(From Our Issue Dated 12th November, 1994)

Producer-director J.P. Dutta launched J.P. Films’ Border with a song recording on Nov. 5 at Sunny Super Sounds. It was penned by Javed Akhtar, rendered by Kumar Sanu and Sadhana Sargam and set to tune by Anu Malik. The film stars Sunny Deol, Jackie Shroff, Sunil Shetty and Akshaye Khanna with four heroines. It will go on the floors soon. Bharat Shah is the associate producer of the film being written by O.P. Dutta and J.P. Dutta. Cinematographer: Nirmal Jani. Editors: Deepak Wirkud and Vilas Ranade. Art: Ratnakar Phadke. Action: Bhiku Verma. Sound: Vinod Potdar.

FMC ANNUAL GENERAL MEETING

STAR-CEILING SCHEME TO BE REVAMPED

Increase In Workers’ Cess Decried

The scheme of ceiling on star assignments will be revamped completely, and strictly implemented henceforth. This was decided at the first meeting of the new executive committee of the Film Makers Combine held on 10th November at Holiday Inn soon after the Combine’s third annual general meeting. Both, the general meeting and the committee meeting, were chaired by J. Om Prakash who noted with regret that the star-ceiling scheme had gone haywire although its implementation was very effective for more than a year when it was introduced.

The modalities for its strict implementation will be worked out soon. J. Om Prakash cautioned that the monitoring of the star-ceiling scheme should not be left to the distributors’ associations.

Earlier, at the annual general meeting, the increase in the cine workers’ welfare cess, introduced by the I & B and Labour ministries, was unanimously decried. K.D. Shorey informed the house that the ministries had  a while ago given an assurance to the FMC that the cess would not be increased without consulting the producers, but exactly that had been done. A producer was required to pay Rs. 1,000 so far towards the cess at the time of censorship of his film. The notification dated 13th October makes it compulsory for a Hindi film producer to now pay Rs. 10,000. For South language films, the cess has been increased to Rs. 5,000, while for Bengali, Marathi and Gujarati films, it is Rs. 3,000. Oriya, Assamese and other regional language films would entail a cess of Rs. 2,000.

It was decided that the FMC would take up the issue with the ministries. The FMC has already lodged its strong protest against the arbitrary hike which has come into immediate effect. It has requested  the government to forthwith withdraw the hike, failing which the industry would stop work and also boycott the forthcoming IFFI ’95. It was also resolved that the FMC would write to the CBFC that its members would be paying the Rs. 10,000 cess under protest.

The general house also regretted the non-payment of its dues by the TV Producers & Film Makers’ Association to the FMC. It was decided to grant a further time of two weeks to the Association to clear its dues of over Rs. 50,000 and, in the meantime, its affiliation to the FMC has been put on hold. As such, the Association would be an affiliate of the FMC only if it pays its dues within two weeks, failing which the FMC would expel it from its membership.

The general house re-elected Shree Ram Bohra and K.D. Shorey as the hon. general secretaries of the FMC. S.K. Kapur and T.C. Dewan were elected hon. treasurers.

J. Om Prakash also announced amidst applause that henceforth, monthly income and expenditure accounts of the FMC would be prepared and circulated among all the committee members. He also made it clear that all press releases would be signed by at least one chairman of the FMC (that is, president of any of the affiliates). Similarly, cheques would also be signed jointly by a treasurer and a chairman.

SNAPSHOTS

‘KARAN ARJUN’ VIDEOS TO COME LATE

Inspired, perhaps, by the results of HAHK..!, Rakesh Roshan has also decided to delay the release of video cassettes of his Karan Arjun, if not for an unlimited period, by four weeks from the day of its theatrical release. A settlement to that effect has already been arrived at between Rakesh Roshan and the film’s India video and Overseas distributor, Pravin Shah (Time). Informs an ecstatic Rakesh Roshan, “Care will be taken to avoid video piracy.”

SKY-HIGH CAPACITIES

With the Rajshris and Liberty cinema, Bombay, having succeeded in obtaining a favourable interim order from the Bombay high court, admission rates in cinemas in Maharashtra can now be fixed at the discretion of the cinemas concerned, without interference from the government. Thanks to the above and to the reduction in entertainment tax in the state, the net housefull capacities of big cinemas are massive today. Can you believe that the net weekly capacity of Metro, Bombay is Rs. 8,79,900?!? The capacity of Liberty, Bombay is almost 7 lakh. Some more Bombay cinemas, capacities of which are touching the sky, are Satyam (Rs. 3,60,864), New Excelsior (Rs. 4,17,200) and Bahar (Rs. 2,70,592). At this rate, the share of HAHK..!from Liberty alone will touch the half-crore (50 lakh) mark in about 16 to 17 weeks only. Incredible, isn’t it?

WHAT A SHARE!

And this piece of fact and figure is to zap you. The distributor’s share of Hum Aapke Hain Koun..! from 222 cinemas of India in the Diwali week alone was about Rs. 2 crore!!

CHIRANJEEVI’S ROOP SUHANA LAGTA HAI

That Chiranjeevi’s fans literally worship him was proved once again, this week in Wardha. No sooner were posters of Chiranjeevi’s forthcoming film, The Gentleman, put up at Vasant Theatre, Wardha, than about a hundred crazy fans of the stars stormed into the cinema manager’s office and requested him to let them perform pooja of the poster. They garlanded the poster and also performed pooja and, thereafter, distributed sweets at the cinema. The fans had their “God”, that is, Chiranjeevi’s name tattooed on their chests, shoulders and hands. They are planning a big celebration in Wardha on the day of the film’s release.

BIG DEAL

Is it true that Bandra Talkies at Bandra, Bombay, may soon be demolished? A little bird tells us that come New Year and the cinema may be a thing of the past. Kishore Bajaj (Bada Saab Tailors) who has tailored many a film person’s costumes, is reportedly the bada saab who has bought the cinema and property.

GIGANTIC STATUE

For Vinod Khanna’s Himalayaputra, art director Nitin Desai has constructed a mammoth piece of art — a 40-feet high statue of Lord Shiva. As many as 72 skilled workers were involved in its construction for twelve days. Made of fibre glass, the colossal and costly statue was transported by road to Dalhousie where the film is being shot in a 40-day schedule.

PICNIC AT PRODUCER’S COST

The eccentric hero proved recently, if proof was required, that no other adjective could be more apt for him. After making the producer of one of his under-production films wait endlessly for almost a year for his dates, the hero finally consented to shoot for four days in Kulu Manali. But the producer who took his entire unit, cast and technicians to Kulu for the shooting, was in for a shock when our hero simply refused to shoot! The unit is back in Bombay after a holiday in Kulu Manali. The producer, too, is back — poorer by a huge amount.

Mix Masala

ACE UP THE SLEEVE?

Ekka Raja Rani may have flopped. Ikke Pe Ikka may have bombed. But that hasn’t deterred the release of Do Aur Do Paanchin Bombay under the new title of Do Ikke.

MUSIC COMPANIES INVITE MRTPC ENQUIRY

The Monopolies & Restrictive Trade Practices Commission (MRTPC) has ordered an inquiry into the affairs of leading music companies, following a complaint of the Times Television group that the music companies had formed a cartel and were indulging in unfair trade practice by demanding exorbitant rates for songs played on the Times FM channel.

The order was passed by MRTP judges Mr. Sardar Ali and Dr. S. Chakravarti on 4th November, on the petition of Times TV, alleging that the cartel of about 40 music companies, called Phonographic Performance Pvt. Ltd., was demanding Rs. 1,500 per hour from them while they were charging only Rs. 40 per hour from All India Radio (AIR).

In their order, the judges noted that charging higher discriminatory prices prima facie amounted to indulging in monopolistic and restrictive trade practices by the respondent within the provisions of MRTP Act, 1969.

The judges directed that a combined Notice of Enquiry, both relating to monopolistic and restrictive trade practices, be issued against the respondent (PPP), returnable on January 17, 1995. They also ordered that a notice of enquiry be sent to the central government for their participation in the proceedings before the Commission since the final decision had to be taken by them.

MAZHAR KHAN RECOVERING

Mazhar Khan, who was admitted to Holy Family hospital four days ago when he complained of chest pain, is recovering. He is expected to be discharged from the hospital in a couple of days.

YOU ASKED IT

Is it true that Chiranjeevi is passing through a bad phase, his last four or five films in Telugu having bombed?

– Yes. Maybe, his luck will change with THE GENTLEMAN in Hindi.

How has Mahesh Bhatt’s Criminalfared in Telugu? When will its Hindi version be released?

– The Telugu version has flopped. The Hindi version’s release has not been finalised as yet.

Does changing a film’s title and releasing it (in repeat-run) under the new title help?

– It’s just a publicity gimmick. While it was not so common in Bombay till recently, it is quite usual in Delhi-U.P., for the distributors to release old films with new titles.

AAMIR KHAN HOSPITALISED

Aamir Khan was admitted to Hinduja Hospital on 7th November when he complained of uneasiness and exhaustion. He was discharged from the hospital on 11th. Family sources attributed his illness to hectic night shooting schedules.

‘HAHK..!’ CELEBRATES 100 DAYS

Rajshri’s Hum Aapke Hain Koun..! completed 100 days of its run today (November 12) all over. Starring Madhuri Dixit, Salman Khan, Mohnish Bahl, Renuka Shahane, Alok Nath, Reema, Ajit Vachani, Bindu, Sahila Chaddha, Dilip Joshi, Priya Arun, Satish Shah, Himani Shivpuri, Laxmikant Berde and Anupam Kher, it is produced by Kamal Kumar Barjatya, Rajkumar Barjatya and Ajit Kumar Barjatya. Screenplay, dialogues and direction: Sooraj R. Barjatya. Camera: Rajan Kinagi. Choreography: Jay Borade. Action: Shamim Azim. Art: Bijon Dasgupta. Editing: Mukhtar Ahmed. Audiography: C.S. Narayan. Lyrics: Ravindra Rawal and Dev Kohli. Music: Raamlaxman.

AMRIT SHAH COMPLAINS AGAINST
LANDLORDS OF NATRAJ STUDIOS

Amrit Shah, business and legal consultant to producers, who resides in a rented flat and also operates from the same place, located in the Natraj Studios premises, has lodged a complaint with the Andheri (Bombay) police station, seeking protection from and suitable action against his landlords, Govindram Brothers Pvt. Ltd. The latter are also part-owners of Natraj Studios which at present is being run on lease basis by a group of producers. The complaint follows alleged threatening telephone call to Amrit Shah to vacate the premises where he has been residing for the past 40 years. Meanwhile, an ejectment suit, filed by the landlords 15 years ago, is still pending before the Bandra Court. It is also learnt that the group of producers and the landlords are negotiating a settlement to facilitate demolition of Natraj Studios.

