(From our issue dated 10th September, 1994)

INFORMATION EXCLUSIVE

“HUM AAPKE HAIN KOUN..! is a tribute to all
the joint families of the country”

– SOORAJ BARJATYA

GAUTAM MUTHA & KOMAL NAHTA

Getting Sooraj to talk was no easy task. The guy is unbelievably shy and runs away from interviews. Any other director in his place would have loved to hog the limelight but then, Sooraj is a cut above the rest. He has very politely turned down every request for interviews, whether from newspapers, magazines or even STAR TV. Seeing this shy guy, one wondered whether this was showbiz or shybiz. But the shy Barjatya did make an exception for Film Information when he spoke at length to us in his first and only interview after the release of Hum Aapke Hain Koun..!.

How do you feel when you are refer­ red to as “genius”, “the topmost director of Hindi screen” or “the new Raj Kapoor”?

No, I am none of these. I am not a genius. I don’t have the training of sub­ject and scripting. And I’ve worshipped Raj Kapoor Sahab. He is my favourite. I’ve admired his films, I’ve fallen back on them whenever I’ve run out of ideas or not got something right. I am honest when I say, I don’t deserve all these titles.

But you must be aware that after HUM AAPKE HAIN KOUN..!, people talk about you in superlatives only. You must be getting the feedback.

Yes, I do get the feedback. But HAHK..! is not me alone. It is Rajshris, it is team-work. We all are workers and the work is all departmentalised.

How was HAHK..! born? Were you not scared of rehashing Rajshri’s own film, NADIYA KE PAAR?

My father (Rajkumar Barjatya) was supremely confident of the subject. It was his idea to rehash Nadiya Ke Paar. I wanted to make something new, but I just couldn’t get a proper subject. I tried very hard but it wasn’t coming. It is after a lot of my efforts that my father told me to take up a subject which had already been accepted and to give it my own treatment. Nadiya Ke Paar did not find universal acceptance because its language was Awadhi. Even after it was decided to make HAHK..! on the lines of Nadiya Ke Paar, I had to time and again go running to my father for instructions. I would often get stuck in the scripting, and it is my father who helped me with it. I used to tell him, there’s no drama in the subject, and he used to tell me, the drama will come in the end. He asked me to go deeper into the subject and said, the deep­er I’d go, the more I’d enjoy making the film. The maximum credit for the success of HAHK..! should, therefore, go to my father. It is his dream which I have given shape to. Once the script and music were ready, we had a complete narration for my uncles, Kamal Babu and Ajit Babu, as also for the ladies of the family. They all approved of the subject and only then did the film get going.

Were you so confident about the film’s performance?

I was positive that it would succeed but I did not imagine, it would be a runaway hit. In that sense, I was apprehensive. Here again, my father had cent per cent confidence in HAHK..!. I must tell you that after seeing Maine Pyar Kiya, he had told me, “You’ve made an epic.” And just after hearing the final script of HAHK..! and even before its shooting could begin, he told me, “This film is going to be a road-roller.” That is why, I say, all credit should go to him. HAHK..! is his genius. I may be writing, but he tells me what to write.

How did you incorporate so many songs in the film? Was it planned with so many songs?

It was planned that way. Scenes were written and then changed to songs. The ladies among the audience have all liked the songs and haven’t complained either about the songs or the film’s length. Men and youngsters, though, did feel that there were a couple of extra songs and also ex­perienced a bit of tiredness in the film because of that.

Are you sad that you’ve had to cut two songs?

No, I’m not sad. I knew the lags in my film. I knew even before the film was re­leased that we would have to cut a couple of songs. As a director, I have no right to bore the audience. At one stage (before the film’s release), we even thought of deleting the passing-the-pillow game, but we realised, by doing so, we were rob­bing the film of its important ingredient.

Everybody in the industry would like to sign you to direct a film. Are you open to outside offers?

A lot of people have asked me to make films for them. “Only for me,” they say. But to all of them, I humbly say “No”.

What inspires you the most?

Anything that touches me, inspires me. Any form of goodness, especially, in­spires me. I am not in the habit of taking a walk or anything of the sort to draw ins­piration. Basically, I am driven by characterisations more than happenings. Even in the making of the film, we did not write sequences and come to the end. Instead, we used to name a feeling and then move backwards. That gave way to all the seq­uences. Every character was painted be­fore starting shooting.

You don’t seem to have many friends in the industry. Are you a loner or do you have friends outside the industry?

I am basically a reserved person.

But it is believed that a creative per­son must interact with people.

I interact with my family and close relatives. I am an observer. I prefer to ob­serve, to watch rather than talk. I am a quiet person. It’s not rare to find a quiet creative man. I’ve seen Mani Ratnam only once, and I noticed, he’s a very quiet man.

Are you a romanticist at heart? Your romantic scenes in both your films gave that impression.

(Blushes a deep red) Maybe… Yeah! I am a romanticist at heart.

Even after proving yourself the sec­ond time, in HAHK..!, how do you manage to maintain a low profile? You are shy of giving interviews, you run away from the cameras of satellite channels. In short, you are not filmi.

Our upbringing has not been like that. We’ve always treated filmmaking as a profession, as something which you en­joy doing. I am not even fond of attending parties because how many ever par­ties you may attend, it is finally the narration of the script which matters. Besides, the more you increase your circle of fri­ends, the more you will have to live up to their expectations. I’ve spent a lot of my time learning under the Rajshri school and it has been a very enriching experience. As for being filmi, I don’t really get carried away by success. I believe that success is a gift, a blessing. You just thank God for it.

Which did you enjoy making more – MAINE PYAR KIYA or HUM AAPKE HAIN KOUN..!?

Well, both the films were great experiences. But when I was making MPK, I didn’t know what it was to be a successful director. The responsibility was great­er in HAHK..!. In that sense, I would say, HAHK..! was more calculated, while MPK was more natural.

Did you always dream of becoming a director or was it a decision taken after you finished your studies?

I had always wanted to be a director. I had made up my mind ever since I was 10-12 years old. My reason for it was that my father should get the result he always aimed for but somehow missed. I wanted to make a film he dreamt of. I used to feel terrible as a kid, when my dad would have to give explanations, why his film did not do as well as he had expected it to do.

As regards my studies, I was never a bright student. I failed in Accountancy five times in college before I finally gave up my studies! I am not even a graduate.

From where did you pick up the art  of detailing and perfecting a thing?

It’s been our trait right from the beginning. You have to rise to your best, otherwise the guilt troubles you. There has hardly been any success without effort.

There is no denying the fact that Madhuri has done a marvellous job in your film. Yet there are many in the in­dustry who feel, a new girl was ideally suited for the role. What was your logic in taking Madhuri?

We also thought of taking a new girl but we realised, if we did that, we would be burdening a flowering girl with a baby towards the end of the film. In fact, the last three reels were the most important. I knew, if I could do justice to those three reels, all my other drawbacks in the film, whatever they may be, would be pardon­ed. Here, I must tell you, Madhuri is one of the finest persons to work with. She does not have starry airs at all. This I noti­ced when I worked with her on the sets. I had seen her at work in our own Abodh where I was an assistant director, and I had yearned to make a film with her, since then. When I told her, I wanted to sign Jay Borade as the dance director, she never questioned me even once in spite of the fact that her favourite choreographer is Saroj Khan. Jay and I had sat for a year on the choreography before starting the shooting.

How much do you involve your crew in the film’s making?

100%. I narrated the script of HAHK..! to every artiste, howsoever small his role, in complete detail and with all the songs sung in full, by me. Likewise, I gave 4-hour narrations to every dress designer, every technician, every assistant.

Did you ever lose your temper on the sets?

Not really, except for a couple of times when I got angry on the sets. I used to often fire Salman Khan during the shooting of both my films. I guess, you shout at only those whom you feel close to. I think, you cannot be a good director if you are short-tempered. An artiste is the most insecure person when he is on the sets, you’ve got to treat him with understanding. There is no greater joy for a dir­ector than to see a scene work on the screen. When you see that, you feel, you’ve created magic. For that, you require the best of everyone.

Had it not been for your father and uncles, would you have experimented in the film’s release pattern?

No, I don’t have the guts as yet to ex­periment. I don’t have much knowledge of exploitation. Anyway, as I said earlier, our work is all divided.

What do you expect when the num­ber of prints are increased?

I don’t know. I know one thing though – that the repeat audience is coming in. And I say, “God bless all the ladies and all the girls in the world.” Because they’ve loved my film which must have made my late grandfather, Tarachand-ji, happy. He had heard the entire final script and had told me, it was worth the wait. He made me change the climax. Originally, we had thought that the hero would tell the hero­ine (his beloved) to marry his brother. But my grandfather said, it would not be acc­epted. So we changed the climax to that extent.

An epic first, then a road-roller. What next?

Nothing! Just a break for 2-3 months. Reading, traveling and all that. I’ll just let ideas flow. I want to know what the young generation wants.

So many people have described HUM AAPKE HAIN KOUN..! in so many different ways. How would you describe it?

It is a tribute to all the joint families of the country. Because there’s no bond of togetherness as in a joint family – togetherness of brothers, sisters, parents, cha­chas, chachis, grand-parents…. It is everybody’s story.

DO YOU KNOW?

* Tekchand K. Anchal (Arti Films, Bombay) will be contesting the IMP­DA elections (from the Ordinary class) for the seventh time this year. Barring once, when he withdrew from the contest, Tekchand has always lost the elections. The highest number of votes he has secured is 35. But that does not deter Tekchand from con­testing again and resolving to contest every year till the time “I win”.

* Sachin Bhaumick was impressed en­ough with the story penned by Bombay distributor Dilip Dhanwani (Dil­sa Enterprises) to agree to write the screenplay for the latter’s production venture. Dilip is making the film in partnership with Babubhai Latiwala of Bombino Video.

* Sanjay Khan’s TV serial, THE GREAT MARATHA, has been bought by Channel IV of London for a record price. Three major TV sta­tions of America are negotiating for the serial. There is also an offer from China for a Chinese dubbed version.

* HUM AAPKE HAIN KOUN..! has created a theatre record by collecting 1,30,071/- in 1st week at Prabha, Bar­eilly, in spite of anti-reservation stir and rains.

* HAHK..! is attracting unusual audi­ence to the cinemas. At Manjushree, Kanpur, about 30 blind persons ‘saw’ the film. At Maheshwari, Hyderabad, several disabled people came to see the film in their wheelchairs. In­cidentally, the film has drawn all 140 shows full at Maheshwari, Hydera­bad, yielding a distributor’s share of 11,77,370/- in 5 weeks! And this, des­pite no pre-release publicity of the film.

* HUM AAPKE HAIN KOUN..! has created a city record by collecting 92,602/- in 5th week at Chitra, Amra­vati, despite heavy rains and floods. Total for 5 weeks: 5,32,852/-. Distri­butor’s share: 3,49,174/-, city record.

* Not a single poster of HAHK..! has been put up in Rajkot, but notwithstanding this fact, the film is doing wonders at Galaxy cinema.

* VIJAYPATH has created a record by collecting 1,86,866/- in 4 weeks at Anupam, Jamnagar. 1st week: 82,704/-, 2nd week: 35,320/-, 3rd week: 46,600/-, 4th week: 22,242/-.

YOU ASKED IT

How does tax exemption help a super-hit film?

– By increasing its repeat value tre­mendously.

Which film has yielded the highest share from a single cinema?

– SHOLAY holds the distinction of  yielding the highest share from a single cinema – about 35 lakh from Minerva, Bombay in more than 5 years (in regu­lar shows for about 3 years and then in matinee). HUM AAPKE HAIN KO­UN..!, which has already yielded a share of over 12 lakh, in just 5 weeks from Liberty, Bombay, is set to break the re­cord of SHOLAY in another 8-10 weeks.

Is there a future for English films made with Hindi film artistes and with Indian backdrop and traditions?

– It doesn’t seem likely that such films can make a mark – in India or Overseas.

‘SARDAR’ TAX-FREE IN MAHARASHTRA

Ketan Mehta’s Sardar has been granted perpetual tax exemption in Maharash­tra. It is due for release on 31st October at Nehru Centre auditorium, Bombay. This is the first time that a film will be released for the public at Nehru Centre. It will be released at Metro (matinee) and other cinemas of Bombay on 4th November.

SANJAY’S BAIL APPLICATION TO BE HEARD AGAIN

The interim bail application of Sanjay Dutt will be again heard by the two-member bench of the Supreme Court, which heard it earlier. This is in view of the order of the five-member constitution bench of SC, delivered on 9th September, in which the applicability of section 5(2) of the TADA Act was explained.

BABY BOY FOR KOMAL NAHTA

Sangeeta, wife of Komal Nahta, delivered a baby boy in Jaipur on 6th Sep­tember. The new-born is late Shri Ram­raj-ji Nahta’s grandson and the couple’s first child.

