinemas. For this and otherwise too, persons connected with the aforesaid two films were hoping that Zor wouldn’t make it. Although Banarasi Babu is a light film, both, Zor and Vinashak, have action heroes and action as their strong point. This was yet another reason why there was a lot of speculation about the release of Zor.

Further, while Vinashak was censored, Zor and Banarasi Babu weren’t till the middle of this week. Since the censors are known to be quite strict about action and violence, the trade was apprehensive about Zor being censored in so short a time. To add to the problem was the holiday on 26th January for Republic Day. The two days preceding 26th are, in any case, holidays for CBFC, being Saturday and Sunday. This raised greater doubts in the minds of the trade people about whether it would be feasible for the CBFC to issue certificate to Zor even if it would be seen before the holidays.

In fact, this is one major cause for the film’s postponement because, after the examining committee of the CBFC viewed Zor on 21st January, it offered it plenty of cuts, in action as well as dialogues. While some cuts were acceptable to the producers, most of them weren’t. It was then that the makers decided that they had to postpone the film, and they announced the alternate date on 22nd morning.

What also seems to have prompted the makers of Zor to postpone the release date by two weeks, besides the censor problem, was the realisation that they could concentrate more on the film’s (pre-release) publicity if they got two additional weeks.

Coming back to the reasons for speculation on the release of Zor, there was at least one film, Hafta Vasuli, which was waiting in the wings. The producer of Hafta Vasuli had made it clear that he would release if and only if one of Zor or Vinashak would be postponed. Since there was no question of Vinashak moving ahead, all eyes, obviously, were on Zor.

All said and done, a pertinent qustion that arises is: is it justifiable for a producer to keep his distributors on tenterhooks till the last moment? And, in turn, is it right on the part of the film’s helpless distributors to keep exhibitors involved in the guessing game? One understands clearly that the intentions of the producer of Zor were neither wrong nor misdirected and that he did make all efforts to get the film on 30th January. One is convinced that so much effort was made since the week of 30th January is the Idd week when box-office collections are expected to soar to great heights.

But was Idd so important as to give the film’s distributors and so many, many exhibitors sleepless nights and hypertension? Agreed, Idd is a bountiful period for a film, but is there no tomorrow? Has no film, not released on Idd, ever done well? Finally, of course, it is the film and its merits alone which can see it through, festival or no festival.

Was such zordaar tension worth its while, especially in view of the fact that films sometimes take two and three years to complete but when it comes to releasing them, producers behave as if every day of delay will cost them several crores.

The whole industry needs to learn a lesson from the case of Zor.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Tinnu Verma’s New Role

Remember the song from the Rishi Kapoor-Madhuri Dixit-Sanjay Dutt starrer, Sahibaan, which went thus: Iss mele mein log aate hain, log jaate hain….. Well, nothing fits Dharmesh Darshan’s Mela more aptly than this mela song. Because people have been coming in (its cast and credits) and going out (of its cast and credits) with regularity. First, it was action director Tinnu Verma who was replaced by Bhiku Verma who, too, was ultimately replaced by Abbas-Hanif. After that, the film’s music director was changed. Anu Malik stepped into Rajesh Roshan’s shoes. And now, Tinnu Verma is back in Mela. No, not for composing the action scenes. But rather to act in the film. He has replaced no less an actor than Aditya Pancholi. It will now be Tinnu Verma playing the main villain in place of Aditya Pancholi. Must say, Tinnu is out to prove his versatility this year. From action director to film director (Bajrang) to actor (Mela)!

Priyan Ki Pasand

Time was when Priyadarshan used to make films in Malayalam and an occasional film in Hindi. Time is when he is making one Hindi film after the other. Why, in the first half of 1998 itself, we will have two of Priyadarshan’s films releasing — Saat Rang Ke Sapne and Kabhi Na Kabhi. If there’s one film Priyan (as he is affectionately called) is looking forward to directing, it is Dariya which will be produced by ABCL and will star Amitabh Bachchan in the role of a fisherman. According to Priyan, it will be launched in May. There’s another film he is very excited about and that is Sajid Nadiadwala’s Chandralekha which will star Anil Kapoor and Priyan’s favourite heroine, Tabu. This film will roll in August. For the present, it is Saat Rang Ke Sapne which is giving him a high. He describes the film as “the most beautiful film made in India”. By the way, Juhi Chawla is another actress Priyadarshan likes working with. New heroines, of course, are always welcome.

Cinema Fires: Uncanny Coincidence

It was an uncanny coincidence that the morning newspapers of 21st January reported about the investigations that had begun in Delhi by the CBI with regard to the Uphaar cinema fire tragedy, and the evening papers screamed that the Central Plaza cinema in Bombay had been gutted in a fire the same morning. The only silver lining, if one may use the term, to the Central Plaza fire tragedy was that unlike in Delhi, there were no deaths or casualties in Bombay. This then became the second major cinema accident in nine months.

On The Net, Get Set, Go

After Rajshri (Barjatyas) and Yash Chopra, several producers are going on the Internet. The Barjatyas were the first to have their own website. Yash Chopra built his site before the release of Dil To Pagal Hai. Bombay distributors and exhibitors Shringar are also on the net. Boney Kapoor and family, and Rakesh Roshan and family will also soon be on the net. Fashion photographer Alan Mans is constructing their sites and is also negotiating with some others. This is the scene in Bombay. Down South, in technology-savvy Bangalore, cinemas have got their own websites. Lido was the first cinema in the garden city to go online. This is the same cinema which had introduced Stereophonic sound in the late ‘sixties! Inspired by the positive response to Lido’s home page and booking facility, the multimedia firm, Communico Graphique, put up a website. Plaza, Urvashi, Naga and Cauvery then signed on. Three more cinemas — Rex, Symphony and Galaxy — are slated to go on the net shortly. One enters the site, follows the instructions, chooses the cinema he wants to go to and clicks. The page will unfold to reveal the name of the film being screened, the star cast and other details. One then follows the instructions to book tickets as well as chooses where he wants to sit. The system then gives a code and confirms the seat numbers. One will have to quote the code and obtain tickets at the cinema before the show.

Well-Engineered Card

The invitation card of JRS Combines’ Tamil-Telugu film, Engineer, is indeed pretty and quite unique. It gives a sort of 3-D effect. That’s not the only reason why the card stands out. The other reason is that this is the first Tamil-Telugu film in which Madhuri Dixit will act. She has been paired opposite Arvind Swamy. The film’s muhurt was performed on 23rd January in Madras at AVM Studios. While its producer is J. Ramachandra Rao and writer-director is A.R. Gandhi Krishna, the other names in its credit titles are known in Hindi film circles too. There’s A.R. Rahman scoring the music, Vairamuthu writing lyrics, Jeeva handling the cinematography, and Raju Sundaram doing the choreography. Presentation is by Nagendra Prasath.

YES BOSS

United Seven Combines’ Yes Boss is a comedy. It is the story of an ambitious boy (working in an advertising agency) and an ambitious girl (a model), both of whom could do anything to achieve their goals. The boy, especially, doesn’t even mind bending backwards to please his boss so long as the latter will fulfil his promise of presenting him an office. So blinded is the boy with his ambitions that he even acts as a pimp for his boss! The soft corner he has for one such girl, whom he tries to ‘fix’ for his boss, soon turns into love. How he saves the girl from the clutches of his lustful boss forms the climax.

The film has a thin story-line and it has been stretched too much. By its very nature, a comedy is best enjoyed when it is crisp and to the point. In this film, the screenplay is not as tight as desired in an out-and-out comedy, hence the impact is diluted. Of course, some scenes and situations are hilarious but the overall drama starts looking too unreal and contrived after a while. Dialogues are good and witty but not consistently so. The first half tends to get boring after a while, and the second half is better. Climax, however, is weak. The scenes involving the boy, his beloved and his mother in the post-interval portion are about the only ones which give an Indian feel to an otherwise Western kind of film.

One major drawback is that in the first six or seven reels, a hero of no less a stature than Shah Rukh Khan is shown as pimping for his boss (Aditya Pancholi). This will hurt the sensibilities of the viewers (other than the ‘class’ audience) because the bulk of Hindi cinema audience yet attaches a lot of importance to values in life. What is worse is that Shah Rukh is not made to repent or even realise that what he has been doing (pimping) is ethically wrong — a point which should definitely have been conveyed by writers Sanjay Chhel and Mangesh Kulkarni.

Shah Rukh Khan is simply fantastic in the role of the ambitious employee. He endears himself to the audience right from the word ‘go’ and, sometimes, even manages to rise above the script. His sense of timing is superb. Juhi Chawla is quite good. Aditya Pancholi also does reasonably well although he does appear stiff in a couple of comic scenes. Kashmira Shah acts well in a special appearance and can make a good vamp. Gulshan Grover is restrained and impressive. Ashok Saraf does a fair job. Johny Lever is very good and should have been given a lengthier role. Reema supports very ably. Rakesh Bedi, Mahavir Shah, Amrut Patel, Ghanshyam, Joginder and the rest lend the desired support.

Aziz Mirza’s narration of the subject is of the kind which will appeal to city-based audiences. The film moves on a single track — comedy — and there’s lack of emotions, romance and drama. Several scenes are repetitive too. Jatin Lalit’s music is good. ‘Main koi aisa get gaaoon’, ‘Jo bhi chaahoon’ and ‘Suniye toh’ are well-tuned. Songs have been picturised on truly beautiful foreign locales. Action scenes are fair.

On the whole, Yes Boss rests on too thin a story-line and has ‘class’ appeal. It will do well in major cities but for the rest, its high price will see its distributors in the red. Business in Bombay and South will be good.

Released on 18-7-’97 at New Excelsior and 18 other cinemas of Bombay thru V.I.P. Enterprises. Publicity & opening: excellent. …….Also released all over. Opening (on Thursday) was poor in C.I. Despite Idd holiday on Friday, opening was below the mark in Rajasthan (1st day about 74.77%) but excellent in Delhi and Calcutta.

LATEST POSITION

Communal tension in Maharashtra and Gujarat adversely affected box-office collections as cinemas remained closed for 1/2/3 days and audience attendance was poor. …..The Idd holiday on Friday (18th July) did not help the new releases much.

Do Aankhen Barah Haath 1st week Bombay 17,00,143 (61.64%) from 10 cinemas (5 on F.H.); Ahmedabad 3,12,096 from 5 cinemas (1 unrecd.), Rajkot 60,270 from 2 cinemas (1 in matinee), Jamnagar 67,000; Pune 5,41,685 from 6 cinemas (1 in matinee); Delhi 15,23,042 (50.36%) from 9 cinemas (2 on F.H.); Kanpur 1,59,438 from 2 cinemas, Lucknow 95,093, Agra 1,85,319, Allahabad 83,600, Varanasi 96,071, Bareilly 58,069 (30.45%), Gorakhpur 75,000 (42.42%); Calcutta (6 days) 5,23,409 from 6 cinemas; Nagpur 1,81,171 from 3 cinemas, Raipur 1,27,744 (48.69%); Bhopal 1,18,620 (1 on F.H.); Jaipur 2,86,950 from 2 cinemas, Jodhpur 2,00,000, Bikaner 97,393; Hyderabad 16,35,451 from 12 cinemas, share 5,10,000.

Mrityudand could not find any appreciation, not even in Bihar. It is somewhat okay in Maharashtra and M.P. due to tax-exemption. 1st week Bombay (TF) 12,56,348 (76.90%) from 6 cinemas (8 on F.H.); Ahmedabad 1,49,450 from 2 cinemas, Baroda 74,149; Pune (TF) 3,73,190 from 2 cinemas (1 in matinee), Solapur (TF) 83,386 from 2 cinemas (1 in matinee); Belgaum 93,267; Delhi 5,63,754 (41.52%) from 4 cinemas; Kanpur 1,07,333, Lucknow 1,16,856, Agra 71,654, Allahabad 36,600, Varanasi 70,788, Meerut 63,244, Bareilly 55,128 (23.99%), Dehradun 72,520, Gorakhpur 59,000 (27.92%); Calcutta (6 days) 1,25,205 from 1 cinema (other cinemas unrecd.); Nagpur (TF) 1,37,523 from 2 cinemas, Amravati (TF) 1,22,695, Akola (TF, 18 shows) 40,026, Bhilai (TF) 72,673; Indore (TF) 1,93,173 from 2 cinemas, Bhopal (TF) 1,18,160; Jaipur 2,13,097 from 2 cinemas; Hyderabad 2,35,729 from 2 cinemas (1 in noon), share 60,297.

………

Gupt 2nd week Bombay (6 days) 31,02,250 (92.22%) from 11 cinemas (10 on F.H.); Ahmedabad 7,55,678 from 3 cinemas (2 unrecd.), Valsad 3,00,462, Padra 2,03,838, Bharuch (6 days, gross) 2,84,048, Rajkot 1,75,680, Jamnagar 1,19,125 from 2 cinemas (1 in mat.); Pune 9,79,763 from 5 cinemas (1 in mat.), Kolhapur 1,77,338 (100%), Solapur 1,65,663; Hubli 100%, Belgaum 100%; Delhi 25,78,944 from 10 cinemas (1 on F.H.; 1 unrecd.); Kanpur 3,92,496 from 2 cinemas, Lucknow 2,81,752, Allahabad 1,27,003, Varanasi 1,69,117, Meerut 1,90,264, Bareilly 1,09,205 (49.74%), Dehradun 1,68,473 (1st 1,84,552), Gorakhpur 1,25,000; Calcutta (6 days) 11,69,340 from 10 cinemas; Gaya 60,000 (1st 1,24,000) from 2 cinemas; Nagpur 2,91,919 from 2 cinemas, 1st week Amravati (30 shows) 2,33,757, 2nd Akola (16 shows) 38,429, Raipur 1,61,925, Bhilai 1,00,383, 1st week Jalgaon 1,91,000, 2nd week Gondia (26 shows) 47,500, total 1,31,563, Chandrapur (25 shows) 1,11,397, total 2,99,054, Yavatmal 50,016 (1st 1,30,198); Indore 1,90,300, Bhopal 3,08,217 from 3 cinemas; Jaipur 7,63,999 from 2 cinemas, Ajmer 1,09,367; Hyderabad 10,98,879 from 5 cinemas, share 5,36,920; Vijayawada 2 weeks’ total 6,34,705.

……….

CBI PROBE SOUGHT INTO UPHAAR CINEMA FIRE TRAGEDY

The Delhi government, dissatisfied with the police investigations into the Uphaar cinema fire tragedy of 13th June, has sought a CBI probe into it. Delhi chief minister Sahib Singh Verma said in New Delhi that many people, including MPs, had expressed their dissatisfaction with the investigations so far. He had, therefore, written to the lt. governor, seeking a CBI probe into the tragedy.

‘ZIDDI’ 100 DAYS

N.R. Pachisia’s Ziddi is celebrating 100 days of its run today (19th July) all over. Directed by Guddu Dhanoa, it stars Sunny Deol, Raveena Tandon, Anupam Kher, Ashish Vidyarthi, Farida Jalal and Raj Babbar. Music: Dilip Sen Sameer Sen. Action: Tinnu Verma.

RAVI KISSEN INJURED

Actor Ravi Kissen was hurt in a car accident at Lokhandwala, Bombay, on the morning of 18th July. He was in his Maruti Gypsy which collided with a truck. Ravi fell unconscious and had to be rushed to Cooper Hospital. He sustained injuries on his head and nose but is said to be out of danger.

ANJALIDEVI HONOURED

Celebrated artiste of Telugu films, Anjalidevi (of Suvarna Sundari fame), who has acted in almost 400 Telugu, Tamil and Hindi films in a career spanning 50 years, was conferred the prestigious Raghupathi Venkayya award for the year 1995 recently.

The Young Men’s Happy Club felicitated Anjalidevi on 13th July at Kakinada.

WEDDING RECEPTION

A grand reception to celebrate the marriage of Ravi, son of Jawaharlal Agarwal of Trimurti Talkies, Ujjain, was held on 17th July in Ujjain. It was well attended by trade people.

DIRECTOR KRISHNAN NO MORE

Director Krishnan (of the famous Krishnan-Panju duo) expired earlier this week in Madras. He was in his eighties. Among the films directed by Krishnan-Panju were Bhabhi, Varsha, Suhag Sindoor, Manmouji, Shaadi, Mera Kasoor Kya Hai, Ladla, Do Kaliyan and Main Sunder Hoon.

ANNASAHEB GHATGE DEAD

Noted Marathi film producer Annasaheb Ghatge passed away on 28th June at his residence in Sangli due to heart failure. He was 57 and is survived by his wife and two sons.

Annasaheb had produced Patlin, Pandharichi Wari and Sasar Maher. His Pandharichi Wari had bagged the best social film award of the Maharashtra state government in 1988-89. He had given actress Jayshree Gadkar a break as director in Sasar Maher. At the time of his death, he was producing Gaon Sara Jaga Zala, and its six songs have been recorded. The film was to star Ashok Saraf, and Ashwini Bhave in a double role.

EXTENSIVE RENOVATION & NEW NAME FOR BHAVNAGAR CINEMA

Ajay cinema at Bhavnagar is being extensively renovated. Dolby sound system is being installed. The cinema has been rechristened Rajshri and is owned by Ajay Chudasama who also owns Rajshri and Shalimar cinemas of Gandhinagar. The renovated cinema will open with Subhash Ghai’s Pardes.

HARBANS PAPE NO MORE

Dancer and dance director Harbans Pape expired on the night of 17th July in Dehradun. He was 69.

Badnam was his first film as a dancer. Among his other films (as dancer) were Jadoo, Naujawan, Mera Saya, Warrant, Sholey, Upkar, Ek Phool Do Mali, Deedar, Kajal, Do Ankhen, Madhumati, Nanak Naam Jahaz Hai etc. As a dance director, he directed Chandan, Deedar, Anjan and a few other films.

Harbans received several trophies and awards during his film career. After a fatal road accident around 1980, his career came to a halt. He returned to Dehradun from where he had come to Bombay, in 1984 and settled there permanently.

Harbans’ elder son, Titu, is working in the film industry as an artiste and dancer.

NOTICES ISSUED TO 42 DELHI CINEMAS

The municipal corporation of Delhi has issued notices to 42 of the 66 cinemas under its jurisdiction, for violation of building bye-laws. The cinemas have been asked to rectify the various violations within a fortnight. Action would be taken against those cinemas which fail to rectify the wrongs.

The notices have been issued following submission of inspection reports by the deputy commissioners of police of the respective zones. Earlier, licences of two cinemas of Delhi — Priya and Khanna — had been revoked. The licence of Priya was restored after the management showed papers which satisfied the authorities.

The municipal corporation of Delhi has taken a tough stand against erring cinemas of the capital city following the ghastly fire tragedy at Uphaar cinema in the city on 13th June.

FWICE GRANTS AFFILIATION TO CAC

The Cine Agents Combine, after dissociating itself from the Film Makers Combine (FMC), has become affiliated to the Federation of Western India Cine Employees (FWICE). The FWICE granted the CAC affiliation on 13th July.

I.R.K. PEON ABSCONDING WITH CASH

Gopal, a peon of Bombay distributor Inder Raj Kapoor (I.R.K. Films), was asked by the latter last Friday to collect a lakh of rupees from some place in Bombay and bring the same to office. To Kapoor’s bad luck, the peon never returned with the money he collected. Investigations are still on.

CONTROVERSY OVER BENGALI VERSION OF ‘LAV KUSH’

An ugly controversy has arisen in West Bengal over the release of Dilip Kankaria’s Lav Kush in the state. Technicians in West Bengal are up in arms against the release of any film dubbed in the regional language (Bengali) as, according to them, such dubbed films adversely affect Bengali films. In fact, just recently, the technicians and artistes of the Bengali film world appealed to the I & B minister to stop telecast of dubbed Bengali serials on DD.