(From Our Issue Dated 5th November, 1994)

Shweta International’s Suhaag is a vendetta story. A woman leads the life of a widow even though her husband is alive, so that her son should not know that his father is languishing in jail. His life imprisonment is the handiwork of a gang of villains who are traders in human organs in the name of doctors. The son and his close buddy seek revenge, getting back the father’s honour and the mother’s suhaag.

The first half is excellent, abounding in light scenes, songs, romance, fun and frolic. The film takes a serious turn at the interval point (which scene is brilliant), and the second half abounds in tension. It is also lengthy and morbid. Cinematic liberties are a bit too many but none that can mar the prospects of the film. The term of life imprisonment is shown as almost 20 years! Dialogues are good.

Among the plus points in the film are a racy first half, good comedy, excellent music, arresting interval point and a novel and remarkable climax. Akshay Kumar’s entry is simply superb. Emotions touch the heart. The second half should have been more exciting.

Both, Ajay Devgan and Akshay Kumar, are excellent. They shine in action and light scenes and are the life of the film. Naghma is good. Karisma Kapoor has a small role and also does well. Aroona Irani scores in the interval scene. Although she has limited scope, her presence is felt throughout. Suresh Oberoi does a fine job but his villainy is not menacing enough. Dalip Tahhil is effective. Romesh Sharma is quite good. Adi Irani, Gufi Paintal, Brij Gopal, Jack Gaud, Ghanshyam and Tiku Talsania provide good support.

Kuku Kohli’s direction is competent. Anand Milind’s music is hit. ‘Gore gore mukhde pe’, ‘Ta na na na’, ‘Pyar pyar pyar’ and ‘Shaaba ye nakhra ladki ka’ are all racy numbers and have been well picturised. ‘Tere liye jaanam’ is melodious and the locations on which it has been picturised are breathtaking. Photography is superb. Action scenes are thrilling.

On the whole, Suhaag has a good dose of everything for everybody — masses, ladies and families. An overflow film with good chances of proving class A.

Released on 4-11-’94 at Novelty (daily 1 show) and 23 other cinemas of Bombay thru Modern Movies. Publicity & opening: excellent. …..Also released all over.

ANDAZ APNA APNA

Vinay Pictures’ Andaz Apna Apna is a comedy with no pretentions of seriousness whatsoever. Two lively young boys dream of becoming multi-millionaires and they try to win the heart of a rich NRI girl to fulfill their dream. The game of one-upmanship which follows in wooing the girl is quite hilarious.

Although the entire film is farcical, the incidents are novel and their presentation is beautiful. Yes, there’s no base to the story and that inherent drawback remains. The first half is quite good. It is after interval that the film becomes a laugh riot. Of course, many jokes are of the kind that will be appreciated more by the city-based audience. But there’s masala for masses too. Excellent scripting is complemented by superb handling of the subject and praiseworthy performances.

Aamir Khan is extraordinary. His sense of timing is unbelievably perfect. His is an award-winning performance. Salman Khan is also remarkable. The two make a perfect team. Raveena Tandon and Karisma Kapoor have done well. Paresh Rawal is very effective in a double role. Shakti Kapoor is praiseworthy. Shehzad Khan and Viju Khote impress. Tiku Talsania, Javed Khan, Harish Patel, Mehmood, Jagdeep and Deven Varma lend admirable support. Juhi Chawla and Govinda’s special appearances are enjoyable.

Director Rajkumar Santoshi succeeds in making the film a crazy comedy. His comic touches are fantastic. Music is not much of a prop even though it has the O.P. Nayyar stamp. ‘Ye raat aur ye doori’ and ‘Elo elo sanam hum aa gaye’ are quite nice. Photography and other technical values are of a high standard. Climax is non-stop laughter. Dialogues are very good.

On the whole, Andaz Apna Apna is a very enjoyable comedy which will be liked by youngsters. Its major business will come from cities and towns. Performance in Bombay, Nizam and Mysore should be the best.

Released on 3-11-’94 at Metro and on 4-11-’94 at 14 other cinemas of Bombay thru Niraj Movies. Publicity & opening: excellent. …….Also released all over.

YAAR GADDAR

Eagle Films’ Yaar Gaddar (A) is a masala film with a good suspense angle. A police inspector is on the hunt for a gang of villains involved in a bank robbery in which his innocent young brother also gets framed due to circumstances. The two brothers finally succeed in bringing the culprits to book. While the screenplay is generally racy, some linking scenes are a bit contrived. The post-interval portion is more gripping. Comedy is enjoyable though a bit on the excessive side.

Mithun Chakraborty does well. Saif Ali Khan is also good. Somy Ali exposes uninhibitedly and is fair. Shweta needs to reduce some weight. She acts freely. Prem Chopra, Gulshan Grover, Puneet Issar, Amrit Pal and Umesh Shukla have all done promising jobs. Johny Lever and Himani Shivpuri evoke laughter. Shubha Khote, Anjana Mumtaz, Yunus Perwaiz and Jugnu lend the required support. The dog has been well exploited.

Umesh Mehra’s direction is good. Anu Malik’s music is quite appealing but a hit number is missing. Camerawork is alright, though more lights should have been used in some scenes.

On the whole, Yaar Gaddar is a fair entertainer with medium price and a good release period on its side.

Released on 4-11-’94 at Minerva and 24 other cinemas of Bombay thru Shivani Films. Publicity & opening: very good. …….Also released all over except in Mysore.

SARDAR

Ketan Mehta’s Sardar (tax-free) is a docu-drama on the life of the iron man of India, Sardar Vallabhbhai Patel. It concentrates more on the last five years of his life, from 1945 to 1950, when the Congress and the Muslim League were struggling for power, and Sardar Patel’s contribution in making India, a country with hundreds of independent states, one nation. Decisions taken for the division of the country have been shown vividly, laying bare the minds and hearts of the leaders then.

Although the film does not have a big canvas, and Patel’s early life has been shown just in passing shots, it has its own power, making it nostalgic for those who have witnessed the freedom movement. The treatment of the historical film basically holds appeal only for the intelligentsia.

Paresh Rawal gives a memorable and award-winning performance as Sardar Patel. Annu Kapoor has done extremely well as Gandhi. He is extraordinary in emotional scenes. Benjamin Gilani, as Jawaharlal Nehru, is passable. Srivallabh Vyas and Tom Alter are okay.

Ketan Mehta’s direction is praiseworthy but he has succeeded in making the film a documentary, at best. Camerawork is beautiful. Editing is sharp and the background score is effective.

On the whole, Sardar is a beautifully made film which will find appreciation among a very limited section of audience only.

Released on 31-10-’94 at Nehru auditorium and Metro (matinee) and on 4-11-’94 at Naaz and 7 other cinemas of Bombay thru Hira Films Pvt. Ltd. Publicity: excellent. Opening: so-so. …….Also released in Gujarat.

SPEED
(Dubbed)

Released on 4-11-’94 in many circuits (other than Bombay), Twentieth Century Fox’s Speed (dubbed) is a thriller. A bomb is planted in a moving bus and it will explode if the speed of the bus comes down to 50 mph. How the passengers in the bus are saved provides edge-of-the-seat excitement and tension-filled moments.

Dubbing is wonderful. Performances of Keanu Reeves, Dennis Hopper, Jeff Daniels and Sandra Bullock are lovely. The thrilling scenes have been very ably captured.

On the whole, Speed should appeal to the Hindi audience too. The English version has been released this week in Bombay where the dubbed version will be released next week.

Dream Merchant

New Year’s Night

The deafening sounds of crackers on the night of Diwali did not let me sleep in peace. I tried to make up on New Year’s night by sleeping soundly. And I dreamt…

That Akshay Kumar and Ajay Devgan were having a joint suhaagraat. That is to say, they were holding a night show of Suhaag for the trade. And since the Suhaag was at raat, they had called the show their Suhaagraat!

That Jackie Shroff was undergoing a change of image. No more stuntttts for him after the debacle of Stunttman. Jackie had decided to do dancing roles instead, having won accolades for his ‘Amma dekh’ dance. The other action heroes were dancing with joy at Jackie’s exit.

That Sunny Deol was saying “Tada”, sorry “Tata” (“goodbye”), to several of his producers, pleading inability to complete their films because he had signed Subhash Ghai’s Trimurti. He was especially thrilled because he had given a hit in Trimurti’s Tridev. After the Trimurti banner and Tridev, Sunny was praying that Trimurti would complete his hat-Trick.

That Saif Ali Khan was autographing the handkerchieves of his fans but saying “no” to autograph books. Haathon mein aa gaya jo kal rumal aapka…. he kept humming while putting pen on rumal.

That Juhi Chawla was moving out (to shootings, parties, for shopping) only in the company of men… sorry, gentlemen. No affairs, only a publicity ploy for The Gentleman.

That Sridevi had resolved never to shoot except on full-moon days and nights. Chaand kaa tukdaas, however small or big, had got on her nerves just as she had got on people’s nerves in Chaand Kaa Tukdaa. Nothing short of a fool moon, sorry, full moon would do for Madame Devi.

That Govinda was terribly disturbed about the fate of his Beta Ho To Aisa. He had cancelled all his shooting and had hit the…. video, not the bottle. He kept seeing Anil Kapoor’s Beta again and again and he muttered to himself, “Beta ho to aisa!”

That Vinod Khanna was holding a press conference in the Himalayas to prove to the world that he would go to any heights (literally!) to ensure an out-of-the-world launching for his son, Akshaye Khanna, in Himalay Putra.

That Subhash Ghai, who has a penchant for bigness, was now trying to get used to things small. He had decided to advertise his first TV serial as ‘Small Screen Entertainment to be enjoyed on television only’. He had also decided to have a very small muhurt of the serial at an Udipi restaurant, to be followed by tea and snacks.

– Komal Nahta

SNAPSHOTS

BENGAL DISTRIBUTOR’S “NO” TO HIKE

The Bengal distributors of Andaz Apna Apna, Musical Films, almost did not take delivery of the film. They put their foot down and refused to hike the price by 2 more lakh at the time of delivery. The price for Bengal, when the film was sold, was 27. It was raised to 32 thereafter. After completion of the film, the producer hiked the price in all the territories, having gone over-budget. The new price for Bengal was 40. When the Bengal distributors came to Bombay to take the film’s delivery, a new price of 42 was quoted. They refused to oblige and threatened to go to the court. Better sense prevailed and the producer agreed to effect delivery at 40 so as not to jeopardise the release.

*        *        *

DIWALI RUSH

There was tension among the distributors of Suhaag all through last week. It was because of delay in the delivery of prints by Gemini Lab. Gemini was processing the prints of 8 South films, besides Suhaag, and all the nine films were scheduled for release on Diwali. The Diwali dhamaka gave Suhaag distributors a lot of dhak dhak in their dil.

