JUDWAA

Nadiadwala Grandson’s Judwaa (UA) is a comedy about a pair of twin brothers. The two brothers are separated at the time of their birth, but their reflex actions are the same even though they grow up in different countries. The one brought up abroad comes to India and what follows are comic situations. The film is a remake of the Telugu hit, Hello Brother.

The story affords scope for a lot of hilarity but the screenplay leaves something to be desired. Although the film does have its share of brilliant comedy, at other times, it looks patchy and even the comedy portions sometimes look contrived. In fact, more concentration on the writing could have made a world of a difference.

Salman Khan does well in a double role. He has also danced ably. It’s a pity to see a talented actress like Karisma Kapoor being given such an inconsequential role. Although she performs well and dances beautifully, there’s nothing about her role which leaves an impression. Her character (why she indulges in petty thefts) is neither established nor explained. Rambha has even lesser to do. She dances well. Kader Khan is quite nice. Shakti Kapoor evokes laughter but his dialogues are incomprehensible, at places. Anupam Kher and Satish Shah’s comedy falls flat most of the times. Bindu is average. Mukesh Rishi, Ishrat Ali and Deepak Shirke make reasonably good villains. Dalip Tahhil does a fair job. Tiku Talsania is quite impressive. Reema and Jack Gaud pass muster. Shashi Kiran, Dinesh Hingoo, Vikas Anand, master Siddhant Kapoor and master Omkar Kapoor lend the required support.

David Dhawan disappoints with direction that is inconsistent — good sometimes and bad at other times. While some scenes have been conceived and executed well, there are others which give the impression of a job hurriedly done. There are some glaring mistakes in scripting too. For instance, the police inspector’s (Dalip Tahhil) friend (Kader Khan) asks the former to go abroad for his wife’s treatment and to leave the responsibility of his business here in India to him (Kader Khan). What ‘business’ a police inspector runs, is a mystery. Such flaws from a seasoned maker like David Dhawan are not digestible. At times, though, he appears to be in full from. In particular, the scenes of swimming pool, garden and hotel (with Jack Gaud) are superb and bring the house down with laughter.

Anu Malik’s music is a major plus joint. ‘Chalti hai kya nau se barah’ and ‘Oonchi hai building’ are the best songs and have racy tunes. Song picturisations are quite good but the same can’t be said of the song situations. Action scenes are fairly nice. Camerawork is good in parts but not so throughout. Dialogues are okay. Editing could have been better.

On the whole, Judwaa has fair merits, good music and, more important, a fantastic initial value and a good period ahead (Idd; no major release next week) to keep its distributors of most circuits smiling.

Released on 7-2-’97 at Liberty and 21 other cinemas of Bombay thru Raj Enterprises. Publicity & opening: excellent. …….Also released all over except in Nizam. Opening was bumper everywhere except in parts of C.P. Berar.

YESHWANT

Shalimar International’s Yeshwant (A) is the story of a supremely honest police officer and his wife who is a deputy collector. The police officer is so sincere about his duties that he can’t think of anything else except cleansing the corrupt system. He is framed for a murder and put behind bars. Once out of jail, he is led to believe that his wife has had relations with her bodyguard. All hell breaks loose in his life and he makes his wife’s life also miserable. In the end, not only is his misunderstanding about his wife cleared but he also succeeds in eliminating the villain and dismantling the chief minister who is also involved in a drugs scam.

The film is a Nana Patekar show from the word ‘go’. Although Nana’s character is a bit too loud and unreasonable, the viewer gets used to it by interval time. In fact, it wouldn’t be an exaggeration to say that several drawbacks in the screenplay and direction get camouflaged by the sheer presence and performance of Nana. He breathes fire and mouths dialogues that are raw, bold and hard-hitting. It must be said to the credit of the censors that they’ve let a lot of swear-words pass their watchful eye so as not to dilute the impact of the character.

Although the treatment of the subject has a bit of class appeal and a lot of dialogues are unnecessarily spoken in English, the character and dialogues of Nana Patekar make the film mass-appealing. But a drawback for circuits other than Bombay and C.P. Berar (Maharashtra) is that the film has a lot of Maharashtrian flavour. The caricature of an ex-chief minister of Maharashtra will be enjoyed by the audiences in the state but not so in other places. Generous use of swear-words will restrict ladies audience.

To describe Nana’s performance in a few lines would be doing injustice to the great actor in him. The guy is just too brilliant and the best part about his acting is that even in scenes where he shows villainish traits, the audience (especially in Maharashtra) wants to applaud him. An award-winning performance, indeed. Madhoo gives a restrained performance. Atul Agnihotri is good. Mohan Joshi does an impressive job. Shafi Inamdar is also effective. Shivaji Satam is natural. Bala Thakur does a splendid job. Ravindra Sathe is good. Achyut Potdar, Gavin Packard, Nagesh Patekar, Ashok Shinde and Ashok Maurya lend very good support. Master Prasad Parkar is superb. Usha Nadkarni shines in the solitary scene in which she appears.

Anil Mattoo’s direction is quite good. The first half could’ve done with some more light moments. The director could have also advantageously avoided giving the film such a heavy regional colour. Music is a terrible letdown. The ‘machhar’ song is a craze for its content rather than its tune. Dialogues (Hriday Lani) are top class and clapworthy at many places. Cinematography is good. Background score is effective. Sham Kaushal’s action scenes are thrilling.

On the whole, Yeshwant will keep its investors happy. Business in Maharashtra will be hit.

Released on 7-2-’97 at Dreamland and 25 other cinemas of Bombay thru Mahalakshmi Film Distributors. Publicity & opening: excellent. …….Also released all over. Opening was excellent in C.P. Berar but below the mark in Rajasthan.

SANTOSH SINGH JAIN’S GRANDSON TO WED

Chirag, son of Rajasthan distributor Narendra Jain and grandson of CCCA president Santosh Singh Jain, will wed Nidhi on 14th February in Jaipur.

GOGA KAPOOR’S DAUGHTER TO WED

Marriage of Shailee, daughter of Goga Kapoor, with Amit will be solemnised on 17th February in Delhi at Tikona Park, Sheikh Sarai, Phase 1, near Soami Nagar. A celebration party was held on 7th in Bombay.

RAMESH JAIN’S SON TO WED

Rishi, son of Delhi-U.P. and Rajasthan distributor Ramesh Kumar Jain (Magnum Films, Delhi, and T. Naveen Pictures, Jaipur), will wed Kajal on 16th February in New Delhi at Gulmohar Park Ground. A sangeet programme will be held a day earlier at Chhoti Dada Badi, South Extension-II, New Delhi.

NITIN GHELANI’S DAUGHTER TO WED

Marriage of Binita, daughter of Bombay exhibitor Nitin Ghelani, with Niraj will be solemnised on 11th February at Catholic Gymkhana, Marine Drive, Bombay.

KISHORE SINGH DEAD

Kishore Singh, proprietor of Sai Kishore 70mm cinema, Hyderabad, expired on 6th February in Hyderabad due to a brief illness. He was cremated the same day. A condolence meeting was held the same evening at the office of The Hyderabad State Film Chamber of Commerce.

ARREST WARRANT

The 44th metropolitan magistrate’s court, Andheri, Bombay, has issued an arrest warrant against Dinesh P. Pai, proprietor of Vardan Enterprises, Davangere (Karnataka), under section 420 IPC. A case under the said section was filed by producer B.S. Shaad when a cheque (for Rs. 30,000) given to him by Dinesh Pai for part payment towards the Mysore distribution rights of the film, Pehla Pehla Pyar, bounced.

NEW CINEMA IN BOMBAY

A new cinema, Madhuban, will open on February 14 or 21 at Dombivli, a distant suburb of Bombay. It was scheduled to open on 7th February with Yeshwant, but the opening has been postponed.

NO DIRECTIONS ON ENT. TAX YET

The rate of entertainment tax applicable in Maharashtra continues to be a question mark. When cinemas in the state reopened on 30th/31st January after a month-long closure in protest against the new (100%) rate of entertainment tax, it wasn’t clear as to what rate would be applicable. The industry leaders had maintained that directions to the effect that 50% tax be collected would be given to the collector in a day or two.

However, even nine days after the reopening, no directions to that effect have been issued. This would imply that the government will collect tax at the rate of 100% since this was the rate made effective from January 1, 1997, the day on which cinemas downed shutters. This is also borne out by the collector’s communication dated 6th February, asking cinemas to deposit tax at the rate of 100% with the treasury.

While cinemas in Bombay city have not yet deposited the tax, those in several other parts of Maharashtra have deposited it at 100% since the collector has refused to accept tax at 50%.

Even though it is now clear that the industry will have to pay entertainment tax at the rate of 100%, at least till March 5 — the date till which the election code of conduct is applicable — industry leaders continue to assure distributors and exhibitors that 50% tax rate would be made applicable with retrospective effect, latest from Tuesday (February 11). In fact, it is because of these hopes given by industry leaders that cinemas in Bombay city are refraining from preparing DCRs (daily collection reports) till a clear picture emerges.

In the meantime, convinced that what the industry leaders say will not materialise, many cinemas have decided to hike admission rates from next week to provide for the additional 50% entertainment tax. The final decision to increase the rates will be taken on Tuesday, February 11, the last day on which the tax has to be deposited.

‘Raja Hidustani’, ‘Khamoshi’ Sweep
Screen-Videocon Awards

Raja Hindustani was adjudged the best film of 1996 at the Screen Videocon awards held on 1st February at the Andheri Sports Complex, Andheri, Bombay. The film also fetched awards in six other categories — best direction (Dharmesh Darshan), best actor (Aamir Khan), best comedian (Johny Lever), best screenplay (Robin Bhatt), best music (Nadeem Shravan), and best male playback singer (Udit Narayan). Manisha Koirala bagged the best actress award for Khamoshi. The awards for the best supporting actor and actress went to Amrish Puri (Ghatak) and Seema Biswas (Khamoshi). Jury special awards went to director Shekhar Kapur for Bandit Queen, and outstanding child playback singer master Aditya Narayan.

Ashish Vidyarthi won the award for the best actor in a negative role for Is Raat Ki Subah Nahin. Rekha bagged this award in the female category for Khiladiyon Ka Khiladi.

Khamoshi also fetched awards for the best lyricist (Majrooh Sultanpuri), best female playback singer (Kavita Krishnamoorthy), best cinematographer (Anil Mehta), best art director (Nitin Desai), and best debut-making director (Sanjay Leela Bhansali).

Another film which bagged a number of awards was Maachis. Gulzar got the awards for its story as well as dialogues. Narinder Singh got the best sound recordist award for the same film while Chandrachur Singh bagged the award for the most promising new actor, again for the same film.

Sulbha Arya got the award for the best comedienne for her role in Masoom. Master Omkar Kapoor and Chinni Prakash were adjudged the best child artiste and the best choreographer for the same film. The award for the best background music went to Nusrat Fateh Ali Khan (Bandit Queen), for best editing, to Renu Saluja (Is Raat Ki Subah Nahin), and for best action, to Akbar Bakshi (Khiladiyon Ka Khiladi). Binda Thackeray bagged the award for the best debut producer for Agni Sakshi. The most promising new actress award went to Priya Gill for her role in Tere Mere Sapne.

Lata Mangeshkar and Dev Anand were honoured with lifetime achievement awards.

Putravati was adjudged the best Marathi film, and it also fetched awards for the best actress and the best director (Sukanya Kulkarni and Bhaskar Jadhav respectively). Vijay Chavan was adjudged the best Marathi film actor for his performance in Ashi Asavi Sasu.

DO YOU KNOW?

* A Hindi film, JAYA GANGA, has been released this week at Sterling, Bombay, after a gap of 22 years.

* HAHK..! has been revived in a big way this week to take advantage of Idd. While 25 prints have been engaged in Bombay-Karnataka, 20 have been engaged in Nizam, and 18, in Mysore. Over 100 prints are engaged all over India.

* YESHWANT has created a city record by collecting 53,218/- on the opening day at Rajkamal, Akola.

* YESHWANT has created a city record by collecting 44,084/- on the first day at Raj, Raipur.

* YESHWANT has created a theatre record by collecting 35,005/- on the opening day at New Basant, Bhilai.

* RAJA HINDUSTANI has created a record by collecting 93,207/- in 1st week at Naaz, Jambusar (Gujarat).

* RAJA HINDUSTANI has created a city record by collecting 1,57,617/- in 2nd week (better than 1st week) at Laxmi, Idar (Gujarat).

* RAJA HINDUSTANI has created a city record by collecting 1,97,173/- in 2nd week at Darpan, Dahod (Gujarat). 1st week’s collection was 1,97,978/-.

* RAJA HINDUSTANI has created a theatre record by collecting 87,675/- in 13th week at Apsara, Meerut.

* RAJA HINDUSTANI has created a city record at Wardha by collecting 69,020/- in 7th week at Durga.

* RAJA HINDUSTANI has created another city record by collecting 1,61,396/- in 10th week at Jyoti, Jabalpur. Total: 19,56,252/-.

* RAJA HINDUSTANI has created a record in Bhopal despite dull Ramzan days, by collecting 90,650/- in 12th week at Radha, and 64,387/- in 7th week at Jyoti.

* TERE MERE SAPNE has created a theatre record by collecting 74,031/- in 5th week at Anand, Raipur.

* Chiranjeevi’s HITLER (Telugu) is doing wonders in Nizam circuit. Its distributor’s share of the first 6 days from Nizam alone was a whopping 52 lakh. The share of first 4 weeks was 1.25 crore!

YOU ASKED IT

Will 1997 see a fall in film prices?

– At the rate at which distributors are paying fancy prices for films, it doesn’t seem likely that film ratios will go down in 1997.

What is the best thing about the film industry you like?

– Its ability to withstand any and every shock as also any and every opposition.

Is it true that production today is a profitable enterprise as never before?

– Yes, producers can make a profit of anywhere between 1 and 7 crore today, if their proposal is ‘A’ class.

Will Koyla be released on 18th April if Mrityudaata comes a week earlier?

– Why not?

MIX MASALA

FAMILY DRAMA

Now that the release of Auzaar has been postponed by a week, it will be coming with Judaai. Which means, the audience will get to see Anil Kapoor, Sridevi (Judaai) and Sanjay Kapoor (Auzaar), all of the same family, on 28th February. Bhaiya, bhaiya, bhabhi. That’s what one calls a family drama! Baap re baap!! Yes, daddy Surinder Kapoor is the producer of Judaai.

NOT SIMULTANEOUS RELEASE NOW

When Hero No. 1 and Auzaar were both announced for release on 21st February, Vashu Bhagnani (producer of Hero No. 1) used to justify the simultaneous release plan thus: “Ramesh Taurani and I have decided to get both the films on the same day so that the money (box-office collections) gets divided between us only. Paisa ghar mein hi aana chahiye; mere ghar aur Tauranis ke ghar mein koi phark nahin hai.” But still, one got the feeling that since the Tauranis and Vashu are so close (the latter’s Coolie No. 1 was presented by the former), the two films would not come on the same day. As it is, Ramesh Taurani is known to have no ego in matters such as postponing his release if that is for the betterment of the film.

LETTER TO THE EDITOR

STOP VIDEO PIRACY

Dear Sir,

I have a cinema, Janta Talkies, at Maheshwar (M.P.) which has a population of 15,000. A video cinema was started by another at Maheshwar in May 1992. The cinema has an Entel projector with a big screen.

Earlier, all new films used to be released first at the video theatre and thereafter at my cinema. But in the last two years, release of video cassettes of new films is being delayed. Further, the Indore Distributors Forum had also a couple of years ago launched a tirade against illegal video cassette circulation and against video piracy. Due to this, I released a number of big films at my cinema and they were not shown in the video theatre thereafter. Because of this, my cinema as well as the distributors concerned made good profits then.

It is unfortunate that the business of illegal video cassettes is flourishing once again. In January ’97 itself, the video theatre at Maheshwar has shown Ghatak, DDLJ and Raja Hindustani, all of which haven’t yet been released at my Janta cinema. Of course, the video cassettes were camera copies of poor quality.

I would appeal to the INFACT, the CCCA and the Indore Distributors Forum to once again initiate the strictest possible action and check against video pirates and those who indulge in telecasting illegal video cassettes.

– Shyamlal Malviya
Janta Talkies
Maheshwar.

3-E
Education-Entertainment-Enlightenment

Black Is Beautiful

If Rajiv Rai’s Gupt was in such demand among distributors, can its calendars be far behind? Simply splendid! That’s the only way one can honestly describe the 1997 calendars of Gupt brought out in black by Rai. There’s one ‘sore point’, though. The 8-leaf calendar has two months per leaf (that is, six leaves for the 12 months, one front leaf and one last leaf). Had there been one leaf for every month, there would’ve been more to be admired. For, the stills on every leaf are wow! The calendars, printing of which is excellent, have been designed by Himanshu and Rahul Nanda.

Stars’ Favourite Too

Nusrat Fateh Ali Khan is not just a favourite of our music directors for the immense ‘inspiration’ he gives them for their tunes, he seems to be very popular among the stars and filmmakers too. This was evident from the good attendance at the function hosted by Tips on 3rd February to felicitate Nusrat Khan, at Holiday Inn. The music maestro, who is scoring the music in Tips’ Kachche Dhaage, gave a live recital at the function which was graced by names like Shah Rukh Khan, Juhi Chawla, Ajay Devgan, B.R. Chopra, Subhash Ghai, Surinder Kapoor, Tutu Sharma, Sharad Kapoor, Mukul Dev, Namrata Shirodkar…… Let’s hope, the audience too accepts Nusrat Fateh Ali Khan with open arms, as the industry has.

Title Tattle

If Raja Hindustani has come, can Rani Hindustani be far behind? Well, at least an enterprising producer (Roopvati Films) has got registered the title with the title registration committee of the IMPPA. Some more interesting and some funny titles: Dulah No. 1, Aaja Mere Raja, Hello Miss Jeans, Coolie Chala London Japan, Coolie Chala America, Mere Do Anmol Rattan, Guru Gantaal, Chudeil, Teen Titliyan and Rangila Hindustan.

Trial Habits

Not only is financier Vinod Doshi fond of kulfi, he also likes to treat his friends and family to kulfi. And he has a soft spot for the special kulfi from Sion, a suburb of Bombay. So, you can be sure that if it is a trial show of a film, arranged by Vinod Doshi, the guests will be treated to kulfi and, maybe, samosas too, called in specially from Sion. How cool! Well, if you happen to see a preview with Tips boss Ramesh Taurani, be sure to find a huge chocolate bar in his hand. If you are lucky to be seated near him in the preview theatre, rest assured that you, too, will be offered a piece of the chocolate. How sweet!

GRAFFITI

Ent. tax in Maharashtra:
It’s a game of 50% and 100%.
On 1st January, industry was sure
of 100% victory. On 31st January,
industry lost 50% of the battle.
Now, it is 100% sure that 50%
tax rate is only a dream!

AAR YA PAAR

Ketan Mehta Films Pvt. Ltd.’s Aar Ya Paar (A) is a crime thriller. A playboy meets an arrogant millionairess, charms her and ultimately marries her. Not the kind to settle for one woman, the playboy has an affair with his wife’s secretary, too. The two plot to murder the millionairess so that they can usurp her wealth and property. But tragedy strikes them as their game is exposed by a smart police inspector.

