INTERNATIONAL KHILADI

D.M.S. Films’ International Khiladi (A) is a romantic-action-suspense thriller. But while the romance in the film is not too interesting, and the suspense, not very convincing, the action and stunts are quite exciting. The story is about an international don who falls in love with a journalist. But the journalist frames him in a rape-and-murder case because of which the don is sentenced to death. To prove his innocence in the rape and murder, the don escapes from custody with the connivance of the police. He confronts his girlfriend and, after exchanging notes, the two become friends once again. The real killer’s identity comes as a surprise rather than a shock which would have been more desirable.

The story is quite confusing and gets boring at several places. The first half is pretty lengthy. Judicious editing in the post-interval portion too could help keep a tight pace. There are some inherent drawbacks in the scripting. For instance, the killing of the journalist’s brother, which is so important in the drama, does not have the desired impact because of two reasons — he is not a known actor and his character is not too important in the film. The don’s activities are not shown and so, his ferociousness is just not established. The suspense is so long-winding that it begins to irritate towards the end, more so because it does not involve the audience in any guessing game. The heroine, to frame the hero, testifies in court that she has been raped by the hero, but she does not even have to undergo a medical examination (to establish the veracity of her statement) before the hero is sentenced to death! Screenplay is patchy; characters (like the don’s enemy and the journalist’s cameraman) disappear for reels together. Besides, there are too many turns and twists in the drama, not all of which are palatable.

Comedy punches, especially of Johny Lever, are entertaining. Action and some stunts are also enjoyable. But the computer graphics, especially in the climax, are weak and dilute the effect. Aadesh Shrivastava’s music is a major drawback.

Akshay Kumar looks handsome with a perfectly chiselled body. He acts quite well. Twinkle Khanna has slimmed down and looks beautiful. She does a fair job but needs to seriously do something about her gruff and unclear voice, especially in dramatic scenes. Rajat Bedi is okay. Vivek Shauq hardly impresses; his role required a far superior actor. Gulshan Grover acts ably but his dialogues in Hindi-English, although a novelty, will be difficult to comprehend, more so in small centres. Johny Lever is wonderful but he gets limited scope. Mukesh Khanna is impressive. Asrani, Avtar Gill, Shahbaaz Khan, Gajendra Chauhan  and the foreign wrestlers lend fair support. Master Omkar Kapoor has been made to speak dialogues that don’t suit his age.

Umesh Mehra’s direction is alright, but a simpler narration and crisper editing would’ve helped. Music is a letdown. Except for ‘Lutiya gaya’ and ‘Chhookar mere man ko’, which are reasonably well-tuned, the other songs are pathetic. Camerawork (S. Pappu) is eye-pleasing and so are the foreign locations. Action (Bhiku Verma) deserves praise. Production values are of a good standard.

On the whole, International Khiladi has fantastic initial value because of the hype and hoopla but it has no sustaining power whatsoever. It will, therefore, prove to be an average fare, with better chances in circuits like East Punjab and C.I.

Released on 26-3-’99 at Minerva and 25 other cinemas of Bombay thru Dilsa Distributors Combine. Publicity: excellent. Opening: very good. …….Also released all over. Opening was fantastic everywhere. (1st day Jalandhar 1,16,000/-, better than Kachche Dhaage and Daag The Fire. Drop in collections was noticed at places on 2nd day.)

KAHANI KISMAT KI

Suchitra Films Enterprises’ Kahani Kismat Ki (A) is a routine family potboiler, depicting the travails of a grandson, who retrieves his ancestral property from the clutches of an evil business magnate, in order to save his ailing grandmother from dying. There is a sub-plot, which involves a womanising business magnate, his wife and the wife’s ex-lover. The ex-lover, who is also a lawyer, is defending the business magnate, framed for murdering his girlfriend. The identity of the actual killer provides a twist in the otherwise insipid courtroom drama of the sub-plot. However, the suspense angle remains uninteresting due to very poor scripting. The goings-on get complicated in the second half and the film becomes dull as the lengthy courtroom scenes drag the drama to boredom. In short, nothing interests the viewer.

Mithun Chakraborty does a fair job as the grandson. Asha Singh is good in the role of his grandmother. Milind Gunaji, as the womanising business magnate, is quite good. Ayesha Julka, as his wife, acts well. Sharad Kapoor’s portrayal of her ex-lover is fair. Deepshikha, in the role of Milind Gunaji’s girlfriend, fails to impress. Shama Deshpande, Mohan Joshi, Laxmikant Berde, newfind Roma, Rajoo Shreshtha and Anil Nagrath lend ordinary support. Naghma, in a special appearance, has been wasted.

Farogh Siddiqui’s direction is no better than the script. The subject had scope for dramatic and tense moments but they are almost totally missing. Musically, fair. The film does not have a single hit number. The picturisation of songs is poor and routine without any discernible expense or an eye for visuals. Production and technical values are okay. Action scenes in the climax are good but not thrilling enough.

On the whole, Kahani Kismat Ki is a poor fare and will disappoint its distributors.

Released on 26-3-’99 at Alankar and 11 other cinemas of Bombay thru Raj Enterprises. Publicity & opening: poor. …….Also released in Bengal and C.P. Berar.

KARNATAKA FILM INDUSTRY BANDH FROM APRIL 2

The Karnataka Film Chamber of Commerce, in its general meeting held on 25th March in Bangalore, gave a call for a total bandh of the Karnataka film industry from 2nd April. The call for the bandh has been issued in protest against the state government’s “step-motherly treatment towards distribution of non-Kannada films in Karnataka”.

The Karnataka government has imposed a 2% turnover tax and 4% sales tax on film distributors with effect from 1987. Although notices were being issued by the sales tax authorities to film distributors, the recovery proceedings have been initiated now, with retrospective effect. This means that each distributor of non-Kannada films in the state will have to fork out accumulated turnover and sales taxes from 1987. In some cases, the tax may amount to over a crore of rupees! Thus driven to a no-option situation by the government, the distributors have announced a complete trade closure from April 2.

NARENDER NATH DEAD

Character actor Narender Nath, brother of Prem Nath, Rajender Nath & Mrs. Krishna Raj Kapoor, died after a prolonged illness at his residence in Jabalpur on 24th March. He was 56. He had acted in over 50 films such as Jawani Diwani, Khote Sikkay and Sawan Bhadon.

R.V. ISHWAR NO MORE

R.V. Ishwar, ex-secretary of the Film Producers Guild of India Ltd., passed away on 19th March at his residence in Bombay.

Ishwar was secretary of the Guild for 40 years and contributed his mite to the film industry.

A condolence meeting will be held on 31st March at IMPPA House at 5 p.m.

TAX-FREE SERVICE CHARGE OF RE. 1 PER TICKET IN M.P. TOO

The Madhya Pradesh government has permitted cinemas in the state to levy Re. 1 per ticket as a tax-free service charge with effect from April 1. The CCCA had been pleading for the charge since a long time. The M.P. government has finally acceded to the demand and brought the state at par with states like Maharashtra, Gujarat and Uttar Pradesh.

All cinemas in cities with a population of 1 lakh or more are entitled to levy the tax-free service charge.

SHARAD ACHARYA DEAD

Sharad Narayan Acharya, the owner of Amar and Sharad cinemas in Chembur, Bombay, expired on 25th March. The cinemas remained closed for the day. He was the ex-mayor of Bombay.

Although being affiliated to the ruling Shiv Sena party in Maharashtra, Sharad Acharya’s fair-play came to the forefront when he accompanied a delegation of the film industry in Maharashtra, as an exhibitor and not as a partyman, to appeal for reduction in entertainment tax in the state in 1997.

ENTERTAINMENT TAX ON CABLE OPERATORS

The Madhya Pradesh government has imposed entertainment tax of Rs. 25 per cable connection, on cable TV operators in the state. The tax is effective from April 1, 1999.

GRANT INFRASTRUCTURE STATUS TO EXHIBITION SECTOR: CCCA TELLS GOVT.

Following the adoption of a resolution passed by the executive committee of the Central Circuit Cine Association last week, CCCA president Santosh Singh Jain has urged the prime minister as well as ministers for finance, industries and information & broadcasting, to grant the status of ‘infrastructure’ to the film exhibition sector by bringing it within the purview of section 10(23)G of the Income-Tax Act. Such a step is ‘an inevitable must’ after the acceptance of the film industry as ‘industry’ by the government, says Jain. Moreover, according to him, since the film exhibition sector forms the infrastructure for the film industry, it was only logical to include it in the definition of ‘infrastructure’ as enlarged in the Finance Acts of 1996, 1997 and 1998. Such a move will facilitate more investment in the exhibition sector and lead to maximisation of exhibition facilities and increase the availability of cinema seats to the growing population of India, feels Jain.

JATIN LALIT GRANTED BAIL

Music directors Jatin and Lalit, who were on 9th March remanded to judicial custody till 23rd March in a criminal case against them, were granted bail on 19th March.

DADA KONDKE’S BIOGRAPHY

Dev Anand recently released the biography of late Dada Kondke. Titled ‘Ekta Jeev’, it is in Marathi. The book is a narration by Dada himself, in which he talks about his life’s journey as a man and as an actor. It has been penned by Anita Padhye and published by Majestic Prakashan.

STATIC-CUM-MOBILE DISPENSARY FOR CINE WORKERS

Union labour minister Dr. Satyanarayan Jatiya on 16th March inaugurated the first static-cum-mobile dispensary at Ujala Sewa Sadan Committee, Andheri (East), Bombay. The dispensary is exclusively for the benefit of cine workers. Shatrughan Sinha was the chief guest on the occasion. Chandrashekhar presided over the function.

The dispensary has been started by the Welfare Commissioner, Labour Welfare Organisation, Nagpur region, Nagpur, which comes under the ministry of labour.

YOU ASKED IT

Don’t you think, too many films pairing Govinda and Ranee Mukerji have been announced?

– I also think as you think. Let’s now see, how many of these are completed!

With so many Mithun starrers waiting to be released, what will the scene be like in the coming months?

– This week’s Mithun starrer has opened to dismal houses. It hasn’t even opened in more than half the country. The going won’t be smooth for his forthcoming films. If you remember, we had forewarned  the trade several months back in our editorial on the glut of Mithun starrers.

Do you have any information about producer A. Purnachandra Rao? Isn’t he planning a film now?

– A. Purnachandra Rao has quit the film industry. He is now leading a retired life in Ooty.

IN & OUT OF BOMBAY

Directors Aditya Chopra and Karan Johar are in London and will be back on 30th March.

Mr. Shyamsunder Jalani of Marudhar Cine Movies, Jaipur, currently in Bombay (536-1525/1684), will return to Jaipur on 28th March.

Mr. Lakhpat Bhandari and Mr. Sandeep Bhandari of Shri B.C.B. International, Jaipur are at Hotel Evergreen (386-3489/4214) and will return to Jaipur this evening (27th March).

PRODUCTION NEWS

90-Day Schedule Of ‘Refugee’ Progressing

The 90-day marathon shooting schedule of J.P. Films’ Refugee, being produced and directed by J.P. Dutta, will be completed on April 15. With this, 90% shooting of the film will be complete. The film was shot in Bhuj and Bombay and thereafter in Jaipur (from March 16 to 22). The unit will shift to Indore where shooting will be held from April 1 to 15. Introducing Abhishek Bachchan and Kareena Kapoor, it stars Jackie Shroff, Sunil Shetty, Anupam Kher, Kulbhushan Kharbanda, Reena Roy, Sudesh Berry, Padmini Kapila, Punit Issar, Ashish Vidyarthi, Mukesh Tiwari, Shadab Khan, Vishwajeet Pradhan, Arif Zakaria, Avtar Gill and Amit Ghanshyam. It has music by Anu Malik and lyrics by Javed Akhtar. Dialogues: O.P. Dutta. Cinematography: Bashir Ali. Action: Bhiku Verma. Choreography: Saroj Khan. Sound: Buta Singh. Editor: Deepak and Vilas.

Ashok Mehta’s Film Progresses

Ashok Mehta Visuals’ Prod. No. 1 was shot for 12 days recently in Bangalore at the race course and on locales. The film is being produced, directed and cinematographed by Ashok Mehta from his own story. It stars Arjun Rampal, Manisha Koirala, Danny Denzongpa, Suresh Oberoi, Mohan Gokhale, Shubhangi Gokhale, Sushma Seth, Kiran Kumar, Farida Jalal, Paresh Rawal, Saurabh Shukla, Kamal Chopra and Sonali Bendre in a guest appearance. Screenplay: Raj Marbros. Dialogues: Hriday Lani. Lyrics: Javed Akhtar. Music: Rajesh Roshan. Dances: Saroj Khan. Action: Amin Ghani.

‘Har Dil Jo Pyar Karega’

Nadiadwala Grandson Entertainment’s Har Dil Jo Pyar Karega will be shot from April 2 to 10 at Filmistan Studios on a set erected by art director Sharmishta Roy. Director Raj Kanwar will picturise scenes on Salman Khan, Preity Zinta, Neeraj Vora and others. Ranee Mukerji also plays the female lead in the film which co-stars Shakti Kapoor, Paresh Rawal, Himani Shivpuri and Sushma Seth. It is being produced by Sajid Nadiadwala. Screenplay: Rumi Jafri. Scenario: Rakesh Mandotra. Dialogues: Javed Siddiqi. Lyrics: Sameer. Music: Anu Malik. Action: Abbas. Cinematography: W.B. Rao. Editor: A. Muthu.

‘Biwi No. 1’ Stint Complete

Puja Films’ Biwi No. 1 was shot in a 15-day stint till March 23 at Mehboob Studios and St. Andrews School. Two songs and scenes were picturised on Anil Kapoor, Salman Khan, Karisma Kapoor, Sushmita Sen and a crowd of 500 children. The film is being produced by Vashu Bhagnani and directed by David Dhawan. Writer: Rumi Jafri. Dances: Ganesh and B.H. Tharun Kumar. Lyrics: Sameer, Dev Kohli and Sukhwinder Singh. Music: Anu Malik. Art: R. Verman. Sound: Jagmohan. Editor: A. Muthu.

DO YOU KNOW?

* West Bengal distributor Bijay Bagadia has released 20 prints of INTERNATIONAL KHILADI in 35 cinemas.