With producer Dilip Kankaria insisting that the Bengali version is not dubbed, and the Bengali film industry convinced that it is a dubbed version, the fate of the Bengali Lav Kush hangs in balance a week before its scheduled release. According to Dilip Kankaria, Lav Kush is a bilingual shot in Hindi and Bengali simultaneously. “I have two negatives, one of the Hindi version, and the other, of the Bengali version,” says Dilip Kankaria. “Some vested interests are fanning this controversy but I’m sure, truth will prevail finally.”

FFI DELEGATION MEETS I & B MINISTER

A delegation of the Film Federation of India met I & B minister S. Jaipal Reddy in Delhi earlier this week and apprised him of the problems facing the film and television industries.

In particular, the issues of censorship, countervailing duty on raw film, and the constitution of the NFDC were discussed in detail. The minister was aware that in the name of preventing cruelty to animals, the Central Board of Film Certification was putting producers to a lot of hardship and promised to rectify the situation. He was shocked that Maneka Gandhi was indirectly dictating terms to the CBFC about prevention of cruelty to animals.

The minister was sympathetic to the demand of the industry to abolish countervailing duty on raw stock. The delegation also lamented the fact that there was no representative of the film industry on the NFDC, and asked the minister to appoint a suitable person.

The issue of the telecast of dubbed Bengali serials on Bengal Doordarshan was also discussed and it was impressed upon the minister to not discontinue them.

SIGNED

Sushmita Sen In ‘Chakra’

Sushmita Sen has been signed to play the leading lady opposite Sanjay Dutt in Mumbai Talking Pictures’ Chakra, being produced by Sanjay Dutt and Kumar Gaurav, and written and directed by Dilip Shukla. Aroora Irani and Amrish Puri play other important roles. Music by Vishal, editing by V.N. Mayekar, sound by Rakesh Ranjan, art by R. Verman, action by Raam Shetty, and cinematography by Nirmal Jani are the other major credits.

PRODUCTION NEWS

Boney Kapoor’s Film Progressing In Cochin

A 15-day shooting spell of Narsimha Enterprises’ untitled film, starring Sanjay Kapoor and Priya Gill, commenced in Cochin on July 16. The film co-stars Jackie Shroff (in a special appearance), Kader Khan, Johny Lever, Tej Sapru and Mohnish Bahl. Remake of the Tamil blockbuster Kaadhal Kottai, the film is being directed by Athathian for producer Boney Kapoor. It will be shot in its last schedule from Aug. 24 to Sept. 15 in Delhi. Music: Nadeem Shravan. Lyrics: Sameer. The film is being produced in association with Neha-MAD Films Combine.

YOU ASKED IT

Who is John Mathew Matthan who is making Sarfarosh? Has he made any film earlier?

– He is an ad filmmaker and SARFAROSH is his first feature film.

Will the audience accept Urmila Matondkar in a family film like Mere Sapno Ki Rani when the publicity of Daud, in which she is dressed too sexily, is at its peak?

– Didn’t the audience love her in JUDAAI after RANGEELA?

What is the total business, as per statements, of HAHK..!, DDLJ and Raja Hindustani in Bombay circuit and all over India?

– About 22, 14 and 11 respectively in Bombay. The first two films had the advantage of tax exemption in Maharashtra. In India, the figures are about 70, 40 and 38 respectively. RAJA HINDUSTANI is still running in its 32nd week and is expected to cross the DDLJ figure in the final tally.

MIX MASALA

MISSING THE TARGET

Ruia’s serial, Target, starring Sangeeta Naik in the lead, was to have gone on air on 18th July on DD Metro, but the makers couldn’t meet the target date due to a mishap on the sets on 12th July. Sangeeta, while performing a stunt, fractured her leg and has been advised six weeks’ bed-rest. And so the telecast of Target stands postponed.

PEOPLE
Are talking about

** The bumper opening of Yes Boss in Bombay and Delhi cities on the one hand and its lukewarm opening in circuits like C.P. and C.I. Actually, the difference in initials is not surprising considering that the film has an English title and although it has had extensive publicity, it (publicity) is of the kind which holds appeal for the class audience mainly. One might say that Border is also an English title, but there is a major difference, besides the fact that Border is a multi-starrer as against Yes Boss and it has a super-hit song in Sandese aate hain. The major difference is that although both are English titles, Border gives a serious connotation, while Yes Boss is a more frivolous title, if one may use the term.

** Akshay Kumar and his marketability after the debacles of Lahoo Ke Do Rang and Insaaf. The guy needs to take stock of the situation and also needs to take some corrective measures if he wants to regain his lost position. Incidentally, although comparisons are not always fair, people are comparing him with Mamta Kulkarni for their penchant for dropping their clothes on screen. He has taken off his shirt and pant a bit too often in films!

PEOPLE
Are wondering

** About how Subhash Ghai will release his Pardes on 8th August as announced, especially in view of the fact that the film’s music has been released less than a fortnight back, and the film’s publicity as yet is on a very low key. Know-alls insist, the film will be postponed, but people concerned with the film are confident, it will hit the screens on 8th August. According to Ghai himself, “My film is already censored, my mixing is half-complete and the film’s first copy will be out before the month-end. Then why should I postpone the release? The publicity has been kept low-key intentionally, because I want Pardes to grow week by week.”

3-E
Education-Entertainment-Enlightenment

No Cause For Celebration

Idd is an occasion to celebrate, but for the industry, yesterday’s Idd-e-Milad festival hardly gave reasons to celebrate. For, the initials of both the films released this week gave cause for concern. If Yes Boss opened to bumper houses in Bombay, Delhi and a few major cities, its opening in circuits like C.I., Rajasthan etc. was far from encouraging. Ditto with Daava. Why, not even the Idd holiday could help! Even though everybody is aware that the former film stars Shah Rukh Khan, and the latter, Akshay Kumar, it needs to be pointed out here once again alongwith the prices these two stars charge. Did you say, you are aware of their fees? Well, let’s not embarrass our heroes then!

‘Daava’ Delivery Drama

The effecting of deliveries of this week’s release, Daava, was not free from tension and drama. While the producer wanted his distributors to hike the price, the latter were in no mood to oblige, and some distributors/sub-distributors even wanted a price reduction. The deliveries for Bombay and the Eastern circuit were effected after a lot of haggling and heated arguments. In Bombay, the Gujarat sub-distributor made a deferred payment of a part of the delivery amount. The film changed hands for Saurashtra at the eleventh hour. In place of M.B. Films, it is now being distributed by Keshubhai of Porbandar, who managed to buy the film at a price less than the one for which M.B. Films had it.

It’s A Challenge

If you thought, Mehul Kumar is down and out after Lahoo Ke Do Rang and Mrityudaata, think again. The man has taken his two consecutive failures as a challenge for himself. Why, he has even titled his next as Challenge. Starring in the film will be Amitabh Bachchan and Nana Patekar.

The Experiment Man

R.V. Pandit is an unusual man. He will premiere his Train To Pakistan on STAR Plus on 15th August and release it theatrically from the very next day (Saturday, August 16). The cinemas where Train To Pakistan is booked will screen Pandit’s Maachis on 15th. BBC will also telecast the film on Channel 4 on 15th August. This is the first Indian film to be premiered by BBC. Pandit is also dubbing Maachis in various foreign languages and exporting the film to different countries. For his Darmiyaan, he has put up 90 hoardings all over the country.

The Indian World After ‘Jurassic Park’

It took the sequel of Jurassic Park (Hindi dubbed) to break the record of the first part in India. We are talking of the price the sequel (Hindi dubbed) has been sold for and is being sold to distributors. The sequel, titled The Lost World: Jurassic Park, is hot in distribution circles, thanks to the bumper initial business of the English version in Hollywood, and the tremendous business Jurassic Park (Hindi dubbed) had done in India. Paramount is likely to recover a total of about 1.5 to 2 crore from the various territories of India. Not a small figure, this. Incidentally, the publicity of The Lost World needs to be stepped up to match the high price.

‘Pardes’ Publicity: Not A Wise Decision

Another film’s publicity which, we feel, is being unnecessarily kept on a low key, is Subhash Ghai’s Pardes. With just three weeks to go before the film hits the screen, the awareness among the audience about the film and its release is not what it should be. Ghai wants to keep the publicity to the minimum possible level, as he feels, that will not raise people’s expectations too much. Obviously, he has not forgotten the Trimurti experience where the audience had expected the sky from the film. But if Subhash Ghai thinks, Trimurti bombed because people had great expectations from it, he is wrong. Trimurti was such a bad film that even if there were zero expectations from it, it would have proved a disaster. Coming back to Pardes, Ghai should definitely step up its publicity. In fact, an intensive and extensive publicity campaign is what is needed. Since it is not a multi-starrer (like Trimurti), the fear that people will expect the world out of it is unfounded. Even otherwise, the time is simply not enough for expectations to soar so high.

The Hero Image

Although this incident took place more than a year back in a cinema of Bombay, it went unreported. The cinema in question was screening Naseeruddin Shah and Shah Rukh Khan starrer Chaahat when a young man suddenly went wild and started breaking the chairs in the auditorium. The management, obviously, caught the man and slapped him for his behaviour. Although the cinema wallahs had beaten the guy enough, curiosity got the better of them and they asked the man the reason for his strange behaviour. The man’s reply stunned them as it will stun you now. Said he, “I don’t mind being beaten up by you, but I can’t bear to see Shah Rukh Khan being beaten so mercilessly on screen by Naseeruddin Shah. If Shah Rukh is a hero, how can he tolerate such a lot of violence on himself. What kind of a hero is he?” It may be recalled that Shah Rukh is almost beaten to death by Naseer in Chaahat. Our writers and directors would do well to keep the man’s logic in mind while writing/making films.

LAHOO KE DO RANG

A.G. Films Pvt. Ltd.’s Lahoo Ke Do Rang (UA) is the story of two men — one, an upright and honest customs officer who is out to wipe out a family of villains, and the other, a happy-go-lucky chap who specialises in giving false evidences in court and making a living out of it and who is hired by the villains to kill the customs officer. The story looks like a mixture of two or three earlier films. The tracks of the two heroes move separately and when they do meet, it looks like a contrived attempt. Screenplay is one of convenience and there are clichéd scenes like the heroine losing her eyesight in an accident. The twists and turns in the drama are mostly predictable. Confrontation scenes between the customs officer (Naseeruddin Shah) and the villains are devoid of dramatics or exciting dialogues. In fact, the film’s dialogues are too ordinary for its cast and canvas and should have had much more punch.

On the better side are some light scenes which are quite enjoyable. Some songs are catchy and their picturisations on foreign locales are fairly eye-filling. The climax action is exciting.

Naseeruddin Shah does a fine job, as usual. Akshay Kumar is average in performance but excellent in action scenes and good in dances. Karisma Kapoor deserved a better deal as she has quite an insignificant role. She too impresses in dances. Farha is so so. Suresh Oberoi is effective. Mukesh Rishi screams and shouts too much. Mahesh Anand, Tej Sapru and Mushtaq Khan are alright. Dinesh Hingoo excels in the light scenes. Tiku Talsania is also good. Farida Jalal does a fair job. Vishwajeet Pradhan impresses in a positive role. Sheeba stands out in a sexy dance which, incidentally, has been effectively picturised. Avtar Gill, Shashikala, Navin Nischol, Alok Nath, Aparajita, Shiva, Mukesh Rawal, Amrit Patel and the others lend the desired support.

Mehul Kumar disappoints, both, as a writer and director. He takes too many cinematic liberties and seems not to have even made an attempt to give something fresh or exciting to the audience. Music (Anand Milind) is good. ‘Haseenon ko aate hain’, ‘Mujhe paisa mila’ and ‘Saas soye angna’ are well-tuned numbers. Camerawork (Russi Billimoria) is good. Editing leaves something to be desired. Action scenes provide thrill in the climax only.

On the whole, Lahoo Ke Do Rang lacks in merits and will find the going tough in most of the circuits. It may prove average in some circuits on the strength of business of small centres and due to the good (holiday) period ahead.

Released on 21-3-’97 at Dreamland and 24 other cinemas of Bombay thru Balaji Enterprises. Publicity: good. Opening: below expectations. …….Also released all over. Opening was below the mark at several places.

MAMTA KULKARNI INTERROGATED IN FODDER SCAM

Mamta Kulkarni was recently examined by the special investigation team constituted by CBI joint director, East, U.N. Biswas, to probe into the conspiracy aspect of the multi-crore animal husbandry scam.

It is reported that Mamta admitted to having performed two years back, at the Patna residence of a legislator who is currently in jail for his involvement in the said scam. She is said to have told the CBI that she was an artiste and could perform anywhere.

The huge amount allegedly paid to the actress by the scamster is being sought to be linked to his huge earnings from the fodder scam.

YOU ASKED IT

Will Mrityudaata take a good initial?

– Undoubtedly, it will take an excellent opening. Amitabh is returning to the screen after a long gap. The film’s music is also good. Especially, the Daler Mehndi song should have the crowds of North India dancing in glee.

A film like Tamanna does not do well in Bombay even after tax-exemption. What does it indicate?

– Two things. One, that admission rates even without tax are high. And secondly, not even tax exemption can help a film if it is basically not liked.

If English films are not allowed entry in India, will it give a boost to the box-office collections of Hindi films?

– It will definitely help to an extent. But, why think of making gains at the expense of another.

MIX MASALA

COLOURFUL COINCIDENCE

It is just a coincidence but a noteworthy one, nevertheless. Holi is a festival of colours and a film with as colourful a title as Lahoo Ke Do Rang has been released just four days before the Holi day. The title of next week’s release, too, has something to do with colours. It is Kaalia.

CODE WORD FOR DISASTERS

Naaz traders in Bombay have coined a new term. Taking off from the current sound system in vogue — DTS — they’ve coined the term ‘DTL’. Talk about films like Salma Pe Dil Aagaya, Jeeo Shaan Se and Chupp, and you have them termed as ‘DTL’, that is, Distributors’ Total Loss!

RED LIGHT AND SUNLIGHT

B. Subhash was spotted with prostitutes earlier this week. Along with him were Deepti Bhatnagar, Anant Jog and cameraman Ishwar Bidri. They were shooting in the red light area of Bombay for Dulhan Banoo Main Teri and were all praise for the co-operation from the sex workers who used to sometimes voluntarily hold the umbrellas over the heads of the cast and crew members to protect them from the scorching heat and the sunlight.

DO YOU KNOW?

* Cinemas of the Rathi group alone in C.P. Berar have given the distributors of RAJA HINDUSTANI a share of over 50 lakh. This whopping share has come from the following cinemas: Smruti, Jayshree and Rajvilas of Nagpur; Shyam, Yavatmal; Vasant, Akola; Prabhat, Amravati.

* RAJA HINDUSTANI is the tenth film in the last 12 years to complete 100 days at Jayshree, Nagpur. The earlier films to have achieved this distinction were: SHIVA KA INSAAF (in 1985), RAM TERI GANGA MAILI (1986-87), TEZAAB (1988), CHANDNI (1989), SANAM BEWAFA (1990), SAAJAN (1991), BETA (1992), KARAN ARJUN (1995) and AGNI SAKSHI (1996). Besides Jayshree, Nagpur, RAJA HINDUSTANI has also completed 100 days at the following other cinemas of the Rathi group: Prabhat, Amravati and Vasant, Akola.

HOLI TITLES

It’s Holi time, folks. And what better than Holi to award titles to the industry people. Of course, there’s no malice meant. The titles are to be taken in the spirit in which they’ve been written — for the fun of it! So here goes:

Dharmesh Darshan and Suneel Darshan: Lahoo Ke Do Rang.

Mukul Anand: Dus……. Uske baad bas!

Tabu & Sajid Nadiadwala: Kabhi Haan Kabhi Naa.

Pooja Bhatt: Tax exemption ki tamanna thi, ab audience ki tamanna hai.

Plus Films: Is Raat Ki Subah Nahin.

Manish Malhotra (Dress designer): Aey Button Tere Liye.

Maharashtra Government: Sabse Bada Shaitaan.

Milind Gunaji: Duplicate/Yeh meri aankhen jhuki jhuki (naturally, after the poor performance in good roles).

Akshay Kumar & Raveena Tandon: Prem Deewane.

Zakir Hussain: Wah Saaz!

Sangeeta Bijlani: Jal Bin Machhli Azhar Bin Bijli.

Shilpa Shetty: Tan Badan.

R. Mohan: Mira (Nair) Ka Mohan.

Anuradha Paudwal: Phool Khile Hain Gulshan Gulshan.

Mamta Kulkarni: Zamane Ko Dikhana Hai.

Arvind Trivedi: Aaya Raavan Jhoom Ke.

Rahul Roy: Jaayen To Jaayen Kahan.

Priya Gill & Avtar Gill: Gill Hi Toh Hai.

You Name It, The Super-Computer Does It!

You’ve shot a chase sequence for your film in the night because the busy artistes could give their dates only at night, but you want that the sequence should look as if it were a chase scene in the day. Or you’ve taken a shot, with busy stars, against the backdrop of a wall which shows a picture hanging on the wall, but you realise thereafter that the photo-frame should have had a garland of fresh roses. No problem! You don’t have to reshoot the sequence or the shot all over again. Corrections of this kind and many more can now be made through computer graphics. Although graphics are costly, the expense is nothing compared to what you would have to spend if you had to shoot the scenes all over again.

One such computer graphics studio specialising in the field is Ramesh Agarwal’s Rajtaru Videosonic. Named after his twin sons, Rajeev and Tarun, it is these two sons themselves who’re doing the graphics at the studio which is, to put it modestly, in good demand.

Ramesh Agarwal has recently imported two super-computers, one of which is of infinite reality and the other is of reality engine 2, which give his studio an edge over all the others in the same business. The super-computers are of Silicon Graphics and the one with infinite reality is compatible for using the Inferno programme which makes it possible to match perfectly the special effects created by the Inferno programme on negative with the quality of the original negative. “Usually,” explains Ramesh Agarwal, “when computer graphics are used in the film, the viewer experiences a jerk in the picture. This is because of the difference in the resolutions of the output from the computer and that of the film negative. But the Inferno programme and the infinite reality make it possible to avoid the jerks because of the compatibility.”

Further, the super-computer can take care of unlimited layers, which, in practical terms, means, as many as 90 special effects can be mixed together.

Rajtaru Videosonic did the special effects in ABCL’s Tere Mere Sapne (showing the galaxy of stars with Amitabh Bachchan’s commentary). They’ve also done some amazing work for the to-be-released Mahaanta and Dhaal. In the last-named film, the Black Label whisky bottle in a song sequence has been replaced by a Bagpiper whisky bottle. “The producers got Bagpiper to sponsor the song and so, instead of reshooting the already picturised number, they did the next best thing — asked for the actual bottle to be replaced by the sponsor’s own brand.” Of course, to the viewer in the cinema, it would never dawn that the Bagpiper bottle was on the screen because of the super-computer!

“In the same way,” winks Rajesh, “we can make the famous Mona Lisa painting wink at you and say ‘Hi, sweetheart’.” With the flick of the computer mouse, he indeed has Mona Lisa winking at us……

Maybe, Viju Shah can set to tune another song which goes thus: Aankh maare O Mona Lisa aankh maare…..