The film’s main plus point is its racy pace and equally racy music. On the minus side is the simplistic screenplay which shows the police officer solving the murder mystery as if it were as easy as saying ‘A’ to ‘Z’. From where he gets his clues so that he should suspect the playboy is not revealed to the audience. As a result, the interest of the viewers is reduced in the second half. Also, the mystery-solving is rather lengthy.

Jackie Shroff looks a handsome playboy and does remarkably well. The three heroines are a letdown, both glamour-wise and performance-wise. Deepa Sahi is the best of the three and exudes oomph. Ritu Shivpuri has a brief role; she dances ably and exposes uninhibitedly. Kamal Sidhu does not impress one bit. Paresh Rawal is natural as the police inspector. Satish Shah, Harish Patel, Ajit Vachani, Mamik and the other artistes lend adequate support.

Ketan Mehta has made the film rather slickly and has maintained a fast pace of narration. He has exposed his three heroines to titillate the masses and he succeeds fairly well. However, his screenplay writing leaves a lot to be desired. Besides, there’s no chill in the murder drama. Viju Shah deserves distinction marks for a peppy music score. The title song, ‘Pyar kar deedar kar’ and ‘Dil diya pyar kiya’ are wonderful compositions. The build-up to the ‘Pyar kar’ song is lovely and its picturisation is just too sensuous. Background music is effective. Dialogues are very good and witty at places. Camerawork is nice, and the foreign locations are pretty. Action is appropriate.

On the whole, although Aar Ya Paar has some merits, its dull to average start in most of the circuits may tell on its box-office prospects, especially in view of the dull Ramzan period.

Released on 31-1-’97 at Alankar, New Excelsior and 17 other cinemas of Bombay by Venus-Pen thru Shringar Films. Publicity: good. Opening: below the mark. …….Also released all over. Opening in Delhi-U.P. was better than in the rest of India.

EXCISE DUTY ON FILM ROLLS TO GO DOWN?

The Supreme Court has upheld the decision of the Appellate Tribunal that the cutting, slicing and packing processes of jumbo rolls of films are not considered as manufacturing activities under column ‘F’ of the Central Excise Act. The order was passed by the Supreme Court recently in the case of Chokshi Bros. versus Collector of Central Excise. The excise department had gone in appeal against the Tribunal’s order. The appeal was dismissed by the Supreme Court.

Following this decision, excise duty on film rolls is expected to be reduced.

FFI DELEGATION MEETS UNION
FINANCE MINISTER

A delegation of the Film Federation of India comprising members from all the regions of the film industry called on P. Chidambaram, union minister for finance, to seek reliefs on certain items including deduction in customs duty on raw stock, abolition of countervailing duty and benefits under section 80HHC of the Income Tax Act to film exporters. The delegation also called on R. Gopalnathan, secretary, Customs and Central Excise, on the advice of the finance minister.

The delegation was led by president K.G. Dossani and comprised M. Balasubramanian, L. Suresh (both from South), P. Mitra (from Calcutta), G.S. Mayawala (from Delhi), Rajinder Singh Hora and Malti Tambay-Vaidya (both from Bombay) and Supran Sen, secretary, FFI.

SC REJECTS PLEA TO QUASH CRIMINAL PROCEEDINGS IN COPYRIGHT CASE

A division bench of the Supreme Court on 27th January heard a special leave petition (SLP) filed by Asia Today Ltd. (ATL), seeking to quash criminal proceedings in a copyright infringement case filed by IMPACT Ltd. (Indian Media Protection Against Copyright Theft) on behalf of Cable Video India Ltd. (CVIL). The matter was heard by the bench consisting of Justice M.K. Mukherjee and Justice Kripal. While the court order stayed only the arrest part of the prayer in the petition, it rejected the petitioners’ plea and allowed the police to carry on investigations and seizure as per law.

It would be recalled that a division bench of the Bombay high court comprising Justice A.V. Sawant and Justice Parker had earlier rejected the writ petition filed by Vijay Jindal, Zee Network managing director, and Siti Cable general manager Leena Sharma on January 8, 1997, seeking to quash the criminal proceedings against them, following which the petitioners filed their petition in the Supreme Court.

The Supreme Court has given Maharashtra state police and other respondents including IMPACT four weeks to file their replies.

SHRIDHAR PRASAD DEAD

Writer-producer Shridhar Prasad expired on 23rd January in Delhi due to illness. He had produced Jivi Rabaran (Gujarati) and Bijli (Marathi). Among the films written by him were Hatyara, Be-Aabroo and Bud-Naseeb.

Shridhar Prasad was also a journalist and a fearless one at that. He used to write for Film Information for several years. He used to look after the dates and affairs of Vidya Sinha in her heydays.

PRODUCTION NEWS

Pahlaj Launches ‘Indian’

Producer Pahlaj Nihalani launched Chirag Deep International’s Indian on Jan. 31 at Film City. It is being directed by Padam Kumar and stars Sunny Deol and Aishwarya Rai in the lead. Co-producer: Bharat Shah. Music: Anand Milind.

‘Soldier’ In Rajasthan

A 15-day shooting spell of Tips Films Pvt. Ltd.’s Soldier is currently in progress in Jodhpur, Jaisalmer and other places in Rajasthan. The film, being directed by Abbas Mustan, stars Bobby Deol, Preity Zinta, Ashish Vidyarthi, Sharat Saxena, Jeetu Verma, Salim Ghouse, Farida Jalal, Kulbhushan Kharbanda, Gulshan Grover and Suresh Oberoi. Story by Shyam Goel, screenplay by Shyam Goel and Sachin Bhaumick, dialogues by Adesh K. Arjun, music by Nadeem Shravan, lyrics by Javed Akhtar, action by Akbar Bakshi, editing by Hussain Burmawala, art by Sharmishtha Roy, dances by Saroj Khan, and cinematography by Thomas Xavier are the other major credits.

TV & VIDEO INFORMATION

MANISH GOSWAMI’S NEW SERIAL ON AIR FROM 7TH

Siddhant Cinevision and producer Manish Goswami will celebrate the 100th episode of their serial, Daraar, with a party at Juhu Hotel on 3rd February. Their next serial, Aur Shama Jalti Rahee, is ready for telecast on Zee TV from 7th February every Friday at 9.30 p.m. It is directed by Lekh Tandon and written by Reoti Saran Sharma. It stars Rajeev Verma, Smita Jayakar, Arundhati, Shefali Chhaya, Divya Seth and Sachin Khedekar. Music is scored by Talat Aziz. A preview of the new serial will also be held at the party.

YOU ASKED IT

Till when is the impact of the month-long cinema closure in Maharashtra, on the flow of releases, going to be felt?

– Till April, at least. Because, the multiple releases every week of February are likely to be rescheduled if one or two of them click in a big way.

Who are the producers who are making films in wholesale?

– ABCL, Time, Tips, Venus, Jackie Shroff Entertainment Ltd., Pahlaj Nihalani, K.C. Bokadia, Plus Channel, Bombino, Mahesh & Mukesh Bhatt, Mukesh Duggal.

Is Madhuri Dixit the heroine of Raftaar?

– No. As yet, nobody has been finalised for the heroine’s role.

Month-Long Cinema Bandh Called Off Unconditionally
Cinemas In Maharashtra Reopen
Govt. Promises Reliefs From 1st April

Cinemas all over Maharashtra reopened on 30th/31st January following an unconditional withdrawal of the bandh by the action committee of the film industry. The reliefs or concessions in the matter of entertainment tax will be discussed in a meeting between the film industry and the state government early next week and they will be effective from 1st April, ’97. Till then, the cinemas will continue to collect and pay 50% entertainment tax as before 1st January, ’97, the day on which almost 1,300 cinemas all over the state downed shutters.

The bandh call had been given following the government’s decision to hike the rate of entertainment tax from 50% to 100%. The rate had been 50% since September ’94.

Following the calling off of the bandh, cinemas in Bombay reopened on 31st January. In the Vidarbha region of Maharashtra (C.P. Berar), cinemas reopened on 30th as the week starts on Thursdays there.

The decision to reopen cinemas was taken on 28th January after the action committee met the revenue minister, Narayan Rane, and revenue secretary, Ajit Warty. The chief minister had, before that, made it expressly clear that his government would grant reliefs only after the bandh was called off, not before that. The action committee and distributors of C.P. Berar had also met Bal Thackeray, deputy chief minister Gopinath Munde, cultural affairs minister Pramod Navalkar, finance minister Eknath Khadse, etc. at different times to arrive at some amicable settlement. In deference to the wishes of the chief minister, the action committee decided to call off the closure from 30th/31st January. The government has assured the action committee members that the grievance of the industry on the entertainment duty structure on cinema tickets would be amicably resolved to the satisfaction of all concerned.

Pressures had been mounting on the action committee to reopen cinemas due to various reasons. For one, it was clear that the government was in no mood to oblige the industry until it called off the bandh. The election code of conduct, effective in Maharashtra till 5th March 1997, also made it impossible for the government to grant any relief, benefit or concession to anybody till it was in operation. Thirdly, most of the exhibitors had either lost or started losing their patience and wanted cinemas to reopen by Idd, at least, in the hope that the box-office would look up after the otherwise dull Ramzan month. It is because of these pressures as well as the fact that cinemas in Marathwada region did not participate in the closure and continued to function all through the 30 days of the cinema bandh as also the fear that more cinemas (especially in the Vidarbha region) would revolt and follow in the footsteps of the three cinemas there which reopened last week in defiance of the bandh call, that the action committee stepped down from its earlier stand that cinemas would not reopen till reliefs were announced. In a way, therefore, it is the government which has had the last laugh as the industry was made to eat humble pie. Of course, the industry can take solace in the fact that cinemas will continue to pay 50% entertainment tax but even that is till March 31 only. Besides, there is no written order for 50% tax and it is hoped that no demand for arrears would be raised later because the actual rate of tax in operation is 100%. Of course, the industry has been orally assured that a demand for 100% tax would not be made till a final decision on the matter is taken. If the government does grant the demand of the industry, the closure will have been worth its while. But for that, the industry will have to wait till the government takes a decision. Till then, one really can’t say whether the industry is in a better position post-closure or not.

Following the cinema closure in Maharashtra, all major releases had been rescheduled. Release plans of all big and star-cast films had been put off as no producers and distributors wanted to release their films without Bombay cinemas reopening. With cinemas reopening this week, there is expected to be a flood of releases for four or five weeks, at least. Judwaa, Yeshwant, Judaai, Auzaar, Hero No. 1, Lahoo Ke Do Rang and Himalay Putra are some of the major films lined up for release in February or early March.

3-E
Education-Entertainment-Enlightenment

DCRs – Delay Collection Reports

Cinemas in Maharashtra will not prepare the daily collection reports (DCRs) this week till a final order from the state government or a specific communication from their association, based on such an order of the government on the rate of entertainment tax, is received by them. For, only after deducting tax will it be known how much is owed to the distributor from out of the collections. Of course, the leaders and members of the action committee of the film industry are confident that the tax rate till 31st March, at least, would be 50% only.

Where Is The Audience?

Quite contrary to the general belief that the film-going audience in Maharashtra was hungry for films after the month-long cinema closure, collections on 31st January — the day on which cinemas reopened — were poor and even dismal. There could be two probable reasons for this. One, the dull Ramzan period when Muslims do not frequent cinemas. And two, lack of knowledge about the cinema reopening. One hopes, once the Ramzan month gets over and with mouth publicity of the reopening of cinemas, the box-office will present a rosier picture. As it is, one gets the feeling that February will be a lucky month for the industry.

Waiting For A Clear Field

Saawan Kumar, who was keen to release his Muslim romantic drama, Salma Pe Dil Aagaya, on Idd, has postponed the film. With the cinema closure in Maharashtra having been called off, releasing the film on Idd would have meant clashing with such big films as Judwaa and Yeshwant and withstanding the oppositions of new big films every week thereafter. Had the closure not been called off, Saawan Kumar would have definitely gone ahead with his Idd release even if that would have meant not releasing it in Bombay and Maharashtra. For, in that case, he would have got a clear field in the rest of India, at least. Rather than take advantage of the Idd festival, Saawan has decided to play it safe by postponing the release of Salma… till after all the big films have been released. An intelligent decision, this. After all, his Salma… does not boast of a big star cast. In fact, Aadesh Srivastava’s music is the film’s biggest star, with at least four songs being extremely well-tuned numbers. Not only are the songs melodious, they’ve also been picturised ably.

Badhai And ‘Judaai’

Yet another film which has been postponed is Boney Kapoor’s Judaai. It was to have hit the screens on 14th February but will now come two weeks after that, on 28th February. In spite of the film winning rave reviews in trial shows, Boney did not want to bring it alongwith other big films “because mine is a social film. I’d rather wait for the rush to clear.” Boney is hardly bothered about the fallout of his marriage to his film’s heroine, Sridevi, on the box-office fate of the film. The news of their marriage will have no adverse effect on the film, he is convinced. Incidentally, while January was a month of badhai (congratulatory messages) for Boney and Sridevi, February will be the month of Judaai. And March may be the month of temporary judaai in real life as Sridevi will fly to a foreign land to deliver their first baby there.

Costliest Hindi Film

Producer Pahlaj Nihalani launched Indian, his most ambitious venture, on 31st January at Film City in style. Special posters of Indian adorned the walls all over Bombay city a few days before the muhurt. Such publicity is usually done at the time of release of a film. The budget of Indian is rumoured to be approximately 20 crore! Which would make Indian the costliest Hindi film on the sets. This film was earlier planned to be produced by Sunny Deol, but the project changed hands even before it could start.

Eye-Filling And Interesting

Producer Rakesh Nath (Rikkoo) and debutante director Reema Rakesh Nath have picturised most of the songs of their Mohabbat on scenic locales of Canada. Besides having a good music score (Nadeem Shravan), the film boasts of eye-filling locations and slick camerawork (Rajan Kinagi). At least one song — ‘Don’t break my heart’ — will be a hit in the months to come. It is picturised on Madhuri Dixit and Akshaye Khanna. Another song picturised on both the heroes, Sanjay Kapoor and Akshaye, is interesting. Akshaye, it must be mentioned here, is a charming boy who will be accepted with open arms. His gait, poise and smile will endear him to the audience. …Information saw the songs of Mohabbat at a screening a few days back.

New Titles

Have a look at some interesting/funny titles applied for registration with the title registration committee:

Hello Tumse Pyar Kiya, Chor Ke Ghar Chori, Dal Dal, Prem Patra, Humse Mile Tum, Milte Milte, Ek Pati Teen Patniyan, Ladka Naram Ladki Garam, Oh Priya, Hum To Aise Hi Hain, Daya Ki Devi, Raja Pardesi, Pardesi Raja….

Observations

To end the column with some observations:

The response to the trailer of Yeshwant in cinemas of Bombay is simply remarkable. The bold and raw dialogues by Nana Patekar are making the audience go wild with excitement.

Tips is leaving no stone unturned and sparing no money to publicise its first production venture, Auzaar. It has put up a beautiful and costly backlit hoarding of the film at the strategic Juhu beach. It is the same site where the backlit hoarding of Barsaat had been put up, followed by the backlit hoarding of Dil Ke Jharoke Main.

One thought, it would never happen. But that’s exactly what’s happening. Tips’ Auzaar and Vashu Bhagnani’s Hero No. 1 will both be released on 21st February. Vashu’s earlier film, Coolie No. 1, was presented by Tips.

THREE CINEMAS REOPEN WITH ‘RAJA HINDUSTANI’

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

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

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

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

Empty Promises But No Action

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

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

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

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

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

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

CRUCIAL MEETING ON MONDAY

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

Veeru Devgan Hurt On ‘Sar Utha Ke Jiyo’ Sets

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

‘Jab Pyar Kisi Se Hota Hai’ Major Spell

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

‘Virasat’ Dubbing Complete

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

‘..Aur Pyar Ho Gaya’ Last Schedule

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

‘Auzaar’ Copy Out

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

‘Mrityudand’ Complete

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

DO YOU KNOW?

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

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

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

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

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

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

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

ANNOUNCEMENT & LAUNCHING

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

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

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

* * *

Nandu Tolani Announces ‘Dada Thakur’

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

3-E
Education-Entertainment-Enlightenment

Exciting Entertainer

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

The Best Of Saurashtra

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

Republic Day Wishes From Raja Hindustani

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

RELEASES UNCERTAIN

Releases of all forthcoming films are uncertain in view of the ongoing cinema closure in Maharashtra. A number of producers have planned their releases from Feb. 7 onwards to take advantage of the Idd period, but the release plans are all subject to the reopening of cinemas in Maharashtra. Saawan Kumar’s Salma Pe Dil Aagaya will, perhaps, be the only major film which will be released on 9th February even if the bandh is not called off.

Cinema Closure In Maharashtra
Deadlock Continues

The deadlock in the matter of cinema closure in Maharashtra continues, with the government adopting a tough and rigid stand that it would not grant any relief or concession before March 5 until which the election code of conduct would remain in operation in the state. The code of conduct precludes the government from granting any relief, benefits or concession to anybody. The industry leaders, on their part, are making efforts to get negotiations restarted with the government. In a bid to woo the BJP ministers, who are said to have objected to the earlier settlement arrived at (on 6th January) between their partners, the Shiv Sena, and the action committee of the film industry, the latter is now seeking appointment with BJP’s Gopinath Munde. An early meeting with Munde, who returned from Delhi only on 16th January, is not ruled out.

In the meantime, TOA president U.A. Thadani on behalf of the action committee denied that the industry had been asked to reopen the cinemas before any settlement came about.

The action committee is also going all out to seek a more pronounced support from the production sector. Towards this end, it has arranged a meeting with several top producers and those whose films are ready for an early release, on Monday, January 20, at Gaiety-Galaxy cinema complex.

Whilst the leaders are making efforts for a settlement, exhibitors, especially from ‘B’ and ‘C’ class centres, have started losing their patience and and are pressing the action committee for calling off the bandh. Some cinemas in ‘A’ class centres are also said to be keen that they be allowed to reopen soon in view of the Idd festival during which box-office collections are known to look up. But distributors of C.P. Berar submitted a written memorandum to the CCCA, asking it not to call off the closure by accepting 100% entertainment tax, under any circumstances. The memorandum states that if 100% tax rate is accepted, the business of small and flop films will be badly affected as admission rates will go up.

Even as the cinema closure entered its 18th day today, cinemas of Marathwada continue to function and are paying entertainment tax at the new enhanced rate of 100%.

Meanwhile, a couple of Marathi film producers and distributors have decided to offer their prints to any cinema owner who is prepared to release them, in view of the fact that there is no solution in sight for the ongoing bandh. The current season is one of yatras (pilgrimages) in Maharashtra, a period known to be bountiful for the box-office. The Marathi film producers and distributors do not want to lose out on this golden period and hence their decision to call off the bandh. It may be mentioned here that touring cinemas in the state have been permitted right from the start to continue their operations and not remain closed.

Whatever the progress on the front of the cinema bandh, the next two or three days will be very crucial and a final and definite outcome may materalise next week.