‘KRANTIVEER’ TAX-FREE IN MAHARASHTRA, DELHI

Mehul Kumar and Dinesh Gandhi’s Krantiveer has been granted exemption from payment of entertainment tax in Maharashtra and Delhi for a period of one year. Written by K.K. Singh, the film stars Nana Patekar, Dimple Kapadia, Atul Agnihotri, Mamta Kulkarni, Paresh Rawal and Danny.

GULSHAN RAI RE-ELECTED IFEA PRESIDENT

Gulshan Rai was unanimously re-elec­ted president of the Indian Film Exporters Association at the first meeting of its newly elected council of management on 7th September. The other office-bearers are: Sunder F. Rai (vice president), Chandra­kant Mehta (hon. treasurer) and Manohar Bhatia (hon. secretary).

Earlier, at the 30th annual general meeting held on 3rd September, apart from the abovementioned office-bearers, Rajinder Singh Hora, Amar Asrani, T.P. Advani, Mohan Chhabria, Shiv Laung­ani, J.K. Mittal, S.C. Mittal and Hira­chand Dand were declared elected.

Gordhan Chhabria and Arjun Lulla have been co-opted to the council of management.

CINEMAS CLOSED IN CALCUTTA

Cinemas in West Bengal came to a grinding halt on 5th September following a murderous attack on a cinema hall own­er of Calcutta on 4th.

A majority of cinema halls in Calcutta and elsewhere in West Bengal remained closed on September 4 in response to a day’s strike call given by the Bengal Mot­ion Picture Employees Association. They were protesting against non-payment of salaries by cinema owners.

The production, distribution and exhi­bition sectors in Calcutta went on an in­definite strike from September 5 on a call given by Eastern India Motion Picture Association till the government ensured the security of the cinema hall owners and film buffs and met the Association’s demand that the halls be made commercially viable by abolishing entertainment tax. However, some 10 cinemas remained open as a section of the cine employees demonstrated against the EIMPA’s indefi­nite strike call. The government is reportedly losing Rs. 12 lakh every day by way of entertainment tax.

‘KHUDDAR’ SILVER JUBILEE

Ratan International’s Khuddar enter­ed silver jubilee week on 9th September. The film stars Govinda, Karisma Kapoor, Shakti Kapoor and Kader Khan. Produ­cer: N.R. Pachisia. Director: Iqbal Durr­ani. Music: Anu Malik.

‘LAADLA’ SILVER JUBILEE

Neha Arts’ Laadla is celebrating silver jubilee this week. Produced by Nitin Manmohan and directed by Raj Kanwar, it stars Anil Kapoor, Sridevi, Raveena Tandon, Farida Jalal, Anupam Kher and Aroona Irani. Music: Anand Milind.

FWA TO HONOUR MANOJ KUMAR

The Film Writers’ Association will honour Manoj Kumar for his meritorious and dedicated services in the development of the art of film writing. A trophy will be presented to him at the annual general meeting of the FWA on 25th Sep­tember at Bharat Seva Sadan Trust Hall, near Ranjit Studios, Dadar (E), Bombay.

FMC WITHDRAWS SUBHASH GHAI’S EXPULSION

At the meeting of the Film Makers Combine, held on 6th September, the FMC withdrew its decision to expel Sub­hash Ghai. It may be recalled that the Film Producers’ Guild, of which Ghai is a member, had taken strong objection to the latter’s expulsion from the FMC and had reportedly even threatened to break away from the FMC. At the meeting of 6th, the Guild expressed its resentment over what it described as biased decisions against filmmakers like Subhash Ghai.

MODI FILMS INTERNATIONAL TO DISTRIBUTE
DISNEY FILMS IN INDIA

Buena Vista International has entered into an agreement with Modi Films Inter­national, a division of HMA Udyog Limi­ted, for the distribution of all Walt Disney, Touchstone and Hollywood Pictures films throughout India, it was announced by Mark Zoradi, president of Buena Vista International, and by Lalit K. Modi, presi­dent of the Modi Group. The first film to be distributed under the new arrangement will be Walt Disney Pictures’ Academy award-winning animated musical feature, Aladdin, which will be released at the end of the year, simultaneously in Eng­lish, Hindi, Tamil and Telugu. This will be the first time ever a Disney film will be released in a dubbed format in India, and the first time an American film has been dubbed into three local languages.

LATA SERVES LEGAL NOTICES ON SUPER CASSETTES, VENUS

Lata Mangeshkar, through her advo­cate, Rajendra Bohra, has served legal notices on Super Cassettes and Venus, seeking immediate withdrawal of some audio cassettes from the audio market for making unauthorised use of her photograph on the wrappers (inlay cards).

It is alleged that the cover versions used her photograph prominently on the inlay cards while the singers were Van­dana Bajpai and Bela Salunkhe (T-Series) and Anupama Deshpande (Venus).

The notice also recalls a similar mar­keting strategy adopted by T-Series in 1988 and their subsequent undertaking in writ­ing to withdraw the cassettes from the market.

 The notice seeks damages and criminal action against Super Cassettes as also search and seizure warrants of the cassettes from the dealers as well as the music company.

IPI’S EFFORTS TO SAVE MUSIC AND KILL PIRACY

The Indian Phonographic Industry introduced Nicholas Garnett, director general, International Federation of Pho­nographic Industry, to the press in Bom­bay on September 7. Mr. Garnett told about his experience in curbing audio pir­acy all over the world and especially in the East. He said that with the strict im­plementation of the Copyright Act, piracy had gone down considerably in some countries of the East, like Malaysia and Singapore, and from 85 per cent to 15 per cent in Italy. India ranked third in the world in audio piracy, China and Mexico being the top two countries. The Compact disc piracy in China is the most disturbing as 85 per cent discs are fake, he in­formed.

President of the Indian Phonographic Industry (IPI), V.J. Lazarus, said that at present, the IPI is launching an aggressive campaign to combat piracy and is targeting 12 major cities, including Bombay and Delhi, which between themselves account for upto 35 per cent (value-wise) of the total Indian music market. The present size of the Indian music market is Rs. 720 crore and with a 40 per cent pir­acy rate, there are 96 million pirated ver­sions floating in the market. Every four out of 10 cassettes sold are fake. In the next six years, at the current rate of 40 per cent piracy, the music industry is going to lose Rs. 1,000 crore, he cautioned.

Mr. Lazarus revealed that to curb pir­acy, the IPI had invested about Rs. 35 lakh in the last seven months and, in Bombay and Calcutta, seized cassettes and equipment worth Rs. 3 crore. Out of 68 persons arrested, bail was denied to some. Only two persons have been con­victed and sent to jail as yet.

The Indian Phonographic Industry, which has 50 members, including Time, Venus, Tips, Magnasound, CBS-Sony and HMV, is affiliated to the international Federation of the Phonographic Indus­tries and is doing its best to ‘save music and kill piracy’.

RAMRAJ NAHTA’S PREDICTION COMES TRUE…. AND HOW!

Your late editor, Shri Ramraj-ji Nahta, had given the title of ‘Ency­clopaedia on Filmmaking’ to young Sooraj R. Barjatya after seeing the first copy of Maine Pyar Kiya in a pre-release trial show at the Rajshri’s pre­view theatre. He had been floored by the boy’s capabilities and perseverance and had predicted a very, very bright future for him. Had he been alive to see Sooraj’s second offering, Hum Aapke Hain Koun..!, he would have been thrilled beyond words – and for more reasons than one. The film would have confirmed that the title bestowed by him on the young maker was the most apt title for him. It would also have gladdened his heart because he was very close to Shri Rajkumar Barjatya, father of Sooraj. And last but not the least, Ramraj-ji, who was a Rajasthani and who used to love cus­toms and traditions in a Rajasthani marriage, would have enjoyed every frame of the movie marvel called Hum Aapke Hain Koun..! because it presents those customs and traditions so beautifully.

IMPPA AGM, ELECTIONS

The annual general meeting and elections of the Indian Motion Pic­ture Producers’ Association (IMPPA) will be held on 29th September at ISKCON, Juhu, Bombay.

3-E
Education-Entertainment-Enlightenment

No Fanfare

Without any fanfare whatsoever, Yash Chopra’s son, Adit­ya Chopra, commenced the shooting of his first directorial venture, Dilwale Dulhania Le Jayenge, on 8th September at Filmistan Studios. Aditya did not have any celebration even when he recorded a song for the film last month. There was a pooja then and another pooja on Janmashtami day. At the first day of shooting, papa directed the first shot for son Aditya. Kajol and Farida Jalal were participating in the stint which will go on upto 15th September. Dilwale Dulhania Le Jay­enge stars Shah Rukh Khan in the male lead and co-stars Amrish Puri and Anupam Kher.

Chair Man

While on debut-making director Aditya Chopra, his friend and partner in Bombay distribution, Anil Thadani, gifted him a director’s chair on the first day of shooting of Dilwale Dul­hania Le Jayenge. The red chair has the film’s name and the word ‘Director’ inscribed at the back.

Shraadh Release

Producers and distributors usually avoid releasing films during shraadh. But this time, two major releases – Main Khiladi To Anari and Andaz Apna Apna – are slated for release during shraadh, on 23rd September. To circumvent the inauspicious period, both the films will reportedly be released at least in one centre on 19th, that is, before the shraadh period begins. Stuntman may also be released on 23rd.

From The Poetess’ Pen

The ‘Haathon mein aa gaya jo kal rumaal aapka’ song of K.C. Bokadia’s Aao Pyar Karen is becoming a veritable craze. Although the credit for the lyrics has been given to Shyam Raj, the mukhda is written by a poetess. Famous poet Ramrik Manhar had taken the poetess to Bokadia, who heard the mukhda from her and liked it so much that he asked Shyam Raj to build upon it and write the whole song. The rest is history. Incidentally, not only the rumaal song, the other songs of the film are also gaining in popularity day by day (music: Aadesh Srivastava).

Fo(u)rthcoming Films

Sanjay Kapoor is working in four films currently, and at least two of them, Prem and Kartavya, are almost complete. The other two, Raja and Beqabu, are also making brisk prog­ress and should see release early next year. Bombay, Delhi-U.P. and Nizam distributor Tolu Bajaj has all the four films for distribution in one or the other territories. If not more, Tolu Bajaj may at least be as concerned for newcomer Sanjay Kap­oor’s future as brother Boney Kapoor is.

Bokadia’s Film Complex

Although K.C. Bokadia has decided to call it quits from direction, his production factory will be very much working. Besides one film with Sunny Deol and Ravi Raja, he has re­portedly finalised plans to start another too with Sunny. The second one will be directed by Priyadarshan. He is also likely to start a film with Mehul Kumar, and another with Ravindra Peepat who has directed Aao Pyar Karen for him. By the way, Bokadia will be constructing a huge film complex in Jaipur. The complex will house a studio, recording and dub­bing rooms, laboratory and other things, all under one roof.

Life-Infusing Words

That Amitabh Bachchan is a sensation in Egypt, too, was proved during his 1991 tour to that country. But a little-known fact about that tour came to light recently. While in Egypt, Amitabh was presented with a necklace by one of his myriad teenage fans. Unluckily, however, the girl who gifted  him the necklace, fell seriously ill later and had her parents in panic. They got in touch with Amitabh telephonically through the Indian embassy in Cairo and told him of their daughter’s ill­ness. The few pleasant and encouraging words from Amitabh had a soothing and magical effect on the girl and she recovered miraculously.

This anecdote was narrated by the Indian ambassador to Egypt, Arundhati Ghosh, to newsmen in Cairo this week, while talking to them during the world population meet.

(From our issue dated 3rd September, 1994)

LAUGH-RIOT 

Rajkumar Santoshi’s Andaz Apna Apna is a laugh-riot. It throws caution to the winds. Seriousness? What’s that? You must be joking! There’s no such word in Santoshi’s dictionary. Versatile? Ah yes. The word exists. It means one who has made an action thriller (Ghayal) and a social (Damini) and attempts a comedy (AAA).

Aamir Khan is simply too cute and funny in the film. His short height is no constraint for the tall demands of his character. His sense of timing could give HMT watches a complex. His spirited acting keeps you in high spirits.

Salman Khan complements Aamir well. In fact, the film is full of the two Khan Dost. There’s one Javed Khan also. Hum Aapke Hain Khan..!, you see.

Aamir’s ‘Haila’ (Hai Allah) utterances in the film can become a craze among youngsters and collegians. Paresh Rawal’s double role makes the Khan khaandaan go gol-gol. There’s Shakti Kapoor as crime master Gogo who’ll make you laugh in the climax till you say, “No, no, not more.”

But there’s still more….. to make you go… ha ha, hee hee, ho ho……..