3-E
Education-Entertainment-Enlightenment

Blame It On The Industry

Bombay distributor Ramesh Sippy blames the poor box-office collections (generally speaking) in Bombay city and suburbs these days, not so much on the enhanced entertainment tax but on the industry’s thoughtlessness in hiking admission rates so indiscriminately. According to him, when the Maharashtra government doubled the tax, the industry should not have increased admission rates because they were already too high. Instead, rentals of cinemas should have been brought down, he feels. Says Sippy, “All limits have been crossed with the current high rates of admission. If this continues for a long time, a doom is inevitable.” While condemning the exorbitant rates, Ramesh Sippy also says that the low box-office collections are, in a way, good. “Because now producers and distributors will at least realise that the high prices of films are unrealistic. Maybe, prices then will come down soon.”

Sound Revolution

There should be quite a sound revolution and explosion on the Hindi film screens in the coming days. For, film after film is being mixed in DTS sound. There are Ziddi, Koyla, Mrityudaata, Border, Daud and Gupt already due for release in April, May and June, with DTS sound.

In Telugu Too

After Karan Arjun, Rakesh Roshan also has plans to dub his new film, Koyla, in Telugu. With this aim in mind, he has asked the Andhra distributor of Koyla to relinquish his rights in the film. For, Rakesh Roshan will now not release the Hindi version anywhere in Andhra.

Punctual Hoon, Late Nahin

Shatrughan Sinha reporting on time for shooting! Did you say, “impossible”? Well, the impossible happened. And not just for one day but for four days consecutively. Mohanji Prasad, for whose film, Deewana Hoon Paagal Nahin, Shatru reported on time recently, would like to think that it is because of the keen interest the Bihari babu is taking in his film, thanks, among other things, to the hit ‘O bhabhi’ song in it.

Even God Doesn’t Know

To end this week’s column with a joke:

A producer, a share market broker and a businessman, all passing through bad times, decided to seek God’s intervention to help them. First, the businessman asked God, “When will my business flourish again?” Replied the Almighty, “After three months.” Then came the turn of the share broker. “When will the share bazaar look up?”, he queried. “It will take six months for the bazaar to pick up,” was God’s answer. The producer, a trifle nervous, asked, “Oh God, tell me, will my new film be a success?” The Almighty thought for a while, then said, “Even I can’t predict that. I can only tell you on the Friday on which your film will be released, after the first show gets over!”

KACHCHE DHAAGE

Tips Films P. Ltd.’s Kachche Dhaage (UA) is a thriller. The story of the misadventures of two step-brothers who are jointly framed for terrorist activities, the film deals with their travails as also their relationship and ultimately with how they come out of the frame-up. The first half is very good and credit for this goes to story and screenplay writer Anjum Rajabali who keeps the audience guessing about what the next scene would be. The second half becomes routine but again, once the revelation of the traitors comes, it becomes exciting and interesting. The ending, however, is hurried and looks quite abrupt. Romance is almost totally absent in the film which abounds in action. Emotions do touch the heart at a couple of places although there was scope for some more of them. Dialogues (Milan Luthria and Sanjay Chhel) are very good and punch-packed at several places. The little jokes between the two heroes are enjoyable.

Ajay Devgan does an excellent job as the illegitimate child angry with the whole world. He lends an impressive intensity to his character and uses his eyes to convey a lot of his emotions. Saif Ali Khan, as the flamboyant city boy, is truly lovable and easy-going. Between the two of them, they make the audience laugh at several places. Manisha Koirala has been wasted; she appears in songs and a few scenes but doesn’t get any scope whatsoever to act. She looks pretty. Namrata Shirodkar does quite well. Govind Namdeo is absolutely natural and shines as the overambitious police officer. Sadashiv Amarapurkar is effective. Vineet Kumar is good. Maya Alagh, S.M. Zaheer, Mahavir Shah, Rajesh Vivek, Annu Kapoor, Parmeet Sethi, Simran, Ishrat Ali, Sanjay Goradia and the rest lend good support.

Milan Luthria makes a reasonably confident debut as a director. Although his narration is not without avoidable flaws, he, nevertheless, shows the spark. Nusrat Fateh Ali Khan’s music and Anand Bakshi’s lyrics make a good combination. ‘Dil pardesi ho gaya’, ‘Ishq di galli’ and ‘Dil dena hee painda hai’ are wonderful songs. The ‘Dhola’ number is also very melodious but it comes at an inappropriate time. The ‘Nawazta hai jo sabko woh dilnawaz hai tu’ qawwali, rendered by Nusrat Fateh Ali Khan, is excellent and holds special appeal for the Muslim audience. Its picturisation too is beautiful. But a couple of other songs should have had better picturisations. Tinnu Verma’s action scenes and thrills are brilliant. In fact, action is a major plus point of the film. The train sequence is quite breathtaking. Camerawork (Gopal S. Reddy) is wonderful. Editing is crisp. Background score is very effective.

On the whole, Kachche Dhaage has an appealing first half, abundant action, melodious music and praiseworthy performances of the two heroes on the plus side but too routine a second half on the weak side. Having taken a flying start, it will yield returns to its distributors. The film has special appeal for Muslim centres.

Released on 19-2-’99 at Maratha Mandir and 22 other cinemas of Bombay thru Devgan’s Entertainment. Publicity & opening: excellent. (A record number of 82 prints have been released in a record number of 101 cinemas in the circuit.) …….Also released all over. Opening was extraordinary in U.P., East Punjab and Rajasthan.

LATEST POSITION

After DAAG last week, KACHCHE DHAAGE this week has also opened to very good houses almost everywhere.

Daag The Fire has amassed excellent shares in the 1st week due to the bumper opening. 1st week Bombay 49,59,116 (85.55%) from 12 cinemas (6 on F.H.); Ahmedabad 12,21,073 from 7 cinemas, Rajkot 1,64,454; Pune 10,74,577 from 4 cinemas, Kolhapur 2,13,000, Solapur 3,07,963 from 2 cinemas; Belgaum 1,47,693; Delhi 48,79,852 (81.24%) from 2 cinemas (2 on F.H.); Kanpur 5,71,055 from 2 cinemas, Lucknow 4,40,348, Varanasi 2,90,220, Bareilly 2,17,000 (78.98%), Dehradun 2,28,512; Calcutta 26,50,432 from 19 cinemas; excellent in Bihar; Nagpur 7,52,348 from 4 cinemas, Jabalpur 2,00,074 (100%), Amravati 2,58,000, Akola (29 shows) 1,70,000 (100%), Raipur 1,84,044, Bhilai 1,60,000, Jalgaon 2,30,657, Chandrapur 2,00,051, Yavatmal 1,36,764; Indore 3,74,295 (77.38%) from 2 cinemas (3 on F.H.), Bhopal 3,97,971 from 2 cinemas; Jaipur 10,67,084 from 4 cinemas, Bikaner 1,94,600; Hyderabad (gross) 32,34,130 from 14 cinemas (1 in noon); Guntur (gross, 5 days) 77,964, Ongole (gross, 5 days) 79,866.

………….

Bombay Boys (dubbed) 1st week Bombay 79,920 (19.30%) from 1 cinema; Lucknow 1,27,739; Jaipur 1,19,533.

………….

Hum Aapke Dil Mein Rehte Hain 4th week Bombay 33,41,949 (78.51%) from 10 cinemas (4 on F.H.); Ahmedabad 3,66,946 from 2 cinemas (2 unrecd.), Rajkot 1,37,460 from 2 cinemas (1 in matinee), 3rd week Jamnagar 63,130; 4th week Pune 6,50,965 from 3 cinemas, Kolhapur 1,62,349, Solapur 1,73,813; Delhi 13,58,131 from 6 cinemas (1 on F.H.); Kanpur 2,45,297 from 2 cinemas, Lucknow 2,98,498, Varanasi 1,19,719, Bareilly 46,498 (15.34%), Dehradun 1,39,000 (3rd 1,46,002), Hardwar 40,000; Rohtak 5,089; Calcutta 5,31,555 from 4 cinemas; Nagpur 3,34,297 from 3 cinemas, Jabalpur 87,207, total 4,54,872, Amravati 1,27,651, Akola 93,005, total 4,82,445, Raipur 1,08,187, Bhilai 96,247, 2nd week Jalgaon 1,20,841, 4th week Gondia (gross) 65,922, Chandrapur 84,456, total 5,21,956, Yavatmal 34,614 (3rd 46,008), Bilaspur 87,162; Jaipur 2,10,900, 3rd week Bikaner 79,201; 4th week Hyderabad (gross) 4,92,885 from 3 cinemas (1 in noon).

Kuch Kuch Hota Hai 18th week Bombay 9,15,021 (40.52%) from 4 cinemas (2 on F.H.); Baroda 92,340; Pune 5,62,196 from 4 cinemas (1 in matinee), Kolhapur 87,000, Solapur (matinee) 32,050; Delhi 1,56,947 (2 on F.H.); Kanpur 1,24,624 from 2 cinemas, Lucknow 2,30,810, Dehradun 48,000, Hardwar 19,000; Calcutta 1,48,648; Nagpur 66,879, 13th week Jabalpur 98,481, total 22,15,771, 18th week Amravati (6 days) 50,560, Akola 45,173, total 17,60,000, 5th week Durg (6 days, gross) 29,128, total 2,87,922, 6th week Balaghat (5 days) 22,340, total 3,38,546; 18th week Indore  55,936, Bhopal 91,931; Jaipur 4,33,307; Hyderabad (gross) 3,05,856.

‘FIRE’ CLEARED AGAIN BY CBFC

Deepa Mehta’s Fire has been cleared by the CBFC again. It had been referred to the Central Board of Film Certification by the I & B ministry following violent protests against the film’s screening in Bombay and Delhi in December ’98. It is likely to be released again in Bombay next week. It was re-released in Delhi this week. It has been running in other parts of the country.

MADHOO WEDS

Actress Madhoo got married to Anand Shah, cousin of Jai Mehta and Juhi Chawla, on 19th February. Jai and Juhi will hold a reception in their honour this evening (20th February) at their residence at Malabar Hill, Bombay.

ARSHAD WARSI WEDS

Arshad Warsi got married to his girlfriend, Maria, on 14th February in Bombay.

HRITHIK ROSHAN INJURED

Hrithik Roshan was injured on the set of Kahoo Naa…Pyaar Hai on 13th February while doing a stunt scene. His injury may not permit him to do stunts for about a fortnight and, therefore, producer-director Rakesh Roshan has postponed the erection of a set for the film, at Film City, on which shooting was to start shortly.

3-E
Education-Entertainment-Enlightenment

1999 — The Year Of Excitement Galore

The year 1999 is easily one of the most crucial years in the history of film trade. For, rarely, if ever, have so many big films been released in a single year as will be released in 1999. Just take a look at some of the big films due in the rest of 1999: Jaanam Samjha Karo, Lal Baadshah, Sarfarosh, Pukaar, Pyar Koi Khel Nahin, Aap Mere Hain Sanam, Anari No. 1, Arjun Pandit, Badshah, Biwi No. 1, Chal Mere Bhai, Champion, Dil Kya Kare, Dillagi, Farz, Haseena Maan Jayegi, Hindustan Ki Kasam, Hum Dil De Chuke Sanam, Hum Saath Saath Hain, Kaho Naa…Pyaar Hai, Kohram, Kunwara, Mann, Albela, Mast, Mela, Refugee, Chhalia, Sooryavansham, Taal…… Phew! And the above list is not exhaustive by any means.

As if this weren’t enough, there are several other films which may be included in the above list on the strength of their casts, if not for their directors. These include Laawaris, Khauff, 1947 (Earth), Friends, Hum To Mohabbat Karega, Jaanwar, Kartoos, Khoobsurat, One Two Ka Four, Rajaji, Shikari, Silsila Hai Pyar Ka, Takshak, Hadh Kardi Aapne and S. Raamanathan’s untitled film with Amitabh.

It is plain to see from the above list that a lot depends on the outcome at the box-office this year. A lot many fortunes will be made or, God forbid, if many of these big films bomb, a lot is also at stake. We will only have to wait and see how the industry fares during this booming — if we may use the term — year. In the meantime, the trade may look ahead with optimism brought in by HADMRH and Daag The Fire.

History Repeats

For Anil Kapoor, the behaviour of D. Rama Naidu’s Hum Aapke Dil Mein Rehte Hain at the box-office has not been too different from how his Judaai had behaved. Like Judaai, it took the audience lesser time than the trade people to accept HADMRH as a hit. And just as Judaai was comparatively weak in Rajasthan, HADMRH too had a terribly slow start. Of course, Judaai did consolidate its position in Rajasthan after about 4 weeks of its release and so Anil is hoping, HADMRH too repeats the Judaai trick in the Rajasthan territory.

Manisha And 1999

In spite of having had a dismal 1998 (in which she gave super-duds like Yugpurush, Achanak, Maharaja and Dil Se..), Manisha Koirala has a lot to look forward to in this year. She is all set to invade the box-office with a string of releases in the coming few months. Opening her 1999 account with Ajay-Saif starrer Kachche Dhaage (released yesterday), Manisha’s further releases include the Jackie-Akshaye starrer Laawaris (releasing on 5th March) and K.C. Bokadia’s Lal Baadshah (in March). The months of April and May may well see the release of her other films like Manoj Kumar’s Jaihind, JSEL’S long-delayed Grahan, Firoz A. Nadiadwala’s Kartoos, Madan Mohla’s Chhupa Rustam and director Sanjay Gupta’s Khauff. Still later, there will be Hindustan Ki Kasam, Mann, Moksha and Champion.

HERO NO. 1

Puja Films’ Hero No. 1 is a comedy film inspired from Bawarchi. A boy and girl fall in love in a foreign land and while the strict father of the boy agrees to their marriage, the ultra-strict guardian (grandfather) of the girl objects to the alliance for a flimsy reason. The boy then decides to win the hearts of the grandfather and other family members of the girl before re-proposing for marriage, rather than eloping with her. Towards this end, he disguises himself as a servant and takes up a job in the girl’s house as nobody, except the girl and her helpful aunt, has seen him before this. The boy succeeds in his mission but not before a bit of tension and drama and plenty of comic incidents.

The film’s first half is enjoyable and has some truly original punches. But after interval, its comic content is less. Further, the climax looks flat in the absence of any negative character in the drama. All the same, a fast screenplay and some witty dialogues do make the drama entertaining and even hilarious at times. In particular, the interval scene; the war of words in the first encounter between the boy’s father and the girl’s grandpa; the interaction of the boy with the grandpa, are all excellent.

Govinda does a marvellous job yet again and proves what a versatile performer he is. His sense of timing is remarkable and the effortless ease with which he carries off the comedy scenes is truly praiseworthy. Karisma Kapoor is brilliant. She looks gorgeous (her costumes are beautiful), acts excellently and dances as gracefully as Govinda. Paresh Rawal deserves distinction marks for enacting the role of the grandpa with such enthusiasm and sincerity. Kader Khan is very effective; his emotional scenes with Govinda touch the heart. Shakti Kapoor evokes laughter in a brief special appearance. Rakesh Bedi is immensely likeable. Satish Shah acts ably but his comedy tends to become class-appealing. Himani Shivpuri is cute. Tiku Talsania, Anil Dhawan, Reeta Bhaduri, Shagufta Ali, Shashi Kiran, Prachi, master Omkar Kapoor and Harish (special appearance) lend very good support.

David Dhawan is in good from and does a find job in direction. He is greatly assisted by his writer (Rumi Jafri) and his cast. Anand Milind’s music score is good; the title song and ‘Tere baap ke darr se’ are mass-appealing songs but an overall consistent music score would have made a difference. The other songs (besides the above two) are, comparatively speaking, not as entertaining. K.S. Prakash Rao’s camerawork is very eye-filling. The foreign locations are heavenly and they’ve been captured on celluloid beautifully. Editing is crisp. Production values are grand.

On the whole, Hero No. 1 is a good family entertainer and will keep the family of distributors happy, with exciting returns. Business should be the best in Bombay and South.

Released on 21-2-’97 at Novelty and 27 other cinemas of Bombay by Puja Films thru Mahalakshmi Film Distributors. Publicity: extraordinary. Opening: very good. …….Also released all over. Opening was extraordinary in Rajasthan but below the mark in some stations of C.P. Berar, C.I. and Nizam.

LATEST POSITION

The below-expectations opening of HERO NO. 1 at some main stations of different circuits, in spite of extraordinary publicity, has shocked the entire trade.

Chupp is disastrous. 1st week Bombay 4,69,861 (37.24%) from 8 cinemas (3 on F.H.); Indore 75,000 (2 on F.H.); Hyderabad 1,72,276 from 4 cinemas (2 in noon).

Judwaa has maintained exceptionally well in 2nd week and has done fantastic business. Is superb in 1st week in Nizam. 2nd week Bombay 31,11,974 (88.88%) from 12 cinemas (7 on F.H.); Ahmedabad 6,91,218 from 6 cinemas (4 unrecd.), Bharuch (gross, last) 2,57,361, Rajkot 1,82,900 from 2 cinemas (1 in matinee), Bhuj 2,09,653, Jamnagar (matinee) 14,224; Pune 7,60,682 from 4 cinemas (1 in matinee), Kolhapur 1,27,770, Solapur 81,826; Belgaum 97,814; Delhi 30,03,082 from 10 cinemaas (1 unrecd., 2 on F.H.); Kanpur 3,89,654 from 2 cinemas, Lucknow 2,30,236, Agra 2,15,354, 1st week Allahabad 1,90,000, 2nd week Bareilly 95,938 (52.61%), Dehradun 1,10,000 (60.77%), Gorakhpur 84,000; Calcutta 15,64,082 from 14 cinemas; Nagpur 2,73,632 from 3 cinemas, Jabalpur (6 days) 1,19,766 (1st 2,07,090), Amravati (6 days) 78,298, Akola 82,463, total 1,84,268, Dhule 63,698, total 1,71,130, Raipur 1,30,574, theatre record, Bhilai (6 days) 84,209, Jalgaon 66,319, Gondia 49,642 (1st 68,361), Yavatmal 32,288; Bhopal 2,79,086 from 2 cinemas (1 on F.H.); Jaipur 6,82,822 from 3 cinemas, Bikaner 1,63,767; 1st week Hyderabad 40,70,615 from 19 cinemas, share (including MGs) 18,62,000.

Yeshwant is doing very well in Maharashtra and several stations of other circuits. 2nd week Bombay 28,02,733 (78.58%) from 13 cinemas (10 on F.H.); Ahmedabad 5,63,291 from 4 cinemas (3 unrecd.), Baroda 1,66,955, Padra 1,09,975, Jamnagar 1,19,585, total 2,55,344; Pune 8,83,150 from 6 cinemas (1 in matinee), Solapur 1,72,705 from 2 cinemas (1 in matinee); Hubli 2,04,624, Belgaum 79,274; Delhi 16,57,862 from 10 cinemas (4 on F.H.); Kanpur 2,01,136 from 2 cinemas, Lucknow 1,67,376, Allahabad 1,14,000, Bareilly 72,618 (40.56%), Dehradun 98,776 (1st 1,35,000), Gorakhpur 1,16,000 (78.30%), theatre record; Calcutta 17,46,884 from 17 cinemas; Nagpur 3,56,797 from 4 cinemas, Jabalpur 1,47,879, total 3,37,287, Amravati 1,60,822, total 3,41,543, Akola 1,40,318, total 3,35,170, Dhule 90,463, total 1,91,000, Bhilai 81,300, Durg 92,206, Jalgaon 1,22,906, Bilaspur 1,27,435, record; Indore 1,60,060 (1 on F.H.), Bhopal 1,97,821 from 2 cinemas; Jaipur 2,95,986 from 2 cinemas, Bikaner 1,78,000; Hyderabad 6,78,022 from 3 cinemas (1 in noon), share 2,60,000.