STOP PRESS

It is reliably learnt that Shiv Sena chief Bal Thackeray has expressed the Maharashtra government’s inability to grant any relief in entertainment tax till 5th March, on which date the election code of conduct will cease to apply. While he is also said to have expressed a desire that some concession needed to be given to the industry in the matter of entertainment tax, he is reported to have asked that the closure be called off immediately.

It is, therefore, likely that after a meeting with Maharashtra deputy chief minister Gopinath Munde in a couple of days, the action committee might decide to call off the cinema closure with the hope that some concession will be granted after March 5, 1997.

SANTOSH SINGH JAIN KO GUSSA KYON AATA HAI?

CCCA president Santosh Singh Jain lost his cool at the action committee meeting on 16th January when both, U.A. Thadani and N.N. Sippy, did not turn up at the meeting which was called to take stock of the situation of the cinema closure. When contacted, Thadani is said to have told Jain that since there was no headway made in the matter, he had excused himself from the meeting.

Upon this, Jain is said to have threatened to ask his members to reopen their cinemas without a settlement if the Bombay leaders continued to show scant interest in the matter. In fact, this statement of Santosh Singh Jain soon started doing the rounds of the trade circles and news spread fast that the C.P. Berar distributors and exhibitors were calling off the bandh. When contracted, Jain told Information, “No, we aren’t calling off the closure. My remarks were made in the heat of the moment, we don’t intend carrying out our threat.”

“We’d rather close down our cinemas forever than pay 100% entertainment tax”

– U.A. THADANI

Bombay exhibitor U.A. Thadani is known for his sharp tongue and short temper. The man minces no words and never hesitates in calling a spade a spade. When we called on him on 15th January, he was having an afternoon siesta in his office. “I’ve nothing to do,” he grinned as he opened his eyes and straightened himself in his chair. He was, obviously, referring to the ongoing cinema bandh in Maharashtra, precisely the reason why we had decided to interview him.

What is the latest on the closure front?

– Nothing. We are trying to fix up on a meeting with deputy chief minister Gopinath Munde but he is in Delhi today. Shatrughan Sinha, who is also in Delhi, met him there. We’ll, perhaps, get a chance to see him once he returns to Bombay.

But there are press reports that the government wants the closure to be called off before it has a dialogue with the industry.

– Rubbish! Nobody has conveyed this to us.

Will the action committee call off the bandh if the government asks it to do so before it has a dialogue?

– No way! We will not open the cinemas till we get the relief we are demanding. We can’t pay 100% entertainment tax, it is impossible.

What is the industry expecting to achieve?

– A definite relief, not merely promises.

Will the industry accept the 3-tier entertainment tax structure agreed to between Pramod Navalkar and the action committee on 6th January?

– Yes, we will accept that even today. We are not like the government which goes back on its word.

But what if the government refuses to grant any relief?

– We won’t open the cinemas. We’d rather close them down permanently than pay tax at the rate of 100%.

Exhibitors of small towns are getting impatient and want to reopen their cinemas as they are convinced, the government won’t grant any relief before March 5. Comment.

– This is not true. On the contrary, I receive phone calls everyday from cinemas in moffusil places, pledging their unstinted support to the bandh. Finally, the bandh will bear fruits for the benefit of all. If we agree on the 100% tax rate, a number of cinemas will find it difficult to run. They will close down. Already, with 50% entertainment tax, several cinemas have downed shutters. Imagine the scene then, with double the tax rate.

The government is said to be sore about exhibitors not spending the money collected by way of the tax-free service charge, for the maintenance of cinemas. How justified are exhibitors in not utilising this money for the purpose for which it has been allowed to be collected?

– If exhibitors don’t spend the money on maintenance, they have to refund the amount unspent to the government at the end of every year. Why, my own Deccan cinema in Pune refunded over Rs. 46,000 last year. On the other hand, there is no system of carrying forward any excess amount spent in a year on maintenance of a cinema, to be adjusted against the service charge collected in the following year.

How true is the government’s claim that 50% entertainment tax concession was given to the industry as a cinema centenary year gift?

– It is totally false. The gift was given in the 98th year of cinema and withdrawn in the centenary year which was 1996!

Why are the Marathwada exhibitors not supporting your call of cinema closure?

– There are various reasons for it. Of them, one is the fact that some cinemas in that region are owned by ministers. But let me tell you, the total revenue to the government from cinemas of this region is a mere 2 crore per year.

How true is the claim of some Marathi film producers that cinemas in districts of Sangli and Satara have reopened?

– It is utter nonsense. Not a single cinema in Satara or Sangli district is running. The bandh is total, barring the Marathwada region.

Do you think that the election code of conduct is a genuine excuse for not granting relief to the industry or is it a lame excuse?

– See, even in September 1996 when the 50% tax rate was extended for three-and-a-half months, till December 1996, the extension was given while the code of conduct was in operation. If the government wants to, it can still help the industry before 5th March.

Do you think that the BJP ministers did not approve of the settlement between Shiv Sena and the industry and, therefore, the relief was withdrawn before being granted?

– The BJP ministers may have felt ignored, and the industry is to be blamed for this. Quite unwittingly, we did not meet the ministers of the BJP but we have convinced them that this was not done intentionally or with any motive.

Why, according to you, is the government not keen to grant the relief being demanded by the cinemas?

– It has got a wrong impression that if the tax rate is doubled, from 50% to 100%, its revenue will also double. It should realise that attendance in cinemas will come down when the tax rate goes up. So, how can it earn more with 100% tax?

Till when do you think will the bandh continue?

– Till as long as the government doesn’t grant us relief. We are prepared to go on even after 5th March. But we do hope to break the ice with the government shortly, once we meet Gopinath Munde.

– Komal & Gautam

Firoz Nadiadwala Starts ‘Raftaar’ In Style

Producer Firoz A. Nadiadwala launched Base Industries Group’s Raftaar on Jan. 11 at Oberoi Towers. There was heavy security at the launch venue as it was attended by three VIPs — Maharashtra chief minister Manohar Joshi, Shiv Sena chief Bal Thackeray and Hollywood star Steven Seagal.

Bal Thackeray lit the traditional lamp, Bharat Shah switched on the camera, Steven Seagal sounded the clapper-board, and Dilip Kumar directed the muhurt shot taken on Sanjay Dutt and Akshay Kumar. Before the muhurt shot, a brilliant audio-visual was played for the invitees. Its sound was impeccable and it had been excellently shot.

Nusrat Fateh Ali Khan, who flew in from Karachi, also attended the launch party.

Raftaar is being directed by Priyadarshan. Its music is scored by Anu Malik, and lyrics are written by Majrooh Sultanpuri.

3-E
Education-Entertainment-Enlightenment

Government Talking Through Its Hat

The Maharashtra government, in its talks with industry leaders over the issue of cinema closure, among other things, expressed displeasure that cinemas in the state were not screening Marathi films for a minimum fixed number of weeks, as desired by the government. Perhaps, the government does not know that if all the cinemas decided to screen Marathi films even for just one week in a year (of course, the government wants them to screen them for several weeks), many of them will have to remain closed. Because there just aren’t enough Marathi films produced. In 1996, only 11 Marathi films were made as against 22 in 1995 and an equal number in 1994.

Cheer Up, Monsieur Munde

Now that it’s clear that Gopinth Munde and his BJP put the spoke in the wheel during the talks for settlement of the issue of entertainment tax in Maharashtra and the consequent cinema closure, because they felt slighted and ignored by the industry, here’s a song which industry people should now sing to Maharashtra chief minister Manohar Joshi:

Joshi dekh, haan dekh
Tera Munde bigda jaaye
Joshi dekh dekh dekh dekh dekh….

Maybe, then Joshi and Munde may have pity on the industry and do something for it!

GRAFFITI

What’s the new malady on sets, can you tell?
Well, well,
It’s the phone’s ringing bell
For the director, it spells H-E-L-L
This toy called Stars’ Cell-Tel.

CINEMA BANDH MAKES INTERNATIONAL NEWS

The cinema closure in Bombay, the nerve-centre of the largest film industry in the world, and in the rest of Maharashtra has made international news. Your editor was telephonically interviewed on the topic by BBC London for BBC World News (telecast on 8th January), by BBC Radio, by BBC Radio (Hindi) and by German Radio.

Cinema Closure In Maharashtra
Election Code Causes Stalemate
Govt. Goes Back On Its Word

The Maharashtra cinema closure entered its eleventh day today, with no early settlement in sight. A stalemate has developed over the issue of entertainment tax concession, which is the cause of closure, due to the applicability of the election model code of conduct in Maharashtra, which makes it impossible for the government to grant any concession, relief or benefit to anybody while it (code of conduct) is effective. The code has come into force from 9th January, ’97 and will remain in operation till 5th March, ’97 in view of the impending elections to nine municipal corporations, 30 municipal councils and 319 panchayat samitis. Technically, therefore, even if the government wants to give some relief to the industry, it cannot do so now until 5th March, ’97. No announcement or implementation of concessions or reductions can be made during this period, according to state election commissioner D.N. Chaudhary. Since the office of the state election commissioner is created under the constitution of India, it is an autonomous one. D.N. Chaudhary’s interpretation is thus absolute and the government can have no recourse to move in the matter.

It is a different thing thought that the government is not in a mood to grant any concessions or even extend the earlier concessional rate of entertainment tax of 50%. In fact, the action committee of the film industry (ACFI) met Maharashtra cultural affairs minister Pramod Navalkar on 6th January and submitted proposals to him on the granting of which they would call off the closure. The industry leaders and Navalkar arrived at a consensus formula whereby the 50% rate of entertainment tax would be maintained in case of nett admission rates upto Rs. 40, 62.5% tax would be charged for nett admission rates over Rs. 40 and upto Rs. 60, and 100% tax would be levied on nett admission rates in excess of Rs. 60. This consensus formula was to have been passed in the cabinet meeting the following day (7th January) after which the cinema closure was to have been called off. But the industry got a shock when the cabinet rejected the said proposal agreed upon by Navalkar himself.

The action committee’s hopes of reopening the cinemas from 8th January were thus shattered. Even as it decided to continue the stir with renewed vigour in view of the government’s apathy, came the news of the election code of conduct.

In the meantime, cinemas in the Marathwada region of Maharashtra, which did not fall in line with the cinemas in the rest of the state, are continuing to function even now. They are collecting entertainment tax at the new rate of 100% from 1st January, 1997.

Meanwhile, the cinema stir took a curious turn on 8th January with cinema employees owing allegiance to the Mumbai Labour Union alleging that cinemas made substantial profit even as cinema owners have declared that they would be forced to shut down if entertainment tax concession was not granted.

The workers complained that while cinemas raked in money, workers’ salaries were abysmally low. About 30 workers staged a dharna near Mantralaya to press their demands for more wages.

The action committee, on its part, dismissed the dharna as a failure and described it as more of an effort to gain some foothold in the labour movement and to prove its (Mumbai Labour Union’s) existence. According to a press release of the ACFI, workmen of 60 cinemas in Bombay are members of the Theatre Employees Union (TEU) which has appreciated that the ongoing agitation will even benefit their employees, and has assured the action committee of their full support to the cinema closure.

The press release also clarifies that salaries of all cinema employees were being paid during the closure and that no permanent employees had been retrenched or dismissed, as being made out in a section of the press.

Opinion is divided about whether the cinema closure should now be continued or not in view of the election code of conduct. Confusion prevails in the industry over the exact current position. From what the state election commissioner has stated (read box printed separately on this page), there should now be no room for confusion.

Well-known Marathi film producer Satish Kulkarni told Information, “We must open our eyes and take cognisance of the ground realities. The industry would do well to admit that no benefit can come from the government till March 5. There is, therefore, no sense in continuing the closure.” On the other hand, Satara exhibitor Kanhaiyalal Navandhar (Radhika cinema), feels, the closure should continue even though no relief can be granted till 5th March. Says he, “If the industry calls off the closure, it will in effect be accepting the rate of 100% entertainment tax and once it does so, it will be closing its doors to relief of any kind for the next 10 years. That will be suicidal.”

N.N. Sippy and Balkrishna Shroff maintained that the industry was not seeking any relief, it was just asking for status quo to be maintained and, therefore, the election code of conduct was not applicable to the industry. According to them, status quo would mean a 50% tax rate as before 1st January, 1997.

In the meantime, a delegation of distributors and exhibitors of C.P. Berar called on Maharashtra finance minister Khadse in Jalgaon on 10th January and pleaded for a concession in tax. He gave a patient hearing to the delegation which included S.K. Surana and Mahendra Lunkad and promised to arrive at a consensus formula. Khadse is expected in Bombay on 13th January when the members of the action committee are likely to meet him.

According to CCCA president Santosh Singh Jain, “Mr. Khadse reportedly asked the delegation to reopen the cinemas and pay 100% entertainment tax in view of the government’s inability to grant reliefs due to the election code of conduct.”

EFFORTS TO END STALEMATE ON

Even as the stalemate over the Maharashtra cinema closure continues, members of the action committee of the film industry (ACFI) are busy meeting ministers and other politicians in the state to arrive at some settlement. They called on BJP’s Bombay unit president Kirit Somaiya on 10th January to apprise him of the situation. Efforts were also being made to contact Maharashtra deputy chief minister Gopinath Munde.

In the meantime, FMC president G.P. Shirke met Shiv Sena leader Bal Thackeray on 9th January to seek his mediation to end the impasse. It is reported that Thackeray has asked chief minister Manohar Joshi to approach the state election commission and seek clarification regarding the demands of the cinema owners, and convince it of the need to end the deadlock despite the election code of conduct. According to Shirke, Bal Thackeray was in favour of 50% entertainment tax.

INCORRECT INTERPRETATION

There is a general feeling in the film industry that the election code of conduct in Maharashtra does not apply to the entertainment tax relief sought by the film industry since the industry is not asking for a new concession or relief but rather for an extension of the prevailing concession. But this is not correct.

The prevailing rate of entertainment tax with effect from 1st January, 1997 is 100%, and not 50%, as assumed by those who feel that the code does not apply to the industry. So what the industry is asking for from the government is a concession. Had the code come into force before 31st December, it would not be applicable in the case of entertainment tax on cinema admission till 31st December because till that date, the rate of tax was 50%. In that case, the government could have extended the 50% tax rate without attracting the provisions of the code of conduct. But even in that case, further relief, as being demanded by the industry (25% entertainment tax), could not have been granted.

In any case, until the code of conduct remains applicable (till March 5, 1997), no relief can be forthcoming from the government,unless, of course, an exception is made in the case of the cinema industry.

What The State Election Commissioner Has To Say

Film Information contacted the Maharashtra state election commissioner, D.N. Chaudhary, on telephone on 10th January for his comments on the reliefs sought by the film industry in entertainment tax.

According to Chaudhary, “No reduction or relief or concession in entertainment tax can be given by the government under the election code of conduct.” When asked to comment on the industry’s views that they were not seeking any concession but were only asking for the same rate of tax as existed, D.N. Chaudhary said, “The 50% rate of tax was in force, it is not presently in force. From 1st January, ’97, the rate of entertainment tax is 100%, and so any rate less than 100% would amount to a relief or concession. How then can the industry claim that it is not seeking a relief? And if it isn’t a relief, the government would have to explain so to the election commission.”

When asked about a report in a section of the press on 10th January that Bal Thackeray had asked Maharashtra chief minister Manohar Joshi to approach the state election commission and seek clarification regarding the demands of the striking cinema owners and somehow convince it of the need to end the deadlock, D.N. Chaudhary replied curtly, “Nobody has contacted me.” When further queried whether a settlement/relief was a possibility if the chief minister approached him, Chaudhary declined to comment. When pressed further for his reply, he said a trifle irritated, “Why should I talk in the air?”

D.N. Chaudhary summed up the discussion by saying that the industry must wake up to the realities and appreciate that no relief can be granted till 5th March, 1997.

Need of the Hour: Unity

So now what? This is the question uppermost in all minds, not only in Maharashtra but all over India. The industry has reached a dead-end, at least till March 5. It seems to have come to a no-win situation. Of course, miracles never cease and, you never know, the state election commissioner just might grant permission to give reliefs to the film industry in the matter of entertainment tax even while the election code of conduct is applicable until March 5, 1997. Or will he?

The exact position should be clear in a couple of days more. If no concession is forthcoming from the government, it may not really be practical to continue with the closure till 5th March. A better idea may be to reopen cinemas without further delay and, of course, pay entertainment tax at the enhanced rate of 100%. But the industry can make its stand clear that cinemas would once again down shutters after March 5, if the government did not give it substantial reliefs. And at that time, the erring Marathwada exhibitors could also be asked to support the bandh.

An alternative to this would be to continue with the closure but this is fraught with dangers. There is the risk of small exhibitors losing patience and threatening to reopen their cinemas. If they do so, it will be too embarrassing for the industry and, in that case, their dreams of obtaining reliefs from the government would undoubtedly be shattered.

The action committee should call an emergency general meeting of all exhibitors and distributors of Maharashtra to decide the future course of action. Small exhibitors would have a lot to say in this meeting and their words will carry a lot of weight.

Anyway, whatever is to be done, must be decided once and for all and soon. Nothing should be left ambiguous. For, ambiguity can be one sure cause of the industry’s unity starting to show cracks. And while the industry can, in the extreme case, afford to pay even 100% entertainment tax, what it cannot afford under any circumstances is to become disunited. Unity is the need of the hour, unity at any cost, at all cost.

– Komal Nahta

GOVERNMENT’S BLUFF

The 50% concession in entertainment tax in Maharashtra was given by the Congress government in September ’94. When it was first given, it was for one year. This concession was renewed for a further period of one year in September ’95 by the Shiv Sena-BJP government.

It is rather strange that the Shiv Sena-BJP government is now giving press statements that the concession was given to the industry for just one year as a cinema centenary gift, because it was never mentioned in 1994 that the concession was a gift, centenary or otherwise.

Cinema celebrated its centenary in 1995 and 1996, and it sounds strange that the government may have given a gift before the centenary year even started! Further, one wonders how the Shiv Sena-BJP government can term the concession granted by the Congress government, as a centenary gift when the latter never described it as such while granting it.

Is the Sena-BJP government just looking for an excuse to not renew the concession? Your guess is as good as ours. But the least the government could have done was to have come up with a more plausible and believable excuse, not a lame one like this, which on the face of it looks false.

THEMATIC CLASSIFICATION OF INDIAN FEATURE FILMS CERTIFIED DURING 1996

Social/Crime 625
Action/Thriller/Stunt 12
Horror 10
Devotional 08
Mythological 07
Children’s 05
Historical 04
Fantasy 03
Comedy 02
Political 02
Adventure 01
Legendary 01
Biographical 01
Social-comedy 01
Social-mythological 01
Total 683

INDORE DIARY

””• In every office of C.I., there’s one common discussion — that of the sky-rocketing prices of films. Distributors in the Film Colony of Indore wonder where these prices will stop. In the alternative, they will have to stop buying films, they say.

• The Kapoors of Bharti Film Distributors have almost stopped buying new films because they find the prices too prohibitive. Their last major release was DDLJ. Says veteran Laxminarayanji Kapoor, “We’ve distributed about 750 films in 48 years, but the prices today are beyond our comprehension.”