*        *        *

BITTERNESS

There was bitterness recently between the Hollywood company which, not long back, dubbed a Hollywood wonder in Hindi, and its Bombay distributor. It had reportedly something to do with payment.

PEOPLE
Are Speculating About

** Sunny Deol replacing Sanjay Dutt in Subhash Ghai’s Trimurti. The speculations are not baseless. It is now almost certain that Sunny will play Sanjay Dutt’s role. Some changes in the script to suit Sunny’s presence, are on the anvil.

** Which will be the best of this week’s lot of releases. The number game has begun.

** What will be the collections of HAHK..! this week as the number of prints has been increased substantially. The total number of prints is 222.

PEOPLE
Are Talking About

** Who is better in Suhaag – Ajay Devgan or Akshay Kumar? The fact is, both are equally good.

** The futility of releasing so many films this week and there being no new release next week. Maybe, the benefit of coming solo next week would have been far more for a film than the Diwali period benefit this week.

** The colourful folders of Karan Arjun and Gambler and the audio cassettes of the two films, all distributed with the Diwali special issue of Film Information last week.

PEOPLE
Are Cribbing About

** The sound system of Alankar cinema, Bombay. It is so unclear. To compare it with Metro or Liberty, Bombay would be suicidal.

PEOPLE
Are Hoping

** The New Year will really be a prosperous year for the industry.

DO YOU KNOW?

* The Bombay distributors of ANDAZ APNA APNA, Niraj Movies, held a total of 82 trial shows of the film before its release!

* Radhika cinema, Satara which is screening HAHK..! has reverted back to the admission rate of 10/- in balcony from 10th week onwards. It used to charge 10/- for a balcony ticket in the first 6 weeks. The rate was reduced to Rs. 7.50 in seventh, eighth and ninth weeks. Sweets were distributed among the balcony class audience of Radhika cinema on New Year’s day (4th November) in all the 3 shows

‘HAHK..!’ SCORE: 222

* As many as 88 additional prints of HAHK..! have been put into circulation from this week all over India, taking the total number of prints being screened to 222. At Liberty cinema, Bombay, an additional show will be held on Sunday (6th November) at 9 a.m. The show is full in advance.

PLAN FOR SPECTACULAR SHOW FOR 100 YEARS OF CINEMA

The National Film Development Corporation, the ministry of Information & Broadcasting will stage a spectacular hi-tech audio-visual show to celebrate 100 years of world cinema, in Bombay at the NSCI Stadium on 15th January, 1995. About 30,000 people will witness the show at the stadium, besides millions all over the world, on their television sets.

The show will be part of the International Film Festival of India which will open in Bombay on 10th January. It is planned to be the greatest show ever and will depict the growth and glories of world and Indian cinema during its 100 years. Many old and new artistes and technicians are expected to participate in the celebration show. Subhash Ghai will direct it, with a band of visualisers and writers assisting him.

The total budget is estimated to be about Rs. 1.5 crore. Art director Nitin Desai has designed multi-dimensional stages which will cost about Rs. 50 lakh. Over 150 dancers, 100 musicians, top choreographers and music directors will take part in the show for which work has already begun.

Ravi Gupta, managing director of the NFDC, is the chief convenor. The Cine Artistes’ Association, the Film Federation of India and the Federation of Western India Cine Employees have pledged their wholehearted support to the show.

YOU ASKED IT

Is True Lies also being dubbed in Hindi?

– Yes, its dubbing has already started.

With Dhirubhai Shah claiming to hold satellite rights and producers refuting his claim, what will happen finally?

–The matter may have to be decided by the court of law.

What is most necessary to make a film with a top and busy star?

– His dates!

How do you gauge the effect of an emotional scene in a film?

– If the audience cries in the scene, it is effective. If only the character on the screen cries, it is a waste.

MAHARASHTRA  GOVT.’S CIRCULAR STRUCK DOWN

Extracts From High Court Order In Writ Petition
Filed By Liberty, Bombay & Rajshri

Given hereinbelow is the operative part of the order of the Bombay high court in the writ petition filed by Nazir Hussain, proprietor of Liberty cinema, Bombay, and Rajshri against the Maharashtra government’s circular which restricted the right of cinemas to increase admission rates without prior permission of the Collector/licensing authority. It may be recalled that the division bench consisting of Justices Mr. M.L. Pendse and Mr. S.M. Jhunjhunwala struck down the government circular insofar as it restricted the right of cinemas. The order was passed on 17th October, 1994 following which cinemas in the state are free to fix their own admission rates.

Entertainment tax had been reduced in Maharashtra vide an ordinance in September ’94. Alongwith the ordinance, the government had issued a circular as above. The state of Maharashtra, the collector of Bombay and the Commissioner of police were the respondents in the petition.

The order:

The petitioners have preferred this petition under Article 226 of the Constitution of India to challenge the validity of Condition No. 5A inserted by amendment in pursuance of Circular dated September 27, 1994. Shri Chagla, learned counsel appearing on behalf of the petitioners submitted that it is not permissible for the respondents to provide that the theatre owners cannot increase rates for admission without prior permission of the Collector. The learned counsel submitted that the benefit of the Ordinance cannot be made dependent upon condition that the rates of admission of cinema theatres should be those prevailing on August 12, 1994. Shri Chagla submitted that the Act does not confer any power upon the respondents to specify the fixation of admission rates or its increase or reduction and such legislative power cannot be grabbed by resort to issuance of the circulars, which are administrative in nature. We find considerable merit in the submission of the learned counsel. On behalf of the respondents, Shri M.N. Kale, Desk Officer who has issued the circular, has filed a return, sworn on October 17, 1994. In paragraph 16 of the return, it is admitted that the Act does not specify the fixation of admission rates or its reduction. It is then claimed that the State Government has responsibility towards cinegoers and it can take suitable action in the matter and it has a right to impose reasonable restriction on theatre owners. In face of the admission that the Act does not confer any power to determine or fix or reduce admission rates, it is difficult to appreciate how such power can be exercised by issuance of the Circulars which are clearly administrative in nature. Shri Saraf, learned counsel appearing on behalf of State Govt., very fairly stated that the conditions issued while granting licence are not statutory conditions and, therefore, it is not open for the respondents to modify such conditions by including Condition No. 5A, which cannot be supported with reference to the power flowing from the Act. It hardly requires to be stated that in case the respondents do not possess power under the Act, then the orders cannot be issued by issuance of such Circular to control something which is not permissible under the Act. Shri Saraf submitted that Section 4(2) (b) of the Act confers power on the State Government to determine the rates of admission to the entertainment. The submission cannot be accepted for more than one reason. In the first instance, in view of the specific admission in paragraph 16 of the return, even the State Govt. does not consider that such power exists under section 4(2) (b) of the Act. The sub-section, inter alia, provides that the State Govt. may prescribe to pay the amount of the duty due in accordance with returns of the payments for admission to the entertainment. It is impossible to appreciate how section 4(2) (b) of the Act can entitle the State Government to determine the rates of admission. In our judgment, inclusion of Condition No. 5A in the licence in pursuance of Circular dated September 27, 1994 was clearly without any authority of law.

Shri Saraf made a brave attempt to urge that the Government published the Ordinance with a view to give benefit not only to the theatre owners but with an object that the cinegoers are benefitted. Whatever may be the object or the intention in issuance of the Ordinance, that does not entitle the respondents to exercise administrative powers and impose conditions which are not permissible under the Act. In those circumstances, in our judgment, the petitioners are entitled to the relief.

Accordingly, petition succeeds, and Condition No. 5A inserted in pursuance of Circular dated September 27, 1994 is struck down. In the circumstances of the case, there will be no order as to costs.

COMMUNICATIONS REGARDING CENSORSHIP

The ministry of Information and Broadcasting has sent two communications to the CBFC, regarding matters connected with contents in the films presented for certification, for public exhibition.

The first letter relates to a resolution passed at the conference of the State Ministers of Information and Cinematography. The text of the resolution is reproduced for your information: ‘The responsibility of ensuring that only good and wholesome films are exhibited rests not only on the CBFC. This conference recommends that the film industry may evolve a model code of conduct for themselves in this regard and that the industry associations should consider ways and means of seeing that their members adhere to it.’

The second letter from the ministry relates to the debate in the Rajya Sabha, held recently, regarding the need for issuing guidelines to prevent caricaturing of a particular community in Hindi films. The observations made in this regard by the Hon’ble deputy chairperson of the Rajya Sabha are: ‘Humour has to be inborn. Humour should not hurt the feelings of people. When it starts hurting people, it becomes vulgar. I hope, the minister will take care of it. It should not be at somebody else’s expense. It should be from within.’

No Cine Workers Of FEFSI To Shoot In Andhra

FWICE SUPPORTS FEFSI

To safeguard the interest of cine worker-members of the various affiliates of Film Employees’ Federation of South India, Madras, who go on assignment for shootings in Hyderabad/Andhra Pradesh, from some rowdy elements in that state, who refuse to recognise the membership of FEFSI (which is a constituent of the All India Film Employees’ Confederation) and threaten them to become members of some union there, which is not affiliated to the AIFEC, and further in view of the open declaration of hostility towards cine workers belonging to FEFSI, by the Secretary, Andhra Pradesh Federation, and open challenge that they shall not allow any cine worker belonging to the Film Employees’ Federation of South India to work in Hyderabad/Andhra Pradesh, the Film Employees’ Federation of South India has decided that no member of FEFSI shall accept any assignment in Andhra Pradesh from 3rd October, 1994.

FEFSI has also asked for the co-operation of the All India Film Employees’ Confederation and its various constituents in Eastern, Western and Karnataka regions in their ongoing struggle, which is, in other words, a struggle to uphold the right of cine worker-members of any affiliate of any of the constituents of All India Film Employees’ Confederation to work anywhere in India, by advising their members not to accept any assignment for shooting/work of any film in any language in Andhra Pradesh till further notice.

Accordingly, the Secretariat of All India Film Employees’ Confederation has advised all its other constituents in Eastern, Western and Karnataka regions to advise their members not to go for any shooting of any film in any language held in Andhra Pradesh till further advice. The General Council of the Federation of Western India Cine Employees considered the matter at its meeting held on 7th October and unanimously decided to extend its wholehearted cooperation to FEFSI in its ongoing struggle.

(From Our Issue Dated 29th October, 1994)

Diwali is the festival of lights which will light up our new year. Although a number of recent releases have put the industry in reverse gear due to their performance at the box-office, let us, on this festive occasion, try to forget about those dark clouds. All is not lost.

Let us look at the brighter side. At what Hum Aapke Hain Koun..! has made possible in the industry.