JAYALALITHA ANNOUNCES PACKAGE OF RELIEFS
FOR FILM INDUSTRY

Tamil Nadu chief minister, Jayalalitha, on August 31 declared open the Rs. 21-crore Film City, at Taramani in Madras. The Film City is named after her. At the opening, Jayalalitha said, “The magnificent venture will be a fitting tribute to glorious reign of South Indian Film Industry and the lofty values it has always tried to uphold.” On the occasion, she also announced a package of measures for the benefit of the industry. The measures are: reduction of sales tax on films from 5 to 3 per cent, reduction of shooting charges for ordinary locations from Rs. 5,000 to Rs. 2,500 increasing the maintenance charges for air-conditioned theatres from 25 to 50 paise and for non-air-conditioned cinemas from 10 to 25 paise, and withdrawal of the power tariff hike for cinema houses. These became effective from September 1.

Paying tribute to the stalwarts of the Indian film industry, including C.N. Annadurai and M.G. Ramachandran who elevated the film medium for nobler purposes, Jayalalitha said, the future belonged to those who could merge film, video and computer techniques artfully. She said that the filmmakers and artistes had to utilise the film medium far more responsibly rather than surrender to ‘crass commercialism’. Now they should be extremely quality-conscious, keeping in mind the expansion of the electronic media and invasion of the satellite channels. Jayalalitha assured Ramanand Sagar, who made a plea not to allow the bureaucrats to hike the rent subsequently, that the venture would not be left in the hands of the bureaucrats. She said, producer-director P. Madhavan has been appointed chairman and managing director of the Film City.

The Film City has been built on a sprawling sylvan landscape of 85 acres and another 40 acres would be developed for items like an artificial lake and model railway station. Advanced shooting facilities, including underwater filming, computerised audio-visual equipment, cameras, editing and dubbing are available in the Film City.

Producer-director Shakti Samanta, who participated in the inaugural function, said the project was a paradise for filmmakers, from every angle. Ramanand Sagar hailed Jayalalitha as a patron deity of the film industry. Mrinal Sen observed that the whole world had been put into a capsule. “This is the Tamil Nadu government’s most befitting contribution to the national cinema on the occasion of the centenary of the invention of World Cinema”, he said. Dasari Narayana Rao, Girish Karnad, Mani Ratnam, and others also praised Jayalalitha’s grand effort.

Jayalalitha had a special word of thanks for doyen of the artistes, Sivaji Ganesan, and participants from other parts of the country, making the function a shining example of national integration. She also presented mementoes to the participants in the function and the artistes who presented a cultural show. The chief minister presented the first copy of the souvenir, published on the occasion, to Shakti Samanta.

DO YOU KNOW?

* The Barjatyas will be dubbing HAHK..! in Telugu. It has been tentatively titled PREMALAYA.

* Krishan Kumar has reportedly called it quits from acting. He is completing his under-production films after which he will retire from acting. Did anyone heave a sigh of relief?

* Inspired by the sensational success of the ‘Amma dekh tera munda bigda jaaye’ song of STUNTMAN, its director, Deepak Balraaj Vij has changed the music track of all the seven songs of his home production, DANCE PARTY.

* Due to overwhelming response of the public, the management of Galaxy cinema, Jamnagar conducted an extra show of HAHK..! for ladies on each of 27th, 28th and 29th August.

* HUM AAPKE HAIN KOUN..! has created a new record by collecting 91,160/- in 3rd week at Galaxy, Jamnagar where it had collected 70,522/- in 1st week and 79,469/- in 2nd week. Total: 2,41,152/-.

* HAHK..! has created a city and district record by collecting 1,23,632/- in 4th week at Vijay, Nasik. Total for 4 weeks: 4,91,221/-.

* HAHK..! has drawn all 28 shows full (1,42,772/-) in 4th week at Relief, Ahmedabad. The first 3 weeks did not record 100% collections.

* Tickets of HAHK..! are selling in the black market in Delhi for as high as Rs. 700 per ticket!

* A couple in Kanpur has vowed to see HAHK..! 100 times at Manjushree cinema. They have requested the management to arrange a dinner (at the couple’s cost) for them with Madhuri and Salman on the completion of their 100th show.

* HAHK..! has created theatre records again at Hind and Menoka cinemas of Calcutta by drawing 100% in 4th week.

‘1942’: THE TAMIL NADU STORY

* 1942 A LOVE STORY is doing wonders at Woodlands, Madras. The film has completed 50 days there and Vidhu Vinod Chopra has become the talk of the city. Producers, directors, artistes and technicians of the South film industry and their family members are repeating the  film. Maybe, Vinod Chopra can consider dubbing it in Tamil.

RAJSHRI BREAKS OWN RECORD

* Rajshri’s HUM AAPKE HAIN KOUN..! has created a new record by yielding a distributor’s share of 5,74,289/- in just four weeks at Manjushree, Kanpur. This is the highest ever share since the inception of the cinema. The previous record was held by Rajshri’s own NADIYA KE PAAR which had yielded a share of 5,52,257/- in 62 weeks’ run! HAHK..! has surpassed that share in just four weeks. Collection in 4 weeks: 7,44,845/-, a record in Kanpur district.

SNAPSHOTS

DEALS GALORE

Distributors suddenly seem to have become superactive. Deals are being concluded left, right and centre. On the one hand, there are complaints (from distribution quarters) that film prices are touching the sky and, on the other, distributors themselves are clamouring for films. Sounds paradoxical? Don’t worry. That’s how the industry has always been……

*       *       *

‘BRAHMA’ DELIVERY HASSLES

Brahma could not be released in C.P., C.I. and U.P. on Thursday, September 1, due to delivery problems. The film was released all over on Friday. A couple of shows in several cinemas of Bombay on Friday were also cancelled due to late arrival of prints (from Madras). The case of East Punjab was the worst. The distributor reportedly paid the delivery amount but was asked to go back without the prints. Hey Brahma!

*       *       *

PART WAYS

Dada Kondke and nephew Vijay Kondke have separated. Although they are sharing the same office on the sixth floor of Naaz, the boundary limits of the two offices have been drawn. Incidentally, Vijay Kondke, after a long gap post-Maherchi Saadi, may produce a Hindi film now.

*       *       *

CLEARED

Dada Kondke’s Marathi film, Sasarcha Dhotar, which had been refused certificate by the Bombay regional office of the CBFC, has been cleared by the Appellate Tribunal.

*       *       *

DUE TO TECHNICAL REASONS…

Producer Vinay Sinha was keen on releasing Andaz Apna Apna on 16th September to avoid release during shraaddh. But his distributors prevailed upon him to not come in direct opposition of Main Khiladi Tu Anari, the release (on 16th) of which had been fixed earlier. Andaz Apna Apna will now come on 23rd but since shraaddh begins on 20th, at least one print of the film will be released on 19th.

YOU ASKED IT

Are heroes whose films don’t even command an opening, justified in charging their high prices?

– Do stars go to producers or do producers approach the stars? The answer to your question lies in the counter question.

Will the business of Hum Aapke Hain Koun..! surpass that of Maine Pyar Kiya?

– Beyond doubt, it will surpass MAINE PYAR KIYA. In all probability, by a big margin.

Who is the no. 1 hero today?

– The number game changes every Friday.

FIGHTER CRITICAL

A fighter, injured on the sets of Boney Kapoor’s Prem in Madras last week, is in a critical condition. He has been hospitalised at Vijaya Hospital, Madras.

SANTOSH SINGH JAIN BECOMES GREAT GRANDPA

Wife of Sanjeev Jain, son of Jitendra Jain of Sanman Films, Indore and grandson of CCCA president Santosh Singh Jain, delivered a baby boy on 2nd September in Jabalpur. This is the couple’s first child.

SOMY ALI OPERATED

Somy Ali had to be operated upon for appendicitis on 28th August in Madras. She complained of acute pain on 27th during the shooting of N.N. Sippy’s Teesra Kaun? and had to be hospitalised forthwith. She is fine now.

‘Raja Hindustani’ 80% Complete

A 25-day shooting schedule of Cineyug’s Raja Hindustani was completed recently at Filmistan Studios. A song and scenes were picturised on Aamir Khan, Karisma Kapoor, Suresh Oberoi, Johny Lever, Archna Pooran Singh, Pramod Moutho, Farida Jalal, Tiku Talsania, Navneet Nishan, Veeru Krishnan, master Kunal Kemmu, Mohnish Bahl, junior artistes, fighters and dancers. Being directed by Dharmesh Darshan from his own story for producers Karim Morani, Bunty Soorma and Aly Morani, the film has screenplay and dialogues by Robin Bhatt and Javed Siddique, music by Nadeem Shravan and lyrics by Sameer. It is now 80% complete.

‘Main Khiladi Tu Anari’ Negative Cut

Chhaganlal Jain, father of Ganesh Jain, cut the first negative of United Seven International’s Main Khiladi Tu Anari on Aug. 29 at Adlabs. The film is being readied for an early release. It stars Akshay Kumar, Saif Ali Khan, Shilpa Shetty, Rageshwari, Mukesh Khanna, Johny Lever, Beena, Shiva, Shakti Kapoor and Kader Khan. Producer: Champak Jain. Director: Sameer Malkan. Music: Anu Malik. Dialogues: Kader Khan. Story and screenplay: Sachin Bhaumick.

‘Trimurti’ Stint Over, Climax In Russia

Director Mukul S. Anand completed a month-long shooting schedule of Mukta Arts (P.) Ltd.’s Trimurti on August 31. Various scenes, a song and part of the climax were picturised on 6 different sets at Film City with the participation of Jackie Shroff, Shah Rukh Khan, Priya Tendulkar and Mohan Agashe. Five songs have already been recorded and picturised in Kulu Manali, Mysore and Bangalore. Producer Subhash Ghai has already left for Tashkent to make arrangements for shooting the balance climax and special effects. The film is slated for a December-January release. Fifteen days of Sanjay Dutt are required to complete his balance portions. Gautami and Anjali Jathar are the leading ladies of the film. Music is scored by Laxmikant Pyarelal and lyrics are penned by Anand Bakshi. Screenplay by Karan Razdan, dialogues by Anees Bazmee, cinematography by Ashok Mehta, art by R. Verman and dances by Saroj Khan are the other major credits.

‘Coolie No. 1’ Song Recorded

Anand Milind recorded the fourth song for Puja Films’ Coolie No. 1 last week at Mehboob Recording Theatre. Penned by Sameer, it was rendered by Udit Narayan and Alka Yagnik. The film stars Govinda, Karisma Kapoor, Harish, Kanchan, Sadashiv Amra­purkar, Shakti Kapoor, Mahesh Anand and Kader Khan. It is being produced by Vashu Bhagnani and directed by David Dhawan. Tips presents it.

3-E
Education-Entertainment-Enlightenment

“I Will Wait”: Subhash Ghai

Subhash Ghai has signed Sunil Shetty in place of Sanjay Dutt for Trimurti. He is considering signing Ajay Devgan. These and many similar statements are heard off and on following Sanjay’s arrest under TADA. But Ghai dismisses all of them as rumours with just one statement, “What to talk of replacing Sanjay Dutt, I haven’t even thought about replacing him.” Ghai explains, “I will wait for the court’s verdict and only then will I think what is to be done. Why should I think negative? I have asked Mukul Anand to shoot each and every portion not requiring Sanjay and even complete the dubbing and mixing. By then, I am hopeful that the verdict will be pronounced. If, God forbid, a negative decision is given by the court, I will, at that time, sit with Sunil Dutt and Sanjay Dutt and decide what is to be done. Until then, I am not going to think about this chapter at all. One must learn to live with positive thinking.”

Rebirth Of Liberty, Bombay

The Rajshris have done the impossible. Bombay’s Liberty cinema had been written off, with attendance being extremely low. But thanks to Hum Aapke Hain Koun..!,the audience has returned to Liberty and how! The cinema is being maintained extremely well and its foyer has been beautifully done up by Sooraj Barjatya who has put up huge portraits of Madhuri Dixit, Salman Khan etc. with catchy captions. A huge portrait of late Tarachand Barjatya serves as a reminder of the man who built the Rajshri empire and to whom grandson Sooraj has dedicated the film. Raj Kumar Barjatya revealed, “Among cinemas, our 100% attention was on Liberty. We have supervised the minutest of things and taken care of every little detail at the cinema.” With admission rates having been increased last week, the cinema is now yielding a share of over Rs. 3 lakh per week!

An Experience Of A Lifetime

Mukesh Khanna, who saw Hum Aapke Hain Koun..! at Liberty cinema, Bombay last Sunday, was all praise for the film and its director, Sooraj Barjatya. According to him, the film was an experience of a lifetime. A simple thing like decorative lights around the screen, which are switched on in three songs, attracted Mukesh Khanna’s attention to the point of making him exclaim, “Terrific” when the lights were first switched on. The actor also spoke in superlatives about the cinema’s maintenance and manager Shah’s efforts.