• The Tolani family is passionate about its business, as is evident from the money they’ve spent on their twin cinemas, Sapna and Sangeeta. Despite dad Arjundas Tolani and illustrious sons Sanjay and Rajiv being stationed in Bombay, the cinemas are well-maintained and are the most sought-after for prestigious films. Impeccable sound system is another hallmark of the cinemas which have a huge common lobby. Raja Hindustani is in its 8th week at Sapna and, believe it or not, all shows so far have been house-full! O.P. Goyal, who controls the cinemas, is constantly on the lookout for quality films to match the quality of the cinemas!

• The CCCA’s Film Bhawan is a big building which reminds of the ceiling penalty which had been imposed by the CCCA on its erring distributor-members. The penalty generated enough funds for the building so that it ought to be rightly called ‘Ceiling Bhawan’ or, better still, ‘Penalty Bhawan’. The CCCA has rented out a good portion of the Bhawan to a hospital and earns handsomely every month. There’s an open land at the backside of the building which may soon house a club etc.

• The Cine Club of Indore is the best thing about the Indore trade. It is a meeting place for distributors, exhibitors and bookers, and the camaraderie among the members has made it achieve an enviable place for itself in the trade. President Ashutosh Shukla, fondly called Chhota Pahelwaan, organised a function of the Cine Club on 6th January to felicitate Komal Nahta and Gautam Mutha of Film Information and Vinod Mirani of Box-Office. J.P. Chowksey, Ratanlal Garg, Ramesh Sureka, Govind Acharya (Rajshri), O.P. Goyal, Joharilal Jhanjharia and Ashutosh Shukla made brief speeches.

• Sunil Enterprises, Indore, has reason to celebrate. Not only has its Raja Hindustani surpassed DDLJ wherever it is running, it is also ahead of HAHK..! so far. The concern’s next is Hero No. 1.

• The biggest buyers of 1997 in C.I. are undoubtedly Shri Bableshwar Films. The Advani brothers have for release such big films as Itihas, Ishq, Maharaja, Deewana Mastana, Karobaar, Pyar Kiya To Darna Kya…. In fact, the new year began on a lucky note for Sunil Kumar Advani when his wife delivered a baby boy on 1st January at 1.26 a.m.

• Hemant Vyas has come a long way. Starting out as manager of Darshan Sabharwal’s distribution office, Hemant ventured into independent distribution by buying small films. Today, Hemant is as big as the big films he buys. He released Sabse Bada Khiladi and Khiladiyon Ka Khiladi recently. He has just acquired Venus’ Mela.

• J.P. Chowksey has left behind his unlucky days. He was lucky in Prem Granth and now, his Maachis is doing record business. It is expected to do over 30 lakhs in C.I.

• Jitendra Jain has ably trained his son, Bittu, who now manages the show at Sanman Films. The concern has been lucky in their deals with ABCL (Bandit Queen, Bombay, Tere Mere Sapne).

• Ashok Chaudhary of B.R.A. Enterprises considers the Maharashtra cinema closure a blessing in disguise because his Judwaa has had to be postponed due to the bandh. In the meantime, the music of Judwaa has really caught on.

– Gautam Mutha

AASTHA

Released this week all over except in C.P. Berar, Aarohi’s Aastha (A) is the story of a lady and her professor-husband. The young lady gets entrapped in the world of sleaze and finds herself sleeping with rich men, a fact which her husband is completely unaware of. Although she feels guilty about the life she is leading, she carries on with it till one day she finds herself exposed by her husband’s student. Together, she and the student plan to confess to her husband, but not directly, only by innuendo. This, she feels, is her only chance to pick up the threads of her shredded life.

By its very nature, the story is one which would appeal only to the elite audience. The treatment of the subject is also of the kind which makes the film hold interest only for a section of the audience. The wife’s guilt and yet her unwillingness to give up sleeping with other men would confuse the general audience. The ending is also too ‘class’ appealing because the husband is not told about the wife’s extra-marital affairs in plain and simple words. There isn’t much titillation too for the front-benchers. In short, the story is neither of the kind which one could identify with or would want to identify with nor of the kind which a layman could comprehend and enjoy.

Rekha does well. Om Puri gives a restrained performance as her husband. Dinesh Thakur is average in a brief role. Anwesha Bhattacharya does a fair job. Daisy Irani is quite effective. Navin Nischol is okay. Sagar Arya does reasonably well.

Basu Bhatttacharya’s direction is in keeping with the mood of the story. He seems to be not very concerned about the mass audience. Music is very good for the genre of the film which Aastha is. ‘Labon se choom lo’ and ‘Kaanch ki boonde’ are truly melodious songs. Dialogues are ordinary. Photography is good.

On the whole, Aastha neither has universal acceptance nor sex scenes to lure the masses. As such, it will remain a fare for select cinemas in selected cities only. …….Opening was dull almost everywhere due to poor publicity.

LATEST POSITION

Barring the cinema closure in Maharashtra, it was a normal week in the rest of the country.

Ajay 1st week Bombay 37,81,450 (91.65%) from 13 cinemas (9 cinemas for 5 days, 9 on F.H.); Ahmedabad 6,93,178 from 5 cinemas, Baroda 1,19,116, Padra 1,12,326, Rajkot 2,13,683 from 2 cinemas, Jamnagar 1,28,450; Delhi 38,57,282 (78.19%) from 13 cinemas (2 on F.H.); Kanpur 3,77,494 from 2 cinemas, Lucknow 2,15,116, Agra 2,50,000, Allahabad 1,40,000, Meerut 100%, Dehradun 1,58,000, Gorakhpur 1,61,000 (87.97%); Calcutta 23,49,244 from 20 cinemas (14 on F.H.); Raipur 1,39,000 (70.14%), Bhilai 1,33,000; Indore 91,774 (3 on F.H.), Bhopal 2,95,927 from 2 cinemas (1 on F.H.); Jaipur 7,05,439 from 4 cinemas, Bikaner 2,82,424; Hyderabad 22,67,598 from 12 cinemas.

Tere Mere Sapne 4th week Bombay (5 days) 11,87,044 (88.89%) from 7 cinemas (1 on F.H.); Ahmedabad 2,55,327 from 3 cinemas, Baroda 89,409, Rajkot (matinee) 16,859; 1st Solapur (matinee, 5 days) 28,819; 4th Delhi 7,56,850 from 3 cinemas; Kanpur 55,593, Lucknow 1,68,345, Agra 71,425, Allahabad 41,325, Dehradun 74,342, Gorakhpur 11,500; Nagpur (6 days) 1,62,578, 3rd week Akola (6 days) 67,330, total 2,05,567, 4th Bhilai 37,255, 3rd Jalgaon 64,252; 4th week Indore 2,40,280, Bhopal 1,10,810; Jaipur 1,46,717; Hyderabad 5,39,984 from 4 cinemas (2 in noon).

Raja Hindustani is still doing wonders all over India. 7th week Bombay (5 days) 25,79,148 (93.73%) from 10 cinemas (9 on F.H.); Ahmedabad 6,02,037 from 5 cinemas, 1st Himmatnagar 1,87,039, 5th week Bharuch (gross) 2,64,140, 7th Jamnagar 1,14,051 from 2 cinemas (1 in matinee); Solapur (5 days) 1,66,167 from 2 cinemas (1 in matinee); Delhi 27,58,794 from 9 cinemas (1 unrecd. and 1 on F.H.); Kanpur 3,17,082 from 2 cinemas, Lucknow 2,11,098, 8th Allahabad 1,20,300, Meerut 1,66,516, 7th Dehradun 1,52,274, 8th Gorakhpur 1,18,000; 7th week Calcutta 15,34,556 from 17 cinemas; Nagpur (6 days) 3,78,831 from 4 cinemas, Akola (6 days) 1,22,731, Raipur 1,19,007, Bhilai (6 days) 1,06,090, Jalgaon 1,60,580 (100%), 5th Wardha (26 shows) 77,860, 7th Chandrapur 1,21,783; Indore 2,31,931 (100%), Bhopal 3,55,142 from 2 cinemas; Jaipur 4,81,886 from 2 cinemas, Jodhpur 2,47,300, 6th week Bikaner 1,44,544; 7th Hyderabad 9,89,286 from 5 cinemas (1 unrecd., 1 in noon).

……..

Film Weather: 1996

125 RELEASES

A total of 125 films were released in 1996. Of course, 29 were dubbed films. As against this, 129 films were released last year, of which 30 were dubbed.

HITS & MISSES

Of the 125 films released, only 16 proved to be successful/hits/mega hits. The remaining 109 ranged from average to disastrous.

THE HITS

Dharmesh Darshan’s Raja Hindustani emerged as the biggest blockbuster of the year. It is still doing record-shattering business and is poised to exceed the business of last year’s mega-hit, DDLJ. Among the other super-hits of the year were Saajan Chale Sasural, Agni Sakshi and Bandit Queen.

ENTERTAINMENT TAX 100% AGAIN

The Maharashtra government discontinued the benefit of 50% entertainment tax in the state after 31st December, 1996. This prompted the cinemas in the state to down shutters from 1st January, 1997, in protest.

NEWS MAKERS

If it was Shekhar Kapur’s Bandit Queen at the start of ’96, which was involved in a censor controversy, it was Mira Nair’s Kama Sutra that hit the headlines as the year came to an end, again due to censorship problems. Like the former, the latter film is also likely to be cleared by the Film Certification Appellate Tribunal.

MUSIC MAHARAJAS

The year undoubtedly belonged to Nadeem Shravan whose names were associated with three blockbusters viz. Raja Hindustani, Agni Sakshi and Saajan Chale Sasural. Jeet, another major success, had Nadeem Shravan’s music.

ALL-TIME HIGH

Film prices touched a new high and so did star prices. Now, it is normal to speak of film prices in crores of rupees as against lakhs a couple of years ago.

EYEWASH, BIHAR STYLE

The Bihar distributors decided to put a ceiling on film prices and resolved to pay not more than 35% of a film’s ratio, for their territory. But this has led more to dealings in cash than anything else.

PRICE HIKES

Price hike at the time of a films’ delivery has become the in-thing. In 90% of the cases, producers increased their film prices at the time of release. Distributors cribbed but, all the same, paid the increased prices in most of the cases.

BIG B’S BIG COMEBACK

Amitabh Bachchan staged a comeback to acting by launching a film to be produced by his ABCL and directed by Indra Kumar, on 9th February. But while that film is yet to roll, his Mrityudaata is almost complete. He has also signed several other films, some of which are already on the floors.

ELECTION BLUES

The Lok Sabha election results in May were not exciting for the industry as several industry folks lost the elections. Among the losers were Rajesh Khanna, Raj Babbar, Revathi, Ramesh Deo and K.C. Bokadia. Shatrughan Sinha and Jaya Prada made it to the Rajya Sabha.

NATIONAL AWARDS FOR ‘DDLJ’, ‘BANDIT QUEEN’

Aditya Chopra’s Dilwale Dulhania Le Jayenge bagged the National Award for the best popular film of 1995, providing wholesome entertainment. Seema Biswas bagged the best actress National Award for Bandit Queen which also won a National Award for the best Hindi film.

AMITABH’S DAUGHTER TO WED RAJ KAPOOR’S GRANDSON

Amitabh Bachchan’s daughter, Shweta, got engaged to Nikhil, son of Rajan and Ritu Nanda of the Escort empire, in Delhi on 1st January. Nikhil Nanda is the grandson of late Raj Kapoor and is a director in Escorts Yamaha Motors Ltd.

DO YOU KNOW?

* A record number of 14 actors and 8 actresses made their debuts in films in 1996. The 14 actors are Arshad Warsi, Milind Gunaji, Mukul Dev, Sharad Kapoor, Chandrachur Singh, Nirmal Pandey, Abhishek Kapoor, Indra Kumar, Manik Bedi, Samrat, Faraaz Khan, Puru Raaj Kumar, Mohan Kapur and Shaadab Khan. The eight new actresses are Ranee, Sushmita Sen, Suman Ranganathan, Priya Gill, Mayuri Kango, Rambha, Koyal and Rupali.

* The Tolani brothers, Sanjay and Rajiv, who own the best (twin) cinemas of Indore, Sapna and Sangeeta, have jumped into distribution and how! They’ve acquired five films for C.I. The films they will be distributing are BADE MIYAN CHOTE MIYAN, ..AUR PYAR HO GAYA, VISHWA VIDHATA, OFFICER and DIL DEEWANA MANE NA. Besides this, Sanjay is presenting Vicky Kumar’s ZOR (starring Sunny Deol and Sushmita Sen), and Rajiv is producing a film (also starring Sunny Deol) in association with Guddu Dhanoa.

CLASSIFICATION: 1996
(Total 125 films, including 29 dubbed films)

Movie Marvel Of The Year
RAJA HINDUSTANI

AA (Super Hit)

–

A1 (Hit)

SAAJAN CHALE SASURAL
AGNI SAKSHI (‘AAA‘ in Maharashtra)
BANDIT QUEEN

A (Semi-Hit)

GHATAK (‘BB‘ in Eastern Circuit)
JEET (‘B1‘ in Eastern Circuit)

BB (Overflow)

Hindustani (dubbed; ‘AAA‘ in Maharashtra, losing in Rajasthan)
Jaan (‘A‘ in Delhi-U.P. & East Punjab)
Khiladiyon Ka Khiladi

Commission To Overflow

Masoom (‘A‘ in Maharashtra)
Loafer
Diljale (losing in some circuits)
Raja Ki Aayegi Baaraat (losing in some circuits; ‘BB‘ in Bihar & C.P. Berar)
Tere Mere Sapne (‘A‘ in Bombay & losing in Eastern Circuit)
Fareb (‘A‘ in Maharashtra)

B1 (Commission Earner)

Antim Yudh (dubbed; ‘BB‘ in South)

Coverage To Commission

Ek Bandar Hotel Ke Andar (dubbed)
Chaahat
Army
Mission: Impossible (dubbed)
Mita Doonga Naam-O-Nishan (dubbed)

TOP HEROES OF 1996

1. Aamir Khan – Raja Hindustani

2. Sunny Deol – Ghatak, Jeet

3. Kamal Haasan – Hindustani

4. Nana Patekar – Agni Sakshi

5. Govinda – Saajan Chale Sasural

TOP HEROINES OF 1996

1. Karisma Kapoor – Raja Hindustani, Jeet, Saajan Chale Sasural

2. Manisha Koirala – Agni Sakshi

3. Seema Biswas – Bandit Queen

4. Rekha – Khiladiyon Ka Khiladi

5. Tabu – Jeet, Maachis, Saajan Chale Sasural

TOP SONGS OF 1996

1. Pardesi pardesi – Raja Hindustani – Nadeem Shravan

2. Ghar se nikalte hi – Papa Kahte Hain – Rajesh Roshan

3. Latka dikha diya humne – Hindustani – A.R. Rahman

4. Pyaar karna mushkil hai –Agni Sakshi – Nadeem Shravan

5. Yeh teri aankhen – Fareb – Jatin Lalit

6. Chappa chappa charkha chale – Maachis – Vishal Bhardwaj

7. Chhota bachcha samajh ke – Masoom – Anand Raaj Anand

8. Aankh maare o ladka – Tere Mere Sapne – Viju Shah

9. Aaj main ooper – Khamoshi – Jatin Lalit

10. Jhanjharia – Krishna – Anu Malik

11. Telephone – Hindustani – A.R. Rahman

12. Kya ada kya jalwe – Shastra – Aadesh Srivastava

13. Yaara o yaara – Jeet – Nadeem Shravan

14. Shaher ki ladki – Rakshak – Anand Milind

15. Ho nahin sakta – Diljale – Anu Malik

16. Banno teri ankhiyaan – Dushmani – Anand Milind

As Govt. Fails To Extend 50% Ent. Tax Concession
MAHARASHTRA CINEMAS DOWN SHUTTERS FROM 1ST JANUARY

Bandh Not 100% * Action Committee Meets CM

˜˜Cinemas in Maharashtra closed down indefinitely from 1st January, 1997, in protest against the state government’s refusal to continue the concession of 50% entertainment tax beyond 31st December, 1996. The rate of tax had been brought down from 100% to 50% in September ’94 and renewed further in September ’95 for a year, and again in September ’96 for three-and-a-half months till 1996-end. With the Shiv Sena-BJP government having refused to continue the concession from the new year, cinemas all over the state downed shutters from 1st January. Had they continued to conduct shows, the old rate of 100% entertainment tax would prevail from the new year’s day. The closure entered the fourth day today (4th January).

The cinema bandh call has been given jointly by the Cinematograph Exhibitors’ Association of India (CEAI), the Theatre Owners’ Association (TOA), Central Circuit Cine Association (CCCA), Indian Motion Picture Distributors’ Associatoin (IMPDA) and Kinematograph Renters Society (KRS). Despite the joint call, the bandh is not 100% as cinemas in Marathwada region (Nizam circuit) are operating and have not closed down. The Marathwada region includes cities like Aurangabad, Latur, Parbhani, Nanded etc. Cinemas in this region did not heed the bandh call because of an assurance given by the local MP, Chandrakant Khaire, that some relief would be given to the cinemas. According to a cinema owner of Aurangabad, two more reasons have prompted them to refrain from joining in the closure: one, the exhibitors’ associations of Bombay did not take them (cinemas of Marathwada) into confidence and did not even consult them before taking the extreme step of closure and secondly, it is felt by Marathwada cinemas that the government is sore about the high admission rates charged by some Bombay cinemas and since they (Marathwada cinemas) do not have high admission rates, they are unnecessarily being made to suffer because of the handful of Bombay cinemas. In fact, the cinemas of Marathwada have suggested to the government that it should retain the rate of 50% entertainment tax for admission rates upto, say, Rs. 25 or 30 and fix it at 100% for rates above that.

A delegation of the Marathwada Film Exhibitors Association, headed by its president, Ravi Machhar, met Chandrakant Khaire on 31st December. The minister assured the delegation that he would discuss the demands of the cinema owners of Marathwada region with the Maharashtra chief minister and since he appealed to the delegation not to close the cinemas, the latter decided to honour his request. The delegation included Atul Save (secretary), Jugalkishore Tapadia, Amin Sayeed Khan, Sadanand Pande, Noor Khan, Shaikh Salim and Quaisar Khan. They presented a memorandum of demands to Khaire.

Although cinemas of Marathwada are in operation, leaders in Bombay are prevailing upon them to fall in line and down shutters. Foreign film companies, in response to the bandh call given by KRS, have since withdrawn their films which are running in cinemas of Marathwada.

The state has approximately 1,300 cinemas, including a little over 100 in Bombay.

On its part, the government until 3rd January seemed to be adamant about the 100% tax rate. It seemed to be in no mood to reconsider its decision of levying 100% tax with effect from 1st January, 1997. It had not been convinced by the industry’s argument that its revenue from entertainment tax increased from Rs. 80 crore in 1994-95 to Rs. 88 crore in 1995-96 because of the 50% tax concession. In the six months from April ’96 to September ’96, the total entertainment tax collected is said to be Rs. 54 crore.

The government argued that had the tax rate been 100%, it would have earned Rs. 176 crore (double of Rs. 88 crore) in 1995-96. It, therefore, viewed the concession as having caused the exchequer a loss of Rs. 88 crore.