For one, it has been proved beyond doubt that television, satellite channels, videos are no patch on the big screen if your product is good and is marketed effectively. None of the above has, in any way, affected the box-office performance of HAHK..!. In other words, all forms of entertainment can co-exist. There is just no need to get jittery about the so-called competition offered by the small screen. Rather, the energies thereby saved could be diverted towards making quality films.

Quality brings us to quantity. HAHK..! has also shown that if your quality is superior, there’s no limit to the quantum of business. The trade has stopped speculating about the expected business of the film wonder because there’s no yardstick to measure it. We usually estimate the potential of a film by the drop in its collections from week to week. But in the case of HAHK..!, there’s no real drop even in the 12th week at several places. Is sky really the limit?

By adopting the price discrimination policy on a day-to-day basis at Liberty, Bombay, the Barjatyas have again ventured to try out something new. They will be fixing different admission rates for the same classes for different days, determined by the demand for tickets. And this has all the potential to succeed. If it does, the Barjatyas will have started yet another trend.

As it is, they have shown the industry that delaying video cassettes for months together may be difficult but not impossible. They have also been virtual trend-setters insofar as marketing is concerned. But it is to be seen whether any other producer would have the guts to emulate the Barjatyas and adopt their slow-but-steady marketing strategy. It would be unfortunate if nobody did so, because then, the trend started by them would hardly be a trend.

Don’t the Barjatyas need to be saluted? Doesn’t the industry need more brave and enterprising people like them? Let these bright spots be food for thought for all industry people this Diwali. Let us pray that not only does the industry get more Hum Aapke Hain Kouns..! in the new year, it also gets more people who are inspired enough to become brave and face any challenge whatsoever.

– Komal Nahta

‘HAHK..!’: RATE DISCRIMINATION ON DAY BASIS AT LIBERTY, BOMBAY

The Barjatyas have decided to hike admission rates of Hum Aapke Hain Koun..! at Liberty, Bombay, for the Diwali festival. On 4th, 5th and 6th November, the rate for Dress Circle will be Rs. 100 (presently, it is Rs. 75). The increased rates for the other classes will be: Balcony Rs. 75 (present: Rs. 60), Stall Rs. 35 (present: Rs. 25), and Lower Stall Rs. 15 (present: Rs. 10). However, on the remaining four days of the week – that is, on 7th, 8th, 9th and 10th November, the admission rates will revert to the original level viz. Rs. 75, Rs. 60, Rs. 25 and Rs. 10.

Further, Liberty will charge the new hiked rates (Rs. 100, Rs. 75, Rs. 35 and Rs. 15) on every Saturday and Sunday henceforth. The rates on the other five days of the week (Friday, Monday, Tuesday, Wednesday and Thursday) will be the current lower rates.

DO YOU KNOW?

• Purisons & Associates, the East Punjab distributors of F.C. Mehra’s YAAR GADDAR, have sent an advance overflow cheque of Rs. 1 lakh to Mehra even before the film’s release.

DIWALI TO DIWALI

(November 14, 1993 to October 29, 1994)

118 RELEASES

Between the Diwali of last year and this year (3rd November), a total of 118 films have been released, including 14 dubbed. At least on two occasions during these 50 weeks, release of new films were suspended. As a result, there were no releases for a total of 5 to 6 weeks. The plague epidemic saw cinemas in Delhi and some parts of Gujarat closing down in September-October ’94, as a result of which new releases were re-scheduled. Disruption of flights of Overseas countries was also one cause for the postponement of releases. Cinemas in Calcutta, Hyderabad and Bangalore also remained closed for some days at different times during this period, either to protest against government action or for other reasons.

THE GREATEST HIT

Rajshri’s HUM AAPKE HAIN KOUN..! came like a whiff of fresh air and broke all previous records of Bollywood to qualify as the greatest hit of India. What, a few weeks back, appeared would do a business of 35 crore seems to be heading towards 50 crore. Or is it more?

HITS & MISSES

Hum Aapke Hain Koun..! turned out to be the biggest hit of the period from the Diwali of 1993 to the Diwali of 1994. Dilwale, Mohra, Krantiveer, Laadla, Darr, Raja Babu and Jurassic Park (dubbed) were other major hits of the period which also had its share of debacles. Chaand Kaa Tukdaa, Betaaj Badshah and Eena Meena Deeka failed miserably. Baazigar,which was released on last Diwali, did fantastic business during the period under review.

SANJAY DUTT UNDER TADA

Sanjay Dutt was re-arrested under the TADA and has since been lodged in jail. His bail application was rejected by the Supreme Court. Several of his films are incomplete, in different stages of production. He remained in news throughout the year.

YOU ASKED IT

How will the Diwali of 1994 be for the film industry?

– It is expected to bring with it, confidence and cheer.

Why is Subhash Ghai making a video studio in Delhi? Who will go to Delhi to shoot?

– With TV serial production booming, the studio in Delhi-Haryana should be in demand when it is ready.

How will films compete so many satellite channels?

– When there was not a single satellite channel, no film did as much business as HUM AAPKE HAIN KOUN..! is doing today, with 30 channels in operation. So, don’t be afraid. Good films will always run, whatever the opposition.

CESS ON FILMS HIKED

The government has substantially increased the cess on feature films, to augment the Cine Workers’ Welfare Fund. The Union Labour Ministry has notified that hereafter, a cess of Rs. 10,000 will be levied on every Hindi feature film, Rs. 5,000 on every Tamil, Telugu, Kannada and Malayalam film, Rs. 3,000 on every Bengali, Gujarati and Marathi film, and Rs. 2,000 on other language films. Hitherto, a uniform cess of Rs. 1,000 per feature film used to be levied without any linguistic distinction.

PUNJAB FILM POLICY APPROVED

The Punjab government has approved a new film policy for encouraging production of quality films in Punjabi and also for creation of infrastructure for the production of films.

The producer of a Punjabi colour film would be entitled to a subsidy of Rs. 6 lakh per film shot anywhere in the country. If it is shot in Punjab, he would be entitled to a subsidy of Rs. 12 lakh or 75% of the cost of production, whichever is less. For a B & W film, the rate of subsidy is Rs. 2 lakh.

For films produced in other languages, a subsidy of Rs. 1 lakh will be given for B & W films and Rs. 3 lakh for coloured films if 75% of the film is shot in Punjab.

To encourage quality films, the government has also instituted annual awards. The first prize consists of Rs. 1.25 lakh in cash and a shield. The second prize would be Rs. 75,000 in cash and a shield, and the third prize, Rs. 50,000 in cash and a shield.

A Punjabi film winning a National Award would get Rs. 2 lakh in cash. Awards have also been instituted for the best actor, actress, director, singer, story writer and other technicians, each carrying a cash prize of Rs. 25,000 and a memento.

The Punjab Council of ministers approved the film policy on 26th October.

‘ALADDIN’ TO BE RELEASED IN FOUR LANGUAGES

Buena Vista International, the marketing division of Walt Disney Pictures, USA, for the distribution of all films of Walt Disney, Hollywood Pictures and Touchstone in India, Nepal and Bangladesh, is releasing Walt Disney’s Academy award-winning animated film, Aladdin, through Modi Films. To be released on 23rd Dec. ’94, simultaneously in English, Hindi, Tamil and Telugu, Aladdin is the first English film to be dubbed in three languages.

Producer Sole Owner Of Copyright: FMC Clarifies

The Film Makers Combine has, vide a press release, sought to clarify the position regarding copyright in films and a producer’s position. The release says:

“An impression is being created that the Doordarshan has the option of signing an arrangement with ATN which holds broadcasting rights of over 3,000 Hindi films, the rights of which were purchased from Dhirubhai Shah’s eight film libraries. ATN is also planning to launch another pay channel of Hindi movies drawn from Mr. Shrivastava’s collection. This claim is totally false, which seeks to give an erroneous interpretation of the provisions of the Copyright Act and creates an impression that a film producer shall be deemed to have parted with all his wide spectrum of copyright when he enters into an agreement parting with home-viewing video rights or cable TV rights.

“The producer is the sole owner of his film in all the formats viz. 8mm, 16mm, 30mm and 35mm, video or any other such format. Now, the producers’ copyright of video format is spread into various types such as home viewing, cable TV, satellite transmission, Doordarshan rights etc. Each one of these phrases is not only known and recognised in the film trade, but also has clear and judicial meanings and interpretation. For instance, home-viewing, actually, legally and judicially means the viewing by a single family when the video tape is used in the VCR; it is contra-distinguished from the public exhibition or transmission made through mechanical instruments like cable or through satellite or through Doordarshan channels, popularly known as TV transmission. Therefore, when a producer parts with his home-viewing rights on the format of video tape, it doesn’t mean that he has parted with all spectrum of copyright of video format, by such agreement. Similarly, cable television means a system where a television is linked by metallic coaxial cable to a central system called the head-end, by using video cassettes or discs etc. and using recorder or player or similar such apparatus on which pre-recorded video cassettes or discs etc. are played or replayed and the films or moving pictures or serive of pictures which are viewed and heard on the television receiving set (i.e. monitor) at a residential place or any other place or a connection holder. It is clear that in such a transmission, if there is any intervention or rather delinking through a satellite, then, as is well recognised and accepted by the film trade as well as courts, it becomes satellite right which is distinct and totally different from cable TV rights and the producer is entitled to dispose of these rights for appropriate royalty to any organisation or individual which uses the satellite for transmission of the required audio/video signals. In short, unless a producer has specifically parted with satellite rights of his film to anybody, the sale of home-viewing or cable TV rights shall never be considered as ipso facto including satellite rights.

“It is shocking that by the abovesaid news item and the notice published in Film Information dated 24-9-1994 through their advocates, M/s. Video Master, Time Films, Aar Dee Films and also Mr. Siddhartha Srivastava’s Asian Television Network (ATN) have claimed to have all types of rights, including satellite rights and Doordarshan rights of hundreds/thousands of films, just because the format of these films is video tape and in which films they have acquired only the home-viewing rights or, in some cases, the cable TV rights. Film producers are hereby informed, guided and assured that they need not be scared of the said news item and notice, and the Film Makers Combine is immediately taking all legal and other steps to nip this evil without loss of time. The producers whose films have been illegaly screened and are being screened are requested to send agreements relating to home-viewing and cable TV rights to the FMC for scrutiny and advice.”

3-E
Education-Entertainment-Enlightenment

Changing Steps

Saroj Khan will leave her stamp on half the song of Suhaag which goes – ‘Yeh nakhra ladki ka’. It was partly picturised by her some time back on Ajay Devgan, Akshay Kumar, Karisma Kapoor and Naghma. The song picturisation remained incomplete because Karisma hurt herself during its shooting. The reins have now been taken over by Rekha Chinni Prakash who has completed the balance song which was shot early this week. The change in choreographer was due to Saroj Khan’s inability to dole out dates. The arrangement was by mutual consent of both the dance directors.