Heightened Curiosity

Trade circles are abuzz with talks of Vinod Khanna’s maiden production, Himalaya Putra, in which he launches his son, Akshay Khanna. Vakil Singh, the East Punjab distributor, recently left a Rs. 10-lakh cheque with Vinod Khanna as signing amount for the distribution rights. And other offers are pouring in. The response the film has been getting is highly positive and Vinod, too, is not leaving anything to chance to see the project through and in time. The muhurt will be held on October 6 in a grand and novel way. It will be followed by a marathon 45-day outdoor schedule for which the technical crew will go location-hunting on the 5th of this month

Meanwhile, it is learned that Danny “may” also be playing an important role in the film.

DD: Drastic Drop

With new and old hits being telecast on Saturdays on the national network of DD (Doordarshan), box-office collections have started to come down steeply in the 6 p.m. and 9 p.m. shows of Saturday. This was the case all over India when Saajan and Daag were telecast on the past two Saturdays. Collections in many cinemas dropped by 60 and 70 per cent!

Time Is Money

The Time people believe in spending lavishly on their productions. As in Vijaypath, they are making their songs of Gambler too, rich and opulent. Eye-catching sets, plenty of costumes, a number of dancers are foregone conclusions in Time’s songs. Those who’ve seen the ‘Akeli main aayee’ song of Gambler can’t help praising its lavishness. Money has been spent not like water (because sometimes the taps can fail you) but like the rain-water this year, which refuses to stop. Is that what they mean when they say, time is money?!?

Explosive Discovery

And this one is for a smile. The Time people (Dhirubhai Shah and Pravin Shah) are on the lookout for a new sex bomb for their next. And since the newcomer will be Time’s discovery, she will be called a Time bomb. That would be an explosive discovery, wouldn’t it?

(From our issue dated 27th August, 1994)

FFI RESENTS GOVT. APATHY

The Film Federation of India (FFI) has expressed its serious concern about the government’s apathy in implementing the Copyright Act, 1956, which has been re­cently amended. According to the FFI, although the bill has been passed by both the houses of Parliament and also has the assent of the President of India, the gov­ernment has shown reluctance to implement the same. In case the Act is not en­forced immediately, an FFI delegation may call on the prime minister to express its concern about the non-implementation of the amended Act.

The Federation has also written to the minister of state for information and broadcasting about the Cable TV legislation. Through a communication address­ed to K.P. Singh Deo, minister of state for information and broadcasting, the president of the FFI, Santosh Singh Jain, has brought to the minister’s notice that more than four years have elapsed since sug­gestions on the proposed legislation were submitted, but no action has been taken by the government to pass the legislation.

DO YOU KNOW?

* So low was the temperature in Ooty last week that about 9 or 10 dancers (from Madras), who were participating in a song picturisation for Pahlaj Nihalani’s MR. AZAAD, fainted during the shooting. They had to be hospitalised and the song picturisation remained incomplete.

* Liberty cinema, Bombay, which had hiked admission rates with HUM AAPKE HAIN KOUN..!, will fur­ther increase the rates from next week. The new rates will be Rs. 75 (old rate: Rs. 50) and Rs. 60 (old: Rs. 40).

* The Film Distributors’ Council (FDC) intends to instruct its affiliates to not register any film of a producer who sells the video rights of his film for simultaneous release alongwith thea­trical release. This bit of information was given by Santosh Singh Jain.

* Even ministers can’t resist the temp­tation to see HUM AAPKE HAIN KOUN..!. Jagdish Mukhi, finance minister, Delhi, saw the film recently alongwith his family, at Satyam, Delhi. The education minister, Delhi, Sahib Singh Verma, also saw the film in the last show on 16th August. But when will the ministers recommend it for tax exemption which it so rightly deserves?

* HUM AAPKE HAIN KOUN..! has created a city record by collecting 1,27,543/- in 3rd week at Vijay, Nasik. Better than 1st and 2nd weeks (1,18,158/- and 1,21,702/- respectively).

* Galaxy cinema, Rajkot had to con­duct extra shows of HAHK..! on August 13 and 21 at 8.30 a.m. and 10.30 p.m. respectively due to the mad rush of cinegoers. Despite the odd show timings, the extra shows were packed to capacity. In the week that began from 26th August, the cinema is conducting one more show daily in addition to its quota of two shows daily, fixed for Hindi films.

* HAHK..! has created a city record by collecting 2,20,234/- in 3rd week at Novelty, Lucknow.

* HUM AAPKE HAIN KOUN..! has created a theatre record by collecting 1,30,879/- in 3rd week at Panchsheel, Nagpur. It has created a city record by collecting 1,63,810/- in 3rd week at Smruti, Nagpur.

* HAHK..! has created a city record by collecting 1,12,169/- in 3rd week at Chitra, Amravati.

* VIJAYPATH has created a city re­cord by collecting a gross of 5,14,371/- in 3 weeks at Shalimar, Bharuch.

* VIJAYPATH has collected 38,674/- (gross) in 1st week (21 shows) against a capacity of 39,837/- in 1st week at Lata, Barsi, in spite of heavy rains. Nineteen shows were full.

YOU ASKED IT

If the Maharashtra government re­duces entertainment tax as promised, will the benefit be passed on to the public?

– At least, that’s what the government has asked the exhibitors to do.

Who have enacted the roles of Mahatma Gandhi and Lord Mountbatten in Ketan Mehta’s Sardar?

– Annu Kapoor and Tom Alter respectively.

With so many stars and producers shif­ting from the big screen to the small scr­een (TV), will the small screen become big?

– Big is big and small is small and never the twain small meet.
GUJARATI FILM TO BE SHOT ABROAD

The Gujarat government has granted permission to the makers of the Gujarati film, Halo Aapna Maalak Ma, to shoot in the USA. The producers had sought the government’s approval for the shooting of some scenes in New York so that the be­nefits of 70% tax exemption and a sub­sidy of Rs. 3 lakh on its release would accrue to the film even though it would not be shot completely in Gujarat.

The film, presented by Raju Bhatt, produced by Mukund Patel under the banner of Khodal Films, and directed by Shreedutt Vyas, stars Naresh Kanodia, Meenakshi, Ramesh Mehta and Rajdeep. Its music is scored by Mahesh Naresh.

“While the rest of the shooting has been completed in Gujarat,” revealed Raju Bhatt, “the unit will leave for the USA on 17th September to shoot about 20% of the film. It will be released on Diwali.” Raju Bhatt added, “It is because of the efforts of Mr. Upendra Trivedi that we have got the government permission to shoot abroad, and we will remain indebted to him.”

SAPAN CHAKRABORTY DEAD

Music director and lyricist Sapan Chakraborty died on 23rd August in Bombay. He was 61 and a bachelor. He is sur­vived by two sisters. Sapan-da used to be the former assistant of R.D. Burman.

INDORE DIARY

** Rajshri’s Hum Aapke Hain Koun..! is doing wonders in Indore as in the rest of the country. It has already yielded a share of over 5 lakh from a single cinema (Kastur) in three weeks. And Kastur is not located in the heart of the city. Another cinema (Anop), which is at the other end of the city, will release the film in a couple of weeks.

** Trade buzz has it that sky is the limit for the business of HAHK..!.

** Unheard of MGs are being offered for HAHK..!. For Gwalior alone, there is an offer of 10. The Rajshris have re­portedly not yet accepted the offer.

** The Rajasthani film, Baba Ramdev, which has not been able to make a mark in Rajasthan in spite of 75% tax exemption, is doing well in Ujjain. C.I. once again proves to be a bonus territory for Rajasthani films.

** Members of the opposition group in the CCCA are wary of the “discriminatory policies” of the ruling group. According to the opposition, while the rulings in committee meetings are just and fair for all members, the implementation of the rulings leaves a lot to be desired. A penalty is levied instantly if the member belongs to the oppo­sition. If it is a member supportive of the ruling party, the file (containing the case papers and the papers of the penalty etc. levied) conveniently gets misplaced. Uttam Nahar, a distributor of C.I., gives the examples of Haque and Sahebzaade. A penalty for Haq­ue was recovered from him (Uttam), while no penalty for Sahebzaade (which was a case exactly similar to Haque) has yet been recovered years after its release, because “the Sahebzaade member supports the ruling party”.

– Gautam Mutha

Fortune Favours The Brave

The Barjatya family has, as on many occasions in the past, once again shown the industry that its planning makes more business sense than most can ever imagine. Not only in its release but also in the making of Hum Aapke Hain Koun..!, the Barjatyas dared to be different. They virtually defied the dictates of tradition and the advice of friends and well-wishers and did what they thought was right. They had the conviction and the cou­rage too.

The very selection of the story idea of HAHK..! could have been dismissed by most of the people in the industry as passé. The inclusion of fourteen songs in one film was almost a laughing matter in today’s times. To devote the entire first half and a major portion of the second half of the film to customs and traditions in a North Indian marriage was going too far. Or so people felt. To top it all was the film’s length – a running time of 3 hours and 27 minutes.

If people criticised all this (and more) in hushed tones and whispers, it is only because Sooraj Barjatya was the director of a mega-hit called Maine Pyar Kiya. Had it been any other lesser director, the jeers and sneers of the industry folk would have been loud and clear. But even the runaway success of Maine Pyar Kiya did not deter the people from predicting doom for HAHK..!, albeit in close circles and off-the-record dialogues. Why, many industry people had preferred to call the film a video cassette of a wedding ceremony and wedding functions.

To add to people’s misdirected confidence was the Barjatyas’ release plan. Only 30 prints in the first week was suicidal, according to them. When the makers said, they wouldn’t release the film’s video cassettes, the trade thought, they would not be able to control piracy. With cable TV reaching every nook and corner of the country, the film would be seen by lakhs on TV. Or so they felt. But three weeks have passed and there’s no report from any­where about video piracy of the film.

Today, Sooraj has proved, if proof was required, that he can give any top director with any number of hits under his belt, an unintended complex. The Barjatyas have proved to be wiser than everybody else. Post-rel­ea­se, their strategy of releasing such a limited number of prints has been admitted to be the most intelligent way of exploiting the film which is growing day by day. Even their publicity was quite low-key, which helped keep pub­lic expectations to the bare minimum. Their deleting two songs from the film was a foregone conclusion, the only thing one wasn’t sure about was the time they would effect the deletion. Opinions may differ about which two songs they should have edited, but the deletion is a wel­come move, if only for the favourable effect it has had on the show timings of the film. It must be clearly understood that the songs had to go mainly because of the odd show timings and not because the audience felt, there were too many of them. For, hardly anybody complained of that.

Why most of the trade people failed to judge the film correctly is because it was different. Tradewalas have a hidden aversion to anything away from the routine. They have a set formula of successful films in their mind. Slight variations are welcome but a great departure as in HAHK..! is a no-no for them.

The success of HAHK..! should conclusively prove that films cannot always be judged by conventional yard­ sticks. Unconventional films as Hum Aapke Hain Koun..! can turn out to be movie marvels. And an unconventional film like this deserves tax exemption by the governments who condemn vulgarity, obscenity and vio­lence in films but don’t support those films that shun all these on the one hand and project the customs of India so beautifully, on the other.

A long, long run for the film, whether with or without tax exemption, is now a certainty. As they say, fortune favours the brave. The Barjatyas have proved to be the bravest with a capital ‘B’ as in Barjatya. Bravo, the brave Barjatya brigade!

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Glory Regained

Naaz, which was considered the nerve-centre of the Bom­bay film industry, may soon get back its lost glory. With Shringar Films already having their office in Naaz and at least two more big distributors (V.I.P. Enterprises and Tolu Bajaj) due to open shop in the building, it shouldn’t be long before the building will begin to house the leading distribution con­cerns of Bombay. Ramesh Sippy (B.R.A. Corporation) is also on the lookout for an office in Naaz and it may not be long before he shifts there. Pahlaj Nihalani has already bought one and will soon shift to Naaz.

Magnificent Presentation

Presenter Vinod Doshi and producer Tutu Sharma have spent a fortune in the song picturisations of Raajkumar. And nothing can be more gratifying for a producer and presenter than when what is spent, comes across on the screen on an equally grand scale. It goes to the credit of director Pankaj Parasher and the cameraman for capturing the massive sets on which the songs have been picturised, so beautifully. The shot compositions in the picturisations are many and magical. Madhuri Dixit looks too sensuous to be true and she has danced like a possessed girl. To say that she is brilliant would sound clichéd. But that is what she is! On seeing three songs of the film, one can well imagine the efforts that have gone into their picturisations and choreography (Saroj Khan). The makers are aiming at giving the Hindi film audience novelty. That was clear not only from the three songs one saw but also a fight sequence between Anil Kapoor and Gorilla.

Limited Number, Unlimited Appeal

Javed Akhtar’s lyrics have always had one quality – sim­plicity. Whether it has been the racy ‘Ek do teen’ song of Tezaab or the ‘Saagar jaisi neeli aankhon wali’ number of Saagar, his songs have a distinctive and simple style. But the one that, perhaps, even Javed would rate as his best is the ‘Ek ladki ko dekha’ song of 1942 A Love Story. While its music is indeed electrifying, the various ways in which a beautiful girl has been described in the song is no less beautiful. Javed, in fact, has been lucky with his lyrics. Of the 15 films for which he has written the songs, at least eight – 1942, Tezaab, Mr. India, Silsila, Saagar, Sailaab, Narsimha and Saath Saath – boasted of hit music and popular songs. No mean score, this.