* Heer Palace, Kanpur has had a face-lift during the past year. A central air-conditioning plant became operational at the cinema from 15th March ’99. Moreover, two Kirloskar-Cummins generators have also been installed there in order to ensure that there is no interruption in the viewing pleasure of the patrons in case of power failure. The existing Dolby Ultra Stereo sound system at the hall is slated to be further upgraded with the installation of DTS equipment in the near future. The toilets at the cinema have also been renovated, and plans are afoot to add an exclusive canteen for the patrons of balcony/dress circle class. The cinema, established by late B.P. Singh, is looked after by his sons, N.K. Singh and S.K. Singh.

* Sunder F. Rai is once again getting into Overseas distribution in a fairly big way. He has acquired the rights of HYDERABAD BLUES and two forthcoming films of producer Mukesh Bhatt.

THREE DAUGHTERS AND A SONG

* Rajeshwari (daughter of late music director Laxmikant), Antara Chowdhary (daughter of late Salil Chowdhary) and Reema Lahiri (daughter of music director Bappi Lahiri) sang a song together for Kamarindo Films’ BOMBAY GIRLS recently. The music was scored by Bappi Lahiri.

CENSOR NEWS

Karishma International’s Jaanam Samjha Karo was given C.C. No. CIL/1/17/99 (U) dt. 24-3-’99; length 4482.62 metres in 17 reels (cuts: 50.02 metres).

Chaudhry Enterprises’ Zulmi was given C.C. No. CIL/3/15/99 (A) dt. 25-3-’99; length 4144.33 metres in 15 reels (cuts: 36.88 metres).

Wellmake Films’ Putlibai was given C.C. No. CIL/2/6/99 (UA) dt. 25-3-’99; length 4022.17 metres in 16 reels (cuts: 159.50 metres).

Satya Sai Films’ Khooni Ilaaka – The Prohibited Area was seen by the revising committee on 22nd.

Nirmala Movietone’s Tower House (length 2939.98 metres in 13 reels), applied on 23rd and seen on 25th, has been offered A certificate, with cuts.

Octroi Department Unearths Mini Scam In Bombay Film Industry

Raw Stock Dealer’s Not-So-Clean Deals Exposed

The Octroi department of the Bombay Municipal Corporation on 23rd March unearthed a mini scam in the film industry. A dealer in film positive has been found to have evaded octroi duty on the raw stock, running into a couple of crores of rupees. The same dealer is also reported to have evaded excise duty of several crores of rupees on the raw stock ‘manufactured’ by him in Pondicherry.

The interesting part of the scam is that the dealer has played quite safe because the invoices for the film positive were made in the names of individual distributors who purchased the raw stock from him. However, since he used to charge the distributors the lumpsum (final) price, they (distributors) often did not ask him for the octroi receipts. Taking advantage of this situation, the dealer avoided paying octroi in many occasions.

The octroi department, after unearthing this scam, swooped on Adlabs on 23rd March when the deliveries of International Khiladi were about to be effected. The octroi department’s officials stopped all deliveries and asked the dealer, on whose stock octroi had not been paid, to produce the octroi receipts. The dealer reportedly presented old octroi receipts but couldn’t succeed in his game plan. Following this, an army of octroi officials visited Adlabs on Tuesday night.

It required the intervention of Bharatbhai Shah to ensure that deliveries of the prints were effected. Bharat Shah reportedly spoke to the mayor and promised that the dealer would pay up all the dues.

Ramesh Arote, superintendent inspection, vigilance, in a chat with Information, admitted that an enquiry had been started against the dealer. He refused to divulge any more information as, according to him, investigations are on.

In the meantime, the octroi department is contemplating taking legal action against all those distributors who purchased their stock from this dealer but on which octroi was not paid. Obviously, there is widespread panic among such distributors. Some of them, however, are still unaware of what transpired in Bombay on Tuesday.

Films Today: Bodies Without Backbones

Filmmaking has become more risky today than it ever was. Production costs have increased manifold, star prices have defied all economic calculations to reach the sky, post-production activities too now take away a heavy packet. While all this may be fine, what isn’t is that our stories are not good enough to keep pace with and so justify the spiralling costs. That is to say, our film scripts, generally speaking, are deteriorating. Even if they aren’t worse today than, say, two years ago, they definitely haven’t improved — again, generally speaking. And so with costs having increased so much, when scripts haven’t improved, the situation is worse than what it was a few years ago.

While producers are busy in making bigger and bigger projects, directors are interested in showing more and more gloss on the screen, choreographers are concentrating on style, sound is being updated, nobody seems to be even concerned about what is actually the backbone of a film — the script.

Our writers, with a very very few exceptions, seem to be taking a nap that could put the legendary Kumbhkaran to shame. Their eyes are only open for the latest Hollywood films. And their minds — well, they are almost always permanently shut. Perhaps, even they aren’t aware of the importance of a good story for a successful film. Or, if they are aware, they find themselves ill-equipped to deliver the goods. But, unfortunately, nobody has the time to question them. Producers are in a hurry to make proposals. Directors can’t afford to waste time on story-sittings because they have other projects in the pipeline.

Quite sadly, the script, which should be the concern of every single person associated with a film, has actually become the concern of nobody, not even the writer! Today, it is an unfortunate situation. Tomorrow, when even bigger and bigger films are made and released, it will not merely be an unfortunate situation. It will be CALAMITOUS. And this is no empty threat. For, the writing is on the wall.

To say that our writers, directors and producers need to pull up their socks would be the understatement of the decade. They need to now open their eyes to the realities and shut their eyes to foreign films. They need to take out their thinking caps from their attics where they’ve been gathering dust for years now. They need to become serious.

Producers and directors also need to introduce fresh writers into the stream. New blood would bring in new ideas — hopefully.

More importantly, all of us need to think for a while. Even if one film producer/director/writer is convinced of the seriousness of the current situation and takes corrective action after reading this piece, it will be worth the pain I’m experiencing while writing it. If not…

…If not, we all will shed tears together. And I promise, that day is not far.

– Komal Nahta

APRIL FOOL JOKES

What’s April Fool’s Day if without April Fool jokes? So here are some jokes which our folks can play on the industry on 1st April.

Govinda: Should report before time on the sets.

Mithun Chakraborty: Refuse a film offer.

Dev Anand: Announce his retirement. From acting as well as direction.

Jackie Shroff: Announce the release date of Grahan.

Boney Kapoor: Launch a quickie with Rajkumar Santoshi.

Jawaharlal Bafna: Start a film with Mithun Chakraborty and call it Bhaag Hi Bhaag. No, he shouldn’t run away after its release!

Anu Malik: Promise to give only original tunes — that is, tunes which have been heard originally.

Subhash Ghai: Announce a film with Salman Khan, to begin after Taal and titled Gaal Ho Gaya Laal.

Juhi Chawla: Announce to the world that she is still not married to Jai Mehta.

Manisha Koirala: Declare that she is off drinks forever.

Bobby Anand: Refuse to buy a film because it is high priced.

Ram Gopal Varma: Announce yet another horror film after Raat, Drohi and Kaun and call it Gone. Because it is bound to go like his earlier horror films.

Rajkumar Santoshi: Launch a film which will not be presented by Bharat Shah, not take years to complete and will not be reshot at all. But call it China Gate.

Akshay Kumar: Tired of playing ‘Khiladi’ again and again, he should prompt Keshu to launch Billadi (meaning ‘Cat’ in Gujarati). Like a cat has nine lives, Akshay may get at least a second lease of life with Billadi.

Shekhar Kapur: This International Khiladi should join hands with Sibte Hasan Rizvi to make a sequel to Joshilay. Behoshi? Le!

Mukesh Bhatt: Should spring a surprise on friends by speaking no lies on April 1.

Saawan Kumar: After Mother 98, announce Father 99 and Child 2000 — the former to star Ajay Devgan and the latter, his child-to-be-born.

Rishi Kapoor: Live up to the title of his film, Aa Ab Laut Chalen, and announce his return to what he knows best — acting.

Ketan Desai: Announce a quickie with Sanjay Dutt (!) and Salman Khan — and title it Yeh Hai Halwa.

Ramesh Taurani: Sign Chandrachur Singh again for his next, after Friends, titled Foes.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Dedication, Barjatya Style

Even though there are more than seven months to go before the Barjatyas release their Hum Saath Saath Hain (on November 5), preparations for the same have begun in right earnest. Ajit Kumar Barjatya undertook a trip to several ‘A’ class centres of Uttar Pradesh earlier this week and, accompanied by his wife, visited cinemas there. They were at Novelty cinema of Lucknow for two hours. They also visited Kanpur, Allahabad and Varanasi with a view to be updated about the cinemas there and the facilities offered by the cinemas. That’s what one calls dedication!

New Media Moghul?

L.N. Mittal, the richest Indian on earth, has teamed up with Hindi film exporter Kishore Lulla to launch a new Overseas Hindi movie channel for the British, USA and Canadian markets. Lulla holds the Overseas rights of nearly 1,000 Hindi films. The new Hindi channel will go on air in the U.K. in July this year and will begin its operations in the USA and Canada by next year. Mittal is reportedly financing a number of Hindi films, currently on the floors, through a holding company, LMB Associates. London-based L.N. Mittal’s main business is steel, and he heads the Ispat International Group.

Hit Music Score

The music of Rakesh Roshan’s Kaho Naa…Pyaar Hai is a surefire hit. Besides the title song, two others numbers rendered by Lucky Ali are sure to climb the popularity charts rapidly once the film’s album is released. In fact, so beautiful are Rajesh Roshan’s compositions that people at HMV had a tough time deciding which song should be the first on the film’s audio cassette! Inspired by the lovely music score and because the film is the launching pad of his son, Hrithik, dad Rakesh Roshan is not sparing any efforts nor saving any money to make the songs a visual treat too.

LATEST POSITION

Bank and national holidays last week proved bountiful for the box-office.

Sarfarosh has done extraordinary in Bombay and Maharashtra. It is good in several other ‘A’ class centres, but collections started to drop at some places towards the end of the first week. 1st week Bombay 58,97,303 (93%) from 13 cinemas (8 on F.H.); Rajkot 1,67,292, Jamnagar 1,21,910, Adipur 1,13,698 (77%); Pune 15,79,591 from 5 cinemas (1 in matinee), Kolhapur 2,56,414, Solapur 2,22,178 (100%); Delhi (6 days) 46,34,526 (75.57%) from 11 cinemas (1 on F.H.); Lucknow 4,32,322, Kanpur 4,88,836 from 2 cinemas, Agra 4,35,635, Varanasi 2,62,788, Allahabad 1,93,525, Bareilly 1,99,402 (70.29%), Dehradun 2,69,500, Muzaffarnagar 1,35,000; Calcutta 23,67,220 from 14 cinemas (10 on F.H.); Nagpur 8,45,193 from 4 cinemas, Amravati 1,81,783, Raipur 1,83,503, Jalgaon 1,78,605; Indore 3,26,000 from 2 cinemas (2 on F.H.), Bhopal 2,57,792 from 2 cinemas (1 on F.H.); Jaipur 13,51,027 from 5 cinemas, Bikaner (gross) 2,90,565; Hyderabad (gross) 30,86,350 from 13 cinemas.

…………..

King Kong (dubbed) did poor in 1st week in Bombay; Raipur (6 days) 25,600.

Jai Hind 2nd week Bombay (TF) 4,29,089 (40.10%) from 2 cinemas (5 on F.H.); Pune (TF) 50,435, Solapur (TF) 72,810; Delhi (6 days) 89,849; Kanpur (TF) 1,06,268, Lucknow (TF) 77,073, Agra (TF) 73,215, Varanasi (TF) 1,02,189, Allahabad (TF) 78,088; Calcutta 78,000; Nagpur (TF) 56,099 from 2 cinemas, Jabalpur (TF) 25,823, total 66,996, Raipur (TF) 28,346, 1st week Bilaspur (TF) 35,601; 2nd week Indore (TF; 6 days) 43,329 (1 on F.H.), Bhopal (TF) 40,000; Jaipur (TF) 1,36,717, Jodhpur (TF) 1,50,000, 1st week Bikaner (TF) 78,820.

Silsila Hai Pyar Ka 3rd week Bombay 10,23,071 (39.65%) from 6 cinemas (3 on F.H.); Pune 2,88,803 from 3 cinemas (1 in matinee), Solapur 27,260; Delhi (6 days) 4,60,243 from 5 cinemas; Kanpur 56,597 from 2 cinemas, Lucknow 95,823, Agra 45,852, Varanasi 39,603, Allahabad 22,218; Calcutta 3,13,510 from 3 cinemas; Jabalpur 57,825, total 2,14,969, Raipur 42,620, Bhilai 34,050; Bhopal 38,748; Jaipur 61,120.

Anari No. 1 4th week Bombay 18,08,669 (51.32%) from 9 cinemas (6 on F.H.); Pune 5,18,115 from 4 cinemas (1 in matinee), Kolhapur 75,065, Solapur 1,03,836; Delhi (6 days) 5,31,076 from 4 cinemas (1 on F.H.); Kanpur (6 days) 1,72,368 from 2 cinemas, Lucknow 2,20,093, Agra 39,152, Allahabad 40,075, Dehradun 68,251 (3rd 84,162), Muzaffarnagar 32,000; Calcutta 1,59,319; Nagpur 1,07,320 from 2 cinemas, Jabalpur (6 days) 1,25,653, Raipur (6 days) 68,360, Bhilai 35,400, 3rd week Durg 36,766, Jalgaon 1,01,380, 4th week Bilaspur 60,533; Indore 81,364, Bhopal 1,00,000; Jaipur 2,13,245 from 2 cinemas; Hyderabad (gross) 3,76,326 from 3 cinemas (2 in noon).

…………..

‘SOLDIER’ SILVER JUBILEE

Tips Films’ Soldier entered 25th combined (silver jubilee) week on 7th May at Dreamland (matinee), Bombay and other centres of India. It is directed by Abbas Mustan and stars Bobby Deol and Preity Zinta. Music: Anu Malik.

‘HUM AAPKE DIL MEIN…’ CELEBRATES 100 DAYS

Producer D. Rama Naidu’s Hum Aapke Dil Mein Rehte Hain completed 100 days on 1st May at Novelty Cinema, Bombay and other centres of India. Satish Kaushik has directed the film starring Anil Kapoor and Kajol. Music: Anu Malik.

DEEP JAIN’S DAUGHTER WEDS

Marriage of Kavita, daughter of Deep Jain of Film Jagat Enterprises, Delhi, with Manish was solemnised on 5th May in New Delhi at Hotel Park Royal. The wedding was a lavish and well-attended affair.