(From our issue dated 22nd October, 1994)

Producer-director Mehul Kumar’s Krantiveer, a Dinesh Gandhi presentation, celebrates 100 days today (Oct. 22) all over. The film stars Nana Patekar, Dimple Kapadia, Atul Agnihotri, Mamta Kulkarni, Paresh Rawal and Danny. Written by K.K. Singh, it has music by Anand Milind, lyrics by Sameer, editing by Yusuf Shaikh and cinematography by Russi Billimoria.

Dream Merchant

Hawa Hawai

I may have been the only star-journalist who turned down the invitation to attend the famous Popley wedding on board an aeroplane earlier this week. Non-film folks do not interest me, I thought to myself, before faxing my inability to attend the hawa hawai marriage, to the bridegroom’s pop at his jewellery showroom.

I decided to make a survey of what the film industry people had to say about the fancy marriage in mid-air.

I first bumped into Ajay Devgan. He was alternately pumping his muscles and rehearsing a difficult dance step. Mopping his forehead with a towel to wipe the sweat, he panted, “I am planning to tie the knot.” “With whom?”, I asked. “Oh, she is a swarg ki apsara,” he replied and continued, “And so, the pheras will take place up in the air, close to the heavens.” Ajay Devgan did not like it when I pointed out that he was, perhaps, inspired by the Popleys. He did not want to admit it.

Akshay Kumar snapped, “What marriage high up in the air? Look, when I get married, it will also be a flying-high marriage. You see, I’m flying high as far as my career goes and I’m sure, you understand what I mean by ‘flying-high marriage.” I gave him a confused look. His hi-fi language didn’t make sense to me because I could only remember his latest releases like Ikke Pe Ikka, Amaanat and Main Khiladi Tu Anari. How was he flying high, I asked him. He gave me a very tu anari kind of look, but l looked the other way.

Giving up on Akshay, I went to meet Vinod Khanna. He was packing his suitcase and that of his son, Akshaye. He informed me that he was going to the Himalayas. I stared at him in disbelief. “So you are giving up the materialistic world and going to the Himalayas?” I said, trying to bring in a lot of emotion in my statement-cum-question. “Oh, shut up,” Vinod howled. “I’m not settling on the Himalayas. I plan to launch my son’s launching pad, Himalay Putra, on the Himalayas. If Popley can charter a plane for his son, Pop Khanna can charter a plane for Son Khanna, take the press to the Himalayas in it and launch Son on the mountain peak. It is not just marriages that are made in heaven, even star careers are made there.” I nodded in agreement.

Even while I was in conversation with Vinod Khanna, I saw Boney Kapoor speeding in his car past the Khanna’s house. My next stop had to be at Boney’s office.

I was greeted by Boney who was ecstatic. “I have decided to effect deliveries of Prem in air,” he declared. “And the aeroplane in which we give the deliveries will be studded with diamonds,” announced Boney’s friend-cum-distributor-cum-financier, Bharatbhai Shah, much to the joy of Boney. “That means, all the distributors of Prem will also be on board the flight,” I concluded. “Yes, yes,” Bharatbhai and Boney sang in unison, raising a toast to Prem and to their mutual prem. “So now, like marriages, Prem and deliveries can also take place in the air,” I said.

“Don’t change the order,” Boney warned me. “What difference does it make?,” I asked. “I may as well say that prem, marriages and deliveries take place in the air,” I added. The disgust on the faces of Boney and Bharatbhai made me realise, the hitch was in the word ‘deliveries’ which followed love (prem) and marriage.

Finally, I came to Laxmikant Pyarelal. The two were sad about Subhash Ghai having opted for A.R. Rahman for his new film, Shikhar. “We will now record our songs in the air,” said Laxmikant dejectedly. I asked him, if he had signed a TV serial and he replied in the affirmative. “The serial producer has told me, we will go on air next month,” Laxmikant informed. “That’s why I’m saying, we will record in air.” I didn’t know where to look, so I looked up — in the air.

On my way back home, I chanced to meet Raveena Tandon. She was cribbing about the ‘liar’ title given to her by the media. When I asked her what she thought of the hawa-mein-shaadi, she shot back, “It’s not just the jewellers, even we do things in the air.” “What things?”, I asked her. “Why, hum sab hawa mein hi to baatein karte hain!”, she replied. Before I could say anything to that, Raveena had vanished — into thin air!

– Komal Nahta

PEOPLE
Are Talking About

** Sanjay Kapoor, the pace at which he is signing films and the careful planning of his career by brother Boney Kapoor. Without a single release, Sanjay has about 10 films under his belt.

** Whether it was the film that the public rejected or Sanjay Dutt’s presence in Amaanat that they resented. Actually, the film has not been liked. Its failure has nothing to do with Dutt acting in it.

PEOPLE
Are  Wondering About

** Whether Akshay Kumar did take a hasty step in increasing his price after Mohra and Yeh Dillagi. They talk about the fate of Amaanat and the opening of Ikke Pe Ikka. Yeh price badi hai mast mast or yeh price baddhee hai fast fast?

** The future of the industry with so many satellite channels being started.

PEOPLE
Are Irritated About

** The move of the Andhra industry to not permit technicians from Bombay and Madras to shoot in Hyderabad even if the producer is from Bombay/Madras.

** The disadvantages of the star ceiling system. It may have made the stars more disciplined, but it has also been responsible for the stars hiking their prices. People are more critical of the improper implementation of the ceiling system.

YOU ASKED IT

What will be the exhibitors’ move in Bombay following the high court’s judgement striking down the Maharashtra government’s circular restricting change in net admission rates?

– Most of the exhibitors would like to revise admission rates and increase the nett.

Which will be the first film to be released, which will be covered by the FMC-FDC resolution to delay video cassettes by two weeks from the date of theatrical release?

– N.N. Sippy’s TEESRA KAUN? which has been scheduled for release on 23rd December.

Like films are sold piecemeal for West Bengal, Bihar-Nepal, Assam and Orissa, why are they not sold for Bombay city-suburbs, Maharashtra, Gujarat, Saurashtra and Karnataka?

– Producers sometimes do get offers directly from sub-distributors of Gujarat.

SNAPSHOTS

CHANGE OF DISTRIBUTOR

Satluj Dheer’s Ikke Pe Ikka had a last-minute change of Bombay distributors. The original distributor — one Pandey who is reportedly a bank employee — pleaded inability to make payment for delivery. He stepped out and Sharad Doshi (Hira Films Pvt. Ltd.) stepped in. The latter has released the film in Bombay in the producer’s account. Due to the last-minute hassles, the matinee (12 noon) shows in some cinemas of Bombay city and suburbs could not be conducted, thanks to late arrival of prints.

*     *     *

CINEMA SHARING

Thanks to the release rush on Diwali, there is a virtual shortage of cinemas — main and side. Suhaag has been slated for release at Bombay’s Novelty cinema but it will have to share the running time (daily 3 shows) with Main Khiladi Tu Anari which is showing there currently. The cinema is screening Mohra in matinee shows. So, from 4th November, Novelty, Bombay will screen three films. Incidentally, Suhaag has also been booked at New Excelsior, Bombay for an open run.

*     *     *

POSTPONED

K.C. Bokadia has postponed the release of his Aao Pyar Karen from Diwali to 25th November. The obvious reason is lack of cinemas. Likewise, the release of Hum Hain Bemisal has also been postponed by a week, to 11th November. Udhaar Ki Zindagi, however, will definitely come on Diwali, even if that means releasing it in a very limited number of cinemas in Bombay.

SONA-KANDIVLI BOMBAY TO BE DEMOLISHED

Sona cinema at Kandivli, Bombay, downed its shutters on 14th October. Reportedly, it will give way to a commercial complex and a mini cinema.

‘BAAZIGAR’ GOLDEN JUBILEE

Venus’ Baazigar entered 50th golden jubilee week on 21st October. Directed by Abbas-Mustan, the film stars Shah Rukh Khan, Kajol and Shilpa Shetty in the lead roles. Music: Anu Malik.

U.P. CINEMAS TO COLLECT RE. 1 PER TICKET

The Uttar Pradesh government has increased maintenance charges allowed to cinemas with effect from 19th October. The cinemas are now entitled to collect Re. 1 per ticket instead of the earlier 25 paise.

 ‘YEH  DILLAGI’ SILVER JUBILEE

Aditya Films’ Yeh Dillagi entered silver jubilee week on 21st October all over. The film stars Akshay Kumar, Saif Ali Khan, Kajol, Saeed Jaffrey and Reema. It is produced by Uday Chopra and edited and directed by Naresh Malhotra. Music: Dilip Sen Sameer Sen. Lyrics: Sameer. Yash Chopra presents the film.

DO YOU KNOW?

‘HUM AAPKE HAIN KOUN..!’: RECORD-BREAKING SPREE CONTINUES

• Creates a city record by collecting 1,59,858/- in 2nd week at Dreamland, Valsad. Better than 1st week (1,54,753/-), which itself was a city record.
• Creates a record in 11th week at Mangala, Pune by collecting 2,04,783/-.
• Creates records by collecting 2,29,721/- in 11th week at Hind, Calcutta, 1,46,551/- in 11th week at Menoka, Calcutta, and 1,00,828/- (full) in 1st week at Talkie Show House, Calcutta.
• Creates a record by drawing all shows full in 1st week at Sringar, Hubli. Collection: 1,85,431/-.
• It is the first film to be shifted from noon to regular shows at Santosh, Bangalore in 12th week (from 21st October).

GOVT. ASSURES REDUCTION IN COMPOUND TAX

A delegation of exhibitors of Maharashtra, led by Pranlal Doshi and Gunwant Desai, called on the chief minister, Sharad Pawar, on 18th October to apprise him of the adverse effect the Maharashtra government’s ordinance for reduction in entertainment tax had on cinemas under the compounded tax scheme. The chief minister assured the delegation that an amendment would be made soon so that compound tax was also reduced by about 50%. Others in the delegation were Vikram Sinh Patankar (exhibitor and MLA), Kanhaiyalal Navandhar and Kanchan Sathe.

The early meeting with the CM was possible due to the efforts of Vikram Sinh Patankar, owner of Ranjeet Talkies, Patan (district Satara).

AKOLA EXHIBITORS PERMITTED TO ROUND OFF ADMISSION RATES

On an application by exhibitors of Akola (Maharashtra), the collector of Akola has permitted the rounding off of gross admission rates from 13th^h October onwards. The inability to round off the rates under the Maharashtra government’s ordinance and circular was creating a problem of small change, it was alleged.