But when the action committee met Maharashtra chief minister Manohar Joshi and cultural affairs minister Pramod Navalkar on 3rd January, the two ministers seemed to be in a mood to heed the industry’s demands. Although no concrete assurance was given to the action committee members, the latter felt, the government would reconsider its stand and offer some relief, at least.

The bandh is supported by distributors who have stopped supplying films to cinemas in the state. Since Bombay (in Maharashtra) is the nerve centre of the film industry, all releases of new films have been indefinitely postponed as producers would not like to release their films in other circuits without releasing them in Bombay territory, for fear of video piracy. As a result, the shortage of films has started to be felt by cinemas of other circuits too. Only Aastha has been released this week all over except in C.P. Berar. No other film is scheduled to hit the screens next week or in the week following that. One or two small, non-star cast films like Ganga Maange Khoon and Maun may be released in the coming week or two outside Maharashtra to take advantage of the lack of oppositions. Besides these, no other film is being announced for release till Idd (Feb. 7) by which time it is hoped, cinemas would reopen.

INDUSTRY TO SUBMIT PROPOSALS TODAY

The action committee of the film industry, which met the chief minister and the cultural affairs minister of Maharashtra on 3rd January, is preparing proposals asked for by the government. The action committee met on 3rd itself and is likely to submit some proposals today (4th).

If the government approves of any proposal submitted by the industry or offers a counter-proposal agreeable to the industry, the possibility of the cinemas reopening from Sunday, January 5, is not ruled out. It is being whispered in trade circles that a two- or three-tier system of entertainment tax may be introduced, that is to say, there will be different rates of taxation for different admission rates, the tax rates increasing with the increase in admission rates. Different tax rates may also be fixed for air-conditioned and non-air-conditioned cinemas, it is learnt from reliable sources.

Don’t Rejoice Today To Repent Tomorrow

The cinema closure in Maharashtra in protest against the state government’s refusal to extend the concession of 50% entertainment tax in the new year has not come a day too soon. In fact, a protest against the very levy of entertainment tax should have been made, and remedial action in the form of complete abolition of the tax, sought.

In today’s times, when cinema has to compete with television and satellite channels, entertainment tax on films makes no sense. After all, why should the industry pay tax to show films when the same films are shown by Doordarshan and all satellite channels without the need to pay any tax? It is discrimination at its worst.

It is rather strange that the government blatantly resorts to discrimination as above on the one hand and objects to price discrimination in the cinema industry. The state government is reported to have expressed displeasure over the trend of cinemas increasing admission rates after getting a concession in entertainment tax rate. What is the logic of the government’s displeasure? All cinemas do not increase their admission rates. Only those which provide first-class amenities like air-conditioned auditoria, latest sound system etc. charge higher rates. Doesn’t price discrimination exist in other industries that it should be looked down upon in our industry?

It is also strange that the state government can completely exempt the recent Michael Jackson show held in Bombay and yet sell tickets at Rs. 1,000 and Rs. 5,000 but frown upon cinemas pricing their tickets at Rs. 50 or Rs. 100, that too, after having to pay entertainment tax.

And if this trend of hiking admission rates to what the government feels is an “unaffordable level” is what has prompted it to withdraw the 50% tax rate and revert to the 100% rate, the following statistics need to be pointed out to the government: Of approximately 1,300 cinemas in the state, just 7 cinemas have admission rates of Rs. 50 or more, that too, for one or two small classes in the said cinemas. Put differently, of the 8 lakh and odd seats in the 1,300 cinemas, just about 3,000 seats are priced at the government’s “unaffordable” level. That is to say, only about 0.375% of the total seats in the state come in the government’s objectionable category. To penalise the entire industry for the action of less than half a percent of the total cinema seats is ridiculous. Only a non-thinking government can do such a thing. And mind you, the action of this 0.375% is not incorrect, it is only considered wrong by the government. No court has branded the admission rates of these 0.375% cinema-seats as wrong, inappropriate, objectionable or unaffordable.

Yet another grouse of the government is that its entertainment tax revenue has not increased from Rs. 80 crore to Rs. 88 crore in one year, but has rather decreased by 50% because of the 50% concession given in tax. The government could as well have said that had the tax rate been 150%, it would have collected Rs. 264 crore. Suffice it to say that tax collection and rate of tax don’t move upward simultaneously. So, such misleading comments by the government serve only to expose its ignorance of knowledge about basic economics.

Lastly, a word for the Maharashtra film industry. The Marathwada exhibitors committed a grave mistake in not supporting the bandh and instead keeping their cinemas open. There can be no excuse good enough to pardon their lapse. It is likely that the leaders in Bombay may accept a compromise solution offered by the government (as is being rumoured) for fear that there is no complete unity (Marathwada exhibitors not supporting the exhibitors in the rest of the state). If they do so, they will be committing a mistake more grave than what the Marathwada exhibitors have committed by not joining the bandh. Today, these words of caution may not seem to have much meaning. But the time ahead will prove that if the industry acts in haste today, it will repent tomorrow.

– Komal Nahta

Dream Merchant

The Dream Marriage

Maybe because it is the season of marriages and I’ve been attending a lot of them that I dreamt of a beautiful wedding card I received.

The card mentioned that the daughter of Guddi and Coolie would wed the grandson of Awara Shri 420. I liked the style of the card as much as I liked the words used. So I decided to probe further into this marriage which promised to be the best in Bollywood and the corporate world. Bollywood, because the bride-to-be was the daughter of a legendary superstar, and corporate world, because the bridegroom-to-be was the son of a multi-millionaire industrialist, besides being the grandson of a late legendary filmmaker and actor.

I learnt that the baaraat would come not on foot, as is customary, but on motor-cycles. Why, the bridegroom himself would not ascend a ghodi, as is the Hindu custom, but would also come riding a motor-bike manufactured by his own company. At the reception, I was told, the bridegroom’s family had made arrangements for every guest to be ‘Escort’ed to the dais which was being erected in filmi style for the couple.

I learnt from the common dress designers of the girl and boy that the two had been meeting chupke chupke since quite a few months. Which means, the silsila wasn’t new and the love story had a filmi tinge. Which also means, it isn’t a case of do anjaane meeting for the first time. What is more, the parents of both, the girl and the boy, were also hoping that the wedding bells would toll for the two. So, when the boy did finally propose to the girl, the latter’s father told the former’s mother, “Oh, this is the realisation of tere mere sapne!”

About the boy and the girl, people say, they are both Indians at heart, although they’ve lived abroad and even studied there. That’s because the girl is the daughter of a true desh premee, one of the prominent saat hindustanis, and the guy is the first cousin of the new rani hindustani. Talking of relations, the boy’s youngest maama (maternal uncle) has decided to write a granth on his nephew’s prem story. But the eldest maternal uncle of the groom-to-be lovingly scoffs at the enthusiasm of his brother as he feels, all love stories are the same since jawani is always diwani, whoever the love birds.

Coming to the pre-marriage functions, the bridegroom’s family will hold an evening of sargam, to be hosted by another maternal uncle of the groom. The girl’s father will not have the run-of-the-mill ladies’ sangeet programme. Instead, he has opted for an all-mard, aalaap recital only, which is expected to be held in his favourite city, Bangalore. This recital will have the patronage of the Karnataka government too and although the participants will be only males, it will, nevertheless, be attended by beauties from all over the world. Lest the not-so-beautiful ladies revolt in opposition, the bride’s father has decided to also have some special invitees from among them.

A joint dandiya nite will be organised by the families of the boy and the girl in Delhi, a day before the marriage. No liquor will be served at this nite as the groom’s father wants no people dancing under the influence of alcohol. No entry for sharaabis then! At this dandiya nite, the girl’s mother is expected to present a special dance item, ‘Pallo latke’. Not to be left behind, the girl’s father will dance to the tune of ‘Hey sabse bada tera naam, O Sheranwali’. Entry to this function as to all the other functions too will be strictly by invitation only and gate-crashers will be checked, because they will be a congregation of all big names from all corners of the world. No place for benaams then.

The baaraatis will receive gifts from the girl’s father, in the form of 100 shares of his new company. The groom’s gracious parents have also decided to gift a cooking range to each and every guest from the girl’s side. But the two families have decided not to accept any wedding uphaars. Presents in blessings only, you see.

For the reception, the best bawarchis of every state in India have been hired by the groom’s maternal uncles so that they can live up to their reputation of being descendants of the showman. On his part, the girl’s father has hired the services of internationally acclaimed cooks so that his shaan remains intact. While the girl’s father will receive the guests on the dais, her only brother will stand at the entrance with folded hands. Bade miyan and chote miyan sharing responsibility.

For their honeymoon, tips will be taken from the bridegroom’s maternal uncle who insists, he has become an expert at honeymooning after having worked in a film called Honeymoon.

Gosh, what have I been letting you readers into. I was supposed to keep all this a closely guarded secret till the D-Day. But when will I get over this habit of writing in my dream? Anyway, I’m happy, I haven’t let out the names of the groom and the bride.

No, please don’t ask me: “Naam kya hai?”

– Komal Nahta

GRAFFITI

The film industry and the

government share a

give-and-take relationship…….

The industry always gives

and the government only takes.

AJAY

Shree Krishna International’s Ajay (UA) is a routine story of a thakur family’s daughter falling in love with a middle-class lad. How the two lovers have to surmount the obstacles that come their way is narrated in the second half which also has some family drama. The first half is devoted to taming of the proud heroine by the hero and getting her to reciprocate his love. There is no attempt to show anything new in the film.

If the story is oft-repeated and of the kind which appealed in the eighties, the screenplay is unimaginative. Script writers Rajiv Kaul and Praful Parekh seem to have taken the audience too much for granted and they have dished out a fare which is an insult to even an average viewer’s intelligence. No attention has been paid to even continuity. In a film of the canvas as big as this, such poor scripting is unpardonable. Dialogues, however, are really good and even clapworthy at places.

Sunny Doel does very well but he is definitely not the perfect choice for a romantic hero’s role. Although there is plenty of action in the climax, the pre-interval portion shows him in an out-and-out romantic role, which goes against his rough-and-tough image. His dance in the ‘Chhammak Chhallo’ song, especially his pelvic thrusts, is a highlight. Karisma Kapoor looks pretty and also performs with maturity, sincerity and confidence. Her absence in the climax is conspicuous. Suresh Oberoi does ably in a lengthy role. Kiran Kumar lends good support. Reena Roy does a fair job but her sermonising is irritating at times. Sadashiv Amarapurkar and Laxmikant Berde’s comedy entertains in the initial reels but as the film progresses, the comedy loses punch mainly because it has no relation with the main story and is also childish. Mohnish Bahl is effective. Farida Jalal, Devyani, Sharat Sexena, Praveen Kumar and the others provide reasonably good support.

Suneel Darshan does not make an impressive debut as director. Besides having a poor script sense, his framing of the shots is faulty as he relies too heavily on close-ups and avoids long-shots and mid-shots even when they are absolutely necessary. For example, in a chase scene, he does not get the one chasing and the one being chased in the same frame so that the viewer is not aware of the distance between the two. Likewise, in action scenes (except in the climax), the impact is reduced considerably because of tight framing. Music is fair. The ‘Chhammak Chhallo’ number is the best, followed by the title song. Picturisations of both are enjoyable for Sunny and Karisma’s dances. The ‘Ruk Majnu’ song needs to be deleted. Action scenes are quite good. The action-packed climax, however, is unduly lengthy and can be safely trimmed. The film’s ending is abrupt. Camerawork is not upto the mark, being dull at places. Foreign locations are good. Production values are of a good standard.

On the whole, heavily priced Ajay lacks in merits and will have to count on the lack of oppositions in the coming weeks (due to cinema closure in Maharashtra from 1-1-’97) to augment its business. Collections in North India should be better with Punjab heading the list.

Released on 25-12-’96 at Novelty and 10 more cinemas and on 27-12-’96 at 11 other cinemas of Bombay thru ABC Pictures Pvt. Ltd. Publicity: very good (but not very appropriate). Opening: good. …….Also released all over. Opening at several places was below the mark due to inappropriate publicity (musical rather than action-oriented publicity).

Ent. Tax Relief To Be Discontinued

Cinemas In Maharashtra To Down Shutters From New Year’s Day

The clarion call has been sounded. Cinemas in the state of Maharashtra will down shutters from 1st January, 1997, in protest against the categorical refusal of the government to continue the reduced entertainment tax rate (of 50%) beyond 31st December, 1996.

The government in its cabinet meeting on 24th December took up the matter of entertainment tax and decided to discontinue the benefit of the reduced tax structure from the new year. This decision was conveyed to the industry the same day. On its part, the distribution and exhibition sectors of Maharashtra met on 26th December and decided to close down all cinemas in the state in protest.

The IMPDA has issued the following directives to its members:

(i) No film print (old and new) shall be supplied to any cinemas, including touring talkies, in the state of Maharashtra for exhibition on and from Wednesday, the 1st of January, 1997.

(ii) All film prints already supplied to exhibitors in Maharashtra shall be retrieved on completion of exhibition in the last show on 31st December, 1996.

It has been decided by the IMPDA that members violating any of the aforesaid two directives shall be liable to a penalty of Rs. 1 lakh.

In the meantime, the Film Makers Combine, in a communication to the government, asked it to extend the benefit of reduced tax and suggested that an enhanced rate of tax be introduced in the case of admission rates beyond a certain limit.

As the government has not come up with an alternative tax structure, it would, by implication, mean that the old rate of 100% tax, as prevalent before September, ’94, would prevail after 31st December, ’96. Since there is no dispute over the tax-free service charge of Re. 1 per admission ticket, that will continue in the new year too.

An action committee consisting of the presidents and members of the Cinematograph Exhibitors’ Association of India (CEAI), Theatre Owners’ Association (TOA), Central Circuit Cine Association (CCCA), Indian Motion Picture Distributors’ Association (IMPDA) and KRP Ltd. has been formed to pilot the closure of cinemas. The action committee has been duly authorised to negotiate with the government of Maharashtra as and when invited by it in the matter.

RELEASE SCHEDULES UPSET

Since Bombay is the nerve-centre of the film industry and is also a major circuit, the cinema closure in Maharashtra from 1st January, 1997 has thrown all the forthcoming release schedules out of gear. Judwaa, which was to have been released on 20th December, may now come on Idd day, of course, only if the Maharashtra cinema closure is called off by then. The film’s Bombay distributor, Inder Raj Kapoor, has finalised Liberty as the main cinema for it in Bombay. Aar Ya Paar was due on 10th January, subject to its censorship. Obviously now, its new release date hangs in balance. Besides these two, there weren’t any other major releases scheduled for January.

Aastha will hit the screens on 3rd January, notwithstanding the closure. However, it will be released in all circuits except Bombay.

As one does not know when the cinemas will reopen, it is difficult to say now, which films will be released when. Of course, producers of some small films might take this opportunity of lack of big oppositions and release their films despite the cinema closure in Maharashtra.

Some other films have also fixed their release date as 7th February (Idd). Among them are Yeshwant (main cinemas in Bombay: Dreamland and New Excelsior), Hero No. 1 (Novelty) and Auzaar (Maratha Mandir). Of Hero No. 1 and Auzaar, only one will come on Idd. Lahoo Ke Do Rang, Judaai, Himalay Putra and Salma Pe Dil Aagaya are the other releases fixed for Idd.

MILAN, BOMBAY CLOSED

Even as cinemas in Maharashtra are getting ready to down shutters from 1st January, 1997, Milan cinema at Santacruz, Bombay, closed down from 27th December. According to a spokesman of the cinema, it will remain closed for a long time for renovation.

HC ASKS ERRING CINEMA TO PAY FINE

A division bench of the Andhra Pradesh high court on 26th December directed Ramakrishna 70mm cinema, Hyderabad, to pay a fine of Rs. 1.50 lakh to the legal service committee and permitted it to reopen the cinema from 17th January.

The bench, consisting of Chief Justice Prabha Shanker Misra and Justice V. Rajagopala Reddy, accepted the apology tendered by the cinema management for having included interpolated scenes in the films Dark Dancer and Secret Games 3 screened at the cinema. The court said that it was a clear case of the cinema licence going beyond the censor certificate in exhibiting films in the cinema with interpolations of scenes which were hard or near-hard pornography. It criticised the lapse in the system and said, it was responsible for clippings finding their way into censored films being screened in cinemas. It said, the commissioner of police would be failing in his duty if he did not henceforth ensure stoppage of such a practice.

K.C. SURANA’S GRAND-DAUGHTER TO WED

Marriage of Manisha, grand-daughter of K.C. Surana and daughter of Devendra Kumar Surana of Raj Mandir cinema, Jaipur, with Ravi will be solemnised on 29th December in Jaipur. A reception to celebrate the wedding will be held the same day at Rajmahal Palace Hotel. A luncheon party will be held on 30th at Surana Enclave.

RAJENDRA BHATIA NO MORE

Well-known producer-director Rajendra Bhatia passed away on 25th December in Bombay at Ramakrishna Mission Hospital due to a heart attack. He was 79.

Rajendra Bhatia started his film career as an assistant to Mohan Segal in New Delhi. He then started his own production banner, Kiran Productions, under which he produced films like Anpadh, Neela Akash, Kanyadan, Pavitra Papi, Paraya Dhan and Jungle Mein Mangal.

He also made television films for Doordarshan, among which was Hum Hindustani, directed by Hrishikesh Mukherjee.

Bhatia is survived by his wife, three sons and two daughters.

‘Bade Miyan Chote Miyan’: Entertaining Muhurt Of Exciting Film

If the announcement of Bade Miyan Chote Miyan, starring Amitabh Bachchan and Govinda and directed by David Dhawan, sounded the most exciting announcement of recent times, its muhurt at Hotel Centaur on 22nd December was easily the most entertaining.

The two miyans faced the camera for a fairly long muhurt shot in which they discussed what they should do rather than just while away their time doing nothing. Amitabh first informed Govinda that he was planning to become a neta. Upon which Govinda warned him to remain away from netagiri because a neta sooner or later would be involved in some scam, followed by enquiries, courts, and he would ultimately land up in jail. Seeing sense in Govinda’s note of caution, Amitabh changed his mind and decided to become an abhineta. A brief tiff ensued between the two, with each one clamouring to become the abhineta, asking the other to be his secretary. Finally, when it was resolved that bade miyan Amitabh should become the abhineta, Govinda asked him what he would do after that. Amitabh replied that he would make money and more money and still more money. But what would Amitabh do finally? Pat came the reply from Amitabh that ultimately, after earning plenty of money, he would sleep in peace. Hearing which, Govinda shot back, “But that’s what we are doing even now — sleeping. So why do anything else?” And back the two decided to go, from where they had begun — on the khatiya, to sleep!

There was a big round of applause after the muhurt shot was canned. Even whilst the shot was being picturised, there were peals of laughter amongst the audience, who seemed to be enjoying the references to scams, court battles, etc. Why, there was also a subtle reference to the recent income-tax raid on the film’s director, David Dhawan. The film, being produced by Sheetal Jain in association with Vashu Bhagnani, is written by Rami Jafri. Viju Shah will score its music. Lyrics by Sameer, cinematography by K.S. Prakash Rao, choreography by B.H. Tharun Kumar, editing by A. Muthu, and art direction by R. Verman are the other major credits. Executive producer: Kaleem Khan. Epic Enterprises presents the film.