Raja Hindustani 10th week Bombay 21,61,174 (84.09%) from 8 cinemas (5 on F.H.); 14th week Ahmedabad 3,62,790 from 3 cinemas (1 unrecd.), 4th Idar 1,01,970, 2nd Kadi 97,669; 11th Pune 5,32,257 from 5 cinemas (1 in matinee), 10th Solapur 1,42,975 from 2 cinemas (1 in matinee); 14th Delhi 10,59,506 from 6 cinemas (1 on F.H.); 15th week Kanpur 2,07,700 from 2 cinemas, 14th Lucknow 1,83,042, Agra 1,31,890, 15th Allahabad 80,000, Meerut 1,55,484, 14th Bareilly 70,056 (37.63%), Dehradun 56,000, 15th Gorakhpur 61,000; 14th week Calcutta 1,69,082; 11th Nagpur 1,33,645 from 2 cinemas, 12th Jabalpur 1,61,668, total 22,80,645, 10th Amravati 83,673, Akola 71,967, 15th Bhilai 30,602, 10th Wardha 40,918, Yavatmal (last) 25,289; 14th Indore 2,01,850, 13th week Bhopal 1,42,224; 14th Jaipur 2,16,891, Jodhpur 1,03,052, 13th Bikaner 56,513; 14th Hyderabad 4,77,390 from 4 cinemas (2 in noon).

BOMBAY CINEMAS HIKE ADMISSION RATES

Most of the cinemas in Bombay city and suburbs have hiked admission rates to cover the increase in entertainment tax. The new rates have been fixed in such a way that the nett capacities of the cinemas have remained at the level at which they were before 1st January, ’97 when the entertainment tax rate was 50% in place of the current 100%.

But there are some cinemas, like Metro, which have increased their nett capacities too. The weekly nett capacity of Metro (for 21 shows) has been increased from Rs. 7,20,846 then to Rs. 8,08,636.50 now. The balcony and dress circle classes in the cinema have been merged and the admission rate of both is now Rs. 76 (earlier rate was Rs. 76 for dress circle, and Rs. 61 for balcony). The new rate for stall is Rs. 40 in place of Rs. 37. The admission rates for matinee are Rs. 60 (dress circle), Rs. 40 (balcony) and Rs. 20 (stall).

Cinemas of Solapur, too, have raised admission rates as in Bombay city and suburbs.

The enhanced admission rates, it may be added here, are telling upon audience attendance in cinemas.

IDPA’S FORUM ON COPYRIGHT

The Indian Documentary Producers’ Association (IDPA) organised an open forum on Copyright on 21st February at Films Division. Sanjay Tandon (general manager of IPRS), Ameen Sayani, Shirrin Bharucha (eminent contract lawyer) and Shama Habibullah (senior documentary filmmaker) spoke on the topic.

‘LAL DARJA’ FOR CANNES

Bappi Lahiri’s Bengali film, Lal Darja, directed by Buddhadeb Dasgupta, has been entered for screening in Cannes film festival.

STAR TV, KEWAL SURI ARRIVE AT SETTLEMENT

Following an out-of-court settlement between STAR TV and Kewal Suri, the case earlier filed by Kewal Suri in Bombay city civil court against STAR and Zee TV has been withdrawn. STAR and Zee gave an undertaking in the court not to broadcast the films of Subodh Mukerji on their satellite channels. But following the settlement, the films will now be shown on their channels.

COPYRIGHT IN FILM BELONGS TO PRODUCER: HC TELLS DIRECTOR

Justice Mrs. K.K. Baam of the Bombay high court on 14th February dismissed the notice of motion in suit no. 403 of 1997, filed by Dharmesh Darshan, director of Raja Hindustani, claiming sole and absolute ownership of the copyrights in the story of the film produced by Karim Morani, Bunty Soorma, Aly Morani and Cineyug. Dharmesh claimed that Raja Hindustani was his original artistic work, and the producers had no copyrights therein, save and except a licence to make a film in Hindi on the basis of the said literary work.

The producers have dubbed the film in Telugu. It was the case of plaintiff Dharmesh Darshan that he being the author of the literary work, the copyrights in the work vested in him, and the producers had no right to produce the film in any other language as there was an understanding between him and the producers that the film would be produced in Hindi only.

It was the case of the defendants (producers of the film) that in view of the fact that the film had been produced, under the Copyright Act, the copyrights in it vested in the defendants so far as the cinematographic film was concerned. What the defendants were trying to achieve was a change in sound track.

After hearing both the sides, the court held that there was no written agreement between the plaintiff and the defendants to the effect that the latter were directed to produce the film in Hindi language only. It also held that in view of the fact that the copyrights of the cinematographic film on its completion vest in the producers, as per the provisions of section 14(c)(iv), the producers had the right to dub the film.

The court also held that the plaintiff’s rights as author are restricted to the extent of literary work i.e. story writing which rights can be used by him for publishing his story, but the story having been processed in a cinematograph film and in the absence of specific agreement in writing to the effect that the film was to be produced in Hindi only, the plaintiff was not entitled to any relief.

In the meantime, writer Brij Katyal was planning to sue Dharmesh Darshan for Rs. one crore for his alleged piracy of the former’s script of Jab Jab Phool Khile in Raja Hindustani. Dharmesh’s father, Darshan Sabarwal, intervened and prevailed upon Katyal to refrain from going to court.

MARATHI FILM MUSIC DIRECTOR RAM KADAM NO MORE

Well-known Marathi film music director Ram Kadam passed away in Pune on 19th February after a brief illness. He was 81.

Ram Kadam had scored the music in more than 200 Marathi films, two Hindi films and one Telugu film. He had given break to chorus singer Vishnu Waghmare and late Arun Sarnaik.

Ram Kadam died in virtual penury at a private nursing home at 3.30 a.m. following health complications leading to pneumonia. He is reported to have not even had enough money for his hospital bills and treatment.

A disciple of Abdul Karim Khan of Kirana gharana, Ramchandra Vasudeo Kadam started off as a peon and rose to become a clarinet player at the Prabhat Film Company. His first music score as an independent music director was in Pativrata (Marathi), but he shot to fame after he provided music for one of the songs of the Marathi super-hit, Sangte Aika. Ram Kadam lent respectability to Marathi folk art music in films. His memorable score was in Shantaram’s Pinjra.

PUNJABI FILMMAKER JAGJIT NO MORE

Well-known writer, producer and director of Punjabi films, Jagjit, passed away on 15th February due to a heart attack. He had returned to Delhi from the USA and was on his way to his home town, Chandigarh, when he suffered the attack and died at Murthal, near Delhi.

Among the many Punjabi films made by Jagjit were Mahi Munda, Putt Jattan De, Patola, Gabroo Punjab Da, Chhora Haryane Ka etc. He was making Lalkara at the time of his death.

The Punjabi Film Producers Association held a condolence meeting on 17th February in Bombay to mourn his death.

RUMI JAFRI ENGAGED

Well-known writer Rumi Jafri was engaged to Hanan on 17th February at Radio Club, Colaba, Bombay. Among those who attended the engagement ceremony were Rishi Kapoor, Bobby Deol, Aishwarya Rai, Rahul Rawail, David Dhawan, Ketan Desai, Tutu Sharma, Kirit Trivedi, Kaleem, Manmohan Singh, Vashu Bhagnani, Ramesh Taurani and Mansoor Ahmed Siddiqui.

MADHUBHAI KHOZA’S SON TO WED

Salim, son of Madhubhai Khoza, partner in Vaishali cinema, Vapi, will get married to Shamsha on 27th February at Vapi.

CENSOR NEWS

Tips Films P. Ltd.’s Auzaar was given C.C. No. CIL/2/2/97 (UA) dt. 14-2-’97; length 4215.53 metres in 16 reels (cuts: 130.11 metres).

A.G. Films (P.) Ltd.’s Lahoo Ke Do Rang has been passed for adults, with cuts.

Art Films’ Allah Meharban Gadha Pehelwan (length 4299 metres in 16 reels), applied on 17th, was seen on 18th.

Super Cassettes Industries Ltd.’s Surya Putra Shanidev (length 4039.11 metres in 15 reels), applied on 18th, was seen on 19th.

REGIONAL FILMS

Cineyug’s Prema Bandham (Telugu, dubbed version of Raja Hindustani), seen on 19th, has been issued C.C. No. CIL/1/7/97 (U) dt. 21-2-’97; length 5033.77 metres in 18 reels (no cut).

MIX MASALA

INSPIRING TITLE?

The title Judwaa seems to have inspired black-marketeers at Liberty cinema, Bombay. For, they’ve made judwaa — that is duplicate — tickets of the film and sell them to gullible cinegoers, passing the fate tickets as genuine ones. The poor guys who buy the fake tickets at inflated ‘black’ rates get the shock of their lives when they are turned out by the cinema management.

MUSIC INFORMATION

Salman Khan Releases ‘Mahaanta’ Music

Salman Khan released the music cassettes of Ayesha Films’ Mahaanta on 20th February at a function at Holiday Inn. The cassettes are being marketed by Zee Music. Anand Bakshi’s lyrics are set to tune by Laxmikant Pyarelal. The film is directed by Afzal Khan. The film’s lead players, Sanjay Dutt and Madhuri Dixit, attended the cassette release function. A screening of the songs of the film was also held. ‘Tapka re tapka’ and ‘Chhoo le chhoo le’ are well-tuned as also well-picturised songs.

DO YOU KNOW?

* After scoring music in films in 11 different languages, Bappi Lahiri has now scored music in a Punjabi film — MUQADDAR — for the first time. He recorded four songs for the film between February 17 and 20 at B.L. Temptation in the voices of Daler Mehndi, Baba Sehgal and others.

* HERO NO. 1 has created a city record by collecting 45,190/- on the first day at Anand, Raipur.

* YESHWANT has created a theatre record by collecting 1,16,000/- in 2nd week at United, Gorakhpur, against a capacity of 1,48,147/-.

* YESHWANT has created a record by collecting 1,27,435/- in 2nd week at Gangashree, Bilaspur.

* YESHWANT has created a theatre record by collecting 1,40,318/- in 2nd week at Rajkamal, Akola.

* YESHWANT has created a theatre record by collecting 1,22,906/- in 2nd week at Natraj, Jalgaon.

* JUDWAA has created a record by collecting 74,481/- in 2nd week at Khatoon Mahal, Calcutta. All 42 shows in the first 2 weeks were full.

* JUDWAA has created a theatre record by collecting 1,30,574/- in 2nd week at Prabhat, Raipur.

*RAJA HIDUSTANI has created another city record in Meerut by collecting 1,55,484/- in 15th week at Apsara.

* RAJA HINDUSTANI has created history by collecting 91,322/- in 1st week at Menka, Rai Bareilly.

* RAJA HINDUSTANI has created a new city record by collecting a total of 22,80,645/- in 12 weeks at Jyoti, Jabalpur. 12th week’s collection was 1,61,668/-. It has surpassed the distributor’s share of all films in just 12 weeks.

* RAJA HINDUSTANI has created history by collecting 2,19,644/- in 1st week at Priyadarshini, Rewa (C.I.), in spite of communal riots.

YOU ASKED IT

Is an overdose of pre-release publicity good or bad for the film?

– If the film lives up to the expectations created by the publicity hype, the excess publicity can prove to be a boon, but if it falls short of expectations, the overdose can be a bane.

How much fall in audience attendance is there likely to be in cinemas in Maharashtra (Bombay, in particular) which have hiked admission rates to cover the increase in entertainment tax?

– About 20 to 25%. And this fall will be more pronounced and noticeable in the case of smaller and unsuccessful films.

Why do stars generally have two sets of prices — one (higher) for smaller producers, and the other (lower) for big producers and directors?

– If they don’t charge a lower price in the case of big producers and directors, they (big producers and directors) won’t be interested in even touching them. It is the stars who need big banners and directors, and not vice versa.

3-E
Education-Entertainment-Enlightenment

Why Blame The Government Then?

Video piracy is one of the biggest menaces the film industry is fighting today. It wouldn’t be wrong to say that it is fighting a losing battle as the government has hardly provided any assistance to the film people to combat the rampant piracy. But is the industry itself doing enough to get rid of this malady? It wouldn’t seem so if what the experience of the National Productivity Council has been is any indication. The National Productivity Council is an autonomous organisation under the Ministry of Industry. It is currently carrying out a study on piracy in India, trying to estimate the copyright violation with respect to cinema (video piracy, cable piracy etc.). Naturally, therefore, the National Productivity Council should have been the industry’s best friend because it is, perhaps, the first study of its kind which is being carried out by the NPC. But the industry people don’t seem to think so. For, A.K. Burman, deputy director (research) of the NPC, had sought help from the Film Federation of India and the Indian Motion Picture Producers’ Association but “without any result”. And what did Mr. Burman want? Such simple details as a list of Hindi, Tamil and Telugu films released during 1996 and till date during 1997 alongwith the names of their producers so that they could cross-check with the concerned producers whether they had given video rights, cable rights etc. to anybody and the extent to which the rights had been violated. Isn’t it sad that neither the FFI nor the IMPPA could provide the Council such simple information? And then the industry blames the government for not helping it. Rightly is it said: Even God doesn’t help those who cannot help themselves!

Too Late The Hero!

Till a week before its release, Hero No. 1 was open for Orissa. A distributor offered to buy it just about four days before its release, for Orissa at an astronomical price of 18. The producer asked for the payment in one stroke, to which the distributor readily agreed.

But, as they say, there’s many a slip between the cup and the lip. Before the distributor could clinch the deal, Padmavati Enterprises clinched the deal at the same price. The previous distributor proved to be too late the hero!

Some Style, This!

That the marriage of Amitabh Bachchan’s daughter, Shweta, and late Raj Kapoor’s grandson, Nikhil Nanda, was a quiet affair in the sense that only family members and very close associates were invited is common knowledge. But not many know that the Bachchans sent extremely tasteful cards to their acquaintances, informing them of the marriage and seeking their blessings and good wishes. The card extraordinaire says: ‘Nikhil and Shweta have expressed a desire for a quiet and simple wedding. We hope that you will respect their sentiments.’

SALAAKHEN

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

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

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

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

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

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

VIJAY SIPPY’S DEATH STILL A MYSTERY

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

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

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

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

CHANDRA SHEKHAR BEREAVED

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

SOUND RECORDIST H.D. MISTRY DEAD

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

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

Mistry had recorded the sound for 100 feature films.

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

C.I. REVERTS TO THURSDAY RELEASE SCHEDULE

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

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

HINDI FILMS ‘BANNED’ IN MANIPUR

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

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

YOU ASKED IT

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

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

Which was the first cinema to be built in India?

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

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

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

CENSOR NEWS

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

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

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

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

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

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

IN & OUT OF BOMBAY

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

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

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

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

DO YOU KNOW?

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

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

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

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

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

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

Dream Merchant

‘Titanic’ Fever In Bollywood

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

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

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

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

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

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

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

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

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

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

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

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

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

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Colleagues Before Becoming Man And Wife

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

A Promise Fulfilled

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

Thoughtful Gesture

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

Hindustani-Pakistani

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

The ‘D’ Factor

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

BANDHAN

Siddhivinayak Creation’s Bandhan (UA) is a family drama about the bond of love between a brother and sister, which gets extended to cover the boy’s brother-in-law too. The boy, brought up by his sister and her husband, treats the latter as his be-all and cannot even dream of disobeying him. The brother-in-law, by the seductive designs of a girl of loose character, falls into the trap laid by her and from that point begins the confrontation between the brother and his brother-in-law who till then was like God to him. The brother-in-law throws him out of his house and even does not permit his wife to meet her brother and parents. A further misunderstanding between the brothers-in-law aggravates matters and the brother feels guilty of having brought misery to his sister. In the end, all misunderstandings are cleared and the brothers-in-law once again unite.

The story is of the kind one saw in films of the seventies and eighties. Its treatment, though, is more contemporary and there are four or five truly heart-touching scenes which have immense ladies appeal. The biggest drawback of the film, however, is the poor characterisation of the sister’s husband (Jackie Shroff). His shift from being a hero to becoming a villain looks less convincing and should have been much more well explained. Romance also takes a backseat, maybe due to censor cuts.

Jackie Shroff, despite a faulty characterisation, does a good job. Salman Khan is the life of the film and acts ably. Ashwini Bhave, as his sister, appeals in dramatic scenes. Rambha is passable as Salman’s girlfriend, and the film could have done with a better heroine, given Salman’s ‘A’ class image today. Shakti Kapoor and Ashok Saraf provide some light moments. Ashok Saraf, especially, is effective in the climax. Mukesh Rishi passes muster. Shweta Menon is alright. Himani Shivpuri lends admirable support. Anjan Shrivastava is good. Aasif Sheikh does a fair job. The horse has been made good use of.

K. Murali Mohan Rao’s handling of an old subject is nice. Some of his directorial punches make a straight entry into the heart for their emotional content. Of the songs, ‘Tere naina mere nainon ki’ is very appealing. The title song and ‘Balle Balle’ too are good but a couple of other songs are ordinary. Song picturisations are colourful but lack novelty. Action scenes are quite okay. Photography and other technical values are of a good standard.

On the whole, reasonably-priced Bandhan has Indian values and sentiments for ladies and family audience and will, therefore, keep everyone happy. It has better chances in Maharashtra, U.P., M.P., Bengal and Bihar, where it may yield overflow.

Released on 1-10-’98 at Minerva and 11 other cinemas and on 2-10-’98 at 10 more cinemas of Bombay thru V.I.P. Enterprises. Publicity: good. Opening: very good. …….Also released all over. It opened in Bengal on 29-9-’98 due to Puja holidays.

GAURI PICTURES DECLARED ‘DEFAULTER’ BY IMPDA, TOA, CEAI

Distributors Gauri Pictures of Bombay and Nagpur have been declared ‘defaulter’ by the joint tribunal of the Indian Motion Pictures Distributors’ Association (IMPDA) and the Theatre Owners’ Association (TOA). The decision was taken after a complaint over non-settlement of dues of Usha Talkies, Kolhapur, came up before the tribunal. The complaint stated that Usha Talkies had exhibited Soon Ladki Sasarchi (a Marathi film distributed by Gauri Pictures) which incurred deficits for a period of six weeks. When a number of reminders, issued by Usha Talkies to Gauri Pictures, asking the latter to settle dues amounting to more than Rs. 38,000, failed to evoke any response, Usha Talkies lodged a complaint with the TOA. The Cinematograph Exhibitors’ Association of India (CEAI) has also since declared Gauri Pictures a ‘defaulter’.

SANJAY KHAN FINED RS. 54 LAKH

Sanjay Khan has been fined Rs. 54 lakh by the Karnataka Electricity Board for allegedly drawing more power than allotted for a resort being constructed by him and his relatives on the outskirts of Bangalore.

NEW CINEMA HALL

A new cinema, Eshwari Chitra Mandir, opened recently on Stadium Road at Chitradurga in Karnataka. It has 818 seats and a capacity of Rs. 6,826.45 (nett) per show. Nett capacity for 28 shows is Rs. 1,91,140.60.

LANGUAGE FILMS IN KARNATAKA: FFI DELEGATION TO BANGALORE

A delegation of the Film Federation of India (FFI) comprising Santosh Singh Jain, K.D. Shorey, Shakti Samanta, N.N. Sippy, L. Suresh and R.M. Ramanathan will leave for Bangalore on 6th October, to impress upon the Karnataka Film Chamber of Commerce (an affiliate of the FFI) of the need to do away with the imposed 7-week delay in the release of language films other than Kannada in the state of Karnataka. The KFCC had recently announced and implemented its decision that films made in any language other than Kannada will not be released in the state for at least seven weeks from its premiere release elsewhere. As a result of this stricture, Hindi as well as Tamil, Telugu and other language films are suffering.