Nett Admissions Rates

GOVERNMENT CIRCULAR STRUCK DOWN

The division bench of the Bombay high court on 17th October struck down the Maharashtra government’s circular, restricting the right of cinemas to increase their nett admission rates, as inoperative. The interim order was passed in the writ petitions filed by Liberty cinema, Bombay and New Excelsior cinema, Bombay. The bench comprised Justices Mr. Pendse and Mr. Jhunjhunwala.

The effect of the aforesaid interim order is that cinemas in Maharashtra can increase their nett admission rates to the post-August 12 level or any other level.

3-E
Education-Entertainment-Enlightenment

Music Magic

Some musical notes now. The ‘Rishta tera mera’ song of Sultan Ahmed’s Jai Vikraanta is not only rich in melody but also in lyrical content. It has the potential to become a tear-jerker in the film.

Upcoming singer Sonu Nigam has the versatility to strike it big. The young lad has sung beautifully for Mohan Kumar’s Aazmayish.

‘Jaati hoon main’ from Rakesh Roshan’sKaran Arjunshould soon become a street song. The music is sweet.

Big Plans For Small Screen

Anupam Kher is not only busy entertaining people on the big screen but on small screen too. Kher’s The Entertainment Company is speeding ahead, producing serials for television. His Imtihan serial is nearing the golden jubilee mark. Boxoffice, another programme produced by The Entertainment Company, went on air on the Money channel of JAIN Television earlier this week. It deals with the film industry, new releases, trends in the industry, interviews etc. Another serial, Vapsi, produced by Kher, should be on air soon. Two more serials, Saath Saath and Anupam Kher Show – Zero Se Hero, are being readied for Zee’s L-TV. So, when Anupam’s not facing the movie camera, you can be sure, he must be making somebody else face the video camera!

Facing The Camera

Saroj Khan, who has choreographed umpteen hit numbers, will be seen in a different role in Nadeem and Nadir Irani’sShastra. From behind the camera, the dance director has come in front of it. Yes, Saroj Khan has participated in a dance number of Shastra.

(From our issue dated 8th October, 1994)

Madhuri Dixit is rehearsing some ter­ribly difficult dancing steps on a huge, opulent set at Annapurna Studios in Hy­de­rabad. The film being shot is Yusuf Bhat and Reema Rakesh Nath’s Yar­a­ana. The choreographer is the one and only Saroj Khan. Director David Dhawan is some­what relaxed because it’s a song that’s being picturised.

Although Yaraana is the first production venture of both, Yusuf Bhat and Ree­ma Rakesh Nath, the two are not new to the industry. Reema, of course, has the super-hit Saajan behind her. After scripting Saajan and husband Rakesh Nath’s Dil Tera Aashiq, she has turned to pro­du­c­tion. Once a writer, always a writer. Right? Right! Reema is also the story, screenplay and dialogue writer of Yaraana.

Yusuf Bhat runs a business of hiring out film equipments, under the name and style of Samna Film Services. His pro­duction banner, Samna Films, is also named after his two children, Samir and Nadia. Yusuf is also a film editor from the FTII and had edited a number of films before he flew off to Dubai to do business there. But once a film man, always a film man. Right? Right! His love for films brought Yusuf Bhat back to India and Bollywood.

Yusuf found a true friend in Rakesh Nath (Rikku, to the industry). Together, the two friends made a project and called it Yaraana. Waah, kya yaraana hai!

Coming back to the shooting. The set belongs to K. Raghavendra Rao who has had it erected for his Telugu film. Rikku and Yusuf have hired it for their shooting.

The song that’s being picturised is a very important part of the film because Madhuri kills Raj Babbar at the end of the song-dance. Raj Babbar may have beco­me an MP, but acting remains his first passion. Once an actor, always an actor. Right? Right! Raj and Rikku’s friendship is quite old and if the two feel close to each other, it is not only because they look quite similar. As a journalist jokes, “If Raj Babbar is busy in the Parliament, Rikku can give his shot on the sets.” The only problem is, Rikku is taller than Raj. “Well, the audience will conclude that some­body must’ve pulled Raj’s legs (pun in­tended!),” comes the repartee from the journalist.

The dance steps Madhuri is trying out, are quite a ‘legxercise’. Saroj’s assistant, Ahmed, performs the intricate steps with such finesse that the onlookers on the set break into an instant applause. It is for this reason that Ahmed is not only mentor Saroj Khan’s favourite but also the darling of all the technicians, dancers and unit-hands on the sets. On a probe, one is told, Ahmed is that child ariste of Mr. India who used to break into a break dance (in the climax fight and at other times) in the film. The little boy of Mr. India has grown up to become a young lad and an extraordinary dancer. In the months to come, Ahmed would turn an independent dance director – and a dance director to reckon with.

Rikku, the de facto producer, is always on his toes. He admits that Madhuri Dixit, whose dates he looks after, has been a great financial support to him, whether it was during the making of his maiden pro­duction venture, Dil Tera Aashiq, or for Yaraana. In the course of our conversation, Rikku reveals that Tej Sapru has rep­laced Tinnu Anand due to the latter’s date problems. Rikku is honest to add that the date problems arose due to lack of plan­ning on their part, not Tinnu Anand’s.

Director David Dhawan is excited as much about Yaraana as about the Hindi remaking rights of the Telugu hit, Hello Brother, which he recently acquired. “Govinda will play a double role in the re­make,” he informs. Has David vowed never to have anything to do with vulgarity/obscenity in films now, after Andaz and Eena Meena Deeka? Says he with a twinkle in his eye, “A bit of naughtiness should be there. It is like salt in your food. Saltless food is tasteless…”

Yusuf Bhat is skeptical about persons in the industry who refuse to pay off their creditors. “That is why I prefer to hire out my equipments only to known names and reliable producers,” he explains.

The unit of Yaraana is different from other film units in at least one way. Nobo­dy brags about the film with clichéd state­ments like, “This film is different” or “It will be a big hit” or “Yeh film kamaal kar degi” etc. etc. There is a lot of back-slap­ping and leg-pulling indulged into by David, Yusuf and Rikku. Sometimes, even blows are exchanged, of course, in good humour. On our part, we fail to understand how blows can be humorous, but anyway, the trio doesn’t seem to mind, so that’s fine.

– Komal Nahta

Snapshots

OVEN-HOT BECOMES PLAGUE-COLD

The heat has gone out of the Gujarat sub-territory. The plague has cast a pall of gloom over the sub-circuit. The scenario has changed in two weeks. Where sub-distributors used to fall over one another to acquire a film for Gujarat, today, there’s no such excitement. Closure of cinemas in Surat and other cities has adversely affected the box-office. Yen Movies, the Gujarat distributors who started their office with Mohra, stand to lose quite heavily in their second release, Main Khiladi Tu Anari. The losses would have been minimised had it not been for the plague.

*       *       *

WORST MONTHS

May and October will go down in 1994 as the worst months of the year. The producers called for suspension of all new releases in May, following their dis­pute with distributors. There were no re­leases for three weeks. In October, the plague and consequent closure of cine­mas have been responsible for two weeks of no releases. Added to that is the pre-Pooja week in Bengal and the ensuing pre-Diwali week all over. There’s just one release fixed for next week, and none for 28th October so far.

*       *       *

DIVERSIFICATION

First, a producer. Then, a distributor for Delhi-U.P. and Bombay. Then, a dir­ector. Followed by a distribution office in Rajasthan. Next, a music company. That’s K.C. Bokadia’s diversification in barely a decade. But that isn’t all. He is all set to start a company for acquiring India video rights of films. Plans to set up a film city in Jaipur are already underway. Amazing, isn’t it?

*       *       *

RAIN VERSUS RAIN

The unit of Dharmendra’s Barsaat, which was in Ooty for a long shooting schedule, had to pack up without much shooting because of the barsaat. Frequent rains upset the schedule, so the unit came straight back to Bombay. The shooting of Boney Kapoor’s untitled film, being dir­ected by David Dhawan, in Ooty was also similarly upset but the unit was quick to shift to a dry Gopichettipalayam and complete the shooting.

*       *       *

FILM MEN’S ENGLISH

Spellings of film titles have very often been governed by numerology. Incorrect spellings of titles are sometimes because of this and, at other times, simply because the makers didn’t bother to check the cor­rect spellings. All this is somewhat understandable when the Hindi titles are mis-spelt in English. But Stuntman, which is an English word, takes the cake. The makers have now begun to spell it as Stunttman. Another numerology stuntt, one supposes!

*       *       *

CUTTING THE DHOTI

Dada Kondke’s films invariably face censor trouble, thanks to his double-meaning dialogues and gestures. But his latest Marathi film, Sasarcha Dhotar (Dhoti of in-laws),has been given the maximum cuts and that too, by the App­ellate Tribunal. The dhoti – sorry, Sasar­cha Dhotar – has been cut short by 446 metres. In all, there are 37 cuts effected. Of course, the super-edited version has been passed for universal exhibition. As a smart Alec remarked, “The dhoti has been cut to the size of a handkerchief.

DO YOU KNOW?

* After installing Dolby Stereophonic sound system at Smruti Cinema, Nagpur and Prabhat Talkies, Amra­vati, the Rathi group has now in­stalled 20” colour TV sets in the foy­ers of both the cinemas. The patrons can watch TV while waiting in the foyer.

* Two Marathi films, SASARCHA DHOTAR and SONIYACHI MUM­BAI, were certified this week (on 4th October) and also released this week (on 7th).

* HAHK..! has created a record by col­lecting 1,41,106/- in 9th week at Re­lief, Ahmedabad. It has also created a record by collecting 1,73,777/- (gross) in 9th week (21 shows) at Rajshri, Gandhinagar.

LIMIT ON NETT ADMISSION RATES: RAJSHRI MOVING COURT

The Maharashtra government’s directive that cinemas cannot hike their nett admission rates beyond the 12th August ’94 level, without its permission is being challenged in the Bombay high court by Rajshri Pictures and Liberty Cinemas, Bombay. The said directive came alongwith the Maharashtra government’s ordi­nance reducing entertainment tax.

Liberty Cinemas, screening Hum Aapke Hain Koun..!, has not as yet reduced its admission rates nor has it reduced the tax being collected (at 100% instead of the present 50%). The admission tickets bear a notice that the ticket-holder would be entitled to a re­fund, if due, after the court’s verdict.

The case is likely to come up for hearing on Monday, October 10.

SHRINGAR FILMS OPEN BRANCH OFFICE IN AHMEDABAD

Bombay distributors Shringar Films opened a branch office in Ahmedabad on 7th October. The office is situated at 15, Divya Vasundhara, Commercial House, opposite District Court, Mirzapur Road, Ahmedabad-1. Phone: 20116. Raju Shukla, local representative, is incharge of the office. Balkrishna Shroff and Shravan Shroff of Shringar Films, Bom­bay will visit the branch office frequently.