DO YOU KNOW?

* In 1996, the cinemas of Ujjain screened the following number of films: Metro 12, Nirmal Sagar 19, Prakash 20, Trimurti 24, Narendra 32, Kamal 40, Bhatwal 44, Swarg 50, Ashok 53, Sunderam 53, and Mohan 54.

* Dubbed Telugu films dominated the scene in Andhra in 1996. Of the 130 Telugu films released during the year, 68 were dubbed!

* A total of 58 cinemas in East Godavary district were damaged in the frequent cyclones in Andhra in 1996. Of these, losses to 40 cinemas were major.

YOU ASKED IT

How much is the loss of revenue due to entertainment tax expected to be to the Maharashtra government when cinemas in the state down shutters from the new year’s day?

– Approximately Rs. 30 to 35 lakh per day or over Rs. 2 crore in a week.

What is the ratio of Bade Miyan Chote Miyan?

– Whatever the ratio, distributors of almost all the circuits are falling over one another to bag its distribution rights. It is likely to be sold for 3 in major circuits and a bit more in smaller circuits.

CENSOR NEWS

Pooja Bhatt Productions’ Tamanna was given C.C. No. CIL/3/40/96 (A) dt. 24-12-’96; length 3522.88 metres in 15 reels (no cut).

Ketan Mehta Films P. Ltd.’s Aar Ya Paar was seen by the revising committee on 26th.

Ayesha Films’ Mahaanta (length 5627.14 metres in 21 reels) was applied on 24th.

3-E
Education-Entertainment-Enlightenment

Black New Year

There had been a cinema closure in Maharashtra exactly 10 years ago, in October 1986. The industry had in that year celebrated what it termed a ‘Black Diwali’. Now, ten years later, the industry is fighting over the same entertainment tax as in 1986. So in 1997, the industry will have a ‘Black New Year’. Ten years ago, the industry succeeded in getting several of its demands sanctioned. What will happen this time, only Time will tell.

Tables Turned

Our music directors and sometimes even lyricists come in for criticism when they flick tunes/lyrics of Pakistani or English songs. But this time over, it has been the other way round. The ‘Aafreen’ song, written by Javed Akhtar, has been plagiarised in Pakistan. Except for a few changes in the words, the song, which is practically the same, is quite popular with the Pakistanis. Javed should feel flattered. After all, isn’t imitation the best form of flattery? Incidentally, the music for the ‘Aafreen’ song in India has been composed by Pakistani composer and singer Ustad Nusrat Fateh Ali Khan.

Case For Abolition Of Entertainment Tax

And this one is meant to be taken in a lighter vein.

Industry leaders, in their talks with the Maharashtra government, can put forward the following arguments in support of their demand for maintaining 50% entertainment tax instead of an increase in the rate. Not just that, they can even ask for its complete abolition.

Argument 1: Since most of our films fail to entertain, why levy an entertainment tax on them at all?

Argument 2: Our films tax people’s brains heavily because most of the times, the story is incomprehensible or hardly makes sense, so why should their (people’s) pockets also be taxed?

Argument 3: Since the industry has many other taxing problems to solve, why should the government burden it with a high tax problem.

Argument 4: When industry people are allowed to evade income-tax (except when they are raided, that too, occasionally), they should also have the freedom to evade entertainment tax.

NAMAK

Kawal Films’ Namak is a stale film about a young lad who is brought up in his master’s house, like a family member. He repays the goodness of his master by exposing the scheming family members of his master, who are out to usurp the wealth of the rich master. In doing so, he has to undergo a lot of hardships.

The film has a poor story, and its screenplay cares little for logic. No attention has been paid to the characterisations. The drama moves on in a routine fashion and fails to involve the viewer. The climax is also not exciting. Dialogues are ordinary.

Sanjay Dutt does a fair job. Shammi Kapoor is alright. Farha has no role worth a mention. Prem Chopra, Shakti Kapoor and Gulshan Grover are impressive. Raza Murad passes muster. Amita Nangia and Sahila Chaddha fill the bill. Nirupa Roy, Preetam Oberoi, Jagdeep, Paintal, Dinesh Hingoo and the rest lend the desired support.

Direction is dull. Music is a letdown. Action scenes are so-so. Photography and other technical values are ordinary.

On the whole, Namak is a non-starter.

Released on 20-12-’96 at Shalimar, New Excelsior (matinee) and 3 other cinemas of Bombay thru Sumit Films. Publicity: good. Opening: poor. …….Also released all over.

CBFC SEES ‘MAACHIS’ AGAIN

Gulzar’s Maachis was seen again by the CBFC on 20th December under the instructions of the I & B ministry.

VED PAL DEAD

Music director Ved Pal breathed his last on 19th December in Bombay. He was 73 and had been ailing. He is survived by three sons.

Ved Pal was scoring the music of Arman at the time of his death. Among his well-known films are Souten Ki Beti, Oh Bewafaa, Maya Sundari, Gunehgar, Sant Tukaram, Bhoot Nath, Aai Phirse Bahar etc.

P.D. MEHRA UNWELL

Writer, producer, director P.D. Mehra suffered a heart attack on 6th December in Delhi. He has been since flown to Bombay and is presently recuperating at home.

I-T RAIDS ON INDUSTRY PEOPLE

The income-tax authorities swooped upon the film industry when simultaneous raids were conducted on several industry people in Bombay on 18th December. Among those raided were David Dhawan, K.C. Bokadia, Sunil Shetty, Shah Rukh Khan, Madhuri Dixit, Kumar Sanu, Moranis, Bunty Soorma, Karisma Kapoor, Mahesh Bhatt, Mukesh Bhatt, Nandu Tolani, Rikku (Rakesh Nath), star secretary Jatin etc. The investigations continued on 19th too, and several shooting schedules on 18th and 19th went haywire with the stars raided not reporting for shootings.

‘MAACHIS’ TAX-FREE IN DELHI

Gulzar’s Maachis has been granted exemption from payment of entertainment tax in Delhi for three months from 20th December.

B.R. CHOPRA’S GRAND-DAUGHTER TO WED

Marriage of Pooja, grand-daughter of B.R. Chopra and daughter of Ravi Chopra, with Varun will be solemnised on 28th December at the Royal Western India Turf Club, Bombay.

DO YOU KNOW?

* The title KAMASUTRA is registered in favour of producer B. Gupta. Mira Nair, who has made a film of the same name, actually has the title A TALE OF LOVE – KAMASUTRA registered in her favour.

MIX MASALA

OBJECTIONABLE BUT WORTHY OF TAX EXEMPTION

Isn’t it strange that two members of the BJP took objection to the contents of Maachis, in Parliament, and the same film has been granted tax exemption by the BJP government in Delhi?

CENSOR NEWS

Shree Krishna International’s Ajay was given C.C. No. CIL/2/40/96 (UA) dt. 20-12-’96; length 4111.75 metres in 16 reels (cuts: 178.61 metres).

Prathima Distributors P. Ltd.’s Jeeo Shaan Se (revised), seen on 12th, has been passed for adults, with cuts.

Ketan Mehta Films P. Ltd.’s Aar Ya Paar (length 4524.76 metres in 16 reels), applied on 13th and seen on 16th, has been offered A certificate, with cuts. It has been referred to the revising committee by the producer.

YOU ASKED IT

What are the chances of the cinema closure in Maharashtra from 1st January, ’97 being averted?

– The chances of the state government giving an extension to the present entertainment tax structure are bright. So, there may not be any necessity of a closure, after all. But one has to wait for the government decision to come.

What lesson should the film industry learn from the simultaneous income-tax raids conducted on industry people this week?

– That, like film business, the income-tax department is also most unpredictable!

With big films being announced every week and being sold at fancy and unheard of prices, where is the crisis in the industry, about which one is so used to hearing?

– There’s no crisis now. There’s a fear that the high prices will lead to a crisis. But that too is a fear. So, don’t you worry, dear!

IN & OUT OF BOMBAY

Mr. R.R. Khajanchi of Khajanchi Film Exchange, Amravati, is in town (493-0645) and will return to Amravati on 22nd December.

Mr. J.P. Chowksey of Prachi Films, Indore, returned to Indore on 20th December and will come to Bombay again on 24th.

Mr. Anil Thadani of A.A. Films, Bombay, left for Pune on 20th December and will return today (21st).

Mr. Niraj Manchanda of Niraj Movies, Calcutta-Bombay, left for Calcutta on 20th and will be back after 2 days.

Mr. Ravi Machhar of Abhinay cinema, Aurangabad, left Bombay for Bangalore today (21st December) and will return to Bombay (98200-31295) tomorrow.

Entertainment Tax In Maharashtra

Crucial Cabinet Meeting Next Week To Decide About Cinema Closure

Will the Maharashtra film industry close down its exhibition outlets from the new year or won’t it? This is the question doing the rounds of film circles all over India. Although industry leaders insist that the closure of cinemas from 1st January ’97 is definite, a last-minute withdrawal of the bandh is not ruled out. This would happen if the Maharashtra government accedes to the demand of the industry for continuation of the benefit of reduced (50%) entertainment tax in the state. The prevailing tax structure would come to an end on 31st December, ’96 and it is feared that the government would enhance entertainment tax in the new year.

It is rumoured that the practice of exhibitors, especially in Bombay city, to enhance admission rates to “unreasonable” levels is what has agitated the government. It is felt by the government that the benefit of reduced entertainment tax is not being passed on by the film industry to cinegoers because the latter are forced to pay even more due to increased admission rates. However, this allegation is not wholly true because the practice of increasing admission rates is prevalent mostly in Bombay city, and that too, only a few selected cinemas resort to hiking their rates.

In the meantime, a delegation of many leading exhibitors and distributors of C.P. Berar (Maharashtra region), headed by CCCA vice president Vijay Rathi, met Maharashtra chief minister Manohar Joshi and deputy chief minister Gopinath Munde on 18th December in Nagpur and submitted a memorandum to them against the proposed hike in entertainment tax. The ministers gave a patient hearing to the delegation and assured it that its proposal would be kept before the cabinet meeting to be held in Bombay on 24th December. A further extension of the reduced entertainment tax structure for three months is not ruled out, reveal insiders. After three months, the new tax structure will be based on the report of a committee which is being appointed for the purpose. Another source informs that while 50% entertainment tax will be maintained, the rate of tax will be higher in the case of admission rates beyond a certain limit, say, Rs. 30 or Rs. 40.

Vijay Rathi told Information, “The chief minister and the deputy chief minister were very sympathetic to the demands of the film industry.”

In the meantime, Judwaa did not release this week due to the impending cinema closure. Ram Aur Shyam and Namak, however, have been released. Suneel Darshan’s Ajay is slated for release next week even despite the possibility of a closure in Maharashtra from 1st January, 1997. The production sector is not likely to join in the closure. Therefore, shootings, recordings and all other production and post-production work will continue as usual.

Dream Merchant

Income-Tax Raids: The Inside Story

I had had a tax-filled week. First, it was the computation of my income for payment of advance tax before 15th December. Then, it was the issue of entertainment tax in Maharashtra. Wherever I went, that was the topic of discussion. As if entertainment tax wasn’t enough — the rate (50%) as well as the topic — came the income-tax raids on my many friends in the industry. Why, I even dreamt of the tax raids when I tried to relax my taxed brains last night.

I saw a team of income-tax officials enter the house of David Dhawan. “Where’s all the black money you take?”, they asked David who didn’t look one bit disturbed. “See,” David warned the officials, “you will never succeed in anything if you approach me alone. If you want 100% success, you must raid me and Govinda together. Ours is a hit team with 100% success ratio. It’s the Team No. 1.” One of the officials shot back, “Oh shut up. Where is your money no. 2? Is it under your khatiya? If so, please sarkailo khatiya.” “Stop it, stop it,” screamed David. “Don’t you know, I’ve stopped picturising double-meaning songs. Please don’t start it all over again. And see, you shouldn’t be troubling me at this time. I’m about to start my Bade Miyan Chote Miyan with Amitabh Bachchan and Govinda. I’ve got to go for its photo session.” Punching him in his protruding stomach, the official said, “You motay miyan, don’t try to confuse us with bade miyan and chote miyan. But if you so plead, we will come after your photo session.”

So saying, they left from there and came to Gaffarbhai Nadiadwala’s residence. “What’s the harm in accepting black money?”, asked Nadiadwala innocently. “After all, if I can make a film titled Lahoo Ke Do Rang, I can surely accept payments for it with money of do rang — white and black.” Seeing Gaffarbhai spell out his dealings so clearly in black and white, the I-T sleuths decided to exempt him.

They then reached Madhuri Dixit’s well-furnished apartment. Madame Madhuri was away in Ooty, shooting for Pukaar, and it was her father who attended to the I-T officials. “See, let me tell you one thing very frankly,” he whispered. “All these years, my daughter was no. 1. But 1996 has been unlucky for her because her films have bombed. The trade says, she is slipping from her no. 1 position. To match her new no. 2 position, Madhuri has started accepting payments in no. 2, only from this year onwards.” One official, with an investigative bent of mind, asked, “Then who is the current no. 1 heroine?” Pop came the reply from ex-no. 1’s pop, “Rani Hindustani — Karisma Kapoor. You must raid her residence.”

And sure enough, the team of the income-tax men landed in Karisma’s home. Poor Karisma didn’t even know what was income-tax and who were income-tax officers? She viewed them as one would, an alien, and instantly broke into a song, “Pardesi pardesi aana nahin / Mujhe chhod de, mujhe chhod de.” Then, like the defiant Aarti of Raja Hindustani, who kisses Aamir Khan at the end of the Pardesi song, in front of her father, Karisma smooched all her black money right in front of the I-T guys. When the shocked officials asked her to sign the statement of unaccounted money they had found in her house, she refused point blank. “I didn’t sign the divorce papers in Raja Hindustani and look, what a big hit the film has become. Since then, I’ve decided not to sign any papers. I won’t be filing my tax return from now on because I can’t sign it.” Thus saying, Karisma burst into tears à la Raja Hindustani. The officials beat a hasty retreat. How could they antagonise the no. 1?

So they decided to go to the house of a hero who wasn’t no. 1. They chose Sunil Shetty but within minutes of reaching his house, the officials came out weeping. “We shouldn’t have come here,” sobbed one officer as another one tried to console him. “Poor guy, he has given so many flops, how can he have any money — black or white? As a noble gesture, let the I-T department give Shetty some funds.”

Next on their list was Shah Rukh Khan. The actor was flabbergasted on seeing the I-T sleuths because only recently, the I-T department had felicitated him for being an honest tax-payer. In his Darr style, he began to stutter, which showed that he was indeed daraa hua: “You first f-f-f-f-felicitate me and now you f-f-f-f-…….” An impatient officer interrupted, “We f-f-f-f-f-forgot the past, now you f-f-f-f-f-forgive us for our present lapse.”

By now, it was almost time to call it a day. But the sleuths tried to squeeze in one more name. They knocked on the office door of K.C. Bokadia. The simpleton that Bokadia is, he blurted out the truth. “If you think, I have been dealing in black money, let me tell you, you are sadly mistaken. Amitabh Bachchan is not charging me a single naya paisa (black or white) for Lal Badshah. He volunteered to do the film for free because before his retirement, it was only my Aaj Ka Arjun which clicked from among his last lot of films. Amitabh needs me more than I need him.” One of the officials remarked, “But you do have stocks of black money.” An excited Bokadia exclaimed, “Black money and me? I don’t have any money — black or white. Haven’t you seen my last 15 films? They were all major flops. Sit down and watch them on television for yourselves to judge the amount of losses I’ve made in them.” And Bokadia began to adjust his VCR and television set to start his last debacle called Aashique Mastane. The I-T sleuths screamed in unison, “Please don’t raid our brains. We believe every word of what you say. But we beg of you to let us go.”

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

We Two, Our Four

‘V’ for Venus. And ‘V’ for V.I.P. Enterprises. Well, the two V’s have joined hands for not one or two, but as many as four films. V.I.P. Enterprises will be distributing four of Venus’ films in Bombay. And Vinay Choksey (another ‘V’) of V.I.P. hopes, this mega-deal spells ‘v’ictory for them. The four films acquired by V.I.P. are Josh (starring Salman Khan, Aishwarya Rai and Saif Ali Khan; directed by Mansoor Khan), Badshah (starring Shah Rukh Khan and Kajol; directed by Abbas Mustan), Dhadkan (starring Akshay Kumar, Shilpa Shetty and Arbaaz Khan; directed by Dharmesh Darshan) and Yes Boss (Shah Rukh Khan and Juhi Chawla; directed by Aziz Mirza). If four of Venus’ films are with V.I.P. for Bombay, Venus has also joined hands with Tolu Bajaj for Delhi-U.P. in four of their many projects. The four films of Venus to be released by Tolu in Delhi-U.P. are: Mela, Dhadkan, Keemat and Aar Ya Paar (the last-named film is a Venus presentation).

Costly ‘Mela’: The Rush Has Already Started

While on Venus, their Mela is absolutely ‘hot’ if the offers the film’s Bombay distributor, Anil Thadani, is getting are any indication. When Anil acquired the film last week at a fancy price, he was a bit scared — if only for the heavy price he was paying. But no sooner did the news spread that Mela had been acquired by Thadani than he was flooded with offers for partnership in Bombay distribution. According to Anil, he has as many as nine or 10 standing offers for partnership, even at the fancy price. So, fancy price apart, it is the film that has caught the fancy of the trade, it seems. It would be interesting to mention here that Mela is just about a reel-and-a-half complete. According to its director, Dharmesh Darshan, it will be ready for release by the end of 1997. Incidentally, the folders of Mela and the special expensive envelopes in which they came (distributed last week alongwith copies of Film Information) won a lot of praise. They were designed by Himanshu and Rahul Nanda.

Disproportionate Ratio

Is C.P. Berar 40% of a major circuit? Not at all, feels C.P. Berar distributor Pramod Munot. Says he, “If you compare the businesses of 10 hit films in the different circuits, you will find that the business of all the 10 films in C.P. is much less than 40% of the business in the circuit where they have done the highest business. So how can C.P. be 40% of a major territory?” According to Munot, the ratio of C.P. Berar should be a maximum of 30% of a major circuit, whether the major circuit is Bombay or Delhi-U.P. With film prices threatening to touch the sky, Munot also feels that he is no longer a distributor as he does not feel like taking such dangerous risks. “At best, we are film exploiters, but not distributors,” he concludes.

To The Point

The CBFC has suggested that dubbed versions of films should be treated as fresh films for the purpose of certification. Rightly has the AMPTPP described the suggestion as impractical. Why does the CBFC want to increase its work load? Any logic?

* * *

The music of Ramgopal Varma’s Daud is being spoken of in superlative terms. Nizam distributor and exhibitor Ravi Machhar (who is not the distributor of Daud) says, “The Shabba Shabba hai rabba song will be a super-duper hit.” The Zahreelay zahreelay number is yet another hit song The magic of the A.R. Rahman and Varma combination again after Rangeela.