The delegation will also meet Ramakrishna Hegde and Karnataka chief minister J.H. Patel.

PAHLAJ NIHALANI ELECTED AMPTPP PRESIDENT

Pahlaj Nihalani was elected president of the Association of Motion Pictures & TV Programme Producers (AMPTPP) at its annual general meeting held on 28th September at Citizen Hotel, Juhu, Bombay. Amit Khanna, Shyam Benegal, Shabnam Kapoor and Satish Kulkarni were elected vice presidents, and Kamal Kumar Barjatya and Yash Johar, hon. treasurers. Jimmy Nirula was elected hon. secretary.

Others elected to the governing council for 1998-99 were: G.P. Sippy, Subhash Ghai, Gulshan Rai, Ramesh Taurani, Ratan Jain, Bhappi Sonie, Manmohan Shetty, Hrishikesh Mukherjee, Salim Akhtar, N. Chandra, Harmesh Malhotra, Vashu Bhagnani, Mahesh Kothare, N.D. Kothari, Subroto Bose and Jagdish Sharma.

Ramesh Sippy, Gordhan Tanwani and Nalin Kumar Gupta were co-opted to the council.

GULSHAN RAI RE-ELECTED IFEA CHIEF

Gulshan Rai was unanimously re-elected president of the Indian Film Exporters Association at the first meeting of the newly elected council of management held on 30th September. Sunder F. Rai was elected vice president, and Manohar Bhatia, hon.secretary. Chandrakant Mehta was elected hon. treasurer. Earlier, at the 34th annual general meeting of the IFEA held on 26th September, the following, besides the abovenamed, were declared elected to the council of management: Rajinder Singh Hora, S.C. Mittal, J.K. Mittal, Shiv Laungani, Hirachand Dand, Amar Asrani, Mohan Chhabria and Prassanan Kumar Sajnani.

Subhash Ghai, Arjan Lulla, S. Narayanan, Malati Tambay-Vaidya and Sanjay Chhabria were co-opted to the council.

VISHNUKUMAR VYAS NO MORE

Notel Gujarati stage and film actor Vishnukumar Vyas died in Bombay on the morning of 29th September after a massive heart attack at a private nursing home. He was 78 and is survived by his wife, three sons, daughters-in-law and grandchildren.

Popularly known as Guruji, Vishnukumar Vyas was an accomplished actor and had done a lot of stage, besides acting in a number of Gujarati films. Some of his well-known films are Visamo, Daku Rani Ganga, Mhari Laaj Rakhje Veera etc.

The actor had been admitted to the nursing home four days before the end came, when he complained of uneasiness and suffocation. Vyas, besides acting, had also directed a number of dramas and written some of them. Many of his dramas were popular even abroad.

He was cremated at the Hindu crematorium at Ghatkopar. Many Gujarati film and theatre personalities attended the funeral.

MOHD. SHAFI NIYAZI DEAD

Mohammed Shafi Niyazi, pupular composer and noted qawwal, expired on 25th September in Bombay. He was 67 and is survived by his wife and three children.

Shafi had an impressive command over the Urdu language, and the Urdu repertoire that he was building for Venus was one of the most comprehensive. His most recent claim to fame were his compositions for Venus’ hit musical album, ‘Tum To Thehre Pardesi’. Born on June 8, 1931, Shafi hailed from a non-musical family, but soon learnt to play the dholak and started attending mehfils and mushairas. His family’s opposition made him run away to Nagpur in 1949, to pursue his dream of becoming a musician. That trip proved short-lived and he had to soon return home. He then migrated to Bombay where he met famous qawwal Bandey Hassan Aagreywalley. After a period of apprenticeship, Shafi got a chance to prove his mettle — at a qawwali contest with the popular qawwal, Abdur Rab Chaoos. He made his recording debut with the devotional song, Yun jo jahan mein lakhon nabi aaye hai, tumsa nahi aaya, in 1953, on the HMV label. He joined Venus in 1988. Soon, he was in charge of the Urdu repertoire and he, almost single-handedly, built the vast Urdu repertoire of Venus. The current singing sensation, Altaf Raja, is also his disciple.

HEMA MALINI’S DANCE IN KOTA

Hema Malini will give a Durga dance performance on 11th October in Kota at the Nagar Nigam stage on the occasion of the Dassera fair.

DEV ANAND’S BIRTHDAY

Dev Anand’s birthday was celebrated on 26th September at Ketnav when the seventh song of Vijay Anand Productions’ Jaana Na Dil Se Door was recorded. Internationally renowned qawwal Fareed Sayeed Sabri of Jaipur sang qawwalis on the occasion, besides singing the seventh number for the film, which was tuned by Dilip Sen Sameer Sen. It was penned by Neeraj.

YOU ASKED IT

What do you think of the new IMPPA executive committee? Will it do something to improve the lot of the producers?

– The new committee can do something if it decides to be bold. For several years now, it has been seen that the IMPPA, as a body, has not been able to assert its position in its interaction with other associations.

Will this Diwali be lucky for the film industry?

– Be optimistic! Diwali will definitely bring cheer and joy in the industry. The festival of lights will brighten up the face of the film industry.

Is it right for a producer to not show his film to his distributors before release?

– It is not right but what can you or I do about it? It is the concerned distributors who can object, but the question is, will they?

CCCA ELECTIONS
Clean Sweep For Santosh Singh Jain

Santosh Singh Jain was unanimously re-elected president of the Central Circuit Cine Association (CCCA) at the first meeting of the newly elected executive committee held on 27th September in Nagpur. This is Jain’s 34th term as president. Vijay Rathi was re-elected vice president, and S.K. Surana, hon. secretary. Ramesh Sureka was re-elected hon. treasurer.

Earlier, at the elections to the executive committee, it was a clear sweep for Santosh Singh Jain’s panel. All 16 candidates of his panel were voted to power, with no seats for the opposition panel or the independent candidates. Since Jain’s panel comprised all sitting members except B.N. (Laloo) Kabra, the same executive committee of last year has come to power this year too, with just one new face — G.E. Naik who has replaced Laloo Kabra.

There was no election in the C.I. Distribution section as there were only two members in the fray for two seats. Santosh Singh Jain and Vinod Malhotra were, therefore, declared elected unopposed.

There were elections for the remaining 14 seats of the executive committee. A total of 691 votes were polled, less than the expected 750 to 800. Of these, 80 were declared invalid, leaving 611 valid votes. Uttam Nahar (C.I. Exhibition) polled the highest number of votes — 550. Last year also, Uttam Nahar had bagged the maximum votes in Jaipur.

The list of the winning candidates in the different sections is as under:

C.P. Berar Distribution: Bharat Khajanchi (polled 508 votes), Dilip Mudliar (406), Ramkisan Kasat (374) and G.E. Naik (329).

C.P. Berar Exhibition: S.K. Surana (488), Vijay Rathi (433), Azad Laddha (408) and Mahendra Jain (382).

C.I. Distributioni: Santosh Singh Jain and Vinod Malhotra, both declared elected unopposed.

C.I. Exhibition: Uttam Nahar (550) and Ramesh Sureka (547).

Rajasthan Distribution: Mohan Godha (453) and Nandu Jalani (296).

Rajasthan Exhibition: Kishanchand Jain (376) and Trilok Singh (327).

The vanquished candidates were:- C.P. Berar Distribution: B.N. (Laloo) Kabra (306 votes), Brijmohanlal Dewan (209), Sharang Chandak (208), Rajkumar Mansukhani (52), Tarachand Kanuga (52). C.P. Berar Exhibition: Munshiram Upaveja (224), Narendra Agarwal (188), Vishnu Prasad Agrawal (170) and Vinod Trivedi (151). C.I. Exhibition: Shivkumar Jaiswal (125). Rajasthan Distribution: O.P. Goyal (267) and Baba Ramdeo (206). Rajasthan Exhibition: Kishinchand Janiani (232), Rajendra Mamoria (188), Narendra Sharma (50) and Rameshchand Jain (49).

The voting started at 8 a.m. at the Dr. Vasantrao Deshpande Sabhagriha in Nagpur on 27th. It got over by 1.30 p.m. and counting of votes commenced at the art gallery annexed to the Sabhagriha at 3 p.m. The results were declared at 7.45 p.m.

The annual general meeting on 26th had its share of heat and fury. But while opposition members criticising the ruling group is understandable, what was surprising was that an opposition member openly criticised the candidature of another member of his (opposition) panel. Baba Ramdeo decried O.P. Goyal’s candidature from Rajasthan and felt that since Goyal belonged to the C.I. region, he should have contested the elections from C.I. Baba Ramdeo also announced in the open session that Rajasthan distributors and exhibitors would not support Goyal for this reason. To make matters worse, another candidate from Rajasthan, Kishinchand Janiani, announced that O.P. Goyal was not on their (opposition) panel. And all this even as Goyal had become a self-styled opposition leader! Reportedly, Santosh Singh Jain had incited Baba Ramdeo and Kishinchand Janiani against Goyal. Mohan Godha of the Santosh Singh Jain panel was at the last minute taken by the opposition panel as their member too.

On 26th, at the 45th annual meeting, legal advisor B.G. Dave was felicitated. Dave, who has been associated with the legal work of the CCCA and is also the legal advisor to The Kalyan Pictures Pvt. Ltd., Amravati, will soon shift to Jodhpur to lead a retired life there.

A demonstration show of the English film Species II was held for the CCCA delegates on 26th at Smruti cinema, Nagpur. To drive home the effect of Dolby digital sound, some scenes were shown alternately in mono and Dolby sound.

The arrangements for the annual general meeting and the elections, supervised by the CCCA’s reception committee, were very good. The venue of the meeting was well-decorated.

Following Landslide Victory At IMPPA Elections
Shakti Samanta Elected IMPPA President
Sultan Ahmed Faces Defeat

It was a near-clean sweep for Shakti Samanta and his Dynamic group in the IMPPA elections on 28th September at ISKCON, Juhu, Bombay. The group bagged 13 of the 16 seats in the Ordinary Class and all but one of the five seats in the Associate Class I. Sultan Ahmed’s United group faced a miserable defeat with only two of their candidates (Sandeep Sethi and Preeti Sapru) making it in the Ordinary Class and one (Anand Girdhar) in the Associate Class I. Sultan Ahmed himself lost the elections. He was the sitting IMPPA president. Dara Singh, the independent candidate who was being backed by both the groups, made it in the Ordinary Class.

Actually, the well-attended annual general meeting that preceded the election, gave an indication that the voters wanted a change this year and had come to vote the group led by Shakti Samanta. The annual meeting itself was a stormy affair with firebrand speeches made by Rajeev Kumar, N.N. Sippy and Vinod Chhabra. Although the speeches of Sippy and Rajeev Kumar were not really aimed at any individual, they did go to expose the ineffectiveness of the IMPPA. Obviously, therefore, the voters interpreted that as the ineffectiveness of Sultan  Ahmed as IMPPA president. Vinod Chhabra made an emotion-charged speech and lamented that he was never treated with respect by IMPPA president Sultan Ahmed and even by some of the employees of IMPPA. He recalled how effective Shree Ram Bohra and Ramraj Nahta had been as past presidents of the august body and said, they would come to the rescue of their members no sooner they sensed trouble. All the three speakers were lustily cheered and, in fact, their speeches cleared the decks even more for the change which members were looking for and had come for.

The elections started soon after the conclusion of the 59th annual general meeting around 7.30 p.m. A total of 123 votes were cast in the Ordinary Class, of which three were declared invalid. In the Associate Class I, all 56 votes cast were valid.

Pappu Verma and Suresh  Malhotra, the two returning officers, began the counting of votes soon after elections were over and it was clear from the word ‘go’ that it was the day of the Dynamic group. K.D. Shorey bagged the maximum number of votes — 81. In the Associate Class I, it was Darshan Sabarwal who polled the highest number of votes — 41.

Those elected in the Ordinary Class were: K.D. Shorey (81 votes), Shakti Samanta (79), Vinay Kumar Sinha (73), Pranlal Mehta (70), Satish Khanna (68), Sushama Shiromanee (68), Rajeev Kumar (67), Saawan Kumar Tak (67), Dara Singh (64), Preeti Sapru (64), N.R. (Babloo) Pachisia (62), Pawan Kumar (61), Madan Mohla (60), Sandeep Sethi (57), Mukesh Bhatt (56) and Surendra Bohra (56).

In the Associate Class I, the winners were: Darshan Sabarwal (41), S.K. Kapur (40), Surjit Aujla (33), Dimppy Ramdayal (31) and Anand Girdhar (25).

The losers in the Ordinary Class from the the Dynamic group were B. Subhash (who polled 45 votes), Satyendra Pal Chaudhry (54 votes) and Vinod Talwar (50 votes). The other losers in the Ordinary Class, all of Sultan Ahmed’s United group, were: Sultan Ahmed (51 votes), Kulwant Jani (43), Nitin Manmohan (42), Boota Singh Shaad (39), K. Pappu (35), Deepak Shivdasani (33), Anil Ganguly (32), Kant Kumar (30), Prakash Jha (30), Shanoo Mehra (28), Sujit Kumar (23), Avtar Bhogal (19) and Sharukh Mirza Beig (16).

Those who were not elected in the Associate Class I were Johny Bakshi (22 votes), Surendra Mohan (18), B.R. Ishara (14), Ranjeet (9), Kamal Sadanah (5) and Rajiv Suri (4). All except Johny Bakshi (Dynamic group) and Rajiv Suri (independent) belonged to the United group.

Before the annual meeting, five veterans viz. Gulshan Rai, Gulshan Behl, Anand Bakshi, Suraiya and late Aspi Irani were honoured, the last posthumosly, by the IMPPA for their contributions to the film industry. Chief guest B.R. Chopra, paying rich eulogies to all the five honoured veterans, handed over special IMPPA trophies to them. Late Aspi Irani’s trophy was accepted by his widow.

The first meeting of the newly elected executive committee for 1998-99 was held on 29th at IMPPA House, in which Shakti Samanta was unanimously elected president. Samanta had chaired the organisation for four terms earlier. Saawan Kumar Tak was elected senior vice president, and Sushama Shiromanee, vice president. Vinay Kumar Sinha was elected hon. treasurer.

IMPPA ELECTION SIDELIGHTS

** Ex-IMPPA president Sultan Ahmed gave a feel of his sportsman spirit when he sat in the election hall all through the vote counting process even as it was clear that he and his group were facing defeat. He made an exit after the results were announced formally.

** That producers who make Hindi films prefer to use Hindi as the language of communication was clear when several of them booed Rajiv Suri for making a speech in English. Another thing that went against Suri was that his speech was too lengthy and was too general to make any impact. On the other hand, producer Rajiv Kumar was applauded even though he spoke in English, perhaps, because he made valid points and was also short and sweet.

** The election results of IMPPA this year were as unpredictable as the box-office fates of many of the releases this year. Like producers, like products!

** Sultan Ahmed’s non-election has shocked the trade. It is, perhaps, for the first time in the 61-year history (although this was the 59th annual general meeting, the body is 61 years old) of the IMPPA that a sitting president lost the election.

“Filmmaking is all about crisis management.”
SUBHASH GHAI
Caught in action in wet Chamba

Rain rain go away
Come again another day

Subhash Ghai must’ve sung this couplet a thousand times last week as he and his huge unit of Taal sat in Chamba, waiting for the skies to clear and the rains to stop. The cold morning of 22nd September started on a wet note. Even then, Ghai and his unit had reached the scenic location a few miles away from Chamba city, hoping that by the time they’d be ready to shoot, the weather would have improved. But did it? It only worsened. The drizzle turned into a downpour and the convoy of cars that had wound its way to the top (the location was at a great height) had to soon take an about-turn, now winding its way downwards. The unit headed for another location, a few kilometres away from the earlier one. Ghai announced, he had to picturise a scene and two lines of a song at that location and, in fact, needed to shoot them in the rain.

The new location was as heavenly as the earlier one. The huge mountains, green fields, overcast skies, thick fog and the light drizzle (the downpour had stopped), all these provided the perfect backdrop for Ghai’s scene-and-song shooting. Choreographer Saroj Khan and her assistant, Jojo, instructed Aishwarya Rai and her two screen sisters, Jividha and Tanya, about their dance steps. All the three of them were dressed in white. A few rehearsals and a few retakes later, the shot was finally okayed. It was then time for the scene for which Aishwarya quickly changed her costume. Akshaye Khanna was ready by then.

The scene showed a despondent Aish sitting quietly and Akshaye asking her what she was thinking. When Aish refused to divulge her thoughts, Akshaye continued that he was aware that she was thinking just like the heroine of a Hindi film would — a hero comes from the city to the village, hero and heroine fall in love and then it’s time for the hero to return to the city to never come back to the village. Realising that that was exactly what she was thinking, Aish wondered aloud whether the same would happen in their case as it was time for Akshaye to return to his city. But Akshaye put her at ease by saying, this was his life, not a Hindi film. He acknowledged that both of them would have to fight it out with their respective families before they finally united in matrimony. At this point, Aish presented a red muffler to Akshaye with the word ‘Manavsi’ neatly embroidered on it. To Akshaye’s question about what the word meant, Aish explained, “Manav jaisi….. Manav jaisi Mansi”. Manav is Akshaye’s name in the film, and Mansi is Aishwarya’s. “The two of us will always be together now,” concluded Aish as Akshaye fondly touched the muffler and finally prepared to leave.

There were plenty of retakes of the shot. At times, although Ghai and his genius cameraman, Kabir Lal, were happy with the shot, Akshaye wasn’t. Thinking he could better his performance, he asked for some more retakes. Ghai sportingly agreed till at last, all of them were convinced that the best shot had been okayed.

Since the day’s shooting had started only in the evening, it began to get dark even as the shot was being taken. A few close-ups and other shots were wrapped up quickly before it got too dark for shooting. The last shot required a fan, to show Aish’s loose hair being blown by the wind, and Ghai’s efficient unit hands had installed the fan atop the terrace (that’s where the shooting was being done) in no time. Even as Subhash Ghai was instructing Aish for the last shot of the day, the strong breeze, stirred up by the huge fan, blew off his hat. Perhaps, it was the fan’s way of saying, “Hats off” to Ghai and his unit, who had wrapped up a lovely scene and two lines of a song in such a short time and despite the worst weather.

Had the weather been good, Ghai had also planned to shoot using the huge ‘Akela’ crane on another location. The ‘Akela’ crane, which can reach a height of 85 feet, had come to Chamba all the way from Madras. It was in the process of being installed for the shooting, from early morning even as it drizzled and rained, but at the end of the day, the dismantling process began when it became clear that the unclear weather wouldn’t permit shooting from atop the crane. The Akela crane, which takes a few hours to set up, is remote-controlled and can do without a cameraman perched on the top alongwith the camera (read details in 3-E column in this issue).

As if the rains weren’t bad enough, the camera and generator vans were caught in a terrible traffic jam while they were returning from the morning location to where the actual shooting took place. The traffic jam along delayed shooting by almost three hours. It was once again the efficient unit hands who literally pushed a stalled lorry to clear the way for the vans to pass, that ultimately made shooting possible that evening.

Call it a coincidence or whatever, just the previous evening, Subhash Ghai, while talking of Taal, had said, a lot of unforeseen circumstances and happenings at the time of shooting necessitated one to constantly adapt to and make the most of the given situation. “Film-making is all about crisis management,” explained Ghai. As if to prove his point, the rains created the crisis the following day. And sure enough, Ghai managed the crisis well enough to be able to at least shoot what he finally did, rains and traffic jam notwithstanding.