Big ‘Bit’ Business

Inclusion of ‘bits’ (uncensored portions) in films is no bit business. Rather, it is a big business. Those dealing in ‘bits’ see the film in which they are to be added and give closely re­sembling shots to interested parties – of course, for a price. All this goes on at several places right under the nose of the poli­cemen – again, after paying the concerned people their price!

Excitement Eluding Elections?

If whispers from C.P.C.I. Rajasthan are to be believed, the CCCA elections this year may not be half as exciting as in the past. This is because the ruling party and the opposition may arrive at a consensus and choose members to be elected/nominated on the executive committee. While the opposition wants the ratio in the 16-member committee to be 8:8, the ruling party wants it to be 9:7.

Tears And Cheers

On 26th August fell the wedding anniversary of Anupam and Kiron Kher. And on 26th was also the last show of the Khers’ stage-play at Prithvi Theatre (Bombay). The play, titled ‘Salgirha’ (meaning ‘Anniversary’), was such a tear-jerker that many among the audience reportedly wept during the show. The play starred only Anupam and Kiron, who have won accolades for their performances.

The New Oberoi

After quite a long period of absence, Suresh Oberoi is back with a vengeance. Playing both, positive and negative, roles will be his new mix. “Earlier,” he says, “I have worked in negative roles opposite actors of the calibre of Amitabh Bach­chan (Coolie) and Dilip Kumar (Mazdoor) but one requires change. So I switched to positive roles but I was also tired of playing the inspector in almost every film. After my hibernation, I am now working in all types of roles, with the younger lot like Sunil Shetty (Raghuveer), Ajay Devgan (Suhaag and Jab Jab Dil Mile), Aamir Khan (Raja Hindustani), Jackie Shroff (Soutela) and Sanjay Dutt (Jai Vikraanta).”

Danny’s Favourites

Though Danny Denzongpa has never worked with Dilip Kumar, he is one of his greatest fans. In fact, the first film he ever saw, as a twelve-year-old was Dilip Kumar’s Naya Daur. Later, he switched to action films, and Sheikh Mukhtar be­came his favourite hero. But as he advanced in age and got more mature and started understanding the finer aspects of life, he again switched his loyalties to social films. Later, his favourite became Amitabh Bachchan. One director he singles out from the present lot as being very talented is Rajkumar Santoshi, but in this case too, he has never worked with him. He also rates Rajiv Rai (with whom he worked in Yudh) highly as a director. In fact, Rajiv approached him for Mohra for Paresh Rawal’s role, but Danny wanted to play the role played by Naseeruddin Shah. Danny will now be doing only five films a year.

The S(t)inging Bee

Abhijeet is among the playback singers who is busier than the proverbial bee these days. Having lent his voice to a num­ber of hit songs, he is in great demand and sometimes, sings five to six songs a day! Producers talk highly of the singer’s sincerity too.

(From our issue dated 20th August, 1994)

CHAAND KAA TUKDAA

Saawan Kumar Productions (Films) Pvt. Ltd.’s Chaand Kaa Tukdaa is a musical formula film replete with rom­ance, comedy, suspense and vendetta. The story-line is thin and there are too many twists and turns, several of them unnecessary. Suspense seems to have been added to the story to afford some thrill only. A young business tycoon from London comes to India in search of a life partner, but he is trapped by the villains who had killed his father and who have plans to kill him too so that they can loot his em­pire. The hero, however, foils their plan.

While the story is routine, the screenplay is one of convenience. Romance is devoid of freshness. The pairing of Sridevi and Salman Khan looks odd and that is one reason for the romantic portion falling flat. Revenge lacks excitement. A few comedy scenes do tickle the ribs.

Sridevi is not in form. She goes through her role mechanically. Salman Khan does well. Anupam Kher switches between comedy and villainy without any logic. Although his characterisation is weak, his performance is good. Raza Murad is fair. Mehmood tries to entertain. His comedy track is contrived. Shatru­ghan Sinha delivers a restrained performance and creates an impact in a small role. Rama Vij, Gurbachan, Lalit Tiwari, Gud­di Maruti, Rakesh Hans and Zeba Khan pass muster.

Saawan Kumar has given the film a lavish look but has not been able to make the drama enjoyable or entertaining. Music (Mahesh Kishor) is very good. ‘I am very very sorry’ is already a hit. ‘Aaj Radha ko Shyam yaad aa gaya’, ‘Tu lad­ka hai London ka’ and ‘Tu lage chand ka tukda’ are also very well-tuned numbers. Song picturisations are lavish. Locations are eye-catching and they have been bea­utifully exploited. Technical values are of standard.

On the whole, Chaand Kaa Tukdaa is a disappointment.

Released on 19-8-’94 at Minerva (matinee) and 22 other cinemas of Bom­bay thru Mahalakshmi Films Distribu­tors. Publicity: very good. Opening: ave­rage. …….Also released all over. Opening was below the mark at many places.

DO YOU KNOW?

* The two songs of Romu Sippy’s AMAANAT, ‘Din mein leti hoon’ and ‘Daloonga daloonga’, have been slightly changed. The lyrics now go as ‘Din mein kehti hoon’ and ‘Lad­oonga ladoonga’.

* HUM AAPKE HAIN KOUN..! has created a theatre record by collecting 2,38,230/- in 2nd week at Hind, Cal­cutta.

* HAHK..! created a theatre record by collecting 1,30,519/- in 2nd week at Panchsheel, Nagpur. It has also crea­ted a city record by collecting 1,73,100/- in 2nd week at Smruti, Nagpur.

* HUM AAPKE HAIN KOUN..!  has created a city record by collecting 1,14,171/- in 2nd week at Chitra, Am­ravati. Better than 1st week (1,12,729/-) despite heavy rains.

* HUM AAPKE HAIN KOUN..! has created a theatre record by collecting 1,47,892/- in 1st week at Rambha, Bhopal.

SNAPSHOTS

SUBHASH GHAI’S 7-CRORE PROJECT

As 24th October draws near, the gues­sing game has started. That Subhash Ghai will launch a film on that day, which is his wedding anniversary day, is a foregone conclusion. A reliable source tells us that this film, to be produced and directed by Ghai, will be his costliest ever. If inside reports are to be believed, it will be a Rs. 7-crore project and will be a story with an army background, against the backdrop of the Indo-Pakistan border. It will star two top heroes and a new heroine. The search for the girl is on. The film will be titled…. let that be now. Read more about the mega-project in our forthcoming issues.

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TELECAST YAHAN, PENALTY YAHAN

Producer Raajiv Kumar will have to pay Rs. 1 lakh as fine to the CCCA for having telecast his Swarg Yahan Narak Yahan before the completion of five years of its premiere release. The CCCA was not registering his Kranti Kshetra despite court orders to that effect. With Kranti Kshetra release around the cor­ner, Raajiv Kumar had no option but to agree to pay the fine. He will pay half the amount now and the other half afterwards. Besides the fine, he will have to pay Rs. 40,000 to his C.P. distributors and Rs. 20,000 each to his C.I. and Rajasthan distributors.

*       *       *

MUSIC MANIA

The Bombay distributors of Main Khiladi Tu Anari are the happiest per­sons today. They’ve sold the rights for Gujarat and Saurashtra at extraordinary prices, almost covering the entire MG royalty paid for Bombay. It is the magic of music again.

*       *       *

NO FREE STAY

The voting in the CCCA elections used to be exciting affairs every year, be­sides the elections being very largely-attended too. The reception committee used to look after the stay of the members who used to reach the venue of the annual general meeting and voting from all cor­ners of Rajasthan and Madhya Pradesh. But the CCCA has now decided to do away with the system of the reception committee hosting the stay of the mem­bers. From this year, therefore, members would have to themselves make arrangements for their stay. This is likely to have a direct (read that adverse) effect on the attendance at the annual meeting and elections. The AGM is fixed for September 28 this year in Jaipur. Elections to the executive committee will be held the following day.

YOU ASKED IT

How much does tax-exemption help a good-average film?

– More than 50%.

When a film doesn’t take an opening, the trade very conveniently says, “Public ko khushboo aa jaati hai”. What does the public smell?

– If the trade knew what the public can smell, wouldn’t trade people also begin predicting which film will take an opening and which won’t?

These days, one doesn’t hear of many announcements of small film producers. Why is it so?

– Many small film producers as also small artistes have turned to the small screen.

MERCHANDISING OF ‘HAHK..!’

Rajshri is going the Hollywood way in granting licensing rights of the stills and logo of Hum Aapke Hain Koun..! to interested parties to manufacture and market their products using them (stills and logo). Archies, known for its cards and posters etc., has been licensed the rights to manufacture and market posters, notebooks, diaries, photo albums, file folders and gift wrapping papers, using stills and logo of the film. Similarly, Aq­uarius (Bombay) is merchandising key-chains and stickers of the film. Another company has developed paper-weights resembling the dog in the film.

GUILD TO BREAK OFF FROM FMC?

The Film Producers Guild of India is contemplating separating from the Film Makers Combine. The FMC’s expulsion of Subhash Ghai, a member of the Guild, is said to have prompted the Guild to think on these lines.

The Guild has written to the FMC, asking it to show cause why it (Guild) should not leave the FMC.

RAMNATH SACHDEVA DEAD

Film and finance agent Ramnath Sachdeva passed away in Delhi in the early morning hours of 19th August. He was unwell for the past two days but the end came suddenly.

Ramnath-ji was in his sixties and a bachelor. At the time of his death, he was the manager of Friends India Combine, Delhi. Ramnath-ji used to also manage the affairs of Mushir-Riaz’s production concern, M.R. Productions, many years back when he was in Bombay.

ARTISTES BREAK TIES WITH FMC

The Cine Artistes’ Association has decided to discontinue the joint arrangement with the Film Makers Combine. At a joint meeting of the representatives of both the Associations, held on 14th Aug­ust at Asha Parekh’s residence, it was conveyed by the CAA to the FMC that the joint arrangement vide their agreement signed on 12th July, 1992 stood cancelled.

Members of the CAA have been ad­vised to approach their own Association for the redressal of their complaints/prob­lems.

GOPALA RAO DEAD

Telugu cinemas’ villain and character actor and former Rajya Sabha member Rao Gopala Rao died at a private nursing home in Madras on 13th August. He was 57 and is survived by his wife, two sons and a daughter.

Ketan Desai Launches ‘Deewana Mastana’

Muhurt of M.K.D. Films Combine’s Deewana Mastana was performed on Aug. 16 at Hotel Leela Kempinski. Ami­tabh Bachchan sounded the clap­per-board, Yash Chopra broke the auspicious coconut, Shammi Kapoor switch­ed on the camera, and Anil Kapoor, Govinda and Juhi Chawla faced it for the muhurt shot. It was direct­ed by Sub­hash Ghai. Before the muhurt, Amitabh Bachchan made a short and very well-worded speech in Hindi. Manmohan Desai, whose photograph was put up on the dais, was fondly remembered for his films and humanitarian qualities.

The birthdays of director David Dha­wan (Aug. 16) and producer Ketan Des­ai (Aug.17) were also celebrated.

The film, being directed by David Dhawan for producer Ketan Desai and associate producer Bharatbhai Shah, is based on a story-screenplay-dialogues by Aneez Bazmee. Additional screenplay: Prayag Raj. Music: Laxmikant Pyarelal. Lyrics: Anand Bakshi. Cine­matography: Rajan Kinagi.

The launching party was very well-attended. Among those who came to wish Ketan and David were G.P. Sippy, Raaj Kumar, Amitabh Bachchan, Jaya Bach­chan, Shakti Samanta, Ashim Samanta, Feroz Khan, N. Chandra, Rahul Rawail, Randhir Kapoor, Kari­sma Kapoor, busi­ness tycoon Anil Ambani, Tina (Munim) Ambani, Romu Sippy, Raj Sippy, Din­esh Gandhi, Pranlal Mehta, Mehul Ku­mar, Anu Aggar­wal, Sooraj Barjatya, Kiran Shantaram, Satish Kul­karni, Tolu Bajaj, Sultan Ahmed, K.D. Shorey, Kirit Desai, Surender Sehgal, Tutu Sharma, Padmini Kolhapure, Indra Kumar, Surinder Kapoor, Boney Kap­oor, Vinod Khanna, Ramya, Archna Pooran Singh, Keith Stevenson, Karan Shah, Nirupa Roy, F.C. Mehra, Umesh Mehra, Rajiv Mehra, Nutan Naik, Naraindas Mukhija….