* * *

The staff at the CBFC office in Bombay were pretty cooperative with producer Suneel Darshan during the censorship of his Ajay this week. They did not throw any tantrums when the video cassette of the film, submitted by Suneel, was found to be defective. What’s more, they viewed the fresh cassette, verified the cuts and issued the certificate — all on 20th December — so that Suneel could effect delivery to the Overseas distributor for release next week.

* * *

Producer-director Suneel Darshan is taking a big risk by releasing his Ajay next week. If the Maharashtra cinemas close down from 1st January, ’97, it will be sad for the film. If they don’t, Suneel will have the last laugh.

* * *

Of all the Amitabh Bachchan starrers announced or being made presently, it will be Bade Miyan Chote Miyan that will be the most sought-after by distributors. The set-up (bada B, chhota G and double D — Bachchan, Govinda and David Dhawan) looks just too wonderful.

– Komal Nahta

KHILONA

Prince & Prince International’s Khilona (A) is the story of a criminal who treats girls like playthings and who thinks, money can buy everything including love. He falls in love with a girl whom he wants to marry but the girl does not give her consent. Rather than get married to her forcibly, he keeps her confined in his house. A young man one day saves the criminal’s life and gets friendly to him. He soon realises that the criminal has kept the girl forcibly, and tries to explain to him that it is wrong to do so. When the criminal refuses to see reason, the young man rescues the girl and the two run away from there. The criminal nabs them and sends the girl to a brothel-house. Finally, of course, the good guy and the girl unite, and the criminal commits suicide.

The story is a combination of various stories seen in films on umpteen earlier occasions. Screenplay is one of convenience, and reasons for important turns and twists are just not explained. Dialogues are fairly good.

Aditya Pancholi does a superb job as the criminal. Ayub Khan is fair. Monica Bedi is average. Mohan Joshi acts well. Shakti Kapoor is okay. Deepak Shirke gets very little scope. Dinesh Anand, Jack Gaud, K.K. Raj, Girija Shankar, Ghanshyam and the rest pass muster.

Direction is as ordinary as the script. Of the songs, ‘Panditji Panditji’ is a hit. ‘Kya yaad karoge’ is also well-tuned. A couple of other songs are fair. Song picturisations are quite lavish. Action scenes are well composed. Photography and other technical aspects are alright.

On the whole, Khilona is too routine a fare to be noticed. Below average.

Released on 13-12-’96 at Dreamland and 18 other cinemas of Bombay thru Sadaf Enterprises. Publicity: good. Opening: dull. …….Also released all over.

LATEST POSITION

Cold winter nights are adversely affecting box-office collections in evening and night shows. But RAJA HINDUSTANI continues its victorious march and is ‘hot’ as ever in every circuit, the cold climate notwithstanding.

Tere Mere Sapne has done well in cities. It is poor in U.P., East Punjab, Bengal and C.P. Berar. 1st week Bombay 19,84,405 (87.98%) from 8 cinemas; Ahmedabad 3,12,095 from 2 cinemas, Baroda 1,14,515; Pune 3,55,456 from 2 cinemas (1 in mat.), Kolhapur 1,51,358, Nasik 91,048; Delhi 19,73,295 from 9 cinemas (1 on F.H.); Kanpur 1,15,468 from 2 cinemas, Lucknow 1,60,093, Allahabad 43,500, Bareilly 34,304 (27.19%), Dehradun 71,000, Gorakhpur 54,000; Nagpur 3,91,050 from 3 cinemas, Dhule 44,704, Bhilai 72,811; Indore 2,26,229; Jaipur 3,05,833 from 3 cinemas; Hyderabad 15,18,088 from 8 cinemas, share including fixed hire 6,00,000; Vijayawada 1,09,140.

…………

Raja Hindustani is expected to cross the business of DDLJ in several circuits. It continues to do record-breaking business in every circuit. It shouldn’t be a surprise if it touches HAHK..! in at least one territory. 4th week Bombay 36,74,395 (98.08%) from 10 cinemas (9 on F.H.); Ahmedabad 6,15,574 from 4 cinemas (1 unrecd.), 2nd week Bharuch (gross) 3,06,265, 4th week Vapi 3,24,538, total 14,45,574, 5th week Jamnagar 1,45,326 from 2 cinemas (1 in mat.); Pune 9,42,352 from 4 cinemas (1 in mat.), Kolhapur 1,88,868, full, 3rd week Barsi (gross) 74,579, total 2,24,924, 4th week Nasik 2,78,846, record; Delhi 32,74,138 from 10 cinemas; Kanpur 3,61,818 from 2 cinemas, Lucknow 2,12,313, 5th week Allahabad (4 days) 66,000, Meerut 1,60,447, theatre record, 4th week Bareilly 1,34,728 (72.37%), Dehradun 1,16,850, record, Gorakhpur 1,22,000, theatre record; 2nd week Rohtak 48,775; 4th week Calcutta 22,13,934 from 23 cinemas; Nagpur 5,66,699 from 4 cinemas, Akola 1,41,790, full, 5th week 3 days 58,517, record, 4th week Raipur 1,43,085, city record, Bhilai (6 days) 1,22,824, Wardha 87,803, total 3,79,418, city record, Chandrapur (27 shows) 1,59,413, full, city record, Yavatmal 90,707, full, 5th week 3 days 38,875, full; 4th week Indore 2,31,531, record; Jaipur 4,85,033 from 2 cinemas, Jodhpur 2,45,065, record; Hyderabad 6,46,929 from 3 cinemas.

Ghatak 5th week Bombay 11,10,099 (65.63%) from 5 cinemas; Ahmedabad 74,043 from 2 cinemas (1 unrecd.), 1st week Padra 1,20,302; 5th week Pune 3,76,162 from 3 cinemas, Kolhapur 1,18,000, Nasik (26 shows) 1,06,696; Delhi 5,65,939 from 4 cinemas (2 on F.H.); Lucknow 1,01,677, Allahabad 36,000, Dehradun 32,000, Gorakhpur 40,100; Calcutta 1,07,457; Nagpur 1,48,353 from 2 cinemas, Akola 43,923, total 5,05,995, Raipur 53,362, Chandrapur 42,157, total 5,30,113, Yavatmal 26,777; Jaipur 1,52,982; Hyderabad 3,15,286 from 3 cinemas.

……….

RICHA SHARMA DEAD

Actress Richa Sharma passed away on the night of 10th December in New York. She had been suffering from brain tumour since last several years. She was 32 and is survived by her estranged husband, Sanjay Dutt, and a daughter. Among the films Richa had acted in are Hum Naujawan, Anubhav, Aag Hi Aag, Sadak Chhap and Insaf Ki Awaaz.

DHARMESH TIWARI BEREAVED

Child artiste Jalaj Tiwari (Babloo), son of actor-director Dharmesh Tiwari, expired on 30th November in Bombay due to heart failure. He was only 15 years old. Jalaj was acting in TV serials Ajnabee and Shiv Maha Puran. He also used to do ad films.

Jalaj was the only son of Dharmesh Tiwari, his other two children being daughters.

MIX MASALA

GENES OR JEANS?

The big-budget Tamil film which was launched in Madras last Sunday is titled Genes. Or is it Jeans? One doesn’t really know because producers Ashok Amritraj and Dr. Murali Manohar or director Shankar are not ready to divulge any more information than the one-liner that it is a love story. To the question about what the title signifies, one is told that he would have to wait for the film to release to understand its significance. The invitation card of the film’s muhurt mentions both the titles, Jeans and Genes. The multi-layered card came in a bag made of jeans and one page of the card shows all the artistes of the film clad in costumes made out of jeans. Incidentally, although the film was launched in Madras, there were posters put up in Bombay to mark the launching! Wonder, what will be put up when the film is released.

IN & OUT OF BOMBAY

CCCA president Santosh Singh Jain is in Jaipur and will return on 17th December.

Mr. J.P. Chowksey of Prachi Films, Indore, is at Hotel Linkway (649-6008).

Mr. Joharilal Jhanjharia of Alka and Premsukh cinemas, Indore, is in town (362-8919/492-2379) till 19th December.

Mr. K.L. Chitkara of Chitkara Films, Jalandhar, is in town (822-5248).

Mr. Tolu Bajaj of Metro Films, Bombay, is in Delhi and will return on 15th December.

Mr. Sultan Ahmed is back from Los Angeles where he finalised locations for his RAAMA which will be shot there in March-April ’97.

CENSOR NEWS

Nadiadwala Grandson’s Judwaa, seen on 5th, has been issued C.C. No. CIL/2/39/96 (UA) dt. 13-12-’96; length 4069.79 metres in 16 reels (cuts: 87.38 metres).

Shree Krishna International’s Ajay (length 4289.76 metres in 17 reels), applied on 12th, was seen on 13th.

YOU ASKED IT

Which will be Sanjay Dutt’s next release? Is his Safari complete?

– MAHAANTA, which is likely to be released on Idd, will be Sanjay’s next release. Jyotin Goel’s SAFARI is nearing the completion mark.

Is it only stars who have hiked their remunerations phenomenally in the last two years or have technicians done the same?

– Some technicians like music directors, cameramen and sound recordists have increased their prices by more than ten times!

Why is there such a scramble to release films on Idd next year?

– For one, the winters will be receding in February. Secondly, Ramzan period is usually dull, and the post-Ramzan period is considered very bountiful for the box-office. Thirdly, March and April will be months of examinations when collections are affected adversely.

Entertainment Tax Issue

Maharashtra Distributors, Exhibitors Announce Closure From New Year

The Maharashtra film industry will down shutters from 1st January, 1997, to protest against the government’s unwillingness to renew the benefit of 50% entertainment tax beyond 31st December, 1996. This decision was taken at a joint meeting of Bombay distributors and exhibitors on 13th December.

The state government seems to be in no mood to extend the advantage of reduced entertainment tax which was introduced in September ’94. It had been renewed for a year in September ’95 and then for three-and-a-half months till the year-end in September ’96. Further extensions not forthcoming, the industry pleaded its case before the government but to no avail. After an initial meeting or two, the industry leaders have not been successful in even talking to the ministers concerned. It would appear that the Maharashtra government is decided about increasing the rate of tax in the state. The exact details of the new tax structure have not been divulged as yet. One is not even sure whether the government itself is decided about the new rate of taxation.

In the meantime, rumours were circulating in the industry that the government was contemplating introducing varying rates of entertainment tax which would go up progressively as the net admission rates increased. Of course, these rumours are baseless as there has been no official announcement to this effect or even unofficial talks of anything close or similar to this.

It is also not clear whether the production sector would join in the closure. Although no decision has so far been taken by the production sector, it is learnt from reliable sources that it is not in favour of closing down its activities as producers feel that the issue of entertainment tax does not concern them directly. If the production sector does not down shutters, it would mean that shootings, recordings and all post-production activities will go on uninterrupted. U.A. Thadani, on behalf of the exhibition and distribution sectors, will hold talks with producers today (14th December) and try to get them also to suspend production activities in support of the other two sectors.

With the closure of cinemas and distribution activities in the state being almost a certainty with effect from 1st January, ’97, all releases of forthcoming films have been postponed indefinitely. Judwaa was due on 20th December but the release has now been indefinitely postponed. Ram Aur Shyam, however, will come on 20th December, as originally scheduled. Its Overseas delivery has reportedly been already effected. Ajay is scheduled for release on 27th December and although its producer, Suneel Darshan, said that he would go ahead with its release even if the Maharashtra industry would down shutters, it seems very unlikely that Ajay will come on 27th.

Amravati Trade’s SOS Message

Deliveries At 25% Discounted Prices

Even as the entertainment tax in Maharashtra is sought to be increased with effect from the new year, the distributors of C.P. Berar have woken up to the fact that the fancy prices, which they have paid for acquiring the distribution rights of films, may not be able to bear the burden of the enhanced tax. Fearing that the state government may increase tax from the present 50% to 100%, they feel that this would reduce the cinema capacities by 33% on the one hand but there would be no reduction in cinema rentals, on the other. This, it is feared, would result in reducing overall collections of films and creating a panic situation in the distribution sector.

To ease the panic, the Amravati film trade has resolved that if the entertainment duty in Maharashtra is hiked from 50% to 100%, the distributors of Amravati (C.P. Berar) shall make payment of the agreed prices of films less by 25% to the producers, at the time of taking delivery of the films.

This, it is felt by the Amravati trade, would help the distribution sector to minimise their losses. The Amravati distributors have sent an SOS to the president of the CCCA, Santosh Singh Jain, asking him to take up this matter with the production sector at the Association level. The appeal is signed by all leading distributors of C.P. Berar.

3-E
Education-Entertainment-Enlightenment

Isn’t This Original?

The runaway success of Raja Hindustani has surprised many in the film industry. The surprise is born out of their feeling that the film’s story lacks originality and, therefore, the film did not deserve to be such a major blockbuster. Actually, if people stop to think, they shouldn’t be one bit surprised at the record-breaking collections of the film week after week. For, even though its first half reminds of Jab Jab Phool Khile and the second half is inspired from Pyar Jhukta Nahin, there is a very important difference in Raja Hindustani. And that is when both, Aamir Khan and Karisma Kapoor, refuse to sign the divorce papers even though they are separated. The two scenes (of refusal to give a divorce) uphold the sanctity of the institution of marriage so wonderfully that the ladies audience in particular are simply bowled over by them. This Indian sentiment is what is the most original part of Raja Hindustani and it is this sentiment which has made the film a super-duper hit. Neither Jab Jab Phool Khile had this angle nor did Pyar Jhukta Nahin have it. Why, no film on marital discord had this point (of refusal to go in for a divorce) brought across so beautifully as in Raja Hindustani. That’s the triumph of Raja Hindustani. Nobody should now say that it did not deserve the success it is getting.

To The Point

Venus’ Mela has been grabbed by some distributors. It is the combination of director Dharmesh Darshan and hero Aamir Khan, that has done the trick. There’s Aamir’s brother, Faisal, too, in the film.

* * *

Sharukh Mirza threatened to sue Himani Shivpuri for damages to the tune of Rs. 1 crore if she didn’t report for his shooting. The lady’s secretary created confusion by alloting the same dates to Vashu Bhagnani and Sharukh Mirza. The latter threatened to take her to court. Himani preferred to reach Bombay (from Ooty where she was shooting for Vashu’s Hero No. 1) rather than the court. So, all’s well now.

– Komal Nahta

TERE MERE SAPNE

Amitabh Bachchan Corporation Limited’s Tere Mere Sapne is a fun film but with a subject which is far from novel. Inspired from the English film, Trading Places, it deals with the story of two boys, one filthy rich, and the other, poor. The rich guy detests the problems which come with being a big shot, and yearns for the freedom of a commoner. On the other hand, the poor boy has just one desire in life — to be a rich man. The two meet by chance and decide to trade places. What follows are comic situations. There are also the romantic tracks of the two guys and a crime angle to the story. While the comedy portions may not be new, they are at least quite enjoyable. The film’s first half especially is entertaining. But the romance and crime portions of the drama are not as clearly etched out. Editing is not smooth. Screenplay, especially after interval, is one of convenience.

Chandrachur Singh does a good job as the rich non-resident Indian who comes to India from London. He, however, is awkward in dancing. Arshad Warsi makes a commendable debut and plays to the gallery with a performance that is absolutely uninhibited. His dances are excellent. Simran only impresses in the ‘Aankh mare O ladka aankh mare’ song. Priya Gill is fair in her maiden film. K.D. Chandran, Sulbha Arya, Bal Dhuri and Pran lend adequate support. Yunus Perwaiz’s track is unnecessary. A.K. Hangal, Suresh Malhotra, Pappu Polyester and the others are alright.

Joy Augustine’s direction is good in parts, though not consistently so. The film holds more appeal for the city audience and especially the younger generation among them. Viju Shah’s music is one of the biggest plus points of this new star-cast film. ‘Aankh mare’ song is already a hit. Its picturisation is superb. ‘Kuchh mere dil ne kaha’, the title song and ‘Mera dil gaya’ are also very well-tuned. Picturisation of ‘Basti mein hungama ho gaya’ is enjoyable. Action scenes are alright. Camerawork is reasonably good.

On the whole, Tere Mere Sapne has sectional appeal. It should do well in the cities on the strength of its music and Arshad’s character. While business in Bombay would be the best, it would find the going tough in some other circuits.

Released on 6-12-’96 at Maratha Mandir and 13 other cinemas of Bombay by ABCL thru Shringar Films. Publicity: excellent. Opening: good. …….Also released all over. Opening was dull at many places.

LATEST POSITION

RAJA HINDUSTANI is still on a record-breaking spree. Its collections continue to amaze.

Rakshak has not been appreciated. It has, however, collected well in C.P. and Nizam. 1st week Bombay 33,83,841 (79.03%) from 12 cinemas (10 on F.H.); Ahmedabad 9,22,422 from 7 cinemas, Baroda 1,49,652, Jamnagar 49,256 from 2 cinemas (both in daily 1 show); Kolhapur 1,34,000, Solapur 2,01,978 from 3 cinemas (1 in matinee); Delhi 26,45,661 (62.87%) from 11 cinemas (1 unrecd., 3 on F.H.); Lucknow 1,73,236, Agra 1,90,970, Meerut 1,38,869, Bareilly 1,09,625 (61.23%), Gorakhpur 1,21,000 (66.11%); Calcutta 27,50,829 from 29 cinemas; Nagpur 4,31,241 from 4 cinemas, Akola 1,31,668, Raipur 1,38,823, Bhilai 1,03,850, Jalgaon 1,36,825, Chandrapur 1,17,516; Indore 2,19,180 (3 on F.H.), Bhopal 2,46,259 from 2 cinemas (1 unrecd.); Jaipur 5,92,605 from 4 cinemas; Hyderabad 29,43,931 from 15 cinemas, share 14,29,318.

Dastak is dull. 1st week Bombay 23,44,783 (59.22%) from 12 cinemas (4 on F.H.); Ahmedabad 1,53,786 from 2 cinemas; Solapur 1,01,053 from 2 cinemas (1 in mat.), Malegaon 67,478; Delhi 11,77,040 (57.59%) from 5 cinemas (2 unrecd.); Kanpur 1,04,442, Lucknow 97,295, Agra 87,852, Gorakhpur 43,000; Calcutta 7,10,152 (55.91%) from 7 cinemas (other cinemas unrecd.); Jabalpur 90,092, Akola 60,405, Jalgaon 56,200; Indore 88,728 (1 on F.H.), Bhopal 96,672; Jaipur 4,31,780 from 2 cinemas; Hyderabad 7,74,734 from 4 cinemas.

………..