GIGANTIC MOVIE WORLD COMING UP IN AHMEDABAD

A new cineplex, consisting of three cinema screens, will open next year on the outskirts of Ahmedabad city. Spread over an area of 4,30,400 sq. ft., Movie World will also feature other leisure and entertainment activities apart from cinemas. The cinema complex is being designed by architect Hasmukh C. Patel who has bagged a lifetime achievement award at the hands of the president of India. The complex is owned by Rajshri group of companies, whose other holdings include Rajshri (erstwhile Ajay cinema), Bhavnagar, Dharam cinema, Rajkot, Pradeep cinema, Junagadh, and Shalimar and Rajshri cinemas in Gandhinagar.

The multiplex will house, among other things, bowling alleys, food parlours, outdoor games, miniature golf courses etc. The multiplex-cum-entertainment park will be made on the lines of Universal Studios in the USA.

NAZIA HASAN IN COMA

Nazia Hasan, the Pakistani singer who shot to fame with the ‘Aap jaisa koi’ song of Feroz Khan’s Qurbani, is battling for life at a London hospital. She slipped into coma on 30th April. Nazia, who is in her late 30s, has been suffering from blood cancer since the last couple of years.

Tolanis Gear Up For Prestigious Release

No distributor can, perhaps, claim to have acquired as many big films as the Tolanis have for C.I. After firmly establishing Sapna and Sangeeta as two leading cinemas of Indore, Arjundas Tolani and his two sons, Sanjay and Rajiv, have now acquired a line of biggies for distribution in C.I. The first to be released from among their acquisitions will be Vashu Bhagnani’s Biwi No. 1. The line-up includes such films as Arjun Pandit, Chal Mere Bhai, Hadh Kar Di Aapne, Aankh Micholi and Bichhoo.

The Tolanis plan to release Biwi No. 1 with a record number of 21 prints. They have finalised a number of cinemas already at competitive terms and the response to the film in exhibition circles is “fantastic”, according to their manager, O.P. Goyal. The Tolanis have commenced the film’s publicity in their circuit in right earnest. The designer posters are said to be attracting a lot of public attention.

Sanjay Tolani told Information, “Besides starting distribution in a big way, we will also be upgrading Sapna and Sangeeta cinemas soon. Tube-lifts will be installed at both the cinemas. They will also be equipped with air-conditioners shortly.” So lucky have Sapna and Sangeeta cinemas proven for the Tolanis that they’ve called their distribution office, Sapna Sangeeta Distributors.

3-E
Education-Entertainment-Enlightenment

Boney In Rama Naidu’s Shoes

It was all of a sudden that Boney Kapoor on 7th May launched a film with Satish Kaushik as director. Actually, the film, a remake of the Telugu hit, Pelli Cheskundama, was to be made by D. Rama Naidu. Then how did Boney come to launch it? The story goes like this. Rama Naidu had promised to acquire the Hindi remaking rights of another Telugu hit for Boney. But when Naidu did not succeed in bagging those rights, he gracefully gave up the rights of Pelli Cheskundama and asked Boney to remake the film instead of himself doing it. Of course, Boney jumped at the offer and launched the remake even before Rama Naidu would have! Story of one hero and two heroines, it is planned as a quickie by Boney. Boney and quickie? Yes, this time, the guy has even announced the release date — first week of April 2000! And Boney seems to be taking no chances. He consulted an astrologer who advised him not to leave his home for the film’s muhurt before 12.45 p.m. And so, the muhurt earlier fixed for 11 a.m. was ‘delayed’ by 2 hours. Incidentally, while Anil Kapoor and Aishwarya Rai have already been finalised, the other heroine is to be finalised as yet. The role, according to Boney, is meaty. So who will be the lucky one?

Salman In Brief

Salman Khan stripped right down to his underwear during a dance routine at a stage show held in London on 3rd May. Salman performed the striptease amidst cheers from teenage girls in the audience while leaving older members quite aghast with his antic. It all happened when, in the course of dancing to a song, Salman threw off his jacket and then removed his trousers, too, to prance about the stage, clad only in his black brief and shoes. Amitabh Bachchan, Urmila Matondkar, Jaspinder Narula, Sunil Shetty and Tabu were among the other Bollywood personalities who attended the concert organised by Sony Entertainment Television and B4U.

Subsidy Amount Hiked

For the Marathi film industry, producer Satish Kulkarni’s contacts with ministers in the Maharashtra government have often proved useful. It was Kulkarni who had prevailed upon the government to increase the amount of subsidy payable by the state government to Marathi film producers from Rs. 12 to Rs. 15 lakh a couple of years ago. And this, in a purely personal capacity. Once again, Satish Kulkarni managed to convince the new chief minister, Narayan Rane, and deputy chief minister, Gopinath Munde, to further increase the subsidy amount — this time from Rs. 15 lakh to Rs. 16 lakh. This happened on 30th April at the Maharashtra state government awards function. Kulkarni seized the opportunity as both the ministers were together at the function and it took two minutes for him to convince them of the need to hike the subsidy amount! The CM and the deputy CM readily obliged and, therefore, the Marathi film producers are euphoric.

BIOSCOPE

BIWI NO. 1
Rib-Tickling Comedy

Vashu Bhagnani’s Biwi No. 1 is a rollicking comedy about extra-marital affairs. Salman Khan and Karisma Kapoor are blissfully married to each other for years. While Salman is a self-made advertising agency head and an ideal husband, Karisma is a caring wife who has supported her husband through thick and thin. She is also the quintessential Bharatiya naari who is content in living in her husband’s shadow. Their family is complete with two children who they dote on. However, after several years of living together, Salman begins to find a plain-Jane Karisma less attractive. He somehow begins believing that he needs a change. In walks Sushmita Sen, a model, whose only goal in life seems to be to marry a rich man so that she can live life in the lap of luxury. Salman happens to meet her and is instantly attracted to her. However, like any other erring husband, he fails to mention his marital status to Sushmita. Soon, they grow closer and Salman even takes Sushmita along on a business trip abroad. There, Anil Kapoor, who is the family doctor and a friend, spots them both together. Anil is on a holiday trip with his wife, Tabu. Salman somehow manages to convince Anil that he is only having a fling and that, he still loved Karisma too much to leave her for anyone else. Having been convinced that Karisma is not in any danger of being deserted by her husband, Anil leaves the matter at that.

Salman and Sushmita return to India, but their affair soon comes to the notice of Karisma. A hurt Karisma forbids Salman from entering their house. Salman, then, begins to have a live-in-relationship with Sushmita. When Anil Kapoor learns of this sudden turn of events, he apologises to Karisma for not having tipped her off about Salman’s erring ways earlier. He also exhorts her not to take the injustice meted out to her by Salman, lying down. Karisma then resolves to win her husband back. She devises a number of hilarious but effective ploys, in tandem with her children, her mother-in-law and Anil Kapoor, to create a negative impression of Sushmita in Salman’s mind.

This David Dhawan film boasts of a number of funny sequences and scenes that are expected to have the viewers rolling on the floor laughing. The film has a formidable star cast which includes Salman Khan, Karisma Kapoor, Anil Kapoor, Tabu, Sushmita Sen and Saif Ali Khan (playing a photographer who is in love with Sushmita). The music, scored by Anu Malik, is racy. The title track and Hai jawaani toh are the pick of the lot. The film releases in the middle of the cricket World Cup matches, on 28th May, and may still succeed in hitting the bull’s eye at the box-office, going by Vashu Bhagnani and David Dhawan’s 100% track record together.

SOORYAVANSHAM
A Father And Son Saga

Padmalaya Combines’ Sooryavansham depicts Amitabh Bachchan in the dual roles of a father and son. While the father is a rich and unflinchingly principled landlord, the son is more of the happy-go-lucky type. This becomes the cause for a great amount of friction between the two, which is aggravated by certain key incidents in their lives. The matter comes to such a pass that the son chooses to leave the comforts of his father’s house — a development which is well-exploited by the father’s villainous rival to further his own end. Eventually, however, the father and the son unite to destroy the villain, played by Mukesh Rishi. The romantic angle in the film is served by South’s Soundarya, who plays an IAS officer in love with the son. Jaya Kapoor nee Sudha plays the older Amitabh’s wife while debutante Rachana Chatterjee, Anupam Kher, Bindu, Shivaji Satam, Neelima Azim, master Anand Vardhan and Kader Khan comprise the rest of the cast.

This Hindi remake of the super-hit Tamil film, Sooryavamsam, is directed by the prolific Telugu film director, E.V.V. Satyanarayana. The film also marks the return of Padmalaya to Hindi films after a gap of 10 years. Anu Malik’s music and Sameer’s lyrics, both, combine to create a melodious score that is part-romantic and part-folk. The film is due for release on 21st May.

SIRF TUM
Love Story So Unusual…

Have you ever heard of a love story in which the lovers never meet? Well, that’s Sirf Tum. One may recall that when the Tamil film, Kaadhal Kottai, became a runaway hit, there was a scramble to acquire its Hindi remaking rights. The lucky producer was Boney Kapoor who, besides using his luck, had to also pay a hefty price for the rights. After buying the rights, he roped in Ahathian, the director who had made the original too. The remake may have taken a fairly long time in the making but Boney’s confidence in the project and its director was vindicated when Ahathian bagged the National Award two years ago for the same film.

Sanjay Kapoor and Priya Gill play the two romantics who never meet till the film almost ends. And yet, their romance blossoms. There’s a third angle to the story too. Sushmita Sen plays the ultra-rich boss of Sanjay Kapoor. She is head over heels in love with Sanjay, but will Sanjay agree to marry her? Not at all! Our man is in love with Priya Gill, so what if he hasn’t seen her and vice versa! A nail-biting climax sees the two love-birds unite. In the Tamil original, the audience is reported to have let out sighs galore for the hero and heroine. Will history repeat itself in Hindi? Sanjay and Priya fervently hope so. So does Sushmita Sen.

The music score by Nadeem Shravan is already very popular. In fact, Sirf Tum is one of the hot-selling albums today, not just in India but abroad too.

AARZOO

Dayavanti Pictures’ Aarzoo (UA) is a love triangle which is an insult to the viewer’s common sense. The story is one which has been seen in many films earlier and the screenplay is poor.

A rich girl is in love with a pilot but her father is keen that she get married to her childhood friend. The father’s keenness stems from the word he had given to the boy’s dying father. To ensure that his promise is fulfilled, the girl’s father hatches a conspiracy to kill the pilot and almost succeeds. But the pilot survives the stage-managed deadly accident and returns, after years, to seek revenge and win his girlfriend back (who by then is married to the same childhood friend and has also given birth to the pilot’s child). The pilot’s return coincides with the realisation that dawns on the lady about her husband’s (childhood friend’s) true love for her and she is ready to consummate her marriage after so many years. Torn between her lover and her husband, she finds herself in a dilemma but the convenient script, that doesn’t care for logic, comes to her rescue — her husband is killed in the climax, and she returns to her lover.

As the film progresses, one thing emerges quite clearly — that the sole intention of the producers was to make a fast buck and to take the distributors for a royal ride. For, although the film has been shot on eye-pleasing locations and has reasonably lavish song picturisations, no care has been taken of the script and even the making, the two most important things in a film. The cast seems to be totally disinterested.

The heroine shuttles between the two heroes as if she were a ping pong ball. Towards the film’s ending, it almost appears as if she is in a win-win situation because she is bound to get at least one of the two heroes! The pilot is presumed dead but when he returns after about seven years, his grouse is that his lady love did not have the patience to await his arrival! But how should the lady ever know that the pilot was alive? So why blame her? To justify the pilot’s grouse, the lame excuse given is that he (pilot) had written letters to her during that period — letters that never reached her. But when the pilot suspected foul play in the accident that almost claimed his life, why didn’t he suspect similar foul play in the communication through letters? Writer Reema Rakesh Nath and director Lawrence D’souza have no answer to this question as to innumerable others. For instance, why does the childhood friend cry at the girl’s engagement ceremony and guzzle drink after drink in spite of having voluntarily sacrificed his love? Why does the heroine not tell the pilot at the first given chance that her child had been fathered by him and not by her legally wedded husband? Why does the second hero’s diary, set afire, burn the whole room, but yet remain intact for the heroine to read it?

The film relies heavily on clichés. The ‘statue’ punch has not only been seen in many earlier films but has been done to death. The ‘Maa Sheranwali’ song springs up from nowhere and its relevance in the pre-climax (when the pilot’s letters come falling out from behind a Maa Sheranwali calendar) will be lost on the audience due to its poor handling. The point about the pilot being unconscious for several years together, sounds ridiculous! The comedy scenes in the first half are too poor to evoke laughter. The love angle of the childhood friend looks unbelievable as it is sought to be established through a dull song and his diary jottings. Care has not even been taken of the geographical details. The childhood friend returns from abroad but is received at the airport which also is located abroad! The confrontation between the lady and the pilot in the pre-climax is half-hearted. The last four to five reels of the film have been mixed wrongly — there’s no lip-sync with the dialogues spoken. The dialogues are routine.

Madhuri Dixit looks too mature and seasoned to play the role written for her. Even an excellent performer like her has not been able to rise above the dull script. She has, however, looked pretty at places. Akshay Kumar does an average job and looks lost in the second half. Saif Ali Khan is mechanical. Amrish Puri is so-so. Paresh Rawal is competent and raises laughter at places. Aroona Irani has been hopelessly wasted. Laxmikant Berde, too, has no worthwhile role. Reema, Tej Sapru, Mohan Joshi, Mukesh Rishi, baby Sadat, baby Ghazala and baby Sundas lend average support.

Lawrence D’souza’s camerawork is very good but the same can’t be said of his direction which is dull, to say the least. Music is a mixed bag. The ‘Ab tere dil mein’ is very well-tuned; the ‘Saajan’, ‘Tu soni kudi’ and title tracks are good. But the engagement song and the ‘Mehbooba’ number are poor. Foreign locations are extremely eye-pleasing. Action scenes look contrived. The gliding scene in the climax is unintentionally hilarious! Editing is poor. Background music is ordinary. Technically, weak (as mentioned above).

On the whole, Aarzoo is an insipid fare and an exercise in futility at the expense of gullible distributors who will stand to lose heavily.

Released on 18-3-’99 at Metro and 2 more cinemas and on 19-3-’99 at 15 other cinemas of Bombay by Dayavanti Distributors thru Shringar Films. Publicity: very good. Opening: dull. …….Also released all over. Opening was poor in several circuits. (A disastrous drop in collections was noticed in cities like Indore on the 2nd day.)