To say that the music of Subhash Ghai’s film is extraordinary is to state the obvious. But to say that A.R. Rahman’s music sounds different is to state the unbelievable. Yes, Rahman’s music in Taal has the North Indian flavour, something which Ghai has been able to extract out of the whizkid.

After shooting, Subhash Ghai spoke of his hero and heroine. He was all praise for Aishwarya Rai whom he described as very, very professional. “I’ve not worked with a more professional actress,” said the veteran producer-director and added, “Her professionalism reminds me of Nutan.” Ghai is aware that Aish tends to act childish in front of the camera at times and is guarding against this very consciously. About Akshaye, he dispelled rumours that the boy was a difficult actor. “He is very co-operative,” said Ghai, “and a tremendous actor.” But the best comments were reserved for his other hero, Anil Kapoor. Although Anil was not in Chamba, Subhash Ghai and Saroj Khan praised his down-to-earth attitude and described him as a producer’s delight. They spoke proudly of how Anil Kapoor would double up as a production hand whenever the need arose, especially on outdoor schedules.

One rose up the following morning to be greeted by heavy rains. Waste of another day? Not for Ghai! The guy was up at 6 a.m. and was busy shooting instructions to his unit to reach the location (Dalhousie), more than an hour’s drive from Chamba. He was confident that the weather God would not let him down again and he’d be able to shoot a couple of hours later. In other words, he was preparing once again to manage the crisis. Even when the shooting schedule started in Delhi (from where the unit then shifted to Chamba), there had been a crisis of sorts — Ghai was running high temperature and had been advised rest by his doctor in Bombay. But rest he did — after his daily shooting which he refused to postpone. As Ghai joked, “All these days of shooting, I was sick. Now that I’m feeling alright, the weather is sick.”

Anyway, it was time for us to bid goodbye to the Taal unit. We left by road to Jammu to catch a flight to Delhi (and from there to Bombay). After barely 45 minutes of the 7-hour drive, we missed being hit by a boulder that came rolling down the mountain on the road and ultimately fell down into the valley hundreds and hundreds of feet below. We missed the boulder that must’ve weighed over 50 kgs., by barely 10 seconds. It was a crisis we had least expected. Thankfully, God had managed this crisis for us. Or else….. the  very thought now sends shivers down our spines.

– Komal Nahta

 

3-E
Education-Entertainment-Enlightenment

IMPPA: A Different Scene

Elections for three important associations in the industry were held over the last two weeks. The Indian Motion Picture Distributors’ Association (IMPDA), the Central Circuit Cine Association (CCCA) and the Indian Motion Pictures Producers’ Association went to the polls with great fervour. While members of the IMPDA and the CCCA voted the sitting members again to their executive committees (the only exception being G.E. Naik who replaced B.N. (Laloo) Kabra in the CCCA), the scenario was quite in contrast as far as IMPPA was concerned. Last year, it was the members of the United group who swept the polls but this time, the same United group faced defeat at the hands of the Dynamic group. It’s a different story that several sitting members of last year had left the United group this year and have been re-elected this year, but under the aegis of the Dynamic group.

‘Dil Se..’ Triumphs…. In Britain

There is hope for Dil Se.. yet. The latest reports indicate that Dil Se.., which bombed in India, has proved to be a huge success in Britain. Its phenomenal run there can be gauged from the fact that the film collected more than £67,000 in just three days of its premiere release in London. The film ran to packed houses in a number of Asian-dominated suburbs all over Britain and, in the process, became the first-ever Hindi film to break into Britain’s weekly Top 10 films. The film’s tremendous success among British-Asians is seen as largely due to the popularity of its hero, Shah Rukh Khan, and A.R. Rahman’s hit music. Chhaiyyan Chhaiyyan, the foot-taping number from the film, has become a big rage among Asians living all over Britain.

The ‘Bade Miyan’ Of Fashion

Arguably the most outrageous costume designer in Bollywood, Firoze Shakir is known as much for his wild and wacky personality as for designing the flamboyant costumes of Govinda. Firoze, who changes his own appearance so often that some people have trouble recognising him at times, has currently designed the new-look costumes for Amitabh Bachchan in David Dhawan’s Bade Miyan Chote Miyan. His costumes for both, Govinda and Amitabh Bachchan, in the film have been so well-appreciated that he has been flooded with offers for a vast number of new films. On a recent publicity campaign of BMCM, Firoze travelled all over Bombay, distributing posters of the film. He says, he did this out of love for producer Vashu Bhagnani who provides him with a lot of inspiration for his work. Speaking about BMCM to Information, Shakir said, “The magic of Vashu Bhagnani, David Dhawan, Amitabh Bachchan and Govinda, and a sprinkling of the wild clothes designed for the duo — is just the right recipe for success!

KEEP THE FLAG FLYING HIGH

Film Information, born on 6th October, 1973, has completed 25 years of its publication this week. Started with the blessings of industry stalwarts, by founder-publisher-editor Ramraj Nahta who promised, “There will be a strong emphasis on timely information and news, news that affect the business in a variety of ways, tightly edited with proper consideration to the needs of the industry.” And if one goes through all the issues of the magazine, it can easily be said that the promise has been kept, not only by the founder-editor but also his successor, Komal, who is currently editing the paper.

Being associated with the paper from its first issue, rather, even prior to that — from the planning stage — as a moral support and contributor, it is a matter of pride for me to say that the paper faced with a smile all the storms that came its way and never allowed any force to affect its moral strength, its honest reporting and its pursuits for the betterment of the industry.

Keep Ramraj’s flag flying high, Komal!

– JAGAT GUPTA

 

 

QAHAR

Shanker Movies’ Qahar (A) is an out-and-out action drama with a story fitted into the action fare. Two young men, whose mission is to protect the needy and poor, join hands to finish the evil men who torture and even kill the poor and rape girls. A young upright police inspector at first becomes an obstacle in their way as he thinks that they are taking the law into their hands. But he later realises that the two young men are not the enemies of law but rather of the evil elements who treat law as a toy to be played with. It then turns out that one of the two young men-with-a-mission and the police inspector are brothers. There is drama towards the end before some have to lay down their lives and the evil forces are eliminated.

The film makes no pretensions about being a story-value drama and as the reels unfold, it becomes clear that action is the catchword. There’s violence at the drop of a hat. The sentimental drama after an action-ridden first half comes as a welcome change although it doesn’t really move the audience to tears. The screenplay is one of convenience and quite a few liberties have been taken. Dialogues are fair.

Arman Kohli does a good job in the role of the protector of the poor and the needy. His physique looks formidable. Sunny Deol, in a special appearance, breathes fire as the other protector of the poor. Sunil Shetty, also in a special appearance, impresses with a restrained performance. All the three heroes are good in stunts. The three heroines — Rambha, Sonali Bendre and Deepti Bhatnagar — get limited scope. Rambha leaves a mark in dances. Sonali and Deepti are fair. Gulshan Grover is very good and his ‘tel lagaa ke’ dialogue will go down very well with the masses. Paresh Rawal is effective and so is Kiran Kumar. Raj Babbar is good. Aroona Irani acts with sincerity. Rohini Hattangady also performs well but she looks too fat in the Maharashtrian attire. Raza Murad leaves a mark. Isha Gupta, Gavin and the rest pass muster.

Direction is okay. Action and stunts will appeal to the masses. Anand Milind’s music is good. The ‘Kabutar’ and ‘Bichhoo’ songs are mass-appealing numbers. ‘Maine dil se ye poochha’ and ‘Rab ke saamne’ are also well tuned. Camerawork is alright. Production values are okay.

On the whole, reasonably-priced Qahar, which has opened very well at most of the places, will do well in ‘B’ and ‘C’ class centres mainly and will definitely keep its distributors satisfied. It should fetch overflow from Delhi-U.P., East Punjab, Bihar and C.P.C.I. Business may not be as encouraging in the South.

Released on 5-12-’97 at Dreamland and 24 other cinemas of Bombay thru Nobel Film Distributors. Publicity: good. Opening: quite good. …….Also released all over. Opening was fantastic in U.P., East Punjab, Bihar and C.P.C.I. Rajasthan. 1st day Ahmedabad about 70%.

JUGALKISHORE RATHI’S SON TO WED

Marriage of Harish, son of C.P. Berar distributor Jugalkishore Rathi, with Taruna will be solemnised on 8th December in Amravati. A reception to celebrate the wedding will be held on 9th at Shree Maheshwari Bhavan, Dhanraj Lane, Amravati.

NO MORE

Kaushik Thakar, an assistant sound recordist, died in a train accident at Wadi, near Solapur, on 1st December. He was returning to Bombay from a shooting in Hyderabad. He was 36 years old and the only son of his parents. He is survived by his parents, wife and two daughters. Chautha ceremony was held on 5th at his residence at Pawan Baug, Malad, Bombay.

RAMAN B. DESAI DEAD

Veteran producer-director Raman B. Desai expired on 2nd December in a hospital at Vile Parle, Bombay. He was 80.

He had produced Waman Avtar, Nagmani, Amarjyoti and Hari Darshan and had directed silver jubilee hit Nagpanchmi, Chakradhari, Chandi Puja and several other Hindi films.

He is survived by his wife, a son and two daughters.

Incidentally, late Raman Desai’s younger brother, Nattubhai Desai, is working as controller of production for Harish Shah Productions and other producers.

BHUSAWAL GENERAL MANAGER OF RAJSHRI DEAD

M.S. Kulkarni, general manager of Rajshri Pictures (P.) Ltd., Bhusawal, expired on 3rd December at Railway Hospital, Bhusawal. He had been working with Rajshri since 30 years. He was 71 and is survived by his wife, four sons and a daughter. His funeral was largely attended by the C.P. trade.

BENGALI FILM PRODUCER BIMAL DEY DEAD

Noted Bengali film producer Bimal Dey, who produced Charulata (directed by Satyajit Ray) and Mahanagar, died in Calcutta on 1st December after a prolonged illness. He was 79 and is survived by his wife and two daughters.

PREMNARAYAN CHOWKSEY NO MORE

Premnarayan Chowksey, proprietor of Chitra Talkies, Burhanpur, expired on 5th December at Burhanpur due to a heart attack.

SANTOSH SINGH JAIN’S GRANDSON WEDS

Marriage of Siddhartha, grandson of Santosh Singh Jain and son of Padam Sacheti, with Shalini was solemnised in Jaipur on 3rd December. A reception to celebrate the wedding was held on 5th in Bombay at the RWITC, Mahalaxmi.

VAKIL SINGH’S SON TO WED

Amrik Singh, son of leading East Punjab distributor Vakil Singh, will wed Harminder Kaur on 12th December in Jalandhar.

KAMAL MUKUT’S SON TO WED

Marriage of Hemant, son of Rajasthan distributor Kamal Mukut, with Ekta will be solemnised on 12th December in Jaipur at Hotel Raj Mahal Palace.

LARGE ATTENDANCE AT WEDDING OF RAIKER’S DAUGHTER

Nita, architect-daughter of leading Karnataka distributor and exhibitor Ramesh Raiker, got married to Indrajit, also an architect and son of leading architect of Karnataka, Sharad Kembavi, on 4th December in Hubli at Raiker guest house. The wedding reception was held the same day. It was largely attended by film trade people of Hubli as well as Bombay and also industrialists and other top personalities of Hubli.

SRIDEVI IN AURANGABAD AT WOMEN’S CONVENTION

Sridevi and novelist Shobha De were the chief guests at the opening ceremony of a two-day convention of the Association of Women Entrepreneurs/industrialists of Maharashtra, held on 1st December in Aurangabad at Rama International Hotel. In her address, Sridevi said that today, women were no less than men in any field. Anuradha Paudwal, Kavita Paudwal and Sudesh Bhosle were also present. They were in Aurangabad for the Anuradha Paudwal musical nite organised by exhibitor-distributor Jugal Kishor Tapadiya and Dilip Chitlange in celebration of 100 days of the eveninger ‘Saanjhwarta’.

DTS SOUND AT VIJAYAWADA’S ANNAPURNA THEATRE

Annapurna Theatre, Vijayawada, has installed DTS sound system with 6 tracks. The system, including stage, sub-woofer (electro voice), surround (JBL) speakers etc., has been shipped directly from the USA.

‘Qahar’: Out-Of-Court Settlement Of Nail-Biting Title Drama

The title of producer-director Rajkumar Kohli’s film, Qahar, was almost changed to Qahar Hi Qahar on the day of release (4th December). This followed a stay order obtained by producer Rajesh Kumar Aggarwal from the Delhi high court on 2nd December in suit no. 2494 of 1997, restraining Kohli from releasing his film with the title Qahar.

Rajesh Aggarwal’s censored but unreleased film is also titled Qaher. Despite this, Kohli was allotted the title Qahar by the IMPPA, for his film which he made and was to release it as such. But Rajesh Aggarwal moved the court, seeking a stay on the release of Kohli’s film under the said title. After hearing both the sides, the Delhi high court restrained Kolhi from releasing his film with the title Qahar or Qaher till the date of next hearing. Rajkumar Kohli was granted liberty by the court to release his film by adopting another title.

Kohli then changed the title to Qahar Hi Qahar in the prints which were in his possession, but the prints which had been delivered to the distributors of the various circuits had the title Qahar.

An out-of-court settlement took place on Thursday (4th) night and Rajkumar Kohli reportedly paid Aggarwal a few lakhs to be allowed to release his film as Qahar.

The case was withdrawn from the court on Friday, 5th December.

Rajkumar Kohli, commenting on the title drama, told Information, “The monetary loss apart, the mental torture I’ve had to go through in the last three-four days has been killing. Had I known that a film by the name of Qaher has been censored and not yet released, I would have never used the same title. IMPPA should have exercised more caution before allotting the title to me.”

YOU ASKED IT

Why, according to you, did Ishq not take a bumper opening?

– Why, according to you, should it have taken a bumper opening? It was a love story unaided by super-hit music which, in the case of a love story, is a must for bumper opening. All the same, the opening was good in many circuits.

Has Subhash Ghai finalised the cast of his next film?

– When he hasn’t finalised the script, how can he sign the artistes for it?

Is it more advisable to remake an old hit or rework on an old flop?

– Reworking on an old flop can prove beneficial sometimes if one is able to rid it of its weak points and defects.

DO YOU KNOW?

* So sure is Bihar distributor Dr. Sunil (Vijay-Laxmi Pictures, Patna) of QAHAR going into overflow that he sent an advance overflow cheque of Rs. 1 lakh to producer-director Rajkumar Kohli at the time of delivery itself. “This is a token overflow amount and I’m sure, I’ll send more overflow,” says Dr. Sunil.

* Some star secretaries have formed a pool and will be sharing their earnings.

* A main cinema like Dreamland in Bombay does not switch on the air-conditioning plant for the comfort of its patrons. Some people, who had gone to see BHAI this week at the cinema, complained, it was too hot! Arre bhai, yeh kya ho raha hai?

* Delhi-U.P. distributor G.D. Mehta must be holding the record for releasing the maximum Sunil Shetty starrers from his office (Bobby Art International). QAHAR is the seventh film of Sunil Shetty to be released from his office, the earlier six being BALWAAN, SURAKSHAA, GADDAR, TAKKAR, VISHWASGHAT and BHAI.

* Raiker Entertainment, Hubli, has started a scheme of booking of tickets at its cinemas on telephone. Under the scheme, cinegoers are offered membership on a deposit of Rs. 250 which entitles them to five tickets a day in advance and at no extra cost. Over 500 cinegoers enrolled themselves as members within a couple of days of starting the scheme.

* Ramanand Sagar’s SHRI KRISHNA is the serial which earned maximum income for Doordarshan in 1996-97. This information was furnished by the I & B minister in reply to a question in the Lok Sabha during question hour on 20th November. Sagar’s RAMAYAN was also the highest revenue grosser when it was on air.

3-E
Education-Entertainment-Enlightenment

Copyright Chor

A Bengali film, released some weeks ago, is doing good business in Bengal. Titled Sedin Chaitra Mash, this film is the remake of Rajshri’s Chitchor. But since the producer of the Bengal remake did not buy the remaking rights from Rajshri, the latter has gone to court under the Copyright Act. Reportedly, a court receiver has been appointed on the box-office takings of this remake of Chitchor.

From Secretary To Distributor To Producer

Sunil Gaud, secretary to Om Puri and Sanjay Kapoor, has decided to diversify. He already has a distribution office in West Bengal (he recently released Virasat and Aastha there). He will now venture into film production too. Sunil will produce a Bengali film and has acquired the remaking rights of Anari (starring Raj Kapoor and Nutan and directed by Hrishikesh Mukherjee) from negative rights holder Narendra Hirawat.

Heroine-Hunting

Rumours were rife in the Bombay trade that Sooraj Barjatya had gone to see Bhai at a cinema in Bombay as he wanted to sign Sunil Shetty for his new film. Although one part of the rumour is true, the other is incorrect. Sooraj did go to see Bhai with dad Rajkumar Barjatya. But not to see Sunil Shetty’s work. Rather, they wanted to see the performances of the two heroines, Sonali Bendre and Pooja Batra. While the three heroes in the film (Hum Saath-Saath Hain) have already been finalised, the girls opposite them are yet to be decided. Who will be the lucky ones?

Double Ramzan?

Now that mid-term elections to the Lok Sabha have been declared, film release schedules are bound to be affected. The month of January will have minimum releases due to Ramzan. With elections scheduled to take place in February-end or early-March, there may not be any major releases around that time. To quote O.P. Bansal, “We might have a repeat Ramzan (period of no major releases) in February/March.”

Sound Research To Avoid Unsound Investment

K.C. Surana of Raj Mandir cinema, Jaipur, is in Bombay for the wedding reception of Santosh Singh Jain’s grandson, which was held yesterday (5th December). He made the most of his trip and saw Dil To Pagal Hai at Bombay’s Liberty cinema alongwith Rajasthan distributor-exhibitor O.P. Bansal. Surana wanted to check the sound quality of the Dolby DTS print as he is contemplating installing either Dolby SR or Dolby digital or DTS sound system at his cinema too. In the alternative, he might go in for a new sound system of Sony. Anyway, not the type to rush in for a new sound system “just because other cinemas are installing it”, Kushal Chand-ji wanted to see the difference between the sound and decide thereafter. In a chat with Information, he said, “If I am going to spend 40 to 50 lakh, I might as well know what I am spending on. Our sound system is already of such impeccable quality that installing Dolby DTS sound system may not add to our revenues at all. But still, looking to the prestige of the cinema and with a view to providing better facilities to our patrons, I am game for installing a new sound system but only after I am convinced of its worth.” Interestingly, Surana was frank enough to admit (something which not many would have the courage to do) that he did not find much difference in mono sound and Dolby sound of Liberty. Incidentally, since there was some problem in the DTS sound at Liberty, the management switched over to Dolby SR sound. It may surprise many to know that Yashraj Films had already changed three or four prints at Liberty because the quality wears off after a couple of weeks. There is reportedly a technical snag in the DTS prints made in India!

No Laughing Matter, This!

The tendency of some distributors to take out 20 and 30 prints of a film for a 25% territory is making many laugh at them. But this is no laughing matter. While it is alright for such distributors to say that they take such an excessive number of prints to take advantage of the initial craze, it is also a fact that these very distributors, after a couple of weeks, sell most of the prints in the no. 2 market. So whom is their over-enthusiasm affecting adversely? The producer and the distributors of the other circuits, obviously. It is strange that producers should permit such distributors to take so many prints. Even if they do grant permission, they should insist on taking physical stock of the prints after, say, a month or two. Producers’ associations also need to take up this matter because it has serious repercussions on the trade at large.