‘MOHRA’ 100 DAYS

Trimurti Films Pvt. Ltd.’s Mohra has completed 100 days of its run to­day (Oct. 8). Produced by Gulshan Rai, co-produced by Ajay Shah, and directed by Rajiv Rai, it stars Naseeruddin Shah, Akshay Kumar, Sunil Shetty and Raveena Tandon. Music: Viju Shah. Lyrics: Anand Bakshi and Indeevar.

‘ROJA’ GOLDEN JUBILEE

Mani Ratnam’s dubbed Hindi film, Roja, is celebrating golden jubilee this week at Metro (matinee), Bombay. The film’s super-hit music is scored by A.R. Rahman.

Subhash Ghai’s Film
Titled ‘Shikhar’ 

Producer-director Subhash Ghai’s new film, to be launched on Oct. 24 in Delhi, has been titled Shikhar (The Peak). Jackie Shroff and Shah Rukh Khan play the lead roles. A new heroi­ne is being finalised.

The film is written by Anjum Rajab Ali and Subhash Ghai. Cinema­togra­phy by Binod Pradhan, art direction by Nitin Desai, and action by Tinnu Ver­ma are the other major credits finalised so far.

The Dishum Dishum Devgan

He has literally fought his way to suc­cess and stardom. Having directed almost every hero and villain in the industry and taught them to fight, action director Veeru Devgan even today remains the polite, soft-at-heart and, of course, much sought-after action director. The line-up of troph­ies in his spacious office-cum-editing room at Juhu, serve to remind you that the man’s life may be full of stunts but his success story is no publicity stunt. And if you think, Veeru only understands the langua­ge of action, you’re wrong. He can also thrill you with his delicious dishes (yes, he’s an expert cook) and knock you down with his philosophy.

Veeru had to struggle a lot to enter the film industry. He ran away from home (in Punjab) at the young age of 15 and came to Bombay to become a hero. He had nothing in his pocket, no roof over his head and many were  the nights when he slept without eating a morsel of food and with only his dream to give him company. Later, a friend’s taxi was his shelter at nights. With no chance of becoming a hero, Veeru become a carpenter’s helper to earn a livelihood. Finally, after many months of struggle, he got a chance to assist action director Ravi Khanna.

From there started the action. The Pun­jab da puttar had little imagined then that although his dream of becoming a hero would never be realised, it would finally be his heroic stunts that would make him a hero one day.

It was this unfulfilled dream of Veeru Devgan which made him plan a hero’s career for his son, Ajay Devgan, “even before he was born”. Recalls Veeru, “When my wife was expecting Raju (Ajay’s pet name), I had decided that if she would deliver a baby boy, I would make him a hero when he grew up. And I strived to do only that.”

Veeru is frank when he admits, “I was never as bothered about Raju’s studies in school or college as I was about his exer­cises, action lessons etc. I had one am­bition in life – to make Raju a hero.” When Ajay grew up, papa Devgan im­mediately put him under Cheetah Yag­neesh’s training for stunts. “M.M. Baig began teaching him Urdu and used to make Raju improve his pronunciations and diction by making him talk with stones in his mouth,” reveals Veeru. “There were occasions when Raju inadvertently swall­owed a tiny stone or two.”

Action comes naturally to Veeru Dev­gan. “It is nature’s gift,” he says humbly. No, he wasn’t a fighter-cock as a child, he adds. But a workaholic he definitely be­came when he came to Bombay. “I used to often work 20 to 22 hours a day,” he recalls. “I’ve instilled a keen sense of dis­cipline in Raju too,” informs Veeru.

The 52-year-old action director flashes one of his warm smiles when you ask him, in how many films he has composed the action scenes. “Must be, over 300”, he makes a guess. At least, 150 of them have been hits or major successes.

To ask an action director which film is dearest to him is like asking a father, who, among his children, is his favourite. Nevertheless, Veeru enlists Agent Vinod, Kranti and Roti Kapada Aur Makaan among his favourite works, but adds, “There are many more.”

He recalls the action of Khoon Pasina which was being made when I & B min­ister V.C. Shukla had put a restriction on the length of fights in films. “I kept the fights in the film to the stipulated level,” he explains, “but there was so much of violence besides that. There were sounds of fisticuffs and blows and matching ex­pressions on the faces of characters, but the action was not shown. Obviously, the censors couldn’t object to it.” Veeru is confident that, even now, with censors coming down heavily on action, a via media will be found out. Necessity, after all, is the mother of invention.

Veeru denies the charge that he and his son come as a package deal. “Currently, Raju and I are doing only three films to­gether – Jaan, Shaktishaali and Haqee­qat,” he substantiates.

If there is one more dream Veeru sees today, it is to one day direct Amitabh Bachchan and Ajay together. He will soon be taking the plunge into direction. “I had wanted to make my first film without a single action scene,” he says, “but my people have told me not to do so. Maybe, my second film will be without action.”

If Veeru has politely turned down offers to direct films for others, it is be­cause the man doesn’t want to hurt any­body. “If I direct someone’s film, there’ll be many others who would expect me to do their films first. And I don’t want to strain my relations with anybody,” he concludes.

So the day is not far when Veeru Dev­gan will don the robe of a producer and also drop the ‘action’ from his title of ‘action director’ to be called the director who’ll shout “Action” on the sets.

And then, after many years, the work-machine may call it a day and, as he has promised his wife, “have a honeymoon with her, in our old age.”

  – Gautam & Komal

3-E
Education-Entertainment-Enlightenment

What A Variety!

It is really creditable, the way Sanjay Kapoor’s career is being planned. Without a single release so far, Sanjay has eight films besides his launching pad, Prem, and several of them with big banners and top directors. This in itself must be a record. He is working with almost all the heroines in the reckoning – Madhuri Dixit (Raja), Juhi Chawla (Kartavya), Tabu (Prem), Mamta Kulkarni and Manisha Koirala (Chhupa Rustam), Mamta Kulkarni (Beqabu), Shilpa Shetty (Weston’s Zameer), heroine to be finalised (Compact Disc India’s film), Pooja Bhatt and Raveena Tandon (Hum Tum Aur Woh) and Kajol (G.P. Sippy’s film). The music of Sanjay Kapoor starrers is being scored by Laxmikant Pyarelal, Anu Malik, Nadeem Shravan, Anand Milind, Dilip Sen Sameer Sen, A.R. Rahman and Viju Shah.

The ’42 Connection

What do Rajesh Khanna, Amitabh Bachchan, Jeetendra, South actor Krishna and action master Veeru Devgan have in common? Their year of birth. All the five were born in 1942. And all of them have had very successful and frutiful careers. Can we call it ‘1942 A Success Story’?

Marriage Bureau!

Act in Satluj Dheer’s film and chances are that you will be married while it is being made. That is, if you are an actress. Rati Agnihotri got married while Satluj’s Mera Suhaag, in which she played the heroine, was being made. Shantipriya and Sushmita Mukherjee tied the knots during the making of Satluj’s Ikke Pe Ikka.

Johny Fever

Who is the most sought-after actor for TV serials? Seems to be Johny Lever. Not only is he a favourite of film producers, he is also being approached by TV serial producers. Reportedly, he has been asked to act in over 40 serials. But he has given the nod to just two makers, Jr. Mehmood and Pankaj Parashar.

(From our issue dated 1st October, 1994)

No Voting In CCCA

SANTOSH SINGH JAIN RE-ELECTED PRESIDENT

Santosh Singh Jain was re-elected president of the Central Circuit Cine Association (CCCA) at its annual general meeting held on 29th September in Jaipur at the Birla auditorium. No formal elections were held this time. Mem­bers were nominated on the executive committee by consensus of opinion. As a result, the elections, scheduled for 30th September, did not take place. This is the first time in the 41 years’ history of the CCCA that no elections were held.

Azad Laddha was elected vice president, H.S.P. Rao, hon secretary, and Prem Dev, hon. treasurer.

The following members are in the new executive committee:

C.P. Berar Distributors: H.S.P. Rao, Bharat Khajanchi, Ramkisan Kasat and Daulat Khatri.

C.P. Berar Exhibitors: Vijay Rathi, Azad Laddha, S.K. Surana and Pramod Kumar Munot.

C.I. Distributors: Prem Dev and Vinod Malhotra.

C.I. Exhibitors: O.P. Goyal and Ramesh Sureka.

Rajasthan Distributors: Santosh Singh Jain and Mohan Godha.

Rajasthan Exhibitors: O.P. Bansal and Trilok Singh.

As there was no real contest, the att­endance at the annual general meeting was at an all-time low. As against the usual attendance in several thousands, there were some hundreds this time. Besides the members of Rajasthan, there were just about 100 to 125 members from C.P. and C.I.

The Golchas (Premprakash cinema, Jaipur) hosted dinner for the members on 29th. Lunch was hosted by the Sura­nas (Raj Mandir). Breakfast was by Omprakashji (Polo Victory).

The annual general meeting was a regular affair.

DO YOU KNOW?

* The dispute over the title GENTLEMAN, between producers Vinod Verma and Allu Aravind, has been settled out of court. The former has reportedly been paid a lakh by the latter.

* Director Jagdish Sidana has lent a multi-star cast touch to a song-dance number of his HUM ANAAREE HAIN which is being shot in a 3-day schedule from 29th September at Mehboob Studios on a set depicting a land of fantasy. The director has ass­embled look-alikes of top stars like Michael Jackson, Dev Anand, Rajesh Khanna, Anil Kapoor, Rajinikanth, Sanjay Dutt, Salman Khan, Shah Rukh Khan, Mehmood, Jagdeep and others. And what’s more, there are two look-alikes of each of Amitabh and Govinda. All totalling 26 ‘stars’! They are all participating with the films’ artistes – Kader Khan, Armaan Kohli, Ayesha Julka, Raj Kishore and Birbal.

* The Gujarat government did not invite even the studio owners of Guja­rat for its awards function held on 15th September in Ahmedabad. Mrs. Ibrahim Nadiadwala has taken strong exception to this “lapse” on the part of the government and has written to the I & B ministry, complaining about the same. She has recalled that her husband, late Ibrahimbhai, was not only the owner of Lucky Studios, Halol, where the award-winning Gujarati films (SAMAY NI SANTA­ KUKDI, SAAJAN NE SATHWARE and LAAJU LAAKHAN) were shot but was also himself a Gujarati film producer. In spite of that, no in­vitation was extended to any representative of Lucky Studios, she has said.

* Sunil Agnihotri may not have earned so much praise for the films directed by him as he is earning these days for his TV serial, CHANDRAKANTA, being aired on the national network of Doordarshan. The serial is very popular among families.

* From 4th October, viewers of Sri Adhikari Brothers’ TV serial, COM­MANDER, on Zee TV will get to see a new Commander. Sudhir Mithoo has been signed to play the lead role in place of Ramesh Bhatkar.