Raja Hindustani is absolutely remarkable everywhere. Its upper limit is difficult to predict. 3rd week Bombay 37,95,217 (98.52%) from 10 cinemas (8 on F.H.); Ahmedabad 10,71,867 from 5 cinemas, 4th week Baroda 84%, Padra 1,29,759, 3rd week Vapi 3,51,268, total 11,20,036, Mehsana 2,36,124, Valsad 2,54,339, 1st week Bharuch (gross) 3,07,608, full, 4th week Jamnagar 1,44,791 from 2 cinemas (1 in mat.); Kolhapur 1,88,868, full, 3rd week Solapur 2,40,573 (100%) from 2 cinemas (1 in mat.), 2nd week Barsi 74,901 (1st 75,544, full), total 1,50,445, Karad 96,390; 3rd week Delhi 25,49,473 from 7 cinemas (1 unrecd.); Kanpur 1,65,213 from 2 cinemas (1 for 3 days only), Lucknow 2,22,403 (100%), Agra 1,75,893, 4th week Meerut 1,72,671, 3rd Bareilly 1,51,725 (81.51%), Hardwar 61,552, total 2,02,623; 1st week Rohtak 67,181; 3rd Calcutta 22,88,484 from 21 cinemas; Nagpur 6,28,773 from 4 cinemas, 1st Jabalpur (32 shows) 2,43,544, 3rd Akola 1,41,790 (100%), 4th week 3 days 60,767 (100%), 3rd Raipur 1,51,321, Bhilai (6 days) 1,29,882, Jalgaon 1,60,580 (100%), Wardha 93,715, 4th week 3 days 37,879, 3rd Chandrapur 1,65,318 (100%), total 5,23,393, 4th week Yavatmal (3 days) 38,874 (3rd 90,707); 3rd week Indore 2,30,000, Bhopal 3,64,873 from 2 cinemas; Jaipur 5,53,075 from 2 cinemas, Jodhpur (6 days) 2,67,745, Bikaner 1,70,362, Sriganganagar 1,25,000; Hyderabad 14,55,941 from 6 cinemas (1 in noon).

Ghatak 4th week Bombay 15,31,281 (56.74%) from 9 cinemas (6 on F.H.); Ahmedabad 1,07,500 (2 unrecd.), Patan (gross) 1,05,038, total 6,59,244, 1st week Kalol (gross) 70,979; Kopergaon (gross) 1,30,240, 4th week Kolhapur 1,32,000, Solapur 89,662 from 2 cinemas (1 in mat.), 2nd week Barsi (gross) 51,270; 4th week Delhi 2,69,545 from 3 cinemas (2 on F.H.); Kanpur 1,12,984 from 2 cinemas, Lucknow 1,17,641, Agra 92,784, Bareily 27,369 (15%), Gorakhpur 46,000, Hardwar 12,000; Calcutta 1,17,347; Nagpur 1,53,191 from 2 cinemas, Jabalpur (6 days) 62,246 (3rd 89,280), Akola 54,448, total 4,62,071, share 3,90,561, Raipur (6 days) 51,908, Jalgaon 51,459, Yavatmal 25,227 (3rd 38,246); Bhopal 1,02,768; Jaipur 1,57,884, Ajmer 63,435; Hyderabad 3,41,872 from 3 cinemas (1 in noon).

Maharashtra Film Industry Closure

Position Still Unclear

While the Maharashtra film industry is getting ready for a closure from 1st January ’97 in protest against the government’s refusal to reconsider its decision on entertainment tax in the state, it is simultaneously making all efforts to convince the government of the need to give the industry the benefit of reduced (50%) entertainment tax and thereby to avert the closure. The 50% entertainment tax benefit is effective only upto 31st December ’96.

Although no meeting with ministers was held this week, the industry leaders met officials in the secretariat to present facts and figures and discuss the issue. A consensus solution is not ruled out, by these leaders.

If the state government and the film industry do arrive at an amicable settlement, there would be no need to shut the industry from the new year.

If the meantime, the Supreme Court earlier this week ruled that cable TV networks were also liable to pay entertainment tax, like cinemas. According to the Supreme Court, 40% entertainment tax would be reasonable for cable TV networks. When the Court considers 40% as reasonable, one wonders why the Maharashtra government is not heeding the industry’s demand for continuing 50% entertainment tax on films, as at present.

ABDUL MAJEED’S DAUGHTER WEDS

The wedding reception of Heena Kausar, daughter of Abdul Majeed of Kohinoor Cinema, Jodhpur, with Mohd. Aslam was held on 30th November in Jodhpur.

WEDDING BELLS

Marriage of Shrikant, son of Jiwan Das Mohta of Shree Venkatesh Films, Calcutta, with Sarita will be solemnised today (7th December) in Calcutta at ITF Pavilion.

Salma Agha Turns Music Director

Playback singer Salma Agha has turned a music director and has been signed to score the music in Sanam Productions’ Vidhan. To be directed by S.U. Saiyed for producer Iqbal S. Khan, the film’s cast is not yet finalised.

JUHI NOT TO MARRY NOW

Juhi Chawla has clarified that her marriage to Jai Mehta has been postponed for the time being.

ANANDJI’S DAUGHTER TO WED

The reception to celebrate the wedding of Bhavna, daughter of music director Anandji (Kalyanji-Anandji), with Shakti will be held on 14th December at Hotel Horizon.

RAJSHRI LAUNCHES ITS WEBSITE

Rajshri has entered the world of cyberspace by launching its website at http:// www.rajshri.com on the Internet. The objective of the multimedia website is to target international distributors for the English and Spanish versions of its two blockbusters, Maine Pyar Kiya and Hum Aapke Hain Koun..!.

Besides Hum Aapke Hain Koun..! and Maine Pyar Kiya, the website will also feature a number of Rajshri’s older evergreen movies. Every week, one Rajshri classic will be reviewed on the website. Audio and video clips, which can be downloaded by the viewer, will be the highlight of the site. Special sections have been created on Tarachand Barjatya, the founder of the Rajshri organisation, and Sooraj R. Barjatya, the director of Hum Aapke Hain Koun..! and Maine Pyar Kiya. Every week, viewers will be able to know a little more about Sooraj and his way of working, through the special section about him. State-of-the-art animation and graphics have been designed for the Rajshri website. A business section has also been created for enquiries about the worldwide theatrical distribution of the international versions of Hum Aapke Hain Koun..! and Maine Pyar Kiya.

The site will be updated daily by Ravi Database Consultants Pvt. Ltd., Bombay, which also manages the popular website, India World.

USHA KIRAN IS NEW SHERIFF OF BOMBAY

Marathi and Hindi film actress Usha Kiran will be the new sheriff of Bombay. She will take over from the present sheriff shortly.

YOU ASKED IT

When most of the Hollywood films dubbed in Hindi are flopping, why does this trend of dubbing them in Hindi not stop?

– When so many of our heroes give flops one after the other, in a row, do they stop acting?

What is the ratio of Mira Nair’s Kama Sutra? Has it been censored?

– Mira Nair has sold the all-India rights of the film to producer R. Mohan. Its territorial rights are likely to be sold at fancy prices (much more than a crore). Mira has appealed to the Appellate Tribunal against the many cuts offered by the revising committee.

Are films released after Raja Hindustani not faring well because Raja… is such a runaway hit?

– RAJA HINDUSTANI may be making some difference to the businesses of other films but it is incorrect to conclude that it is only due to its runaway success that the latter releases are flopping. Obviously, the films themselves lack in something or the other.

PRABHAKAR REDDY NO MORE

Noted Telugu film actor Dr. M. Prabhakar Reddy expired in Hyderabad on 26th November following a heart attack. He was 61 and is survived by his wife and four daughters.

He joined films in 1961. He acted in 472 films as a character actor. He also produced 27 films and directed four. He was the story writer of 21 films. Among his well-known films as an actor are Teerpu, Nippulanti Manishi, Pachchani Samsaram Gandhi Puttina Desam, Gruhapravesam etc. His Pandanti Kapuram had bagged the National Award for the best regional film.

IN & OUT OF BOMBAY

Financier Bharat Shah is in London and will return on 11th December.

Mr. Bipin Shah of Hansa Pictures, Madras, will return to Madras today (7th December).

Mr. Dayanand Mandre of DRM Combines, Bangalore, is in town at Hotel Kemp’s Corner (363-4646/4655/4666) from today (Dec. 7) to Dec. 11.

Mr. Pramod Agarwal of Modern Film Distributors, Indore, is in town (551-2309).

DO YOU KNOW?

* RAJA HINDUSTANI has created an all-time record by drawing all 56 shows in first 2 weeks full at Rupali, Panvel, Bombay. Gross collection: 5,42,522/-.

* RAJA HINDUSTANI has created a record by collecting 96,390/- in 2nd week at Royal, Karad.

* RAJA HINDUSTANI has created a new theatre record by collecting 1,20,855/- in 4th week at Jayshri, Jamnagar. Eighteen out of 21 shows were full. It has also created a theatre record by collecting 23,936/- in 4th week at Galaxy (matinee), Jamnagar. Total collections in 4 weeks from the 2 cinemas: 5,52,264/-.

* RAJA HINDUSTANI, which was released at Bharuch in 4th week, has created a city record by collecting 3,07,608/- in 1st week.

* RAJA HINDUSTANI has created a record by collecting a total of 7,55,572/- in 3 weeks at Gopi, Mehsana.

* RAJA HINDUSTANI has created yet another record at Shree, Vapi, by collecting a total of 11,20,036/- in first 3 weeks.

* RAJA HINDUSTANI has created a record by collecting 8,12,323/- in 3 weeks at Dreamland, Valsad.

* RAJA HINDUSTANI has created a record by yielding a share of over 3,50,000/- in 3 weeks from Citylight, Palanpur. The total share of DDLJ from Palanpur was 3,25,000/- and that of HAHK..! was 3,00,000/-. 3rd week’s collection of RAJA HINDUSTANI is 2,05,000/-.

* RAJA HINDUSTANI has created a record by collecting 1,72,671/- in 4th week at Apsara, Meerut.

* RAJA HINDUSTANI has created a city record by collecting 8,85,538/- in 3 weeks at Smruti, Nagpur. Share: 6,50,000/-, theatre record. It has also created a theatre record by collecting nett of 5,02,693/- in 3 weeks at Jayshree, Nagpur. Share: 3,80,000/-, theatre record.

* RAJA HINDUSTANI has created a theatre record by collecting 83,440/- (100%) in 1st week at Rajvilas, Nagpur.

* RAJA HINDUSTANI has created another city record by collecting 100% (1,65,451/-) in 3rd week at Prabhat, Amravati. Total share in 3 weeks: 3,80,000/-.

* RAJA HINDUSTANI has created a record by collecting 100% in 3rd week at Vasant, Akola. 4th week 3 days: 60,767/-, record.

* RAJA HINDUSTANI has created a record in 3rd week also, by collecting 100% (1,65,318/-) at Abhay, Chandrapur.

* RAJA HINDUSTANI has created a new city record by collecting 1,51,321/- in 3rd week at Babulal, Raipur.

* RAJA HINDUSTANI has collected 100% in 3rd week too at Shyam, Yavatmal. It has surpassed the total share of JEET in 8 days, of GHATAK in 12 days, and of HINDUSTANI in 15 days.

* RAJA HINDUSTANI has created another city record by collecting 93,715/- in 3rd week at Durga, Wardha. Better than DDLJ. 4th week 3 days: 37,879/-.

* RAJA HINDUSTANI has created yet another Khandesh record by collecting 100% (1,60,580/-) in 3rd week at Natwar, Jalgaon.

* RAJA HINDUSTANI has created a city record by drawing all 33 shows full in 1st week at Jyoti, Jabalpur. Collection: 2,43,544/-.

* RAJA HINDUSTANI has created one more record at Sapna, Indore, by collecting 2,30,000/- in 3rd week.

* RAJA HINDUSTANI has created a theatre record by collecting 1,74,668/- in 3rd week at Radha, Bhopal. It has also created a record by collecting 1,90,205/- in 2nd week at Goonj Bahadur, Bhopal. Total of 2 cinemas: 3,64,873/-.

* RAJA HINDUSTANI has created theatre records in 3rd week at both the cinemas of Jaipur: at Prem Prakash by collecting 3,68,601/-, and at Lata (1st week) by collecting 1,76,784/-. Shares: 2,47,601/- and 1,31,784/- respectively.

* RAJA HINDUSTANI has created anther record by collecting 2,67,745/- in 3rd week (6 days) at Girdhar Mandir, Jodhpur.

* RAJA HINDUSTANI has created another record at Suraj, Bikaner, by collecting 1,70,362/- in 2nd week. Share: 1,18,362/-.

* RAJA HINDUSTANI has created another record by collecting 1,25,000/- in 3rd week at Azad, Sriganganagar. Share: 70,000/-.

ALL-TIME LOW!

* NFDC’s NASEEM has created a new record in collections. It collected just 1,302/- in 1st week at Liberty (matinee), Bombay, against a capacity of 1,14,366/-. That makes it a collection of 1.14% of the capacity! If this doesn’t shock you, here’s more. The film has been extended in the 2nd week!! Does the NFDC think, the film’s collections will pick up now? If NFDC does think so, it sure deserves the award for the most optimistic producer-distributor.

MIX MASALA

WHAT’S IN A NAME?

Has Mahendra Verma given up composing action scenes and instead taken up cinematography? The press handout of ABCL, which accompanies the music cassettes of Naam Kya Hai, would have one believe so. For, the name of the cinematographer in it has been printed as Mahendra Verma who is actually the film’s action director. Of course, it’s a printer’s devil. But then, you might ask, cinematographer ka naam kya hai? Well, it’s Najeeb Khan. And surely, ABCL mustn’t say, “Naam mein kya hai?”

3-E
Education-Entertainment-Enlightenment

Dharmesh’s Dil Is In His ‘Dhadkan’

There were all sorts of stories about Venus’ Dhadkan, circulating in the Bombay trade earlier this week. It was reported that Dharmesh Darshan would not be directing it and that Rajat Rawail had come in in his place. But the latest news is that Dharmesh is back in Dhadkan. When contacted, the hotshot director of Raja Hindustani revealed, “Yes, it is true, I had decided to opt out of Dhadkan because I felt, I wouldn’t be able to do justice to two films at a time. I am making both, Mela and Dhadkan, for Venus and we mutually decided that I would give up Dhadkan. But I had to reconsider my decision when the Jain brothers prevailed upon me to continue with Dhadkan too. Although I’ve shot Dhadkan for just 10 or 11 days, I’ve now decided to complete it.” That must have definitely steadied the dhadkans of the hearts of Jain brothers because, after all, who wouldn’t like their film to be directed by a super-hit name?

Colour Of Popular Music

Colourful, tuneful and eye-filling! That’s how one would describe the songs of Saawan Kumar’s Salma Pe Dil Aagaya. The maker’s passion is all too evident in the song picturisations, a preview of four of which was held for the fourth estate earlier this week. The title song is already marching its way to a formidable place in the popularity charts. Another racy and hit number is the Zara dholki bajaao goriyon which should have feet tapping instantly. Phool main bhejoon has lilting melody. The film’s music is scored by Aadesh Srivastava. Both the lead players, Ayub Khan and Saadhika, have danced ably. A word of praise here for their colourful costumes too. Since Salma Pe Dil Aagaya is a Muslim social, Saawan Kumar has decided to release it on Idd day. There could be no better date for the film’s release, you bet. And a word of suggestion for the music company, Vatsa. Salma deserves to be publicised extensively.

Music Kya Hai!!

After Viju Shah’s hit music in Tere Mere Sapne, Anand Milind, too, have come up with an equally racy and hit score for ABCL’s second production venture, Naam Kya Hai. At least four songs, all penned by Majrooh Sultanpuri, are beautifully tuned and have already been on the popularity charts on radio and television. ABCL’s music division, Big B, released the film’s audio cassettes on 3rd December at Ambassador Hotel. The release was at the hands of Anand Milind themselves because, as Jaya Bachchan put it, “We decided to let the persons who’ve made the music, release its audio themselves, instead of having someone else do it, as is the norm.” The release function, compered by Pradeep Shukla, was preceded by a screening of the film’s songs. The title song, Yun to nazar baaz toone, Tere hothon pe and Laga nazariya ka dhaka, are all lovely songs and their picturisations (choreographer: Shankar) are also quite eye-filling. The other two songs may not be as popular but their picturisations are, nevertheless, good. Mukul Dev, it must be said, dances with grace. Naam Kya Hai introduces Sucheta Pawse opposite Mukul, and is directed by Sachin. Sachin’s wife, Supriya, and Marathi film and television actor Mahesh Thakur also play key roles.

If Rajini Can’t, Who Can?

Rajinikanth has started the shooting of his Tamil film, Arunachalam, in Mysore. Till the last minute, officials kept the superstar guessing about whether they would grant him permission to shoot his film which Rajinikanth is producing besides acting in it, in Mysore or not. The public works department officials first gave him permission to shoot in its spacious guest house, then withdrew the permission, and then again allowed him to go ahead with it. The withdrawal of the permission was a result of the Kannada lobby’s pressure, it is believed. The permission was again granted because it later dawned on the officials that Rajini hails from Karnataka. What’s more, the proceeds from Arunachalam are meant for artistes of regional languages who are in distress. Of the eight beneficiaries, Kannada film actress Pandaribai will be one, and she will receive Rs. 30 lakh.

‘Roja’: The Dubbing Story

Although the dubbed Hindi film, Roja, has come and gone, this incident was brought to our knowledge only recently and it goes to show how sometimes, artistes are blamed for something they haven’t done and, in fact, may not even be aware of. When Bipin Shah bought the Hindi dubbing rights of Roja and approached Madhoo’s father for getting her dialogues dubbed by her, the father quoted a price which was several times the remuneration the actress had received for working in the original Tamil version. After some haggling, Madhoo’s dad brought down the figure but it was still on the higher side, and Bipinbhai finally offered to pay her Rs. 20,000 for it. But the father refused the offer, and Bipinbhai had no other alternative but to get the voice dubbed by a dubbing artiste. As luck would have it, Madhoo was in Madras for another shooting before the Hindi version of Roja was released. She happened to see the Hindi version and was rather unhappy that Bipin Shah had not approached her for the dubbing although she could speak Hindi. When Bipinbhai told her of his meeting with her father, Madhoo was taken aback as she didn’t know about it. She requested Bipinbhai to re-dub her dialogues in her voice and even volunteered to do the dubbing for just Rs. 10,000. Bipinbhai obliged, Madhoo completed her dubbing in three days, and well… that’s that. Had it not been for her meeting with Bipin Shah, the latter would have always held it against her for acting too pricey. Incidentally, Madhoo spent the entire Rs. 10,000 she earned from dubbing Roja, in Madras itself before returning to Bombay. She went shopping with Bipinbhai’s wife and bought gifts for her near and dear ones.

Lifting Lyrics

So far, people blamed Anu Malik of pinching tunes. But lyricist Vishweshwar Sharma has complained to the Film Writers Association against Anu for having lifted the mukhda of his song. Vishweshwar Sharma had written one song in Namak, the music of which was scored by Anu Malik. During that time, he had narrated some seven or eight songs to Anu. The latter had liked one particular song and had even noted down its mukhda, telling Sharma that they could use it some time later. To Vishweshwar Sharma’s shock, Anu used the song in another film without so much as even informing Sharma. The lyrics of the song have been credited to Rahat Indori. In fact, this is the most popular song of Ghatak — Koi jaaye to le aaye/Meri laakh duwayein paaye/Main toh piya ki gali mein/Jiya bhool aayee re. Had the song been credited to its rightful writer, it may have made a difference to him, too. For, considering that it became popular, Vishweshwar Sharma may have got more writing offers. One hopes, now that Sharma is talking about this pinching of lyrics, he does get more songs to write. For, it’s too late for him to sing: Koi jaaye to le aaye/Meri laakh duwayein paaye/Main toh Anu ki gali mein/Mukhda bhool aaya re…