ANARI NO. 1

A.K. International’s Anari No. 1 is a comedy film which has a fair dose of the crime angle too. A rich business tycoon has a look-alike who is a waiter in a hotel. The waiter kidnaps the tycoon, impersonates him (the tycoon) and enters his house with a view to rob a few lakh rupees. But the business tycoon’s mother is such a simpleton and loving lady that the waiter has a change of heart. Soon thereafter, the tycoon is kidnapped by a criminal seeking a hefty ransom, and it is the waiter who rescues him from the criminal’s clutches.

The film is quite a half-baked attempt at comedy. Several of the comic punches are childish and/or repetitive, and, therefore, do not have the desired effect on the viewer. The first half is somewhat better but the post-interval portion lacks the punch for the major part. The crime angle, especially, is boring and has been handled without finesse. Even the cinematic liberties are of the kind that would prompt the audience to think whether they were at all justified. For instance, the tycoon is kidnapped by the waiter but, rather than hiding him in a secluded or unknown spot, the waiter keeps him in a luxury van which itself is a stolen one. The van is one of its kind and would naturally be spotted by anybody. The confusion which the double role of Govinda creates in Kader Khan’s mind is hardly funny because it is too repetitive. Even the emotional angle looks contrived, given the comic flavour of the film. Dialogues should have been more punch-packed. Climax is weak; what’s more, important characters like the heroine, the hero’s best friend and the second heroine’s father are simply not seen in the end.

Govinda does well in a double role and makes some scenes hilarious with his sheer acting prowess. But even he has not been able to rise above the dull script. Raveena Tandon does well initially. She has no role worth a mention in the latter part. Simran is no match for the second Govinda and she manages to do just about a fair job. She exposes quite uninhibitedly though. Aroona Irani should have had a more substantive role. She performs ably. Kader Khan is not impressive at all. Satish Shah is natural to the core and complements Govinda ably. Shatru (Adi Irani) makes a weak villain. Prem Chopra, Himani Shivpuri, Ghanshyam, Sonia Sahni, Satyen Kappu and master Frank Anthony lend average support. Johny Lever, in a friendly appearance, is excellent. Piloo Wadia, Razzak Khan, Dinesh Hingoo and Dilip Sen are able.

If Kuku Kohli’s direction is quite good, his writing leaves plenty to be desired. The script of such a film proves two points — one, that it is not easy to make people laugh since comedy is a serious job; and two, brevity is the soul of wit. Several humorous scenes lose their impact if only because they are stretched too much. Further, the film, at several places, looks like a rush job. Music is too tapori in nature. ‘Dheere dheere’, ‘Kurta phaad ke’ and ‘Main hoon ladki kunwari’ are for the masses, but the upper class audience may not like the songs. Govinda is a delight to watch in the ‘Main hoon ladki kunwari’ song. Action scenes are fair. Camerawork is okay. Production and technical values are alright.

On the whole, Anari No. 1 may make the audience laugh at places but getting a smile on distributors’ faces is a far cry. It should definitely do a bit better in Bombay and the rest of Maharashtra.

Released on 9-4-’99 at Maratha Mandir and 21 other cinemas of Bombay by Vimal Agarwal thru R.M. Ahuja & Co. Publicity: very good. Opening: excellent. …….Also released all over. Opening was very good in C.P. Berar but not up to the mark in Delhi, Bengal, Bihar, C.I. and Rajasthan.

‘KKHH’ SILVER JUBILEE

Yash Johar’s Kuch Kuch Hota Hai completed 25 weeks of its run on 8th April. Written and directed by debut-making Karan Johar, the film stars Shah Rukh Khan, Kajol, Ranee Mukerji, Salman Khan (special appearance), Anupam Kher, Farida Jalal, Johny Lever, Archna Pooran Singh, baby Sana Saeed and master Parzan Dastur. Music: Jatin Lalit.

N.N. SIPPY FILES CONTEMPT PETITION AGAINST MPA, MAYAWALA, MISHRA

The Bombay high court on 7th April directed the Motion Pictures Association (MPA), Delhi, to register N.N. Sippy’s Silsila Hai Pyar Ka. Sippy had filed a contempt of court petition (no. 42 of 1999) against the conduct of the MPA in not registering his film till he settled the claims of Super Art International, Delhi. This, in spite of various orders passed by the high court in suit no. 1297 of 1995, restraining the MPA from implementing the resolution to not register Silsila Hai Pyar Ka until the claims of Super Art International were settled by Sippy. Justice B.N. Srikrishna passed the urgent order in the aforesaid contempt petition which will come up for admission on 19th April. Rajesh Mishra, proprietor of Super Art International, Delhi, the MPA, G.S. Mayawala (hon. general secretary of the MPA) and other office-bearers of MPA have been made parties in the contempt petition.

It is learnt that Silsila Hai Pyar Ka was finally registered by the MPA on 9th April.

PRODUCTION NEWS

‘Kohram’ Last Schedule

Following a 15-day schedule in Bombay till April 3, producer-director Mehul Kumar’s Kohram will now be shot in its last schedule from April 11 to May 5 at Chandivali Studios on a basti set and on locations in Jammu and Vaishno Devi. A song and the climax will be picturised. The entire cast will participate. The film stars Amitabh Bachchan, Nana Patekar, Jaya Prada, Tabu, Ayesha Julka, Mukul Dev, Mukesh Rishi, Danny and Jackie Shroff (in a special appearance). Kabir Bedi makes a guest appearance. Music: Dilip Sen Sameer Sen. Lyrics: Anand Bakshi and Dev Kohli. Dialogues: Iqbal Durrani. Cinematography: Rasool Ellore. Editing: Yusuf Sheikh. Art: R. Verman. Audiography: Jagmohan.

‘Hello Brother’ Unit Back From Mauritius

The unit of G.S. Entertainments’ Hello Brother returned from Mauritius on April 4 after completing a 20-day shooting stint. Two songs and climax scenes were picturised on Salman Khan, Arbaaz Khan, Ranee Mukerji, Johny Lever, Neeraj Vora, Razzak Khan and Shakti Kapoor. The film, now 75% complete, is being produced by Bunty Walia and Sohail Khan, and written and directed by Sohail Khan. Lyrics: Sudhakar Sharma, Faaiz Anwar and Jalees Sherwani. Music: Sajid-Wajid and Himesh Reshammiya.

DO YOU KNOW?

* Hinduja brothers, Srichand and Gopi, who finance films, top the list of the richest non-resident Asians in London. Their wealth is estimated at 1.3 billion pounds. On the third position is Subhash Chandra of Zee TV, whose wealth is estimated at 450 million pounds. The list of the 200 richest Asians in London was published this week.

* B.R. Chopra’s epic serial, MAHABHARAT, will now be dubbed in Gujarati and English too. Its Gujarati dubbing muhurt was held on 1st April. It has earlier been dubbed in Tamil, Telugu, Malayalam and Bhojpuri. The serial has been shown on/in BBC-London (twice), Mauritius (twice), Indonesia (twice), Nepal (twice), Thailand, East Africa, USA, Canada, West Indies, Malaysia and Iran (a Muslim country).

* Bappi Lahiri will make a special appearance in BOMBAY GIRLS.

* Smruti cinema of Nagpur is the only cinema in the whole of C.P. Berar to have collected over Rs. 1 crore (nett collections) in the financial year ended 31st March, 1999.

MPA: Most Painful Association

More and more producers are becoming disillusioned with the working of the Motion Pictures Association, Delhi. Besides the MPA’s rigid stand in the case of the registration of N.N. Sippy’s Silsila Hai Pyar Ka (read details elsewhere in this issue), yet another incident has been brought to our notice, which exposes the functioning of the Association.

Vijay Pal Singh, the Delhi-U.P. distributor of Manoj Kumar’s Jaihind, a while ago, pleaded inability to take the film’s delivery and asked to be relieved. The Acquiring Committee of the MPA opined that if Manoj Kumar would return the Rs. 5 lakh of Vijay Pal Singh to him within 10 days, no interest would be payable (by Manoj Kumar). Failure to make payment within 10 days would, however, make Manoj Kumar liable to pay interest.

Manoj Kumar and his new distributors, Magnum, returned the Rs. 5 lakh to Vijay Pal Singh within the prescribed time limit, but were shocked when, thereafter, the executive committee of the MPA asked them to pay interest also. No cognisance was taken of the fact that it was Vijay Pal Singh who was the defaulter, and not Manoj Kumar. The decision of the Acquiring Committee too was overlooked! Insiders reveal that the executive committee in general and G.S. Mayawala (hon. general secretary of the MPA) in particular decided in favour of making Manoj Kumar pay interest as, according to them, Manoj Kumar and Magnum could easily afford the burden of the interest whereas Vijay Pal Singh was in a financially bad shape and, therefore, the interest (of approximately Rs. 80,000) would be of great assistance to him.

If the financial backgrounds of persons rather than the merits of a case will decide who is to pay whom and how much, God save the producers from the clutches of the MPA and its crazy decisions! For, it is personal whims and fancies as well as prejudices that guide decisions there rather than rules which should be the same for everybody.

Distributors, Samjha Karo!

Both the films had hit music. Both were ‘hot’ before their release. And both the films starred Khans — one, Shah Rukh Khan, and the other, Salman. The end result of both the eagerly awaited films has been the same.

Like Dil Se.., last week’s Jaanam Samjha Karo is also all set to make holes in the pockets of its distributors. The producer of Jaanam Samjha Karo must be having the last laugh. And it must be one wicked laugh. For, he succeeded in getting all his distributors to hike the price after showing them the film!

This brings us to the question: How did the distributors agree to pay more after seeing the film? It had an apology of a story. Its screenplay was full of flaws. Perhaps, what the distributors got bowled over by were the songs and the presence of Salman Khan. Maybe, also the fact that a producer had the courage to show his product before asking for a price hike, must have made a difference. These days, producers keep their films under wraps but yet, insist on their distributors to increase the price at the time of release. The producer of Jaanam Samjha Karo acted differently and succeeded in his mission.

How differently do distributors view films in which they have a stake from, say, persons unconnected with the films or even from the audience? Perhaps, distributors, who have invested in a film, come to treat it as their ‘child’. And does anybody dislike his own child? Keeping a little distance from the ‘child’ would ensure that distributors don’t lose their objectivity. Actually, it is wrong for them to even treat a film they are distributing, as their baby. If at all, it is the baby of the producer and the director. For them, it is a product in which they deal. So why at all should they get so personal in the first place?

Had even one distributor remained objective in his judgement, he would not have hiked the price. Another area in which distributors err is in applying logic to gauge a film’s business potential. The only logic that can be applied to assess a film’s business is that it clicks if it is liked by the audience, and doesn’t, if it is not liked. All the other things are secondary. But what the distributors of JSK must’ve calculated is the craze for Salman Khan. What they must’ve also considered in judging the film’s potential is its hit music. They must have not overlooked the fact that it was soon going to be vacation time. But what they all forgot to consider is that all of the above considerations merit attention if and only if a film has intrinsic worth. If not, the above don’t matter much. Dil Se.. had, in recent times, proved it. And still the distributors of Jaanam Samjha Karo chose to ignore the lesson taught by Dil Se... They must now all be crying. But it’s too late!

– Komal Nahta

Cinema Controllers’ Condition: Cause For Concern

Cinema controllers are the worst hit these days. On the one hand are the huge rentals they are required to pay the landlords. And on the other, films doing so badly at the box-office that they often have to give some share to distributors even though films incur deficits. That is to say, controllers or weekly contractors have to fulfil their weekly obligations to landlords and, at the same time, cannot ignore the interests of distributors. As a result, many controllers are facing heavy losses in their business and are contemplating giving up control of cinemas.

The situation is as alarming in Bombay as in other circuits. The poor performance of films and their short run, coupled with a slow flow of releases, have made controllers press the panic button.

Metro, one of the most prestigious main cinemas of Bombay, has been forced to screen Hote Hote Pyaar Ho Gaya from 23rd April on percentage basis rather than on the usual theatre rental. Another main cinema of Bombay — Minerva — has been given up by its controllers (V.I.P.) and its bookings are now being done by the landlords themselves (Mehras). The weekly rent has resultantly come down by almost a lakh of rupees.

There is one controller of Bombay and Maharashtra, who is reported to be incurring a loss of almost a lakh of rupees every week. The case of Bombay’s Central Plaza, renovated recently at a heavy cost, is truly pitiable. The cinema has not been doing well despite the renovation and the latest sound system. It offered a heavy MG to the distributor of Jaanam Samjha Karo and with the film faring the way it is, the cinema now stands to lose heavily in this deal. Why, the film did not draw full houses in its very first week at the cinema.

The position of cinemas other than the main cinemas is no different. Cinemax, Jaya and Diamond cinemas of Bombay have been screening films which haven’t collected enough to even cover the rentals!

The percentage collections of various films in Bombay in the week from 2nd April to 8th April, 1999 are worth taking a look at:

Film                                                          Week                                    Percentage

Jaanam Samjha Karo                              1st                                           75.06%

Putlibai                                                      1st                                           48.24%

Purnasatya                                                1st                                           27.67%

International Khiladi                               2nd                                         37%

Kahani Kismat Ki                                     2nd                                         18.25%

Aarzoo                                                       3rd                                          33% 

Aaag Hi Aag                                             4th                                          26.74%

Lal Baadshah                                           5th                                          14.88%

Kaun                                                         6th                                          31.46%

Kachche Dhaage                                      7th                                          31.24%

Daag The Fire                                          8th                                          28.70%

Hum Aapke Dil Mein ….                          11th                                        37%

Bade Miyan Chote Miyan                        25th                                        30.67%

Kuch Kuch Hota Hai                               25th                                        26.15%

Of course, the week was not exactly the best because examinations of schools and colleges were on and there was also the opposition of cricket matches. In some parts of the country, the terrible summer heat also adversely affected collections in the afternoon shows.

But if the box-office scenario doesn’t look up soon, tougher times are ahead for controllers. Are they heading for a catastrophe?

 – Gautam Mutha

COMMENTS

O.P. BANSAL (Rajsthan distributor)

We conveniently blame the public for not patronising cinemas when, actually, the fault lies with our films and their prices, with theatre rentals and admission rates.

FIROZ NADIADWALA (Producer)

Unless a film is a major hit, distributors never give overflow to producers. ‘Overflow’ actually means that the flow (of funds) is over.

MADHUMALTI (Bombay distributor & Marathi film producer)

High admission rates in cinemas are killing the industry. People prefer visiting hotels to cinemas because they know that new films can be seen free on cable TV and satellite channels after some weeks of their release. The scene is so bad that I am afraid to produce a film. If the public is not coming to see Hindi films, how will they be keen to see a Marathi film?

RAMESH RAIKER (Bombay-Karnataka distributor & exhibitor)

If I, as an exhibitor, can survive the coming two months in the face of opposition of World Cup cricket and poor flow of releases, I can safely hope to survive for the next 20 years.

BRIJESH TANDON (U.P. cinema controller & Delhi-U.P. distributor)

The response among exhibitors to my BIWI NO. 1 is simply fantastic. The terms I am being offered are mind-blowing and, at places, comparable to those of KKHH. Equally fantastic is the publicity material of the film.

VIMAL AGARWAL (Bombay distributor)

Theatres the world over don’t charge rentals. The system of rentals exists only in India. In other countries, films are screened in cinemas on percentage basis.

3-E
Education-Entertainment-Enlightenment

High Admission Rates Prove Suicidal

While cinemas of Aurangabad realised the importance of reasonable admission rates and brought down their rates one by one, the C.I. distributor of Jaanam Samjha Karo seemed to have burnt his fingers on the count of admission rates itself. Since the tax-free service charge of Re. 1 per ticket was to come into effect in the state of Madhya Pradesh from 1st April, the distributor of JSK decided to hike admission rates by further Rs. 4 in the hope that the paying public would be led to believe that the entire hike was prompted by governmental action. But the tax-free service charge did not become operative from 1st April. Therefore, the hike of the entire Rs. 5 per ticket was due to the distributor’s action. Result: the film did not command even a decent initial in C.I. Yet another pointer to the harm which high admission rates can do to a film.

Looking Before Leaping

While on the topic of admission rates in cinemas, it would not be out of place here to mention that the dull opening of several films these days is also sometimes due to the high rates of admission. Since rates are quite prohibitive, middle-class and lower middle-class audience wait for a film’s reports to be out, before they visit a cinema to see it. When admission rates were more affordable, it was a different story, but now, one has to think twice before going to a cinema. As a cinegoer quipped, “When a consumer asks the rates of vegetables to three vegetable vendors before buying them, how can you expect him to rush to a cinema on the first day itself? And the rates of vegetables are Rs. 20 to 25 per kg. while cinema tickets for a family of five or six can cost up to Rs. 200!”

Guddu’s Good Deed

In last week’s issue, we had carried a news item of famous qawwali singer Naseem Bano’s plight and how producer-director Guddu Dhanoa planned to pay her a visit. Well, Guddu did pay the legendary singer a visit on 3rd April and was moved to tears on seeing her living in the staircase of a building at Antop Hill, Bombay. He shifted her to hospital that very moment, and the singer is now undergoing treatment for paralysis. Guddu’s good deed went unnoticed when a leading Bombay newspaper incorrectly reported that Maharashtra’s cultural affairs minister, Pramod Navalkar, had got the singer admitted to Guru Nanak Hospital. But, as Guddu puts it, “Who gets the credit is not important. What is important is that Naseem Bano is now being looked after.”

Hollywood Versus Bollywood

Imagine Subhash Ghai showing the trial of his under-production film, Taal, to Yash Chopra, Rajkumar Santoshi, Rakesh Roshan, Shekhar Kapur, Sooraj Barjatya, Dharmesh Darshan, Aditya Chopra, Karan Johar, Raj Kanwar etc. Or Sooraj showing his current venture, Hum Saath Saath Hain to 10 other directors. Unimaginable, isn’t it? But that’s what Hollywood’s George Lucas did. He showed his under-production Star Wars: Episode 1 – The Phantom Menace to friends Steven Spielberg, Ran Howard, Francis Ford Coppola, Martin Scorsese, Brian De Palma, Frank Darabont and Larry Kasdan. Most of his friends hadn’t liked his first Star Wars. After releasing his current film on 19th May, George Lucas will start writing the script of his next Star Wars film which will begin in June 2000.

KAUN

Kshitij Production Combines’ Kaun (A) is a real-time suspense drama aimed at terrifying the audience. It is about a girl who is scared stiff because she is alone at home (a huge home) on a stormy, rainy evening. The television news announces that a psychopathic killer is at large, which terrifies the girl even more. Suddenly, her doorbell rings and a man, asking for somebody, begs of her to let him in till the weather clears. She refuses. He persists. And finally, she finds him in her house. His behaviour makes her imagine, he is the killer. Even while she is trembling with fear and he is shivering of cold, a second intruder comes into the house. The two guys accuse each other of being the dreaded psychopath. The petrified girl is confused and since the suspense is about who the killer is, the audience is supposed to get into a guessing game. The ending, which deals with the revelation and much more, solves the mystery. The first half hardly moves. In the second half, the wordy duel between the two guys is entertaining but even though the audience may enjoy the war of words, its thirst for fright remains unsatiated. Also, this very entertaining bit detracts the story from the horrifying drama, which is not desirable. Because, since the entire film is shot in one bungalow only, it becomes a tedious and monotonous exercise for the viewer.