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Education-Entertainment-Enlightenment

Slow Flow

Suddenly, the flow of releases seems to have slowed down considerably. After two and three star-cast releases a week, there will be solo releases in the coming weeks. Kranti Kshetra is the only star-cast film due next Friday. In the following week, it may be only Brahma. Thereafter, Nazar Ke Samne may be the single release.

The Lighter Side

The muhurt shot of Ketan Desai’s Deewana Mastana was a long one, besides being comical. And rarely has one seen the audience laugh so heartily in a muhurt shot as one saw at the Deewana Mastana muhurt. Anees Bazmee, the writer of the film, revealed later, “I wrote the dialogues for the scene only a few hours back. I work best when I work under pressure.” Ketan and director David Dhawan would do well then to not release the pressure.

The Emotional Side

If the muhurt of Deewana Mastana had the invitees laughing, there was also an emotional moment when a pic­ture of late Manmohan Desai’s smiling face on the stage (in between the film’s logo) was uncovered for people to see. In the background, a portion of the ‘Ae mere bete, sun mera kehna’ song from the late maker’s favourite film, Aa Gale Lag Jaa, was played. Amitabh Bachchan’s opening speech soon thereafter further accentuated the emotional impact.

Second Line Of Defence!

Sunil Shetty truly has a head full of business acumen on his shoulders. His career enhancement and business expansion go hand in hand. As he puts it, “Films is a very unpredictable business, so I have to also concentrate on my hotel and fashion garments businesses, as a second line of defen­ce.” Not surprisingly, close on the heels of a ‘Mischief’ franchise boutique which will open today in Bombay, he has big­ger plans afoot. Like, for instance, his soon-to-open hotel, ‘Mischief The Dining Hall’, which would be a three-storey­ed structure near Prasad Chambers comprising a banquet hall with a 25-people capacity and a bar. And keeping up with his fitness image, the ground floor of the family restaurant would be a non-smoking zone. His expansion plans also stretch to Dubai where, by October-end, he would open a boutique. That apart, the ace up his sleeve is to endorse fitness equipments which could be used  at home. In fact, he recently visited Ahmedabad to have such a tie-up with a gymnasium. As Sunil tongue-in-cheek remarks, “Fashion, Fitness and Food can never go out of fashion.”

Cautious After A Hit

A flop usually discourages a distributor from buying films. And a hit spurs him to buy more films. But Nizam and Delhi-U.P. distributor Tolu Bajaj, who is now opening a distribution office in Bombay too, behaves differently. He usually never buys a film soon after releasing a hit. According to Tolu, “Once you release a hit, you tend to believe that every available film in the market is reasonably priced, because you have the business of the hit film in front of you. Because of this, you may land up paying more than a film’s actual worth. Besides, the ratio of successes to failures is always the same. It is not as if there will be more than 15 to 20% successes.”

Craze Among Ladies & Families

Hum Aapke Hain Koun..! has become a veritable craze among ladies and families. Old ladies coming to Liberty, Bombay, to see the film, take 10 minutes to climb the staircase but their enthusiasm is creditable. As in Hyderabad, so also in Bhilai, ladies come to the cinema with their lunch boxes. Reports from Manjushree cinema, Kanpur, reveal that an elderly lady, who was to be operated upon, expressed her desire to see HAHK..! one day before the surgery. Another old lady, who came to Manjushree cinema, asked for Mr. Sethi, the manager. Mr. Sethi had died way back in 1975, which means that the lady was coming to Manjushree after almost 20 years! A person saw the film thrice at Bombay’s Liberty and penned the following lines in praise of Sooraj Barjatya: (1) Wah wah Sooraj-ji/ Picture kya banayi/ Rajshri Pictures ko/ Badhai ho badhai. (2) Chandni chand se hoti hai/ Sitaron se nahi/ Hum Aapke Hain Koun jaisi film/ Sooraj Barjatya se hoti hai/ Kisi aur se nahin. At Liberty again, a group of eight girls saw the film and, after the show, walked into the manager’s cabin and insisted for tickets for the earliest next show. A family friend of the Barjatyas saw a film (HAHK..!) after 40 years on 19th August. Since the film has not been released in Gwalior, some people have travelled from Gwalior to Agra (travelling time: two-and-a-half hours) to see it.

Performers On The Up!

According to Paresh Rawal, the day of performers has arrived. He cites the example of the success of Mohra (Naseer) and Krantiveer (Nana Patekar) but very self-effacingly fails to mention himself as a performer of reckoning. “Nana,” says Paresh, “has proved that he does not only have a following in Maharashtra but is popular all over India. Emotions have universal appeal. Krantiveer is proof enough. He may be now asking for a high price but, I feel, he can com­mand, and there are people who would even be ready to pay him double of what he asks. He is sensible in being choosy.” Paresh himself has five or six films on the floors and also gives time to stage which is his first love and without which “I would go mad doing only films.”

K.K., The Hot Favourite

Writer K.K. Singh is flooded with offers after Kranti­veer. But the funny part is that most producers queueing up at K.K.’s don’t come with any concrete idea except that they want a story for Nana Patekar. Obviously, to all such Nana-waalas, K.K. Singh says, “Na, na.”

Secret Of Youth: Legal Battles

Want to know the secret of Bombay exhibitor-distributor U.A. Thadani’s prim and proper health? When someone ask­ed Thadani how he had managed to remain the same for so many years, Thadani replied: “I am fighting so many cases in the court that I can’t afford to change. If I do, the judge will not recognise me!”

Condemned…. With Regards

It was not many days back when FMC general secretary K.D. Shorey had gone on record to say that the FMC had unanimously expelled Subhash Ghai for flouting the star ceiling. He minced no words to condemn Ghai’s act. It came as a jolt then when Shorey went up to Ghai at Ketan Desai’s party to launch Deewana Mastana this week and, giving Ghai a loving embrace, said, “I have the highest regard for you.” Highest regard and all that is understandable. But why make a show of the regard without any rhyme or reason? Or was there a reason?

The Young Papa

And here’s a funny one to keep you smiling through the long weekend.

A young writer approached the middle-aged handsome hero who is all set to launch his son into stardom, to narrate a story revolving around a father and his son. The writer had the middle-aged hero and his son in mind. Imagine his dis­gust then when the middle-aged hero approved of the story and asked, “And who will play my father in the film?”

(From our issue dated 16th July, 1994)

1942 A LOVE STORY

Vinod Chopra Productions’ 1942 A Love Story, as the title suggests, is a love story of 1942 when India was under the British rule, and the Quit India movement had gained momentum. The son of a rich Indian falls in love with the daughter of a revolutionary, but the rich Indian’s pro-British stand comes in the way of their love. The guy, hitherto least concerned about the freedom struggle, gradually finds himself in the forefront of the struggle as he tries to win back the confidence of his beloved who has become a target of mis­understanding.

The film, a historical saga, is a blend of nationalism and romance. It recounts history as it narrates the romantic tale of the two lovebirds. While the scenes of nationalism and patriotism have an arousing impact, the romantic side looks superficial at several places. The audience’s heart doesn’t cry for the separated lovers. This, mainly because there isn’t much drama.

As the film progresses, the script gets relegated to a secondary position, and form takes precedence. Everything is presented beautifully but the beauty looks hollow because the soul is missing. Content loses to form. And that is the film’s undoing. Consequently, emotions don’t touch the heart at several places.

What is more, it lacks relief. There is hardly a light moment, especially in the second half. The first half has five songs coming in quick succession and although two or three of them are excellently tun­ed, they lose their impact to some extent because of the frequency with which they appear. The pace is extremely slow, which makes the film boring at places.

Although performances of all the artis­tes are very good, nobody gets scope for histrionics which one expects in a film of this kind. Anil Kapoor does a fine job as the romanticist and the revolutionary. He looks young and very fresh. Manisha Koirala looks extremely beautiful and acts well. Jackie Shroff’s entry is lovely. He has done a perfect job but he has hardly any dialogue or role other than to kill the British general. Anupam Kher is good. Danny, Pran and Manohar Singh are competent. Raghubir Yadav leaves a mark but his dialogues at a couple of places are not fully comprehensible. The scene in which he spits on the general’s face is clapworthy. Brian Glover is adequate. Chandni (she looks good) and Sushma Seth are okay. Pramod Moutho, Shiv Subrahmanyam, Gopi Desai and the rest lend the required support.

Writer-director Vinod Chopra has concentrated a great deal on making the film a veritable visual treat but has fal­tered in the scripting. He needs to understand that no amount of technique can make up for lack of interesting and appealing content. His treatment is of the ‘art’ kind. R.D. Burman’s music is excellent and so are Javed Akhtar’s simple lyrics. ‘Ek ladki ko dekha’ is already a super-hit number. Its picturisation is good. ‘Kuch na kaho’ and ‘Rimjhim rim­jhim’ are also very good and the picturisation of the former is sensuous. ‘Dil ne kaha chupke se’ has been picturised on beautiful locales. Background score is very appropriate, the impact heightened by Dolby stereophonic sound. However, Dolby mixing leaves a lot to be desired when the background score and sound effects dilute the sound of the dialogues, making them inaudible at several places.

Dialogues are ordinary. Binod Prad­han’s camerawork is of international standard, making the film a painting on celluloid. Dalhousie locations are breathtaking. Editing is sharp. Art director Nitin Desai deserves full marks for his set.

On the whole, 1942 A Love Story is a film for the class audience. Lack of mass appeal, limited entertainment value and its phenomenal price will see the distribu­tors in the red. Tax exemption can salvage the film to some extent.

Released on 14-7-’94 at Metro and 6 other cinemas and on 15-7-’94 at 22 other cinemas of Bombay thru Shringar Films. Publicity: extraordinary. Opening: out­standing. …….Also released all over. While opening was phenomenal in Delhi, it was below expectations in C.P. Berar and Rajasthan. 1st day Jaipur about 1,15,000/- from 4 cinemas. There was a noticeable drop in collections in C.I. on the second day.

MIX MASALA

OUTRIGHT BABU

Producer Nandu Tolani is in the pro­cess of converting his MG agreements of Raja Babu for Bengal (Lala Damani) and Bombay (Bobby Anand) into outright sale agreements. He had earlier converted the Rajasthan agreement, too.

IN FLESH & BLOOD

Sunil Shetty who used to idolise Rajesh Khanna, when he was a child, saw the ex-superstar in person for the first time at the marriage of Ajay Devgan’s sister two weeks back.

‘BORDER’ NOW

Years back, J.P. Dutta was to direct a film called Sarhad. It never got made. J.P. is now turning a producer with a film titled Border (meaning ‘Sarhad’).

YOU ASKED IT

Which films is Vivek Mushran acting in?

– He is currently working in JAAN and ANJAANE. Venus will also soon be starting a film with Vivek, one more hero (new) and a new heroine.

What kind of film is Vinod Khanna producing to launch his son, Akshaye?

– It is a love story with action. Vinod Khanna is presently abroad to sign stunt co-ordinators for the film.

What if the new censor guidelines come into effect and the CBFC becomes stricter?

– The Film Certification Appellate Tribunal will become busy.

WHAT A CAPACITY!

With the hike in admission rates at Metro, Bombay for 1942 A Love Story, the house-full capacity of the cinema is a whopping Rs. 5,77,000 (approximately). The house-full share would be about Rs. 2,75,000.

VETERAN JOURNALIST V.P. SATHE DEAD

Veteran journalist Vasant Prabhakar Sathe (V.P. Sathe) breathed his last on 12th July in Bombay. He died due to cardio-respiratory failure. He was suffering from diabetes and had been unwell for the last several years. He was 78 and is survived by his wife and son.

V.P. Sathe was a regular columnist of Film Information for a number of years.

Sathe was also a story-writer and pro­ducer. His association with K.A. Abbas and Raj Kapoor was life-long. He was the executive producer of K.A. Abbas’ Dhar­ti Ke Lal, which was a pioneering effort towards establishing realistic cinema. He wrote the scripts of Raj Kapoor’s Awara, Shri 420 and Bobby in association with Abbas. Sathe produced Madhuchandra (Marathi) in association with P.B. Samant and scripted the Marathi films, Thartharat and Jeevlaga, with Mahesh Kothare.

WARRANTS AGAINST HEROINES

The judicial magistrate court, 1st court, Baroda on 12th July issued non-bailable warrants in the names of Madhuri Dixit, Juhi Chawla, Pooja Bhatt, Karisma Kap­oor, Mamta Kulkarni and Tabu in a case for alleged obscenity filed by one A. Chauhan on behalf of a social organisation. Raveena Tandon, against whom also the allegation was made, was exempted from the warrant as her advocate, Vivek R. Midha, appeared on her behalf.

INDUSTRY APPEALS FOR LENIENCY

Various film bodies, including the Cine Artistes’ Association, Film Direc­tors’ Forum, Film Producers Guild of India and South Indian Film Chamber of Commerce have appealed to the President of India and the Prime Minister of India for sympathy and a lenient view to the bail application of Sanjay Dutt.