RAMESH SHARMA SHOT AT

Producer Ramesh J. Sharma was shot at by unidentified persons on the evening of 19th March at Bandra Reclamation in Bombay. He was rushed to the nearby Lilavati Hospital at Bandra, where, at the time of going to the press, he was being operated upon. The operation, according to his wife, was to last five hours. The bullets were fired on his face and abdomen, it is learnt. Ramesh Sharma was supervising a set being erected for his BAAGHI when the assailants attacked. A couple of arrests have reportedly been made.

ANOTHER CINEMA CLOSED

One more cinema of Shahdol (C.I.) — Kiran — has downed shutters. Now, only one cinema is running at Shahdol.

U.P. GOVT. GETS TOUGH ON COPYRIGHT VIOLATIONS

The Uttar Pradesh government has notified that all cable operators must produce before the district entertainment tax officer, the copyright certificates of all films to be shown on their networks, seven days prior to their telecast. It has further notified that in case a cable operator fails to produce the certificate at least three days before a film’s telecast, his licence would be revoked. Accordingly, all entertainment tax officers in the state have been directed to prepare a list of all films shown on cable TV and launch proceedings against defaulters in this regard. An additional licence fee of Rs. 100 per connection has also been levied on the cable operators apart from the existing annual fee of Rs. 2,400.

JAWAHARLAL BAFNA BACK HOME

Producer Jawaharlal Bafna, who had left home on 12th March after the release of his Aaag Hi Aag that day and who was untraceable since then, finally returned home on 15th night. He had been to Ahmedabad, says he.

NEW CINEMA IN BOMBAY

Sahitya Sangh Mandir in Bombay, which exclusively staged plays so far, has also begun screening films with Vahinichi Maya (Marathi; tax-free) from yesterday (19th March). The auditorium has a seating capacity of 818 and will screen only Marathi films in 2 shows daily. On weekdays, films will be screened in the 12.30 p.m. and 3.30 p.m. shows and on Saturdays and Sundays, in the 12.30 p.m. and 9.30 p.m. shows. The tax-free admission rates are Rs. 9.75, Rs. 12.85, Rs. 16 and Rs. 19.10. Further details about the cinema, controlled by Shenoy (of Milap cinema, Kandivli, Bombay), can be had on telephone nos. 385-6303/387-6158.

INDIA’S FIRST MULTIPLEX IN AHMEDABAD

Come 30th April and Ahmedabad will have a designer multiplex called City Pulse Entertainment Complex. Located on the Ahmedabad Gandhinagar expressway, this complex has three cinemas with seating capacities of 550, 450 and 240. There is a common projection room. Besides the cinemas, it has restaurants, fast food joints, bowling alleys, video parlours, an art gallery, 5-star suites and a swimming pool.

The cinema complex has been constructed by Ashok Purohit who is also a leading architect of the walled city of Gujarat. The cinemas will be managed by Nandu Bohra.

VATSA OFFICE ATTACKED: RAVI BURMAN ESCAPES UNHURT

A group of depositors of Vatsa Corporation Limited attacked the Vatsa Music office at Fort (Bombay) recently. They also threatened to beat up Ravi Burman, the chairman of the company.

Due to persisting financial problems, Vatsa has not been able to pay back the interest money and principal amounts to its depositors.

The mob forcibly entered the premises, breaking the glass door, window panes and other furniture. Burman, who was in his cabin, escaped unhurt.

PRODUCER ASHOK ROY DEAD

Producer Ashok Roy died at a hospital in Bombay on 19th March due to a liver problem. He was 63 and is survived by his son, Sanjay Roy (who is working as Vimal Kumar’s chief accountant), and a daughter.

Ashok Roy had produced Ek Khilari Bawan Pattey. Before turning producer, he used to work as the general manager of J. Om Prakash’s production concern. He also worked as the production incharge of Surinder Kapoor’s company and N.P. Ali’s company.

MOTI SAGAR DEAD

Yesteryears’ hero Moti Sagar passed away on 14th March in Bombay following a cardiac arrest. He was 72 and is survived by three daughters, including singer Preeti Sagar and television anchor-person Namita Sagar.

Moti Sagar had acted in films like Apna Ghar, Burma Road and Chhoti Chhoti Batein. At the time of his death, he had been producing and directing the TV serial Phulwari Bachchon Ki since the last seven years.

MUSIC DIRECTOR EJAZ HUSSEIN NO MORE

Music director Ejaz Hussein of the music director duo Pradeep Udhas – Ejaz Hussein passed away in Bombay on 6th February due to a cardiac arrest. The duo has composed the music for the ready-for-release Hote Hote Pyaar Ho Gaya. Ejaz is survived by his wife and two sons.

FIRST SUPERMAN OF FILMS PASSES AWAY

Kirk Alyn, the first Superman of films, died on 14th March in Woodlands, Texas (USA). He was 88. Kirk, at the age of 37, played the title role in Columbia’s Superman for the first time and once again played Superman in Atom Man Vs. Superman in 1950.

PRODUCTION NEWS

‘Haseena Maan Jayegi’ Last Schedule

Anu Malik recorded the seventh and last song of Rahul Productions’ Haseena Maan Jayegi on March 16 at Empire Audio Centre. It was penned by Sameer and rendered by Sonu Nigam and Alka Yagnik. The film is being produced by Smita Thackeray and directed by David Dhawan. The last two songs of the film will be picturised from March 24 to 30 in Bombay on Sanjay Dutt, Govinda, Karisma Kapoor and Aroona Irani. Also in the cast are Pooja Batra, Paresh Rawal, Kader Khan, Satish Kaushik, Mohan Joshi, Aasif Sheikh and Anupam Kher alongwith Bindu and Asrani in guest appearances. Story-screenplay: Yunus Sejawal and Imtiaz Patel. Dialogues: Rumi Jafri. Cinematography: K.S. Prakash Rao. Action: Mahendra Verma. Art: R. Verman. Dances: Ganesh and B.H. Tharun Kumar. Sound: Vinod Potdar. Editor: A. Muthu. The film is presented by Bharat Shah and is being readied for June 24 release all over.

‘Sooryavansham’ Post-Production Work In Madras

Padmalaya Combines’ Sooryavansham was shot from March 1 to 16 in Hyderabad. Climax scenes and a song were picturised on the entire cast. Dubbing of the film began on March 17 at Media Arts in Madras. Amitabh Bachchan is completing his dubbing first. The recording of background music will begin from March 26. The shooting of the film is already complete except for the picturisation of two songs to be done from March 31 to April 9. The film is being readied for release on May 6. Others in the cast are Soundarya, Anupam Kher, Bindu, Shivaji Satam, Mukesh Rishi, Jaya Kapoor, Rachna Banerjee, master Anand Vardhan and Kader Khan. Producer: G.A. Seshagiri Rao. Director: E.V.V. Satyanarayana. Story: Vikraman. Music: Anu Malik. Lyrics: Sameer. Dialogues: Aadesh K. Arjun. Choreography: Chinni Prakash. Cinematograhy: S. Gopal Reddy.

MUSIC INFORMATION

HMV Celebrates 50 Years Of R.K.

HMV has released a 3-cassette pack of R.K.’s hits, titled ‘R.K. Films – A 50 Year Celebration’.

CENSOR NEWS

A.K. International’s Anari No. 1, applied on 16th and seen on 17th, has been issued C.C. No. CIL/1/15/99 (U) dt. 18-3-’99; length 4573.52 metres in 18 reels (no cut).

D.M.S. Films’ International Khiladi, seen on 15th, has been issued C.C. No. CIL/3/14/99 (A) dt. 19-3-’99; length 5270.83 metres in 18 reels (cuts: 99.19 metres).

Matharu Films’ Lafda was given C.C. No. CIL/3/13/99 (A) dt. 12-3-’99; length 3972.95 metres in 15 reels (cuts: 191.48 metres).

Gulab Films’ Bhoot Ka Darr was given C.C. No. CIL/1/14/99 (U) dt. 17-3-’99; length 2327.17 metres in 13 reels (no cut).

Goel Screencraft’s Safari has been passed with U certificate, with minor cuts.

Karishma International’s Jaanam Samjha Karo, see on 16th, has been passed with U certificate, with cuts.

2000 Films’ Tan Aggan (revised) has been passed for adults, with cuts.

Well Make Films’ Kaamdev has been refused certificate.

YOU ASKED IT

What is the meaning of Gaj Gamini, the title of M.F. Hussain’s film? Is Shah Rukh Khan playing a role in the film.

– The title signifies a woman who has the gait (walk) of an elephant. Yes, Shah Rukh Khan will make a special appearance in the film.

What do you think of the multiple film awards functions?

– It’s a joke, so just enjoy it! Jokes apart, the awards functions serve to fan the massive egos of the industry people who will keep cribbing about them and yet keep attending all of them and, maybe, even performing in them.

How is it that Deepak Sareen has not bagged any directorial assignment after the success of Jab Pyaar Kisise Hota Hai?

– Maybe, because of his shy disposition, he may not be pushing himself in this dog-eat-dog industry. He is already directing Tips’ ALBELA. A couple of more announcements with Deepak as director are on the cards.

3-E
Education-Entertainment-Enlightenment

Talent Waiting To Be Tapped

Mazhar Kamran is an interesting person to talk to, apart from being an ace cinematographer that he, obviously, is, as proved in Ram Gopal Varma’s Satya and Kaun. A graduate from FTII, Pune, Kamran got his first big break when Muzaffar Ali (he directed Umrao Jaan, remember?) offered him the lesser-known Husn-E-Jaana for BiTV. A few documentaries and short films later, Kamran landed the plum assignment of cinematography of Satya. At that point, Satya had already been shot 25% by American cinematographer Gerard Hooper. Recounting the experience, Kamran says, “I was extremely surprised when Varma offered me Satya. He had called me after a common friend had suggested my name to him. We had a very informal chat. At the end of it, he told me, ‘You are doing my film.’ Just like that, I asked him if he would like to see my previous work, and he said that there was no need for it. He said, as long as I was confident of doing my job, he had no problems!” That Kamran not only did his job, but more, is evident from the ‘real’ visual appeal of Satya. This must have been the reason why Ram Gopal Varma signed Kamran on for his next, Kaun, a couple of weeks before the release of Satya.

Kamran is currently negotiating a few offers, but “nothing concrete at the moment”. He feels that not knowing many people in the industry may prove to be a disadvantage for him. But that shouldn’t come in the way of real talent, should it?

Love Is In The Air…

And this snippet requires absolutely no comment. Take a look at the films lined up for release in the next few weeks — Silsila Hai Pyar Ka, Hote Hote Pyaar Ho Gaya, Hogi Pyar Ki Jeet, Pyar Mein Kabhi Kabhi, Pyar Koi Khel Nahin.

Now, if only everyone in the industry loved each other so much. Alas…..

Dream Merchant

It’s An Ad Mad World Of Bollywood

Film artistes are doing more commercial advertisements than films these days. Or so it appears if you go by the number of times the commercials are repeated every day on every satellite channel. Aamir Khan may not have sold his Sarfarosh the way he is hard-selling Coke these days. Cool dude Salman Khan makes you reach out for the cool Thums Up in its commercial even as he ‘sells’ Jaanam Samjha Karo in another ad. Shah Rukh Khan, Kajol and Ranee Mukerji, the trio that made millions of hearts go aflutter in Kuch Kuch Hota Hai, are these days trying to sell you Pepsi. And so, naturally, I had to dream about our stars and the products they’d endorse.

Sunny Deol was the ideal choice for Iodex. His back problem is by now as famous as his dare-devil stunts on screen. Imagine Sunny Deol exhorting the public to buy Iodex with the line,

“Iodex maliye, shooting pe chaliye.”

Govinda, I dreamt, was trying very hard to bag the ad film of HMT Watches, after the commercial of Godrej’s Ganga Soap in which he acted under the direction of none other than Shekhar Kapur. But the HMT people were wary of his reputation of being late everywhere. Govinda, it seems, put them at ease by writing his own ad script for HMT:

Main to late late jaa raha tha
Main to producers ko sataa raha tha
Late late ja raha tha
Producers ko sataa raha tha
Achhee ghadi na mili to main kya karoon
Achhee ghadi na mili to main kya karoon

After this song, Govinda would break into a jig with the following song:

O kaale patte wali tera naam toh bata
O gol dial wali tera naam toh bata
Tera naam toh bata, tera naam toh bata

Obviously, the naam of the gold dial and kaale patte wali watch will be HMT. After the HMT blah-blah, Govinda would finally announce in his typical English:

I was always late
Till Watch No. 1 became my new mate
Now you see my success rate
It will really be great.

Last heard, Govinda was late for the shooting of the commercial by just 14 hours. And so, he’s out!

Kashmira Shah had been roped in for the Roopam ad. The ad was short, like her mini dresses in films, and sweet, not like the fate of some of her releases. Clad in clothes, Kashmira would announce:

“Jee haan, main bhi kapde pehenti hoon
Agar woh Roopam ke ho”.

Ting Tong!!

The makers of Moov ointment, I dreamt, were roping in the all-India distributors of films starring Akshay Kumar and Akshaye Khanna. “Aa-a-a-a-a-a-a-a hamari kamar”, the distributors would wail in chorus.

“Kamar mein dard hai?”,
Akshay Kumar would ask.
“Toh Moov lagaao”,
Akshaye Khanna would advise.
“Arrey nahin, hamari toh
kamar toot gayee re,
aisi filmein release kar-kar ke”,

the distraught distributors would reply.

“Toh phir Move ho jaao”,
Akshaye would say,
“Aur hamari agli filmein mat kharido”,
Akshay Kumar would conclude.

Shah Rukh Khan would advertise for Balbharti Learner’s Hindi Academy.

“Jaise maine seekhi, aap bhi
seekhiye — shudh Hindi —
Balbharti Learner’s Hindi Academy se.
K.K.K.K…..se Kiran.
D….D….D…. se Darr.”

Aishwarya Rai seemed to be the first choice for the Kitply ad film. The whole ad would be in the same format as at present except for the end. In the ad currently on air, the model, drenched in pouring water, shouts, “Arrey bhai, main Kitply nahin hoon.” In the new ad, a drenched Aishwarya, clad in Jeans, would sob,

“Arrey bhai, aur paani daalo,
aakhir main bhi Kitply hi hoon.”

The only hitch is, the wooden actress is demanding the price of rosewood for the Kitply commercial.

K.C. Bokadia and Amitabh Bachchan would come together again. No, no, not for a feature film but for an ad film. In the typical Bokadia style, the product to be advertised would be decided later but the catchline had already been finalised. Just like Bokadia’s scripts are finalised after his shooting schedules! Anyway, without being bitchy, let’s come back to the catchline. Actually, one of the following two short-listed catchlines was to be finalised. While Bokadia preferred the former, Bachchan was keen on the latter. The two catchlines:

(1) Bore ka jhatka dheere se lage.
(2) Crore ka jhatka dheere se lage.