The film has just three characters. The three players and sound (effects and background score) play important roles in the 1-hour-56-minute drama. Although director Ram Gopal Varma has tried to exploit the lurking fear in a viewer’s mind, writer Anurag Kashyap lets him down badly, with a script that gives too much time to the audience to think. In this kind of films, the ideal situation would be to provide edge-of-the-seat thrills and chills and that would be possible only in a fast-paced drama. But the movement in Kaun is slow at many places, which raises questions in the viewers’ minds — questions like why the girl does not run out of the house and lock the two intruders inside, why she lets the first one in, etc. If the writer and director would like the audience to believe that there are no neighbours or neighbourhood, the same should have been established. Of course, the film’s ending answers the above questions that come to mind, but then, new questions arise at that point — questions like why the girl did not let the guys inside the house willingly, etc. In fact, the last scene in the film shows the girl rejoicing the fact that someone is knocking at her door again — something she wasn’t excited about when the drama started in the same fashion.

Another major drawback of the film is that it seeks to terrify through sound rather than substance. That is to say, the sound effects are more scary than the drama. The absence of songs and the short length of the film may be justified as far as the subject goes but since the merits are lacking, these become negative factors for the traditional audience. Besides, a major part of the drama looks unbelievable and unrealistic.

Urmila Matondkar does well in some scenes but is average in others, may be because the conviction in the drama is absent. Manoj Bajpayee acts ably but his character gets boring at places. However, even his performance is not flawless. For instance, when he fears that there’s yet another intruder in Urmila’s house (towards the ending), he shouts out to her repeatedly, to be careful and sometimes does so in a sing-song way (Ma’am, ma’am, ma’…….am)! Sushant Kumar fails to impress. His expressions do not befit his character and his dubbing also is dull.

Ram Gopal Varma’s shot compositions and takings are beautiful but much more effort should have gone into the script to have made it a terrifying drama. Although the man deserves to be complimented for trying out something different from the usual commercial stuff, his lapse in selection of a plausible script needs to be criticised. Editing should have been much more crisp. Action scenes are reasonably well composed. Sound effects are absolutely astounding. Background music is also wonderful. Photography is good.

On the whole, Kaun does not have enough material to scare the viewer and, therefore, does not serve the purpose for which it was made. A film for very selected cinemas in a few major cities only, especially of Bombay, Maharashtra and Southwards, it will entail losses to most of its distributors.

Released on 25-2-’99 at Metro and 26-2-’99 at 9 other cinemas of Bombay thru V.I.P. Enterprises. Publicity: very good. Opening: fair. …….Also released all over. Opening was disastrous at many places.

LATEST POSITION

It was a normal week. ….Collections in several parts of the country are likely to be adversely affected due to pre-Holi days.

Kachche Dhaage has done very well in 1st week but the drop from 5th day onwards was too noticeable everywhere. It has collected excellent at ‘B’ class centres too. 1st week Bombay 54,54,720 (79.91%) from 14 cinemas (9 on F.H.); Ahmedabad 13,97,298 from 8 cinemas, Padra 2,00,154, Rajkot 1,71,160 from 2 cinemas, Jamnagar (matinee) 32,000 (1 in regular unrecd.), Patan 1,89,578, Bhuj 1,27,696; Pune 13,58,353 from 6 cinemas (1 in matinee), Kolhapur 2,17,389, Solapur 3,04,266 from 2 cinemas; Belgaum 1,12,799 (100%), Dharwad 1,43,791; Delhi 57,76,205 (77.97%) from 13 cinemas (1 unrecd., 1 on F.H.); Kanpur 6,35,950 from 2 cinemas, Lucknow 4,33,517, Varanasi 2,44,054, Bhadohi 1,34,373 (88.18%), Alllahabad 1,97,552, Meerut 2,62,668, Bareilly 2,58,156 (91%), Dehradun 2,41,680 (83.85%), Hardwar 1,00,123, Muzaffarnagar 1,74,468; excellent in East Punjab, Ludhiana 3,80,996 (100%), Rohtak 58,664; Calcutta 24,75,625 from 18 cinemas; did very well in Bihar in 1st week; Nagpur 9,00,158 from 4 cinemas, Jabalpur 3,08,515, Akola 2,00,903, Raipur (6 days) 2,10,621, Bhilai (6 days) 42,663 (1 unrecd.), Durg (6 days) 1,18,952, Jalgaon (6 days) 1,73,443; Bhopal 1,78,755 (1 on F.H.); Jaipur 12,75,154 from 4 cinemas, Ajmer (29 shows) 1,71,636, Bikaner 2,56,566; Hyderabad (gross) 34,08,713 from 15 cinemas.

………..

Hum Aapke Dil Mein Rehte Hain 5th week Bombay 20,69,439 (65.05%) from 8 cinemas (4 on F.H.); Ahmedabad 4,09,953 from 3 cinemas, Baroda 1,13,953, Rajkot 90,740 from 2 cinemas (1 in matinee), Jamnagar 40,000; Pune 5,28,608 from 3 cinemas (1 in matinee), Solapur 1,48,357, 1st week Barsi 57,202; 5th week Delhi 5,88,685 from 4 cinemas; Kanpur 1,48,165 from 2 cinemas, Lucknow 2,27,856, Varanasi 85,521, Allahabad 56,483, Meerut 91,903, Bareilly 32,022 (10.56%), Dehradun 99,654 (4th 1,39,000), Hardwar 18,000; Calcutta 4,11,792 from 4 cinemas; Nagpur 2,52,951 from 3 cinemas, Jabalpur 64,055, total 5,18,928, Akola 61,122, total 5,43,568, Raipur 82,469, Bhilai 86,432, 3rd week Jalgaon 89,003, 5th Gondia (gross) 56,866, Chandrapur 66,524, total 5,88,480, Yavatmal 25,539, total 2,78,730; Jaipur 1,62,578, 4th Bikaner 51,580; 5th week Hyderabad (gross) 3,07,795.

AJAY DEVGAN WEDS KAJOL

Ajay Devgan got married to Kajol at a simple ceremony at the former’s house on 24th February. Only family members and close friends were present. The wedding was a low-key affair, presumably due to the recent demise of Ajay’s grandmother.

YOU ASKED IT

Why do producers have to go to court to restrain cable operators from screening their films when the law itself does not permit the operators to screen them?

– That’s the tragedy of the country we live in. And the worst part is that in spite of being restrained by court orders, cable operators do show films.

In your item on the big films due for release in 1999, the name of Venus’ Josh was missing. Will Josh not come this year?

– The list of releases was not exhaustive. JOSH will definitely be released in 1999.

Is Ram Gopal Varma’s Mast half-complete? I hear, it will be released next year. Is that so?

– MAST will be complete by June/July and the film will be released in August/September this year. Although it stars Urmila Matondkar with a newcomer (Aftab), the film is a big-budget extravaganza with many songs.

DO YOU KNOW?

* Karisma Kapoor, who has not had a single release since over a year, after DIL TO PAGAL HAI, may well be seen on screen for the first time in 1999 in N.N. Sippy’s SILSILA HAI PYAR KA. As if to remind the world that her last film was DIL TO PAGAL HAI, the new film has a song with the title of Yash Chopra’s film in it. That and the film’s title song are good, catchy numbers. There’s one more ‘Padosan’ song which is also good.

* Amitabh Bachchan was accorded the status of presidential guest by the Sri Lankan government during his first ever visit to the country from February 1 to 14 for the shooting of Padmalaya’s SOORYAVANSHAM.

* Vinod Khanna will be seen in a TV serial for the first time on 1st March on DD1 in SHOORVEER MAHARANA PRATAP. He plays the title role in it and his heroine is Poonam Dhillon.

Dream Merchant

Budget Blues

With the Union Budget to be announced, there’s a lot of speculation in the trade about what the Budget proposals have in store for the film industry. With so much talk about the Budget, I dreamt about the industry people’s expectations from the Union Budget to be presented in Parliament today, 27th February. I dreamt about what the following people had to say about their hopes/expectations from the Budget.

Govinda was praying that the Budget allowed producers to claim 10% of the actual expenditure incurred on a film, as Artistes’ Late-Coming Expenditure. For that, the only proof required to be submitted would be a contract with the Hero No. 1. No proof of actual cash outgoings would be insisted upon by the Income-Tax Department.

Anil Kapoor said, he had inside information that producers who signed stars who do not command an initial, would be given a rebate of 20% of their profits. The government was doing this, according to Anil, “at the behest of the anti-Khan lobby” because only films starring the three Khans — Shah Rukh, Aamir and Salman — were opening to bumper houses.

Mithun Chakraborty said that he had used top connections to ensure that the new Budget would make it mandatory for all producers to shoot at least one schedule in Ooty. If a producer failed to shoot at the hill-station, he would not be entitled to the benefits of the two new sections viz. section 80-OO and section 80-TY to be introduced in the Income-Tax Act. Mithun, however, refused to divulge the details of the new sections.

Sunil Shetty was hoping that the new Budget proposals would give at least some relief or rebate to producers who made films on sports, whether cricket, football, kho-kho or hu tu tu. This, he said, would encourage producers to risk their monies on sports films despite the debacle of sports films, which, he felt, would go a long way in including the sportsman spirit in today’s youth — and producers alike!

Juhi Chawla, who has given up non-vegetarian food and has turned vegetarian, hoped, the government would do something about non-vegetarian jokes in films. She felt, a penalty calculated at 2% of the net profit of the producer for every 100 prints of the film taken out would be a good deterrent.

Mahesh Bhatt said, biographical films needed to be given a push and so also remakes of Hollywood films, the latter because they would expose Indians to the culture of the West. He also said that he had been assured by the Union finance minister that producers of biographical films would not be required to pay income-tax on profits from those films provided they were a true account of the lives of the people whose biographies they dealt with. Producers of remakes of foreign films would be granted a special deduction calculated at 5 times the cost of VCR, LD player, video cassettes, LDs etc. with no upper limit. This would be allowed under a new section 80-HFC to be introduced after section 80-HHC of the Income-Tax Act, which deals with exports of films. According to an inside source, the ‘HFC’ in 80-HFC stands for ‘Hollywood Films ki Chori’!

Chandrachur Singh, Arshad Warsi, Mukul Dev and Sharad Kapoor were hoping that the Budget would give special concession to makers of films starring newcomers. The definition of a “newcomer” would include every artiste who has no successful solo starrer to his credit. Thus, every artiste would continue to be a newcomer (for the purpose of the special concession to his producer) till the time at least one solo starrer of his proved a success.

Gulshan Rai, Subhash Ghai, Gordhan Tanwani and Shekhar Kapur were very hopeful that a new chapter in the Income-tax Act would be added in this year’s Budget. It would deal with producers’ expenditure under the head of extortion money. They said, they had reliable information that payments made to extortionists would be allowed as revenue expenditure if made at least 3 months before the end of the financial year for which it would be so allowed. If, however, the money was paid less than 3 months before the year-end, only 50% would be allowed as expenditure and the balance would have to be capitalised and could be written off in the books of account over a period of 3 years. To avail of the benefits under the new chapter, producers would have to prove that they, in fact, received threatening calls from extortionists and they did try to avoid the expenditure. A proviso in the chapter would make it mandatory for all producers to make payments to extortionists by account payee cheques or demand drafts only. Confirmation letters from the extortionists would be required to be submitted by producers alongwith their returns of income.

Actors like Akshay Kumar and Akshaye Khanna were very sure that as per their request, the Budget would provide for suitable amendments in the I-T Act so that actors whose three films flop in a row in one year would not be required to pay any income-tax for that year. Like every dark could has a silver lining, every third consecutive flop would have a tax-free lining.

Overseas distributor Kishore Lulla had dashed a telegram to Atal Bihari Vajpayee. The telegram requested for free trade between India and Pakistan and a tax holiday of 10 years for profits earned from export of Indian films to the neighbouring country. Of course, the prints of the films would have to be transported to Pakistan by bus! Yes, by the historic bus to Lahore.

– Komal Nahta

INFORMATION MEETS

“For me, it was never the question of choosing art over commerce or vice
versa. I wanted to make something
that was entertaining and that people
would want to see.”

– JOHN MATHEW MATTHAN

RAJ VAIDYA

John Mathew Matthan is reluctant to talk about Sarfarosh, his maiden venture as producer-director. At least this much is clear within the first few minutes of the conversation. ‘I’d rather you see it and then, tell me what you think of it’, says he and you realise that his reluctance to talk about the film does not stem from a fear of shooting his mouth. It actually signifies the supreme confidence that he has in his film. And why not? The trade buzz on this Aamir Khan starrer is encouraging, to say the least.

Having been an ad filmmaker for more than a decade and a half, Matthan returns to his first love, feature films, with Sarfarosh. In his first-ever interview with the press, he comes across as a confident, intelligent and a completely unassuming person. He also has a great sense of humour. Like when asked what genre did Sarfarosh belong to, he says, ‘Even I don’t know. In fact, I am waiting for the film to release so that I can go to a video library and see whether they slot it as action, drama, or other. Then I’ll know!’

You seem to be one of the very few people who have made a successful transition from ad films to feature films. Why don’t you start by telling us how it all began?

Actually, I started my career in feature films and then switched over to advertising. You see, I had just finished a post-graduate diploma in Mass Communications from Xavier’s, Bombay when I got my break as chief assistant director to Govind Nihalani in his directorial debut, Aakrosh (1980). Later, I was the first assistant director in the Oscar-winning Gandhi (1983). But, by then, I also realised that it was very difficult to survive as just an assistant in the film industry as one only gets paid a pittance. So, I turned to making ad films, primarily in search of security. During the next 12 or 13 years, I went on to make nearly 400-500 ad films on almost every conceivable product under the sun. I have made ad films for the entire range of, say, detergents, be it Wheel, Surf, Rin, OK or Nirma. I also made the first ever Garden sarees ad, apart from those for Tips & Toes, Lifebuoy soap and countless others. In the process, I gained a tremendous amount of confidence in my abilities and earned some money too.

You obviously had it really good as an established ad filmmaker. What prompted you to venture back into the uncertain world of feature films?

After having made such a huge number of ad films, I had reached a point where I was fed up of them. Moreover, I had found the financial security that had prompted me into this field long ago. I also had the confidence that I could now direct a feature film. So, I guess, it was a logical switch back to full-length features. This decided, I began to think about the kind of film I wanted to make. I knew that at that time, it was easier to get a nod from NFDC or to raise funds for a small film, and go ahead and make it. But then, I also realised that those kind of films do not get the right exposure. So, I decided against that route. I wanted my film to get exposure. I mean, what is the purpose of making a film if it is not going to be seen by the audience? Ultimately, films are made for the audience to see, and the only way to ensure this is to make a mainstream film. For me, it was never the question of choosing art over commerce or vice versa. I wanted to make something that was entertaining and that people would want to see. With this in mind, I started working on the script for Sarfarosh. I chose a subject which is modern and, in many ways, unique to today’s times. The film is about the perilous nature of lives ordinary citizens lead in the grim shadow of the constantly increasing terrorism.

Sounds interesting, but how did you manage to rope in Aamir Khan in the project, considering your newcomer status as producer-director?

Even while I was scripting Sarfarosh, it was clear to me that Aamir could be one of the better options to play the lead. So, once I had completed scripting, I approached Aamir with a request to hear out the script. He gave me an hour at Sunny Super Sounds where he was to participate in the background score for one of his films. I explained to him that my script was three hours long and hence it wasn’t possible for me to narrate it in an hour. He respected that and, within a week, gave me the time I required. I went and just read out the script — not narrated it in a dramatic manner — and was pleasantly surprised at the end of it when Aamir said, he would do the film. I guess, what worked in my favour initially was the fact that I had a bound script on my hands. Later, Aamir did take a little time in checking me out, but that was simply because this was my maiden venture as a producer, and Aamir was naturally concerned about my being able to back it up financially. Here, Manmohan Shetty of Adlabs gave me a lot of support. I have had a nearly 20-year-long association with him and it was he who assured Aamir that the film wouldn’t run into any sort of trouble. Not only this, he also organised finance for the film. Soon, Aamir gave his nod and the project took off.

How much time did you spend in the scripting?

The scripting of Sarfarosh took nearly six to eight months. That was because I did a lot of research before actually sitting down and writing the film. Everybody asked me why I was wasting my time and whether I was going to make a documentary on terrorism. But, I am of the opinion that it is not possible to understand terrorism sitting in Bombay. You have to go out there were it is rampant and meet people who are affected by it. You must also meet people who have been a part of it and those who are against it. Only then can you begin to write about it in a knowledgeable manner. Meeting all these people helped me a great deal while scripting Sarfarosh. I was able to extract so many real-life stories from them and, in some instances, even dialogues. I later incorporated quite a lot of these in my original plot.

What kind of film is SARFAROSH?

It is really difficult to categorise Sarfarosh in a particular genre. I’d rather you see the film and tell me where it fits in. It has all the elements of a commercial mainstream film. The film opens in New Delhi where Aamir resides with his family. He is still studying in college and, one fine day, bumps into Sonali Bendre and they both experience the sparks of love. However, their romance ends prematurely when Aamir’s family is affected by terrorism and has to abruptly shift to Bombay. Once in Bombay, Aamir, a graduate now, lands himself a respectable job and begins a new chapter in life, until a chance meeting with Sonali at a ghazal concert revives his love. Matters soon come to a head when the dark shadow of terrorism catches up with his family.

Sarfarosh is an intense film and required an equally intense background score. I am fortunate that my team of musicians (refuses to name them for some reason) have given me a score that is better than what I had expected. Jatin Lalit have, likewise, given me a wonderful musical score, in six songs that befit the theme.

An increasing breed of new directors and screenwriters hate the compulsion of including songs in each and every film, regardless of its theme. What are your views?

All I can say is that one has to accept reality. If you choose to make a mainstream commercial film, then you must also accept that there will be six or seven songs in it. As a director, it becomes your job to figure out how to do it. I agree that Sarfarosh is not really a subject where there is great scope for songs. But, I couldn’t let that interfere and trouble me when I started off because my attitude towards songs would be negative then. Moreover, making a songless film with Aamir Khan is like making a statement and I did not want that. So, I accepted this compulsion right from the start and also figured out a way to do it.

Out of the six songs in the film, the title song, Sarfaroshi ki shama dil mein jalaa lo yaaron / Zindagi maut na ban jaaye sambhaalo yaaron, sets the framework of the film. Then, there is a ghazal being sung at the concert where Aamir and Sonali meet in Bombay. A flashback incorporated in the ghazal tells the audience about their love affair in New Delhi. Thus, the ghazal becomes a part of the narrative. The remaining songs, I have used as relief points in the film.

Coming to Aamir, what has been his contribution to SARFAROSH, apart from acting?

Aamir has been an excellent support to me throughout the film. He stood by me through everything and continues to do so even now. He is not the kind of an actor who just comes on the sets, does his job and leaves. He contributes a lot to the film in a very positive way. He has also been very respectful to me. See, when I began the film, I had not worked with anyone in my unit and hence my crew and the artistes probably did not know how to treat me. So, the respect they gave me was because of the respect Aamir gave me. There were also times when I wanted a particular thing in a particular way. It is to Aamir’s credit that he trusted my judgement and saw to it that I got what I wanted. He had the confidence to trust me and I owe him that.

Being a first-time producer, how was your experience with the trade?

Well, I have closed all territories except Andhra… so, I guess, the experience has been good. I must confess that I did not get the price I had in mind, but still managed a very good one in spite of having absolutely no track record in feature films.

Finally, what was the controversy surrounding SARFAROSH which led to the change of distributor for Bombay territory?

I would not like to comment on that. All I can say is that wait for ten days and it will all clear up. The matter is currently being sorted out by IMPDA.