SUSHAMA SHIROMANEE WRITES TO PM

Producer-director Sushama Shiroma­nee has taken exception to certain remarks made by the minister of state for finance, Ramrao Adik, who has alleged that the film industry thrived on underworld patronage. She has written to Prime Minister Narasimha Rao, questioning Adik’s own credentials.

LUCKY FOR YASH’S STUDENTS

1994 is proving to be lucky for erstwhile assistants of Yash Chopra. Rajiv Rai has made a super-mark with Mohra. Naresh Malhotra scored with his maiden directorial ven­ture, Yeh Dillagi. And Ramesh Tal­war is extremely busy with Aarzoo, the TV serial he is directing for Jaya Bachchan.

DO YOU KNOW?

‘MOHRA’ MAGIC IN 2ND WEEK TOO

* Created a city record by collecting 1,29,746/- in 2nd week at Vasant, Ghaziabad.

* Created a city record by collecting 1,15,436/- in 2nd week at Imperial, Bareilly.

* Created a city record by collecting 1,25,968/- in 2nd week at Seema, Ali­garh. Two weeks’ total: 2,62,745/-, re­cord.

* Created a theatre record at Leela, Lucknow in 2nd week too by collecting 1,99,573/- (all full).

* Created a city record by collecting 1,20,542/- in 2nd week at Prabhat, Raipur.

* Created a theatre record by collecting 84,830/- in 2nd week at Ganga­shree, Bilaspur. Two weeks’ total: 2,07,000/-, record. 3rd week first day: 9,630/-, theatre record.

* Created a theatre record by collecting a total of 2,56,603/- in 2 weeks at Jyoti, Jabalpur. 2nd week: 1,21,244/-.

* Created a theatre record by collecting a total of 1,84,756/- in 2 weeks at Uday, Akola. Distributor’s share: 1,31,000/-. 2nd week collection: 87,601/- (99.81%). 3rd week first day: 11,481/-.

* Created a theatre record by collecting 70,105/- in 2nd week at Uttam, Bhil­ai, despite heavy rains. Total for 2 weeks (1st week 2 cinemas): 3,22,895/-.

* Created a theatre record by collecting 68,922/- in 2nd week at Natwar, Jalgaon.

* Created a record by collecting 1,35,307/- in 2nd week at Bharat, Bhopal, and 1,01,045/- at Jyoti, Bho­pal.

* Created a city record by collecting 1,67,321/- in 1st week (against a capacity of 1,87,362/-) at Suraj, Bikaner.

* MOHRA is the first film after BETA to have entered 3rd week in two cine­mas of Aurangabad, viz. Apsara and Anupama.

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Education-Entertainment-Enlightenment

‘Mohra’: The New Tonic

The super-success of Mohra has infused a new life in the trade. In filmi parlance, it has brought back garmi in the business. Distributors are concluding deals briskly. Producers are quoting unheard of prices and, in several cases, getting them too. The initial business of Mohra has made people wake up to the fact that the audience is there and it is hungry for good entertainment, that it wants to come to cinemas pro­vided the fare is good. Several distributors of East Punjab are camped in Bombay in search of action films but have not been lucky enough to get any despite the money! And to think of it, some years ago, Punjab was the coldest territory.

No Trials Please

That Vinod Chopra held no trials of 1942 A Love Story for the trade or the press is too well-known. But a little known fact is that he had taken a written undertaking from his all-India distributors that they would hold no trial shows of the film. That is not all, Vinod Chopra also saw to it that every distributor, after delivery was effected, was escorted (by Chopra’s own man) to the airport/railway station to ensure that the prints were loaded for the destination concerned only and not ‘smuggled’(?) into a preview theatre. As an alternative, distributors were given R/Rs or consignment notes of the prints despatched, instead of the prints themselves. Vinod Chopra did not want the Bombay trade or press to see the film in any theatre except Metro where the Dolby Stereo sound system has been installed. And he did not want them to see it before the eleventh hour. Hence, the undertaking and the escorts!

No Pregnant Pause!

For writer K.K. Singh, Mehul Kumar’s Krantiveer was literally his baby as he ‘carried’ it for 9 months in his mind without a pause. From inception to delivering it in the form of a hard-bound script, K.K. Singh worked incessantly on it without wavering from the track or working on any other subject. The film, due to release next week, incidentally, dwells on communal differences (Hindu-Muslim), and K.K. Singh had started working on it soon after the March ’93 bomb blasts which rocked the city of Bombay. Shooting was completed in just seven months. For K.K. Singh, therefore, Krantiveer is truly his labour of love.

Jalgaon Sex Scandal And Films

Criticising the film industry for any untoward happening has almost become a habit with politicians and activists. Re­cently, it was Maharashtra chief minister Sharad Pawar’s chance to blame the industry. The matter for discussion was the Jalgaon sex scandal, in the state assembly on 12th July! Pawar was critical of the current trend of sex and violence in Hindi cinema. He warned that the state government would take steps to curb the trend. He also expressed concern over its influence on youngsters and said he disapproved of the ‘money making’ attitude of film producers.

Reflection Of Dedication

One can trust director Jyotin Goel to think of something unusual and exciting. For his Sanjay Dutt, Juhi Chawla starrer, Safari, a set was put up recently at Natraj Studios to shoot an action sequence. The set consisted almost entirely of mir­rors. There were over a thousand mirrors on the set. As the shooting of this action sequence was intricate, requiring precision, Jyotin picturised the entire sequence on video with dup­licates, prior to its actual filming, to check out the results for himself. That’s dedication!

Betting On Sanjay Dutt

Gamblers are gamblers, and they can bet on anything under the sun. There is heavy betting these days on Sanjay Dutt – whether or not he will be granted bail by the Supreme Court. Punters in various clubs of Bombay are having a field day. The odds in the betting games appear to be in favour of Dutt.

Roles Of Substance Now

The super-success of Mohra has not gone to Sunil Shetty’s head. The guy is as modest as he was earlier, only a bit wiser, now that producers who had sneered at him are making a bee­line to sign him. Aware of his ordinary looks, he doesn’t hesi­tate in admitting it also. Having concentrated on action and stunts so far, he says, he will now lay emphasis on performance-oriented roles also. Sunil is particularly excited about Time’s new film (to be started shortly), a remake of the Tamil hit, Anna. The original had starred Vijaykant (of Captain Prabhakar).

An Eye For Talent

From Mithun to Salman to Sunil Shetty, director Deepak Bahry has proved to be a master in recognising talent. In the case of Sunil Shetty, Bahry happened to see Sunil’s photographs at J.P. Singhal’s studio, and he immediately summoned Sunil from his boutique, ‘Mischief’, and signed him for Dil­ruba after doing a photo-session at Madh Island. People sniggered at his choice but Bahry was adamant that Sunil was the right choice for the role of a stable-hand which he plays in the film. And it was after this film, for which Sunil faced the camera for the first time, that the success saga began. Bahry’s confidence and fondness for Sunil is evident as Sunil has four films (one complete and three under-production) with Deepak Bahry. Two more would soon be launched with the backing of a London party.

A Story Of Too Much Love?

One understands a director’s feelings for his film but Vinod Chopra seems to have gone overboard. For the premiere of his 1942 A Love Story at Metro, Bombay on 13th July, he got into an argument with a couple who reached late for the show. How could they reach late when the invitation card asked them to take their seats at “8 p.m. sharp”, he demanded to know. Not convinced with the couple’s reason for their late-coming, he asked them to return home. Some important questions that arise: (1) Since the premiere show was an invitees’ show, was it right on Vinod Chopra’s part to refuse entry to somebody who got delayed for whatever reason?; (2) how does Vinod Chopra propose to check the free movement of audience in the hundreds of cinemas screening the film, during songs/scenes?; (3) when the invitation card mentioned “sharp 8 p.m.”, how justified was Vinod Chopra in starting the show at 9 p.m. and, thereafter, refusing a couple entry for late arrival? That was not all. When the film’s screening resumed after interval, Vinod Chopra, in all his enthusiasm, informed the audience that the screening had started and asked them to take their seats. Fine! But, in his over-enthusiasm, he continued, “Those who are not interested may leave the hall!”

Interesting Titles

On to some title talk now. Following are among the titles registered by the title registration committee last month: Aadam Ki Bahu, Hello Mr. India, Jiyaa Bekaraar Hai, Aalam Aara, Doctor India, Madras Express, Bewdebaaz, Bewdabaaz, Jhumo Naacho Gaao, Aaj Ka Indian, Ganga Tera Pani Lal, Fire Brigade, Mr. Son Of India, Dial ‘M’ For Music, Aadam Ki Aulad, Ghunghat Ki Aad Se, Mr. Hindustanee, Mr. Bharat, 90 Crore Baarati, Terror, Bapuji Ke Bachche, Kali Kholi Wale, Mister Kanjoos, Top Hero, Law & Order, Dhoondte Reh Jaoge, Tu Hai Meri Kiran, Drugs & Aids, Baap Se Bada Rupaiya, Paap Ka Baap, Saali Hai Dilwali, Pagal Hai Kya, Ek Tuhi Mere Dil Mein, Hakka-Bakka.

(From our issue dated 9th July, 1994)

MOHRA, as predicted, has created history all over India. Its first week’s business has surpassed that of all the hits to-date, in most of the centres. Its bumper initial has brought a new con­fidence in the trade and has made it qualify as the fastest money-spinner. It has created new records at almost every centre.

Mohra proves A1. 1st week Bombay 27,67,428 (99.63%) from 17 cinemas (15 on F.H.); Ahmedabad 10,05,512 from 9 cinemas, Patan 1,63,750 from 2 cinemas, Visnagar 1,09,454, Surat 2,14,623 from 2 cinemas (2 unrecd.), Baroda 100% from 2 cinemas, Rajkot 2,29,030 from 2 cinemas, Jamnagar 1,37,339 (95.83%) from 2 cinemas; Pune 5,91,528 from 6 cinemas, Kolhapur 63,896 (100%), Solapur 100% from 2 cinemas, Nasik 82,313 (100%), Nasik Road 88,452 (100%); Hubli 1,68,755 (99.17%) from 3 cinemas, Belgaum 1,30,920 (100%) from 2 cinemas, Nippani 54,634, over-capacity; Delhi 36,65,077 (99.99%) from 16 cinemas; Kanpur 5,53,412 from 3 cinemas, Lucknow 1,99,595 (100%), Allahabad 1,20,770 (100%), Meerut 2,64,076 from 2 cinemas, Bareilly 1,32,528, Aligarh 1,36,000 (100%), Dehradun 1,24,768, Deoria 65,297; Amritsar 100%, Chandigarh 90,720; Calcutta 19,10,416 (99.22%) from 22 cinemas; Bihar 11,36,532 from 18 cinemas (10 cinemas 100%); Nagpur 7,75,627 from 7 cinemas, Amravati 78,280 (100%), Akola (30 shows) 97,155 (100%), Raipur 1,69,070, over-capacity, Bhilai 1,32,425 (1 cinema unrecd., both records), Jalgaon 1,03,887, Khandesh record, Chandrapur 1,02,530, Bilaspur 2,03,800 from 2 cinemas; Indore 3,75,412 from 3 cinemas (2 on F.H.), Bhopal 4,01,306 from 3 cinemas, Ujjain 1,04,634 (1 unrecd.); Jaipur 10,34,670 from 5 cinemas, Jodhpur 4,75,000 from 2 cinemas; Hyderabad (6 days) 21,24,838 from 15 cinemas, share 11,50,388, Aurangabad share 1,61,012 from 3 cinemas.

…….

YOU ASKED IT

If all stars insist on complete scripts before signing films, don’t you think that the content of films will improve?

– Several stars insist on the scripts before signing on the dotted line and this is a healthy sign. Yes, the content of films will improve in this way.

To what do you attribute the phenomenal opening of Mohra?

– The ‘Mast mast’ song, the presence of action heroes, the banner and the publicity.

Who are the busiest playback singers today?

– Among males, it is Kumar Sanu, and among females, Alka Yagnik.

BJP DISRUPTS ‘AATISH’ SCREENING

BJP activists disrupted the screening of Sanjay Dutt starrer Aatish at several centres of Maharashtra this week, following the arrest of Sanjay Dutt. It is reported that the film had to be discontinued from Bombay (Liberty cinema), Pune, Jalgaon, Dhulia etc.

SANJAY DUTT TO MOVE SUPREME COURT

Sanjay Dutt, who was arrested under the TADA Act when his bail application was rejected on July 4, and subsequently lodged in the Central Jail, Thane, will be shifted to the Arthur Road Central Jail, Bombay on July 14 when the bomb blast case hearing begins. Sanjay has been ordered to be held in custody till the final hearing of the case.

In the meantime, Sunil Dutt is expected to move the Supreme Court on 11th to appeal against the TADA court’s order.

Sanjay is allowed to eat food brought from his home.