Rakesh Roshan, I dreamt, had been approached to appear in the commercial for Head & Shoulders Shampoo. Roshan Sr. was priding himself in the industry, saying that the H & S people had selected him, only because he was the only successful filmmaker who had his head on his shoulders. Did the others have their shoulders on their heads? Anyway, Rakesh Roshan would move round and round like Pooja Batra does in the Head & Shoulders commercial. Only thing, since Rakesh is bald, there wouldn’t be the healthy flowing hair. The punch-line would be:

Head & Shoulders apnaayen.
Na rahega baal, na bajegi dandruff ke kaaran band!

Quite a Bald & Beautiful ad, this.

Mahima Chaudhry, I dreamt, had been thrown out of the Nirma detergent ad. The ad filmmaker was none other than Raj Kanwar and, therefore, poor Mahima couldn’t get her lines properly. Perhaps, she was so obliged towards Raj Kanwar that she kept making a mistake. Instead of singing.

Nirma detergent tikiya
Iske jhaag ne jadoo kar diya,

the discovery of Subhash Ghai kept singing,

Nirma detergent tikiya
Iske Daag ne jadoo kar diya.

The ad film producer was livid. “Listen,” he thundered, “Nirma is for removing daags, not for creating daags. If we have to make a film for daag, we’d rather take Monica Lewinsky to act, and Bill Clinton to direct, not you and Raj Kanwar.” Mahima blushed — at the producer’s sense of humour — and wept at being thrown out.

Rambha had been signed for the Close Up commercial but language was her problem. Able to understand neither English nor Hindi, the sexy actress, nevertheless, flew from Madras for the shooting. She reported in a mini frock with cycling shorts underneath. Everytime the director shouted, “Action”, Rambha would lift her mini up. The perplexed director didn’t know what had hit this Rambha-ho-idli-sambhar-ho and ‘closed up’ on her. To his dismay, he realised that Rambha had mistaken the commercial as one for Clothes Up instead of Close Up! Curtains down!!

Salman Khan was planning to do a commercial for VIP Underwears. With his penchant for posing topless with his Calvin Klein underwear band showing from under his pants, the sexy Khan would declare:

“Ab yeh Under ki baat hai!”

The only product, perhaps, for which a suitable star was not being found was Fair & Lovely cream. When approached, Mamta Kulkarni said, she’d rather appear in an ad for Bare & Lovely. Hairy Anil Kapoor scoffed at the offer of Fair & Lovely and announced that he was due to shoot topless for a commercial of Hair & Lovely.

Gosh! I woke up with a start. I had dreamt too many things, some of them frighteningly funny and some scaringly stupid. It was, so to say, a Nightmare & Lovely!

– Komal Nahta

BOMBAY FILM INDUSTRY CLOSURE POSTPONED TO AUGUST 18

The proposed one-day strike of the Bombay film industry and the rally of August 11, to demonstrate the industry’s protest against the government’s inaction in curbing cable piracy of Hindi films, have been postponed by a week — to August 18. The rest of the details remain the same i.e. the entire industry will down shutters on August 18 (instead of August 11) and a rally will be organised from Juhu to Mantralaya in Bombay. It will terminate after an industry delegation hands over a memorandum to the chief minister, urging him to take firm and necessary action to curb the menace of cable piracy.

A meeting of representatives of all sectors of the film industry will be held at Mehboob Studios on August 9 at 4 p.m. to chalk out other details of the closure and the rally.

LATEST POSITION

Heavy rains in Maharashtra and various other parts have adversely affected collections.

Pyaar To Hona Hi Tha has done very well in the 1st week and is particularly excellent in major cities of the various circuits, but a drop was noticed in several other places from 5th/6th day onwards. 1st week Bombay 22,60,634 (100%) from 5 cinemas (6 on F.H.), Vashi 2,67,750; Ahmedabad 11,13,784 from 6 cinemas (1 unrecd.), Vapi 6,19,710 from 2 cinemas, Padra 2,03,464, Rajkot (matinee) 36,697 (1 unrecd.), Jamnagar 1,29,282 from 2 cinemas (1 in matinee); Pune 11,83,723 from 5 cinemas, Solapur 2,30,726 from 3 cinemas (1 in matinee); Belgaum 1,16,507; Delhi 39,85,872 (86.65%) from 9 cinemas; Kanpur 4,10,924 from 2 cinemas, Lucknow 4,18,769, Allahabad 2,07,370, Varanasi 1,85,603, Meerut 2,05,644, Hardwar 1,05,562; Rohtak 41,215; Calcutta 20,04,361 from 12 cinemas; Nagpur 8,26,157 from 4 cinemas, Amravati 1,81,427, Akola 2,07,640, Raipur 1,75,612, Chandrapur 1,63,531; Indore 2,38,013 (3 on F.H.), Bhopal 4,29,711 from 2 cinemas; Jaipur 12,07,588 from 4 cinemas, Ajmer (29 shows) 1,66,938; Hyderabad 15,58,445 from 7 cinemas (1 in noon).

Angaaray has not found appreciation. 1st week Bombay 20,01,430 (60.56%) from 9 cinemas (8 on F.H.); Ahmedabad 2,76,671 from 3 cinemas (1 unrecd.), Rajkot 1,07,265 (1 in matinee unrecd.); Delhi 14,86,349 (43.03%) from 8 cinemas (1 on F.H., 1 unrecd.); Kanpur 1,84,528 from 2 cinemas, Lucknow 1,83,452, Allahabad 63,500, Varanasi 1,22,068, Bareilly 63,669 (41.36%); Calcutta 11,76,360 from 16 cinemas; Nagpur 2,00,729 from 4 cinemas; Indore 2,46,803 from 2 cinemas (2 on F.H.), Bhopal 1,47,872 from 2 cinemas; Jodhpur 1,62,000; Hyderabad 16,24,303 from 9 cinemas (7 on F.H.), share (including F.H.) 11,25,000.

Kareeb drops further. 2nd week Bombay 19,45,260 (50.35%) from 7 cinemas (3 on F.H.); Ahmedabad 1,59,812 (1 unrecd.), Vapi 1,00,900, total 3,71,394, Baroda 1,42,107; Pune 3,27,269 from 2 cinemas (1 in matinee), Solapur 40,725; Delhi 22,13,639 from 6 cinemas; Kanpur (6 days) 85,642, Lucknow 2,33,575, Allahabad 57,880, Varanasi 85,212, Bareilly (6 days) 51,603; Calcutta 6,17,540 from 3 cinemas; Nagpur 1,04,498, Amravati (6 days) 42,390, Raipur (6 days) 54,834; Bhopal 97,454; Jaipur 1,61,244, Bikaner 90,024; Hyderabad 4,44,744 from 2 cinemas.

………..

Dulhe Raja 3rd week Bombay 11,63,643 (60%) from 6 cinemas (3 on F.H.); Ahmedabad 2,19,454 from 3 cinemas, Jamnagar (matinee) 11,582; Pune 3,60,532 from 3 cinemas, 2nd week Solapur 81,306; 3rd week Delhi 12,55,330 from 6 cinemas (1 on F.H.); Kanpur 2,81,071 from 2 cinemas, Lucknow 1,84,528, Allahabad 1,11,300, Varanasi 1,42,824, Bareilly 1,08,114 (50.04%); Calcutta 2,43,450 from 2 cinemas; Nagpur 1,63,801 from 2 cinemas, Amravati 93,002, 2nd week Akola 1,02,477, total 2,97,009, share 2,24,304, 3rd week Raipur 95,182, Jalgaon 94,000, Yavatmal 57,286; Indore 1,53,780, Bhopal 1,63,092; Jaipur 2,69,706 from 2 cinemas; Hyderabad 3,45,506 from 2 cinemas (1 in noon).

Satya is extraordinary in Maharashtra. 4th week Bombay (TF) 44,08,892 (86.16%) from 10 cinemas (6 on F.H.); Ahmedabad 1,49,907 from 2 cinemas, Rajkot 45,744; Pune (TF) 8,90,283 from 5 cinemas (2 in matinee), Solapur (TF) 1,74,035; Delhi 6,33,364 from 3 cinemas (1 on F.H.); Kanpur 96,501 from 2 cinemas, Allahabad 60,857, Varanasi 39,838; Calcutta 1,83,352; Nagpur (TF) 2,20,782 from 2 cinemas, Amravati (TF) 1,44,679, Akola (TF) 71,846, total 3,23,938, share 2,38,770, 1st week (3 days) Wardha (TF) 59,695, Chandrapur (TF) 1,21,222; 4th week Bhopal 70,000; Hyderabad 3,26,958.

Show Tax In Madhya Pradesh Shoots Up
Industry Loss Estimated At 6 Crore Annually

Show tax in Madhya Pradesh has been increased 13 times with effect from 24th June. According to a gazette in notification (no. 30/18) dated 3rd July, the show tax per show will now be charged between Rs. 50 and Rs. 200. The show tax before this was Rs. 15 per show.

Although the gazette notification of 3rd July does not specify cinema, it does talk of public performances. The Supreme Court in 1959 had in the case of Delite cinema, Jabalpur, versus Jabalpur Municipal Corporation held that film screenings in a cinema came within the ambit of public performances.

According to Narendra Agarwal of Anjani Talkies, Khandwa, the additional burden to distributors and exhibitors of the state due to the hike in show tax would be about Rs. 6 crore annually. Madhya Pradesh has more than 700 cinemas, of which 500 operate regularly.

The Central Circuit Cine Association has been trying to get the M.P. government to permit cinemas to levy a tax-free service charge on the lines of Maharashtra, Gujarat, Bengal and Uttar Pradesh. While the tax-free service charge has not been allowed, the increase in show tax has come as a rude shock to the film trade in M.P.

With CCCA elections due next month, this issue of show tax is likely to be brought up at the annual general meeting by members who feel that the present executive committee should have taken steps to ensure that show tax on cinemas was not increased. There is still time, and a timely and effective representation to the government can save the industry 6 crore and also serve as a face-saving device for the CCCA executive committee.

YOU ASKED IT

Which films will be released on Diwali this year?

– BADE MIYAN CHOTE MIYAN and KUCH KUCH HOTA HAI.

While Rajiv Babbar’s Shapath and Chandaal had opened to good houses, why has Yamraaj, released this week, not had a similar (good) opening?

– Perhaps, because of a surfeit of releases of Mithun starrers. Too much of anything is bad, right? Nevertheless, in Bombay, YAMRAAJ has taken a good start.

Do you think, banks will finance film production or is all this talk about bank and institutional finance for the film industry, useless?

– It is just a matter of time. Banks and financial institutions seem to have started thinking in terms of giving loans to film producers.

Who is the biggest enemy of the film industry?

– Some of the industry people themselves, especially those who claim to be on the creative side but are actually interested in only making a quick buck. There’s no seriousness or dedication in their work.

REGIONAL FILMS

Gujarati
Upendra, Naresh, Jeet Teamed

Upendra Trivedi, Naresh Kanodia and Jeet Upendra have been teamed in J.K. Film Productions’ Prod. No. 1, to be produced by Vikram Singh Dodia and Mahavir Singh Kochar. It will be directed by Atmaram Thakor. Story: Vikram Singh Dodia. Screenplay & dialogues: Vikram Patel.

100 Days In Bombay

G.N. Films’ (Keshod) Desh Re Joya Dada Pardesh Joya completed 100 (combined) days in Bombay at Dreamland (matinee) two weeks back. The film also completed silver jubilee in 25 centres of Gujarat and Saurashtra and is now heading towards golden jubilee. It was released in America last week.

3-E
Education-Entertainment-Enlightenment

Unexciting Independence Day

With the release of Mani Ratnam’s Dil Se.. having been postponed by a week, there’s no major release now scheduled for 14th August. Surprising, because the Independence Day holiday on 15th August is considered to be truly bountiful for the box-office. Maharaja was trying to meet the 14th August release date but the film will not be ready for that day now, maybe, because post-production work went slow under the assumption that Dil Se.. would make it on 14th, so Maharaja could follow the next week. In the meantime, rumour-mongers insist that presenter Bharat Shah has postponed Dil Se.. by a week so that Barood, which is also presented by him, gets two clear weeks without any major opposition. Barood is scheduled for release on 7th August. Of course, the rumours are baseless, but it is said that there should be no big film hitting the screens on 14th August.

Dream Goes To Dust

After all the pains he has taken over the completion of his dream project, Ramoji Rao must be a disillusioned man today. His Film City in Hyderabad is reportedly running into losses to the tune of several lakhs every month. Reason: no takers. Now, this must surely seem surprising, for, the Film City offers every single facility required in the process of making a film. In fact, it would not be an exaggeration to say that one can just walk into the Film City with the script, cast and crew, and walk out with the first copy of his film. Yet, it is a sad fact that for inexplicable reasons, producers are shying away from this completely self-sufficient studio. In the past six months, only two films have been shot there, putting Ramoji Rao to huge losses.

20 Flops For Every Hit

You way have heard of two-in-one and three-in-ones. Commonly used to describe a radio-cum-cassette-player (two-in-one) or a radio-cum-cassette-player-cum-CD-player (three-in-one), the expression could also be used to refer to a person or thing who/which does two/three jobs/activities/duties. But have you heard of a twenty-in-one? Well, that’s what one leading Bengal distributor has been nicknamed by others in the trade in Calcutta. Of course, although there’s no malice meant, this distributor is referred to as 20-in-1 because, to quote another Bengal distributor, “The 20-in-1 releases 20 flops for every hit/success released by him.” That is to say, for every hit/success released by him, there are about 20 flops that follow in his distribution concern.

Godzilla-Replies

The publicity caption of the Hollywood film Godzilla, viz. ‘Size does matter’, has become a popular catchline. Here’s how the catchline can be altered to suit happenings in the Indian film industry.

Why is Satish Kaushik the favourite comedian of David Dhawan these days?

Because size does matter!

Why were Amitabh Bachchan and Govinda cast in Bade Miyan Chote Miyan?

Because height does matter!

Why has Saawan Kumar made Mother ’98 with four oldies?

Because age does matter!

Why are so many films flopping these days?

Because price does matter!

Why did nobody believe Mukesh Bhatt when he said that Ghulam had cost him 15 crore to make?

Because lies does matter!

Dream Merchant

Film Folk and Bank Loan

There’s so much optimism in the film industry after 10th May, the day on which I & B minister Sushma Swaraj announced industry status for the film world. Without knowing how and when bank finance will become available to films, trade people are all talking of bank and institutional finance. Every filmland party, every film-folk gathering has a fixed topic of discussion since that May day! Actually, bank finance is coming out of my ears — and last night, it also came into my dreams. Not the finance, silly. They were some proposals for bank finance that made it into my dreams.

Pramod Chakravorty applied to the Bank of Baroda for finance for his next, starring Akshay Kumar and Shilpa Shetty. The bank manager pleaded inability to finance such a risky proposal. “But where’s the risk?”, argued Chakki-da. “See,” replied the bank manager, “when your Barood was launched, Akshay and Raveena Tandon were in love with each other but during its making, they fell apart and thereby delayed your film. If Akshay and Shilpa also decide to split, it would mean delaying your new film. We are wary of Akshay’s temporary love affairs even more than his permanent affair with flops.”

Harmesh Malhotra, flush with the success of Dulhe Raja, approached Union Bank for a loan for his next, also starring Govinda and Raveena Tandon. The assistant manager of the bank processed the file and not only turned down the loan application but also Harmesh Malhotra’s request for a meeting with the manager. “Govinda starrers are a strict no-no in this bank,” informed the assistant manager. “We are aware of Govinda’s latecoming habits and we’d rather not risk our money in his films.”  Harmesh-ji tried to reason out with the bank officer that Govinda had mended his ways and was now reporting for his shootings on time, but the banker said, he was also aware that Govinda gets such I’m-now-punctual-and-serious stories printed in the press at regular intervals. “He is regular about these news items but very irregular for his shootings,” the banker concluded.

Boney Kapoor and Anil Kapoor approached Dena Bank for a loan of Rs. 4 crore. The money, they said, would be needed after 30 days for a start-to-finish shooting schedule of Pukaar. The bank officials were not totally ignorant about films and asked the Kapoor brothers, “Start-to-finish? But Pukaar was started three years ago, right?” Boney nodded, “Of course, it was. What we mean by start-to-finish is that we start our next shooting schedule after we receive your loan and the shooting goes on till your loan is finished.” The bank officials gave the Kapoors one look of dismay which said more than a thousand words.

Amitabh Bachchan’s application for loan was rejected by Bank of India even before it was read. Reason: the bank felt, it was too risky to lend money to AB Corp. as Amitabh’s detractors pay money to buy people who then frequent cinemas screening the star’s film and walk out mid-way. This, the bank managers agreed with Bachchan, created the wrong impression among the rest of the people viewing the film. Amitabh tried to reason out with the manager that the situation was not as grim as he was imagining and that his (Amitabh’s) press statements about detractors or anything else should not be taken so seriously. “Yes, seriously,” nodded the bank manager, “we aren’t taking your loan application also seriously.” And he began to laugh deliriously.

Vinod Chopra, aware of how every loan application for films was being rejected by different banks, tried to be different. He approached the Grindlays Bank to get a loan sanctioned not for his next film but rather for the legal battle he would have to fight against video pirates at the time of release of his new film. The manager of Grindlays Bank was, however, blunt to the point of being rude. He told Vinod Chopra, “You needn’t get any court order for your new film. After the debacle of Kareeb, the cable TV operators may themselves refuse to touch your next film. No legal battle, no loan.”

Vashu Bhagnani tried to sweet-talk the manager of Saraswat Bank into giving him a loan for his new film. “If you sanction the loan, I’ll make a film on your bank and title it Bank No. 1,” smiled Vashu, while pushing a briefcase of money no. 2 into the manager’s hand. The manager, fearing a scam no. 1, returned Vashu his briefcase of currency notes as well as the loan application. “Cash liya to darna kya?”, asked Vashu. “Loan deke marna kya?”, counter-questioned the bank manager. “Okay, okay, loan nahin deke ladna kya?“, shot back Vashu as he caught hold of his briefcase and sped out of the bank.

Mahesh Bhatt refused to go to any bank. “If I can direct films over the telephone, I can jolly well raise finances over the same telephone,” he told brother Mukesh Bhatt. He then telephoned his bank (Overseas Bank) manager and asked if he could finance the purchase of the latest VCDs and LDs of Hollywood films. “Their cost,” explained Bhatt to the banker, “is much more than the production cost of my films.” The bank manager explained to Mahesh Bhatt that the bank rules did not permit him to lend money for anything except film production. He, therefore, asked him to get a loan application prepared, attaching the script of the film he wanted finance for. Bhatt shouted, “Are you mad? How can I write the script without seeing LDs of new Hollywood releases?” Saying thus, he banged down the telephone.

Saawan Kumar approached his bank — Bank of Maharashtra — for a loan for his next film. “What is the security you can offer?”, asked the manager. Replied Saawan Kumar, “I can offer the security of my unreleased film, Mother ’98.” “But that film is not sold,” lamented the manager. “So what if the film is not yet sold?”, asked Saawan Kumar, adding, “I have the capacity to hold. The film is taking some time to be sold because the subject is bold…” The bank manager interrupted him, “Okay, okay, but what do I do with the security of an unsold film?” It was now Saawan Kumar’s chance to cut him short. Said he, “Look, mister, would you accept gold as security?” The manager’s face lit up. “Of course, I would,” he smiled. “Okay then, do you know the cast of my Mother ’98?”, asked Saawan Kumar, and himself answered the query, “It has Rekha, Jeetendra, Randhir Kapoor and Rakesh Roshan.” The manager looked perplexed. “But there are no youngsters in the film?”, he queried. Saawan Kumar shot back, “You just said, you will accept gold as security, didn’t you? Well, my film may have oldies, but then, old is gold.” The manager grinned, “Sir, your loan is sanctioned.”

– Komal Nahta

CHHOTE SARKAR

Shivam Chitrya (Bombay)’s Chhote Sarkar aims to be both, a suspense film and an entertainer, but succeeds in being neither. It lacks the thrill of a suspense drama and does not have much of entertainment which could be termed novel. The story is about a young businessman who is under the impression that he has murdered his uncle when the fact is that he has intentionally been framed for the murder by vested interests. A lady inspector, pretending to be his beloved, comes in his life and the moment he decides to get married to her and confesses his crime, she shows her true colours and arrests him. It then falls upon him to prove himself not guilty when he realises that his confession is a result of his not knowing the truth. The first half of the film is relatively light. The post-interval portion is devoted mainly to solving the mystery of the real killer.

Till a suspense drama doesn’t keep the audience guessing, it cannot keep their interest alive. There is absolutely no scope for guessing in the film for two reasons — there aren’t too many characters whom one can suspect, and secondly, the identity of one person who is connected with the crime is revealed to the audience soon after interval. Nor is the customary fear/thrill associated with a suspense film there in this drama. The title has no specific relevance to the story. While a few comedy scenes do entertain, there are others which fall flat. Prominent among those which fail to evoke laughter are the court scene in which the hero likens the relationship between uncle and nephew to that between an underwear and its string, as also the take-off on a television programme. Overall, the story is a bit childish, and the screenplay is one of convenience. For instance, the hero escapes from the mental asylum (where he has been sent by the court after being convicted for murder) and does everything including dancing, without attracting the attention of the custodians of law.

Govinda acts very well in the first half but is not at ease when playing the role of a mad man. Further, he sometimes tends to forget the character he is portraying and plays Govinda instead. Shilpa Shetty is fairly alright. Aroona Irani is okay. Kader Khan is quite good. Sadashiv Amrapurkar does an average job. Divya Dutta, Tej Sapru, Guddi Maruti, Dinesh Hingoo, Bobby Saini, Asif Sheikh and the rest of the cast lend adequate support.

Direction is fair but, given the story and screenplay, one couldn’t expect more. Dialogues are ordinary. Anand Milind’s music is good. ‘Ek chumma’ is a mass-appealing song. ‘Ek naya aasman’ is melodious. Camerawork is good. Action is as usual.

On the whole, Chhote Sarkar lacks in merits. With the average opening it has taken, even its reasonable price and solo-release advantage cannot do much for it.

Released on 22-11-’96 at Dreamland and 23 other cinemas of Bombay thru Mahalakshmi Film Distributors. Publicity: good. Opening: average. …….Also released all over. Opening was quite good at a few centres but dull at majority of the places.

LATEST POSITION

As predicted, RAJA HINDUSTANI has created history all over with AA collections.

Raja Hindustani is expected to cross the 5-crore mark in every circuit. 1st week Bombay 38,42,661 (100%) from 10 cinemas (5 on F.H.); Ahmedabad 11,88,745 from 5 cinemas, Palanpur 2,15,600 (100%), Mehsana 2,67,148 (100%), Vapi 3,84,384 (100%), 2nd week Baroda 100%, Padra 2,37,356 (100%), Anand 4,53,809 (91%), Asodar 1,88,509 (96%), Valsad 2,78,992 (100%), Rajkot 1,29,744 (100%), Jamnagar 1,60,563 from 2 cinemas (1 in mat.), 1st week Bhuj 1,50,633; 2nd week Pune 9,30,272 from 4 cinemas (1 in mat.), 1st Kolhapur 1,88,868 (100%), Solapur 2,40,573 (100%) from 2 cinemas (1 in mat.), Satara 1,43,031 (100%) from 2 cinemas (1 in mat.), Nasik 3,22,896 (100%); Belgaum 4,39,951 (100%) from 3 cinemas (1 in noon); Delhi 27,57,487 (99.41%) from 7 cinemas; Lucknow 2,22,403, Agra 1,95,789, Allahabad 1,49,801, 2nd week 4 days 91,000, 1st Meerut 1,85,620 (100%), Bareilly 1,84,137, Hardwar 79,871, 2nd week 4 days 35,359; 1st Amritsar 62,170; Calcutta 27,81,664 (95%) from 21 cinemas; Nagpur 8,53,308 from 4 cinemas, Akola (31 shows) 1,56,982 (100%), 2nd week 3 days 60,767 (100%), 1st Bhilai 2,62,248, Jalgaon 1,89,255, Wardha 1,00,321 (100%), 2nd week 3 days 42,686 (100%), 1st Chandrapur 1,92,758, Yavatmal 80,989 (100%), 2nd week 3 days 38,875 (100%); 1st Indore 2,32,696 (100%; 1 on F.H.), Bhopal 4,42,158 from 2 cinemas; Jaipur 10,81,656 (gross 13,13,488) from 4 cinemas, share 9,30,488, Jodhpur 4,54,084, share 3,77,000, Sriganganagar 2,03,374, share 1,45,374, Udaipur share 3,00,000; Hyderabad 19,01,439 from 9 cinemas, share 11,27,000.

…….

Ghatak maintains well at some stations and drops at others. Proves overflow in some circuits and class A in some. 2nd week Bombay 38,97,473 (79.38%) from 12 cinemas (7 on F.H.); Ahmedabad 7,93,471 from 7 cinemas, Baroda 80% from 2 cinemas, Bharuch (gross) 2,45,880, Patan (gross) 1,91,125 (1st 2,14,886), Adipur 94,563, Jamnagar (mat.) 14,445; Pune 7,61,563 from 4 cinemas (1 in mat.), Kolhapur 1,80,000, Solapur 2,36,724 from 2 cinemas (1 in mat.), Satara 1,36,019 from 2 cinemas (1 in mat.), Nasik 2,00,822, Nasik Road 1,01,428; Hubli 1,23,862 from 2 cinemas (1 in noon), Belgaum 98,274; Delhi 25,81,930 from 13 cinemas (2 on F.H.); Lucknow 1,98,953, Agra 1,95,026, Allahabad 1,08,000, Hardwar about 40,000; Calcutta 10,94,279 from 12 cinemas; Nagpur 5,26,700 from 4 cinemas, Jabalpur (6 days) 1,15,428 (1st 1,79,089), Akola 1,33,201, total share 2,82,576, Bhilai 71,252, Jalgaon 1,06,563, Yavatmal 57,600, 1st Khandwa 1,18,000; Bhopal 4,50,274 from 3 cinemas; 2nd week Jaipur 3,16,905 from 2 cinemas, Ajmer 1,17,770, Bikaner 2,28,842, Kota 1,19,780; Hyderabad 4,24,465 from 2 cinemas.

………

100% TAX COMING IN MAHARASHTRA?

The Maharashtra film industry is likely to down shutters from 1st January, 1997. An informal decision to this effect was taken on 22nd November when Pramod Navalkar, cultural affairs and transport minister of Maharashtra, told a delegation of the film industry the same day that it would not be possible for the government to extend the benefit of 50% entertainment tax beyond 31st December, 1996.

The delegation, comprising TOA president U.A. Thadani and CEAI president Pranlal Doshi, met the minister to apprise him of the urgent need to renew the benefit of 50% tax. But the minister informed them that 100% tax would be levied with effect from the new year. The two leaders told him that the industry would be left with no alternative but to close down in protest, to which Navalkar is said to have pleaded helplessness.

A meeting of Bombay distributors to discuss the course of action will be held on 26th November at 2 p.m. This will be followed by a joint meeting of exhibitors and distributors at 3 p.m. the same day.

In case the industry is actually forced to down shutters, it would mean that all releases of December 1996 and January 1997 would be rescheduled.

TWO PROPOSALS FOR MULTIPLEXES IN STATE

Zee TV and the Hollywood film company, United Artistes, the latter in collaboration with Modi Enterprises, have shown interest in constructing multiplexes in Maharashtra after Warner Bros. dropped its plans for the same. The two giants have submitted proposals in this regard to the state government.

S.P. MAHENDRA NO MORE

Producer and actor S.P. Mahendra died at a nursing home in Bombay on 16th November due to a heart ailment. He was 70.

S.P. Mahendra came to Bombay from Punjab at the age of 20 to become an actor. He acted in various dramas with late Prithviraj Kapoor. He produced five films including Waqt Ki Pukar and Angaare, and acted in more than 75 in a career spanning 50 years. He was also secretary to late actor Raaj Kumar years ago and was associated with Sunil Dutt too.

He was a member of the executive committee of the IMPPA and the Cine Artistes’ Association for several years. A humble person, he helped promote a number of stars. S.P. Mahendra is survived by his wife, two sons, a daughter and grand-children. The funeral on 17th was attended by several film people.

Pagdi ceremony will be held on 28th between 12 noon and 1 p.m. at his residence (Apollo Building, 14th Road, Khar, Bombay-52).

YOU ASKED IT

What is the progress of the studio which Anupam Kher is building? When is it likely to become operational?

– Not much headway has been made in that direction, according to a spokesperson of Anupam Kher’s company.