NAZIA HASSAN SUFFERING FROM CANCER

Pop singer Nazia Hassan, who had created waves in the eighties with her ‘Aap jaisa koi meri zindagi mein aaye’ song of Qurbani and other songs, is suffering from cancer. This was revealed by her mother in a Pakistani daily.

STARS EXPRESS SOLIDARITY WITH SANJAY DUTT

A meeting of prominent film personalities, mostly stars, was held at the office of the Cine Artistes Association on 5th July to consider the course of action to be taken following Sanjay Dutt’s arrest on 4th July. Resultantly, the stars met at Hotel Rang Sharda on 6th July and proceeded to the Central Jail at Thane, where Sanjay is lodged, to express their solidarity with him. They waved posters and placards expressing support for the star.

The demonstration lasted for 45 minutes. Nobody was, however, allowed to meet Sanjay Dutt. Besides many stars, G.P. Sippy, Yash Chopra, Subhash Ghai, Yash Johar and Raj Sippy were a part of the demonstration.

‘MOHRA’: NATION-WIDE SENSATION
1st Week Records

* About 9 to 10 additional prints of MOHRA have been taken out in the second week. There were 215 prints in circulation in the first week.

BOMBAY

* Creates a city record by drawing all shows full in all the 7 cinemas of Ahmedabad.

* Creates an all-time record by collecting 1,88,000/- at Drive In, Ahmeda­bad, in spite of rains.

* Creates a city record by collecting 1,65,000/- at Shalimar, Gandhinagar.

* Creates a record by drawing all shows full at both the cinemas (Sagar and Alpana) of Baroda.

* Collects 2,40,128/- (all shows full) at Relax, Bharuch.

* Creates a city record by collecting 90,900/- at Jayshri, Jamnagar and 46,439/- at Galaxy, Jamnagar. 21 out of 28 shows were full at Jayshri, and 10 out of 14 shows were full at Galaxy.

* Creates a record at Vaishali and Shree cinemas of Vapi.

* Creates an all-time city record by collecting 1,63,850/- from two cinemas – Neelam (92,354/-) and Krishna (71,496/-) – of Patan.

* Creates a record by collecting 1,09,454/- at Krishna, Visnagar.

* Also draws all shows full at Jehangir, Navsari.

* Draws all shows full at Bardoli.

* Collects 54,634/- against a capacity of 44,134/- at Geetanjali, Nippani, thereby creating a record.

DELHI U.P.

* Creates a record by collecting 1,24,768/- at Krishna Palace, Dehra­dun.

* Creates theatre records (despite rains) at: Menka, Gorakhpur (1,34,098/-), Rangmahal, Bhadohi (1,55,000/-), Vishal, Azamgarh (75,440/-), Laxmi, Deoria (65,297/-).

* Creates a theatre record by collecting 1,37,998/- in 1st week at Anurag, Meerut. Also creates a theatre record by collecting 1,26,078/- at Nigar, Meerut.

* Created an all-time city record by collecting 5,53,352/- in Kanpur as follows: Nishat 2,00,730/-, Deoki 2,06,195/-, and Deep 1,46,427/-.

* Creates a city record by collecting 1,32,528/- (against a capacity of 1,35,207) at Imperial, Bareilly.

* Creates a new record by collecting 76,696/- (all 28 shows full in advance) at Minerva, Jhansi.

* Breaks the theatre record of 40 years at Mansarovar, Allahabad by collecting 1,20,770/- (all shows full).

* Creates a theatre record by collecting 1,99,595/- at Leela, Lucknow.

* Creates a city record by collecting 1,36,777/- (all 28 shows full) at Seema, Aligarh. 2nd week first day: 19,540/-, full.

EAST PUNJAB

* Creates records at all the stations of East Punjab. Collects 4,21,000/- at Narendra, Jalandhar, 1,23,000/- at K.C., Jammu, 90,000/- at Neelam, Faridabad, and 1,00,690/ at Sagar, Faridabad, 90,720/- at Neelam, Chandigarh, 7,50,000/- at Malhar and Manju, Ludhiana, and 2,25,000/- at Harchand, Bhatinda.

WEST BENGAL

* Drew all shows full in all the cinemas of Calcutta!

* Creates theatre records at the following cinemas of Calcutta: Ananya (79,097/-), Jaya (59,630/-), Ragini (87,152/-), Vaishali (85,504/-), Chan­dan (90,657/-), Pushpashree (65,897/-), Parijat (69,573/-), Rajkrishna (54,163/-), Jayanti (1,02,599/-), Mini Rathindra (56,942/-), Chalchitra (55,120/-), Tati­ni (34,305/-), and Chitra (1,13,663/-).

BIHAR

* Creates a theatre record by collecting 100% at Diana, Danapur.

* Creates theatre records at both the cinemas of Jamshedpur – by collecting 100% at Jamshedpur Talkies as well as Star.

* Creates theatre records at both the cinemas of Dhanbad – collects 61,100/- at Kumar, and 41,300/- (100%) at Panchsheel.

* Creates a city record by collecting 63,429/- (100%) at Laxmi, Hazari­bagh.

* Collects 1,16,140/- at Jawahar, Muzaffarpur, thereby creating a theatre record.

* Creates a theatre record by collecting 57,998/- at Shankar, Sitamarhi.

* Collects 48,449/- at Payal, Motihari and thereby creates a theatre record.

* Creates a theatre record by collecting 48,423/-(100%) at Amardeep, Begu­sarai.

C.P. BERAR

* Creates a record by collecting a total of 2,03,855/- from 2 cinemas at Bilaspur: Gangashree 1,23,169/-, and Balram 80,686/-. 2nd week first day at Gangashree was 13,333/-.

* Creates a Khandesh record by collecting 1,03,887/- at Natwar, Jal­gaon. 2nd week first day: 10,180/-.

* Creates a new theatre record by collecting 97,155/- (100%) in 30 shows at Uday, Akola.

* Created a district record by collecting 1,32,425/- in 1st week at Uttam, Bhilai. Also created a theatre record at Geet, Bhilai.

* Created a city record by collecting 1,69,070/- (against a capacity of 1,26,663/-) in 1st week a Prabhat, Raipur!

* Creates a new record by collecting a total of 7,75,627/- from seven cinemas of Nagpur: Jaswant 1,48,648/- in 30 shows, Smruti 1,46,591/- (28 shows), Panchsheel 1,09,395/-, Sang­am 1,30,455/-, Alankar 97,479/-, Jay­shree 79,774/-, and Natraj 63,305/-. First day collections of 2nd week: Jaswant 13,718/-, Panchsheel 16,159/-, Jayshree 10,258/-, Natraj 8,901/-, excellent.

C.I.

* Creates theatre records by collecting 1,56,085/- at Bharat, Bhopal, 1,26,757/- at Sangam, Bhopal and 1,23,694/- at Jyoti, Bhopal.

* Created theatre records at all cine­mas of Indore: Premsukh 1,46,665/-, Sangeeta 1,22,747/-, Alka 1,06,000/-, other cinemas on fixed hire.

* Creates a theatre record by collecting 1,02,600/- at Metro, Ujjain. Also creates a theatre record by collecting 1,02,000/- at Sundaram, Ujjain.

RAJASTHAN

* Creates theatre records at all the five cinemas of Jaipur. Collects 2,30,405/- at Gem (29 shows), 2,43,527/- at Motimahal (in 29 shows), 2,18,849/- at Laxmi Mandir (29 shows), 1,62,038/- at Paras (30 shows), and 1,80,851/- (nett) at Saroj (30 shows).

* Creates a record by drawing all shows full at Nasrani, Jodhpur.

Garma-Garam

** After Mohra, the trade expects 1942 A Love Story to take a bumper opening. If it does, the credit will once again go to a song. Like ‘Mast mast’ in Mohra is a rage, the ‘Ek ladki ko dekha’ song of 1942 is also a super-hit number. Reports of bumper advance booking for 1942 have filtered in from Prabhat cinema, Amravati. The advance booking window (for stalls only) opened on Thursday (7th July) and over Rs.13,000 worth of tickets were sold on the first day, a record.

** It’s shocking that several banners of 1942, put up by HMV, don’t have the name of R.D. Burman. R.D. Burman ka naam nahi dekha to aisa laga…..

** Just a week before its release, the Bihar & Nepal distributors of 1942 A Love Story backed out of the deal. Anjani Pictures walked in only too happily. They’ve acquired it for Bihar, leaving Nepal. Aisa bhi hota hai….

** A producer-director has sold his film for Bihar & Nepal to two different parties. The BMPA has registered the film in favour of the first buyer. The second buyer claims, the film is his. The producer-director, too, made an elaan (via trade papers) that the film belongs to the second party. Aisa bhi hota hai….

3-E
Education-Entertainment-Enlightenment

Sanjay’s Films

With Sanjay Dutt’s arrest, the progress of a whole lot of films has been stalled. While Amaanat is ready and due for release on 29th July, one doesn’t know whether the producer and distributors would risk releasing it, looking to the volatile atmosphere and anti-Sanjay lobby of BJP and ABVP activists. Sultan Ahmed’s Jai Vikraanta is complete but Sanjay’s dubbing for it isn’t. Quite a lot of shooting of Sanjay remains to be done to complete Mahaanta, Safari and Anil Rathi’s Vijeta. For the last-named film, all the songs remain to be picturised, the climax and talkie portions having been completed. Sanjay had shot for Trimurti in only a single schedule last month. Likewise, he has shot for only one schedule of Ramgopal Varma’s Nayak. A few days of shooting with him remains to be done to complete Sajid Nadiadwala’s Andolan. Several of his other films like Kasoor, Zameen etc. were not making progress even otherwise.

Vinod Khanna’s New Role

Vinod Khanna will not just be the namesake producer of his home production, yet untitled, which he has launched to introduce his son, Akshaye Khanna, as hero. And this, one surmises from the fact that Vinod Khanna was present all through its first song recording held on 6th July at Sunny Super Sounds. What is notable is that the recording went on till the early morning hours of 7th. And yes, Vinod – sorry, producer Vinod Khanna – returned home at 4 a.m. on 7th.

A Story Of Love……
……. For The Film

Cinegoers going to Metro, Bombay from Thursday (14th July) onwards will be in for surprises galore. There will be a real vintage car on display in the foyer. There will also be huge arches, and long-flowing satins dropping from the first floor to the ground floor foyer. And there’ll also be a balcony set on display. All these are parts of the set/settings used in the making of 1942 A Love Story. That’s not all. Two mannequins – one of Anil Kapoor and another of Manisha – will greet cinegoers and there’ll be photographers with polaroid cameras to click the photographs of the enthusiastic ones who would be able to poke their faces into the mannequins and ‘become’ Anil/Manisha for posterity! There will be a stall in the cinema, which will sell 1942 A Love Story T-shirts (for Rs. 150/-) and 1942 brochures (containing 16 colour pages and information on the making of the film) at Rs. 50/-. HMV will also market special audio cassettes of 1942 as a collector’s item. Most of these novel publicity gimmicks are the brainchild of Shravan Shroff of Shringar Films, the film’s Bombay distributors.

It may be added here that convinced about the “unprecedented craze” for the film, Shringar have hiked the admission rates at Metro to Rs. 75 (Dress Circle), 40 (Balcony) and 30 (Stall). Not only that, special permission has been obtained for printing special tickets with a class touch. Special permission has also been obtained to open the advance booking for 7 days at a stretch. Incidentally, Metro is the only cinema in Bombay which will screen the film in Dolby Stereo sound. In the circuit, Prabhat cinema in Solapur and Mangala in Pune will screen it in Dolby sound system.

Dhirubhai’s New Association

Dhirubhai Shah of Time is at his wits’ end with, what he calls, “the unresponsive attitude of IMPPA/FMC” and has, therefore, broken up with the associations. He has reportedly formed a new association – Movie Makers Association – and is mustering the support of like-minded producers. At least two incidents led Dhirubhai to take this step. Says Dhirubhai, “I wanted the title Gambler for my film and, although it was available, my repeated communications have been stone-walled by the FMC. There is simply no reply from them.” The other incident relates to the clearance of Akshay Kumar. Dhirubhai was to start a film with Akshay but the FMC “neither gave me the clearance nor any reply”. This, when Dhirubhai wrote several letters to the association.

Coming To Naaz

Normally, one of the main concerns of a distributor is of shifting film prints. But at present, some of the important and heavy-weight distributors in Bombay are preoccupied with another kind of shifting i.e. shifting of their offices. And the focal point is Naaz building. BRA (Ramesh Sippy), VIP (Bharatbhai Shah) and Tolu Bajaj (who is opening a distribution office in Bombay) are hunting for appropriate office premises. Not surprisingly, the real estate prices in Naaz building have jumped up. Pahlaj Nihalani has already acquired (and partly shifted in) an office on the second floor of Naaz. It appears that Naaz building is all set to regain its lost glory.