If the Maharashtra government increases entertainment tax in the state to 100% from the new year, will film prices come down?

– First of all, the industry should not accept this hike in entertainment tax, under any circumstances. If it doesn’t accept, why talk of falling film prices?

Now that we are coming closer to 1997, what do you foresee in the new year?

– There will be a clash of the Titans because a record number of big films (big banners, big directors, big star-cast, big price) will be released in 1997.

IN & OUT OF BOMBAY

Producer-director B. Subhash left on 19th November for London and Los Angeles to finalise the main cast and locations for his next English film, KILLING OF VALLEYS.

Producer Boney Kapoor is expected back from Madras tomorrow (24th November).

Mr. Manohar Kankaria of Musical Films Pvt. Ltd., Calcutta, presently in Bombay, will return to Calcutta today (23rd November).

Producer-director Sultan Ahmed will leave for the USA on 25th November to finalise locations for RAAMA. He will return on 18th December.

DO YOU KNOW?

* A reader writes to inform us that prior to the Pardesi pardesi song of RAJA HINDUSTANI, there have been several more Pardesi songs that have been super-hits. He cites the examples of AWARA (Ghar aaya mera pardesi), MADHUMATI (Aaja re….pardesi), PHAGUN (Ek pardesi mera dil le gaya) and JAB JAB PHOOL KHILE (Pardesiyon se na ankhiyaan milana).

* Mahalakshmi Film Distributors has acquired the Bombay distribution rights of as many as 10 films of Plus Films. The contract for all ten was signed on 21st November. The films: GUDGUDEE, GUDIA, MIL GAYEE MANZIL MUJHE, SAAZ, SARDARI BEGUM, AUR EK PREM KAHANI and, the balance period rights of PAPA KAHTE HAIN, IS RAAT KI SUBAH NAHIN, BHAIRAVI and LAALCHEE.

* Tips will be releasing the audio cassettes of its AUZAAR in three varieties. Each variety will have a different inlay card and a different song (from the film, of course) at the start of the album.

ANNOUNCEMENT & LAUNCHING

Rekha Opposite Dilip Kumar In ‘Qila’

Rekha has been signed opposite Dilip Kumar for Eagle Films’ Qila. Mukul Dev, Mamta Kulkarni, Kiran Juneja, Smita Jaykar, Umesh Shukla, Avtar Gill, Tej Sapru, Sharat Saxena, Malay Chakravorty, Shahbaaz Khan and Gulshan Grover play other key roles. Being directed by Umesh Mehra for producer Parvesh Mehra, the film is written by Humayun Mirza. Cinematography by S. Pappu, editing by Kamal Saigal, music by Anand Raaj Anand, and lyrics by Dev Kohli are the other credits. It is presented by F.C. Mehra.

GRAFFITI

Hit the screens

this week:

CHHOTE SARKAR.

Waiting to hit the

industry in the

coming weeks:

MAHARASHTRA SARKAR.

3-E
Education-Entertainment-Enlightenment

Piracy In Hindustan

The pirated video cassettes of Raja Hindustani are out in the market. The producers, Karim Morani, Bunty Soorma and Aly Morani, had marked every copy of the film before delivering them to the various distributors so that if piracy took place, they could ascertain the source of the illegal copying. The pirated cassette has been made from copy no. 86 which was despatched to Dubai. It is common knowledge that Johny Lever is banned in Dubai and his portions in any film have to be deleted before a film can be screened there. But the video cassettes in circulation all over India have the complete film including scenes of Johny Lever. This would mean that the piracy took place before the print (no. 86) reached its destination, Dubai. In the alternative, the video copy was made before the print no. 86 was submitted for censorship in Dubai. Wonder how it happened. The producers of Raja Hindustani are convinced that it is due to the lack of care and caution by the film’s Overseas distributor that piracy has taken place.

Three Major Blockbusters

With Raja Hindustani poised to be a major blockbuster, Filmcenter has reason to rejoice. For, three super-hits of recent times have been processed at this laboratory. HAHK..!, DDLJ and Raja Hindustani have all been processed at Filmcenter. The other blockbuster of 1995, Karan Arjun, is a product of Adlabs.

Financier’s Favourite

For all those who’ve wondered how so many Mithun-starrers are on the floors and more and more are announced in spite of his films flopping one after the other, this may provide an answer. Believe it or not but financiers are keen to back Mithun projects because their money is not only secure but also comes back to them faster than if they finance films of other heroes. This is because not only does Mithun complete every film he signs but also completes them fast. So, the question of a financier’s money being blocked for unduly long periods generally doesn’t arise. As producer Surendra Bohra, who has just completed his Mithun-starrer, Kaalia, confirms, “I get offers from financiers who are keen to lend money because I am making a Mithun film. They invariably tell me, they are keen to finance a Mithun project because their turnover would be fast.” Bohra’s Kaalia had gone before the cameras in September ’96 and is complete (except for a song picturisation) in November. It is for the same reasons that distributors also like to buy a Mithun starrer.

catchline

Music Of

Yesteryears:

There

Was

Melody

Everywhere.

Music Of

Today:

There

Is

Malady

Of

Lifting

Tunes

From

Anywhere

And

Everywhere.

IT’S 3 CRORES

The audio cassettes of Yash Chopras’s Dil To Pagal Hai have been released by HMV. And Yash Chopra has revealed the price at which he is selling the film to its distributors. It is reportedly 3 crore per major circuit.

LATEST POSITION

The initial excitement of DAUD gave way to dejection as the week progressed and saw its collections coming down drastically day by day. Even the energetic performances of Sanjay Dutt and Urmila Matondkar couldn’t salvage the film.

Daud, after a flying start, crashed from 4th/5th day onwards. Even trimming mid-week couldn’t better its weak sustaining power. It will entail heavy losses to distributors and exhibitors. 1st week Bombay 40,86,371 (89.89%) from 12 cinemas (11 on F.H.); Ahmedabad 11,70,782 from 8 cinemas, Vapi 2,39,621, Padra 1,52,476, Rajkot (matinee) 52,888, Jamnagar (matinee) 36,530; Pune 11,77,417 from 6 cinemas (1 in matinee), Solapur 3,18,461 from 2 cinemas, Satara 1,89,472 (80.13%); Hubli 100%, Belgaum 100%, Dharwad 100%; Delhi 39,53,387 (83.89%) from 10 cinemas; Kanpur 4,06,546 from 2 cinemas, Lucknow 2,46,637, Agra 3,51,360, Allahabad 1,66,000, Meerut 2,03,371, Bareilly 1,47,932 (67.37%), Dehradun 1,40,000, Gorakhpur 1,36,000 (74.62%), Varanasi 1,79,246; Calcutta 22,16,086 (56.32%) from 26 cinemas; Nagpur 6,03,041 from 5 cinemas, Amravati 1,70,523, Akola 1,65,055, Bhilai 1,59,129 from 2 cinemas; Indore 2,59,092 (2 on F.H.), Bhopal 3,53,153 from 2 cinemas; Jaipur 8,52,217 from 4 cinemas, Jodhpur 2,25,000, Bikaner 2,13,244; Hyderabad 56,81,026 from 25 cinemas, share 31,00,000; Vijayawada 5,33,000 from 3 cinemas, Guntur 1,10,000 from 2 cinemas, Venali 97,000, Ongole 1,53,000, Eluru 98,000, Bhimavaram 1,10,000.

…Aur Pyar Ho Gaya will entail losses to the tune of a crore and more per major circuit. 2nd week Bombay 14,41,452 (65.49%) from 5 cinemas (8 on F.H.); Ahmedabad 1,22,202 from 2 cinemas (1 unrecd.), Baroda 1,09,921, Jamnagar 66,814; Pune 3,87,185 from 4 cinemas (2 in matinee), Kolhapur 60,226, Solapur 60,844; 1st week Hubli 1,06,956 (69.20%); 2nd week Delhi 26,39,886 from 10 cinemas (1 on F.H.); Kanpur 1,52,202 from 2 cinemas, Lucknow 1,70,770, Agra 1,10,380 (1st 2,18,711), Meerut 87,434, Dehradun 70,152, Gorakhpur 69,000, Varanasi 91,758; Rohtak 15,756 (1st 29,238); Calcutta 3,41,052 from 2 cinemas; Nagpur 51,540, Jabalpur 1,08,563, total 2,93,485, 1st week Akola 84,329, 2nd week Bhilai 36,400; Indore 1,24,225, Bhopal 1,38,601 from 2 cinemas; Jaipur 1,85,480, Bikaner (26 shows) 86,732; Hyderabad 4,41,034 from 3 cinemas (2 in noon).

Mere Sapno Ki Rani is steady on mediocre collections in parts of Maharashtra and Bihar, but is a total loss in North. It will entail heavy losses to third parties/exhibitors who paid handsome terms. 2nd week Bombay 7,09,095 (53.87%) from 4 cinemas (5 on F.H.); Ahmedabad 86,930 from 2 cinemas, Vapi 98,998, Rajkot (14 shows) 94,828; Pune 2,63,357 from 3 cinemas (1 in matinee), Solapur (matinee) 55,476; Hubli 37,845 (32.67%, 1st 70,990); Delhi 1,74,940 from 4 cinemas (2 on F.H.); Kanpur 34,703, Lucknow 39,586, 1st week Agra 71,384, 2nd week Allahabad 24,000; Calcutta 1,89,014; Nagpur 84,215 from 2 cinemas, Amravati 87,282, Akola 41,000, Bhilai 38,167, Durg 41,722, Jalgaon 53,700, Wardha 27,501; Indore 63,272, Bhopal 62,902 (1st 79,089); Jaipur 52,153; Hyderabad 2,06,118.

Pardes, as predicted three weeks back, will prove to be a commission-earner in most circuits and average in a couple of them. 3rd week Bombay 20,11,463 (83.78%) from 7 cinemas (8 on F.H.); Ahmedabad 3,78,403 from 2 cinemas (1 unrecd.), Vapi 2,03,016, Bharuch (gross) 1,72,640, Rajkot 1,78,000, Jamnagar 78,760, total 2,36,811; Pune 4,54,935 from 3 cinemas (1 in matinee), Kolhapur 1,60,000, Solapur 1,45,000, Satara 92,783; Delhi 20,07,281 from 7 cinemas; Kanpur (6 days) 1,89,365 from 2 cinemas, Lucknow 2,37,768, Agra 1,28,460 (2nd 1,85,714), Allahabad 93,500, Meerut (6 days) 1,40,712, Bareilly (6 days) 63,788 (2nd 1,31,303; 50.53%), Dehradun 1,12,000, Gorakhpur 75,000, Varanasi 1,11,397; Calcutta 5,73,196 from 4 cinemas (1 in noon); Nagpur 1,67,567 from 2 cinemas, Jabalpur (6 days) 96,485 (2nd 1,44,532), Amravati (6 days) 85,917, Akola 1,00,651, 2nd week Dhule (6 days) 57,383, 3rd week Bhilai (6 days) 64,401, 2nd Jalgaon 1,12,083; 3rd week Bhopal 1,01,151, Ujjain 42,293; Jaipur 1,83,243; Vijayawada 1,95,533, total 7,90,651.

…………

RAJAT RAKSHIT DEAD

Director Rajat Rakshit died of acute asthama on 27th August at Cooper Hospital, Irla, Bombay. He was 55 and a bachelor.

He had directed Damaad, Bin Phere Hum Tere, Rakt Bandhan, Yahan Wahan, Naya Khoon, Meri Biwi Ki Shadi, Ruswai and Faraib.

MAJOR RENOVATION AT GANGA-JAMUNA CINEMAS OF BOMBAY

Ganga and Jamuna cinemas at Tardeo, Bombay, are being extensively renovated by owner Gul Achhra. They will be equipped with Dolby digital sound and will be now called Ganga Palace and Jamuna Palace.

Jamuna Palace will screen The Lost World: Jurassic Park (dubbed) from 5th September, and Ganga Palace, Judge Mujrim from 12th September. Both the films are being distributed in Bombay (the former in Bombay city & suburbs only) by Gul Achhra himself.

The cinemas have a facility for parking about 150 cars.

IN DEFENSE OF STARS

A large number of national and regional newspapers and periodicals have written a lot about the nexus of film people and the underworld. Mumbai politicians and police officers are blaming the film industry for taking finance from the underworld. The truth is that most politicians have close links with the underworld, and police is deliberately overlooking the unholy alliance between politicians and criminals. Police have no courage to accept that they have been under tremendous pressure. An old allegation against the film people is that some of them have been friendly with Dawood and they used to sing and dance in his parties held in Dubai. Photographs of the stars with Dawood, taken at Sharjah cricket stadium, have been repeatedly published. It is a fact that most stars have to pose with strangers and it is part of their profession. Today, it is being conveniently forgotten that once there was a video cassette depicting top politicians and police officers hobnobbing with notorious criminals. The most horrifying truth is that every small town has a don, and most people pay their respects to the local don. The street goondas also get respect and money from their area. In every small town and village, criminals are patronised by politicians. It is a well-known truth that politicians were the first to make use of criminals in election campaigns. Top people from the Election Commission have deplored the nexus between politicians and criminals. There are criminal cases against forty Members of Parliament. Criminals have invaded every aspect of life, and India has become a haven for criminals. There is an excellent scene in Rajkumar Santoshi’s Ghatak where Sunny advises his brother to fight for the shop in Mumbai. The elder brother wanted to go to his native place to cultivate land. Sunny says that there are criminals in the native place also. “If you do not fight against them in Mumbai, you will not be able to fight against them at Banaras.” The naked truth is that the entire nation is in the grip of fear. Everyone feels the presence of the invisible knife hanging in air over their heads. Dons are born from the womb of fear. When such is the state of affairs in the country, why blame the poor film stars for being friendly with the underworld?

There may be more than a lakh rich people in Mumbai alone, who can buy the entire film industry, but the underworld does not touch them because they know that any single real rich man can destroy the very politician who patronises them. Film people have no such muscle power. Stars are a frightened lot. They are lonely and miserable.

There is one area of closeness between stars and criminals. Most of the criminals have been ardent fans of stars and some of them wished to become stars when they were young. All of them are film-crazy people. When they attain enough muscle power, they manage to get stars to attend their parties. The neo rich from small towns pay a lot of money to the stars to inaugurate their offices and industries. No one minds this trend but everyone objects to stars attending birthdays of a don. Politicians also use the whip of income-tax to get stars at their residence. Most stars take part in election campaigns because of some fear. Police and politicians are seeking scapegoats in stars to hide their own failure and unholy alliance with criminals.

Today, India is like a masala film based on a script written by spineless politicians. Let’s hope, India rises above the script in the 21st century.

– J.P. Chowksey
Prachi Films,
Indore

YOU ASKED IT

Has audience taste changed in the last few years or is it the same?

– It has definitely changed. The audience is now receptive to newer subjects. What used to earlier click in just major cities, now appeals to the cinegoer in a small town also.

When should an artiste venture into doing a film which has a role which is not quite in keeping with his public image?

– Only when he has been accepted completely by the public and at least his last two or three films (in which he plays roles suited to his public image) have clicked.

What are the average theatre rentals in Bombay city and suburbs?

– About 35% of capacity in side-cinemas and 50% in main cinemas.

HERE & THERE

Shabana Goes To Rajya Sabha

Shabana Azmi is the latest star to become a Member of Parliament. She is among the nine who have been nominated to the Rajya Sabha by the President. Shabana, who has been recognised by the world as an actress of international standard, has won many national and international awards, worked as the chairperson of the N’CYP and is a social activist engaged in fighting for the rights of the downtrodden, will not be just a decorative piece in the Rajya Sabha as she has a mind of her own and is also outspoken.

The swearing-in ceremony of the new Rajya Sabha members was held on 29th August in Delhi. Mrinal Sen was sworn in that day but Shabana could not attend the ceremony in Delhi.

Filmmakers Demand Industry Status

A seminar on ‘The film industry’s expectations and government policy framework’ was organised on 23rd August as part of the Films Fair ’97, and a number of industry stalwarts as well as government officials participated in it. The filmmakers demanded recognition for filmmaking as an industry, and steps to mitigate its problems. It was emphasised by the industry speakers that the film industry was going through probably its toughest and trying period in its 100 years’ old history and the government should lend a helping hand to help it tide over the crisis. IMPPA president Sultan Ahmed asked the state and central governments to return part of the money earned through taxes on films, to the industry for the development of infrastructure facilities. He denied that there was any nexus between the film industry and the underworld. Only a few have connections with them, he said. AMPTPP president Pahlaj Nihalani expressed his unhappiness over the functioning of the Censor Board. He said that more often, personal biases and prejudices were at work when a decision was being taken. M. Bhaktavatsala from Karnataka was critical of the NFDC, which, according to him, had been usurped by a handful of directors while majority of the producers were being neglected. He also criticised the high rates of taxes and entertainment tax. ITPO chairman K.K. Mathur said that ITPO would try to act as a bridge between the industry and the government.

The seminar was jointly organised by ITPO and Federation of Film Societies of India.

Reshma Blames Indian Composers For Plagiarising Tunes

It was late Nusrat Fateh Ali Khan first. Now is the turn of Reshma, the Pakistani singer who is in India these days and whom Subhash Ghai had introduced to Indian film music lovers in his film, Hero, with the song Lambi judaai. Reshma was in Patna this week, where she told the press that some of her best tunes had been dubbed in Hindi films without any acknowledgement. She said that Lata’s Yaara sili sili from Lekin was lifted from her 28-year-old song. She also blamed Lata for singing the ‘lifted’ song. Reshma rendered that song at a concert in presence of Bihar’s chief minister, Rabri Devi.

IN & OUT OF BOMBAY

Producer Pravesh Sippy is in Africa to scout locations for SILSILA HAI PYAR KA, and will return after 10 days.

Producer-director Subhash Ghai is in Australia.

Director Aditya Chopra, Bombay exhibitor-distributor Anil Thadani and director Karan Johar will go to London on 1st September.

CCCA president Santosh Singh Jain is in Indore and is expected back in a day or two.

Actress and stage artiste Mini Tabassum left for the USA for stage shows on 27th August and will return on 1st October.

DO YOU KNOW?

* Shri Krishna Talkies at Seoni Malwa (M.P.) must be the only cinema in the country which celebrates the birth of Lord Krishna every year along with its patrons. Every year, at the stroke of midnight when Krishna was born on Janmashtami, the cinema stops the screening of the film for a while and distributes prasad among the patrons. The cinema also has a Krishna temple in its premises, where a pooja is done at 12 midnight on Janmashtami.

* DAUD has created a theatre record by collecting 2,26,176/- in 1st week at Shree, Ahmedabad.

* BORDER has created a record by collecting 51,700/- in 11th combined week at Palace, Allahabad.

* BORDER (tax-free) has created a city record by collecting 72,105/- (against a capacity of 80,318/-) in 1st week at Shashikant Chitra Mandir, Karanja (C.P. Berar), despite heavy rains.

* ANACONDA (dubbed) has created a city record by collecting 60,004/- in 1st week at Rajkala, Wardha, in spite of heavy rains.

MIX MASALA

WHAT’S IN A NAME?

Believe it or not but many people in the industry refer to …Aur Pyar Ho Gaya as Aao Pyar Karen. And there are many who call Virasat as Hirasat!

EARTHY COINCIDENCE

In this week’s release, Prithvi, Sunil Shetty’s name is Prithvi. And in real life, Sunil lives in Prithvi Apartments on Altamount Road. Why, he has bought another flat in the same building from Bombay distributor Ashok Ahuja.

WHAT’S IN A NAME?

Believe it or not but many people in the industry refer to …Aur Pyar Ho Gaya as Aao Pyar Karen. And there are many who call Virasat as Hirasat!

Dream Merchant

WATER DREAM……..WHAT A DREAM!

Last Friday’s torrential rains which lashed Bombay city and threw it completely out of gear caught me in my dream the following night.

I dreamt about the entire Bombay film industry battling with the rain water. The more enterprising ones were enjoying themselves in the downpour.

Aamir Khan, who could barely keep his face out of the waist-deep water outside his house (it was waist-deep for me and, therefore, more than neck-deep for ‘shorty’ Aamir), was struggling to reach his car parked outside his compound. Drenched in the rain from the top and the water below, he managed to hold a picture of Karisma Kapoor in his right hand and an imported umbrella in his left, as he sang loudly, “Pardesi pardesi nahaana nahin / Mujhe chhod ke, mujhe chhod ke / Pardesi mere yaara, vaada nibhana / Tum yaad rakhna, kahin doob na jaana / Pardesi pardesi….”

Just nearby, Urmila Matondkar, clad in a skimpy bikini, was getting down from her Maruti Zen which had a breakdown in the water-clogged road. Umbrella-less, she waved out to her umbrella-clinging Rangeela hero and wondered aloud, “Why don’t you dress up like me? Na rahenge tan pe kapde, na honge geele!” But looking at Aamir singing away to himself, Urmila also broke into a song, asking Aamir to join her thus: “Yayee re, yayee re, baarish zor zor se aaye re / Chal ho jaa mere sang, thoda sa be-dhang / Ho jaa geela re, ho jaa geela re…” Waving goodbye to an unwilling Aamir, she said, she had to reach Gaiety cinema for the first-day-show of Daud.

Outside Gaiety cinema, producer-director Ramgopal Varma stood expectantly as boat-loads of people came to see Daud. He was waiting for his Bombay distributor Shyam Shroff who had promised to be with Ramgopal (Ramu) at 11.30 a.m. It was almost 2 p.m. and I don’t know whether Ramu was crying at the poor public reaction or because he was missing Shyam Shroff. Or was it the rain water rolling down his cheeks and not tears? Anyway, Ramu too started singing a song, “Rain-a beeti jaaye / Shyam na aaye / Rain-a beeti jaaye…”

Barely had he started the song than Shyam Shroff arrived on the scene with a bag full of bottles of Ganga jal which he had bought some time back for distribution among patrons of Lav Kush before the start of every show at Maratha Mandir, Bombay. Since nobody came to see Lav Kush, the Ganga jal remained unused. Aware that people found Daud vulgar, Shyam Shroff had decided to distribute Ganga jal among the viewers after every show to cleanse them and their minds. When he told Ramu of his plan, the latter felt insulted. Pointing to the rain water dropping into the open bottles of Ganga jal, Ramu remarked, “Shyam, teri Ganga maili ho gayee.” Just then, Urmila — her face soiled and her wet hair dishevelled — reached the cinema. To get back at Ramu, Shyam Shroff shot back, “Ram, teri Urmi maili ho gayee.”

I cornered Ramu and asked him what his next film would be. Drawing inspiration from the wet atmosphere, he replied, “It will be called either Geela or Rain-Geela. And since I’m accused of exposing my heroines in my films, I’ll not do anything of the sort in this film. That’s why, it will be the hero taking bath in the rains this time. And like my Satya is a songless film, Geela/Rain-Geela will be a heroine-less film.”

Just then, I saw Shekhar Kapur in a wet Digjam suitings coat, in conversation with Bobby Bedi. “Shekhar, why this long absence?”, I asked him. “When are you starting your next? What’s it about?” Slow-coach Shekhar, as usual, was undecided. “Wet and watch,” he winked.

Watch I did. At Lokhandwala bazaar, I was astonished to see Sridevi buying vegetables from a roadside vendor, her teeth chattering because of the cold water in which she was standing. She was making an attempt to talk in shudh Hindi under hubby Boney’s instructions, and on reaching home, she told hubby — in shudh Hindi again — “Dekhiye jee, main to paani-paani ho gayee!” Boney buried his face in his hands and wanted to drown in the rain water at such atrocious Hindi.

BBC News on television came up with a sensational bit of news. Away in Bangalore, Mandakini was throwing a fit at being left out of the rain drama in Bombay. She telephoned Rishi Kapoor and begged of him to sign her for his directorial venture. She reminded Rishi of how she had boldly done the waterfall bathing scene in his father Raj Kapoor’s Ram Teri Ganga Maili. Sentimental Rishi agreed to drop Aishwarya Rai and take Mandakini in her place. Packing her bags with bikinis, Mandakini told her mom, “Aa ab laut chalen.”

Rajiv Kapoor too decided on that wet Friday that he should return to direction after the long holiday. “So what if Prem Granth did not run,” he told elder brother Randhir Kapoor. “I’ll make Rain Granth this time. And I’ll make it in collaboration with BMC. The Brihanmumbai Municipal Corporation (BMC) will give me a lot of data on the rains in Bombay, down the centuries. People felt, Prem Granth was too dry, so, I’ve even chosen a wet title this time.”

Time took me to the office of Time Audio-Video. The Vijaypath makers were planning to announce Paanipath. No, it had nothing to do with the water-laden paths in Bombay. Rather, it was based on the battle of Panipat. The ‘h’ and extra ‘a’ in the title were purely for numerological reasons.

Numerology had me meeting producer Vashu Bhagnani who is obsessed with the number 1. Had the rains inspired him to announce another No. 1 film, I asked. “Yes,” he smiled, “Before Biwi No. 1, I plan to make Paani No. 1. The film will deal with water and related problems. It will star Govinda and will be shot completely in water.” Oh, a desi Waterworld, I suppose. “It will be a watershed film,” said an excited Vashu.

Suddenly, I heard Baba Sehgal singing a familiar song. He was gesticulating to Sheeba and the song went, “Aaja mere paani mein kood ja / Aaja mere paani mein kood ja / Swimming karenge / Dance bhi karenge / Gaana bajaana, khaana-peena paani mein hoga sanam…”

Anil Kapoor had to show his sincerity even on the rainy day. His driver was rowing a boat in which he was going towards Film City. Apparently, the boat had lost direction and a forlorn Anil was singing, “O majhi re, apna kinara…. Film City ka temple hai / O majhi re…”

At Film City, Salman Khan was shooting a rain song for brother Sohail Khan’s Pyar Kiya Yo Darna Kya. His heroine, Kajol, had not reached the location, and the shooting was held up for a while. Sohail’s fertile brain, during the forced interval, thought of a sequel to the film. It would be titled Paani Gira To Karna Kya.

On another floor, Akshay Kumar was barely able to give his shot because the water had reached the tall hero’s neck. I was scared, Akshay would drown. As it is, his films were sinking, I thought, and it would be terrible if the poor guy also drowned. Luckily, a taller and skinny Kamal Sidhu was shooting on the maidan in Film City and I requested her to get Akshay out of the water which she did. Doobte ko Thin K (Kamal) ka sahara mil gaya and I was happy.

On a set in Film City, Priya Teudulkar was shooting the 100th episode of The Priya Tendulkar Show. She had clinched the opportunity and had selected the topic ‘Should there be rains in Bombay?’ for the century episode. On the panel were Rain God Lord Indra, head of the meteorological department, and Sachin Tendulkar whose cricket was damper than the rains.

Producer R.V. Pandit had managed to reach the censor office despite the blocked roads, and was seen arguing with the soaked-in-rain regional officer who refused to issue a censor certificate to his Train to Pakistan. Maintaining his cool, despite all odds, Pandit informed me, “I am planning two more films now — Plane To Afghanistan and Rain From Pakistan. Khushwant Singh firmly believes that these torrential rains have been master-minded by our enemy, Pakistan.”

Rahul Rawail had just returned from London from the shooting of London and had managed to reach a far-off cinema screening his …Aur Pyar Ho Gaya to gauge the public reaction. He was in for a shock because there was no public, what to talk of reaction. “I’m sure, people haven’t come because of the rains,” he said, trying to hide the tears that threatened to come out of his eyes. Continuing his brave act, he sighed, “Oh, I thought, my film would at least be a Barsaat and I’m sure, it had the chances, but the rains have spoilt everything. I was looking forward to telephoning hero Bobby Deol in London today to give him the good news that the film Barsaat ho gayee, but look, I’ll now have to tell him that real life mein. …aur barsaat ho gayee.”

Amitabh Bachchan was frantically waving out to the stray cabs plying in the waist-deep water on Juhu Tara Road, but nobody was willing to stop. He had come out of his director, Mehul Kumar’s office, and his car refused to take off — in much the same way as his Mrityudaata had refused to take off. I thought, I’d chat up with him and swam across the road. “Where are you going? How have the rains affected you?”, I queried. With a fallen face, Amitabh replied, “It’s terrible. Meri company, ABCL, doob gayee.” Of course, I knew that, but what had the rains got to do with the company’s doobna? I asked him, “Doob gayee — figuratively speaking, isn’t it? “Yes, figuratively speaking,” he replied, “because all the figures of my creditors bhi saath mein doob gaye!”

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Of Content And Form

Although Pardes did not boast of a very exciting start, its collections became steady as the weeks progressed. On the other hand, Daud opened to bumper houses everywhere but collections began to drop day by day. This, in sum, describes the fate of, what we say, a grammatically correct film (Pardes) and grammatically incorrect film (Daud). The former had substance, the latter was rich in form but poor in content.