* Manjushree Cinema has become the first ever cinema in Kanpur to give a distributor’s share of over a million rupees to a film. HAHK..! has fetch­ed a share of 10,86,413/- in just 8 weeks, from the cinema. Collection in 8th week: 1,74,340/-, city record.

YOU ASKED IT

What does the non-success of Main Khiladi Tu Anari prove?

– That hit music and hype are not enough to make a film a success.

Is it true that Weston is starting one more film, besides the two already started?

–Yes, the third will star Ajay Devgan and Madhuri Dixit, and will be directed by Rahul Rawail.

I want to make money. Should I pro­duce or distribute a film?

– You should quit the industry.

J. OM PRAKASH ELECTED GUILD CHIEF

J. Om Prakash was elected president of the Film Producers’ Guild of India at its annual general meeting held on 30th September at Gallops Restaurant, Maha­laxmi, Bombay. Gulshan Rai was elected senior vice president, and Yash Chopra, vice president. Kamal Kumar Barjatya, Kiran Shantaram and Pahlaj Nihalani were elected hon. treasurers.

In place of the eight retiring committee members, the following were elected for the year 1994-95: Amit Khanna, Subhash Ghai, Prakash Mehra, Shreeram Bohra, T.C. Dewan, Ramdayal, Raj Tilak Magan and F.C. Mehra. The first three named producers have been elected on the com­mittee for the first time.

There was a move to increase the con­tribution of a producer for every film pro­duced, from Rs. 5,000 to Rs.10,000. But since the majority was not in favour of such a contribution to be made to the Guild, it was decided to instead charge every member Rs. 2,500 per year. The en­trance fee was increased from Rs. 2,500 to Rs. 3,000.

The elections were followed by a cocktail-dinner party at Gallops. It was hosted by Gulshan Rai who himself could not attend as he is recuperating from a paralytic attack, at Breach Candy Hospi­tal.

CINEMA OWNER DEAD

Bhore Ramgopal, proprietor of B.P. Palace cinema, Bharatpur (Rajasthan), expired on 28th September in Agra. The cinema cancelled 11 shows, on 28th, 29th and 30th.

S.P. AHLUWALIYA DIES IN HOSPITAL

Noted Marathi film producer Satya Pal Ahluwaliya died on 28th September at 8.30 a.m. at Cooper Hospital, Bombay. He had met with an accident the previous morning at Andheri (Bombay) while he was on his way to office. The accident proved fatal.

Popularly known as Pal Sahib, he had pro­duced four Marathi and two Hindi films under his banner of Eagle Interna­tional Enterprises. His Marathi film, Kul­dee­pak, fetched him the best producer’s award of the Maharashtra state government in 1992. The Hindi films he had made were Gunahgar and Daulat Ka Nasha.

S.P. Ahluwaliya is survived by his wife and two daughters. Chautha uthala will be held today (1st October) between 4.30 p.m. and 6 p.m. at Sindhi Gurudwara, near Nilkanth Hotel, Linking Road, Khar, Bombay.

DHARAM PAUL ARORA ELECTED NIMPA CHIEF

Dharam Paul Arora was elected president of the Northern India Motion Pictur­es Association (NIMPA) on 26th Septem­ber. Ram Kumar Bhardwaj and Bhupinder Singh were elected vice presidents, and Yash Paul Mittal, hon. general secretary. Surinder Sehgal was elected hon. jt. secretary, and Joginder Jaggi, hon. treasurer.

Earlier, at the 45th annual general meeting, the following seven candidates were declared elected unopposed: Dharam Paul Arora, Yash Paul Mittal, Bhupinder Singh, Kuldeep Singh, Narinder Singh Walia, Inderjit Walia and Kanwal Kishor.

Other members of the executive com­mittee are Jaswant Singh, Madan Lal Kapoor, Romesh Gupta, Tarlok Saggi and Amrik Singh.

HC EXTENDS STAY ON ‘BANDIT QUEEN’

The Delhi high court on September 28 extended the stay on exhibition of the controversial film, Bandit Queen, for public as well as private viewing all over the country till October 18. Mr. Justice Virendra Jain also directed Channel Four TV to place on record the names of par­ties and dates of agreement entered into with third parties to exhibit films abroad, within two weeks. He has also asked Mala Sen, the author of the book on which the film is based, to file her affidavit on whether the film is based on the book.

U.A. THADANI RE-ELECTED TOA PRESIDENT

At the first meeting of the Council of Management of the Theatre Owners’ Association (TOA), held on 23rd September, U.A. Thadani was unanimously re-elected president for the year 1994-95. This is Thadani’s fifth term as president. R.P. Anand was elected vice president, N.F. Damania, hon. treasurer, and C.N. Mirani and Nester D’souza, hon. secretaries.

The other members elected on the Council of Management at the TOA’s annual general meeting are: Kiran Shan­taram, R.V. Vidhani, N.F. Sidhwa, F.C. Mehra, R.F. Balaporia, Salim Ebrahim, K.A. Thadani, N.N. Menon, Milap Joshi, Girivarsinhji and A.L. Shahani.

Jimmy D. Sukhia and Keshav Dash­rath Patil have been co-opted on the Council of Management.

P.J. PATEL NO MORE

P.J. Patel, sole distributor of Orwo films in India and managing director of Central Camera, a photographic equipment con­cern of Bombay, expired on 24th Septem­ber in Bombay. He was 75 and is survived by three daughters. He was actor Raj Kiran’s father-in-law.

GYANDEV AGNIHOTRI PASSES AWAY

Story, screenplay and dialogue writer Gyandev Agnihotri passed away in the early morning hours of 26th September at his residence in Bombay due to a heart attack. He was 59.

Gyandev Agnihotri had written about 60 films. His notable works were Mr. Natwarlal, Do Aur Do Paanch, Swarag Se Sunder, Ghar Ek Mandir, Sindoor, Aaj Ka Daur, Gharana, Ghar Sansar, Dariya-Dil, Maan Abhimaan, Sunay­na, Yaarana, Jaisi Karni Waisi Bharni, Karz Chukana Hai, Pyar Ka Mandir, Pyar Ka Devta and Beta. He specialised in family socials. He also wrote Madhu­malti in which he was a partner in pro­duction with Basu Bhattacharya. Gyan­dev Agnihotri used to also assist Basu-da in direction. His first film as writer (dia­logue and lyrics) was Avishkar. He was writing Parakrami at the time of his death.

True to his name, Gyandev was a learned man and was a professor of English in Kanpur. It was Manoj Kumar who brought him to Bombay but he never wrote any film for Manoj Kumar. It was two plays, ‘Danga’ and ‘NEFA Ki Ek Shaam’, written by Gyandev Agnihotri, that made Manoj Kumar see the spark in the writer who was to later carve a niche for himself in film writing.

He was a very simple and soft-spoken person who preferred to let his work speak for itself. He loved walking and used to often take long walks.

Gyandev Agnihotri’s funeral was held the same day (26th) at 4 p.m.

He is survived by his wife, a son and a daughter. Shanti path was held on 28th. The bereaved members of the family left for Kanpur today (1st October).

NEW RELEASES UNCERTAIN 

All release schedules have gone haywire, thanks to the outbreak of the plague in various parts of the country. Cinemas in different cities of Gujarat have closed down on the orders of the authorities. Delhi cinemas have also been asked to close down indefinitely from 30th September. In some cities of Maharashtra also, it is the same story. All shipments to Overseas countries have been upset following the withdrawal of permission by some countries to Indian carriers to enter their jurisdiction.

As a result, releases of next week have been postponed. Trade pundits don’t think, it would be possible to release any new film on 14th October too. However, the Bombay distributors of Amaanat, Stuntman and Udhaar Ki Zindagi are claiming that the films will be released on 14th, as scheduled.

Beta Ho To Aisa and Ikke Pe Ikka are slated for release on 21st October. A number of films have been planned for Diwali release (4th November): The Gentleman, Yaar Gaddar, Hum Hain Bemisal, Aao Pyar Karen, Majhdhaar, Sardar etc. Suhaag has been postponed.

SULTAN AHMED ELECTED IMPPA PRESIDENT

Sultan Ahmed was elected president of the Indian Motion Picture Produ­cers’ Association at the first meeting of the newly elected executive committee, held on 30th September at IMPPA House. Saawan Kumar was elected senior vice president, and Vinay Kumar Sinha, vice president. S.K. Kapur was elected hon. treasurer.

Earlier, 18 candidates of the United Group, led by Shakti Samanta (who him­self did not contest the elections), were voted to power in the 21-member com­mittee at the elections held on 29th Sep­tember at ISKCON, Juhu. Of the 18, fourteen were voted in the Ordinary class, and four, in the Associate I class.

Dara Singh bagged the highest num­ber of votes (94) in the Ordinary class. In the Associate I class, Komal Nahta and S.K. Kapur polled the maximum votes (44 each).

LAST BUT NOT THE LEAST ….

….Rather, it was the most!

Komal Nahta decided to contest the IMPPA elections barely 18 hours before they were held. He had filed his nomination earlier, but later decided to withdraw the same. It was when Darshan Sabarwal, a candidate of the United group, withdrew his candidature on 28th that Komal stepped in. His name was finalised at the pre-election party of the United group on the night of 28th. And in the election on 29th, Komal bagged the highest number of votes — 44 — in the Asso­ciate I Class. S.K. Kapur also bagged 44 votes.

Incidentally, this was the first time that Komal contested the IMPPA elec­tions. Exactly 10 years ago, in 1984, when Komal’s father, late Shri Ram­raj-ji Nahta had contested the IMPPA elections (in the Ordinary Class) for the first time, he, too, had secured the highest number of votes (156). Senior members of the IMPPA fondly recall­ed this at the elections on 29th. What few must have recalled is that in 1984, Ramraj-ji was also the last to file his nomination for election. The son in the father’s footsteps…..

IN RAMRAJ-JI’S FOOTSTEPS

Dear Komal,

I am proud of you that you have secured the highest number of votes in our Associate Class I in the IMPPA elections held on 29-9-’94 and kept high the dignity and values of our be­loved leader, late Shri Ramraj Nahta, your father, with whom I was associated as executive committee member many a time and used to enjoy being with him during his period. I wish that you should have the same courage and strength to keep alive his memory.

– S.P. Malhotra

Apollo Arts

MAJROOH SULTANPURI RECEIVES DADASAHEB PHALKE AWARD

Veteran lyricist Majrooh Sultanpuri received the coveted Dadasaheb Phalke Award, the nation’s highest honour, for lifetime contribution to cinema, from the president, Dr. Shankar Dayal Sharma, in Delhi on September 30. The much-delay­ed 41st National Awards for 1993 were presented at a glittering ceremony at the newly-renovated Vigyan Bhawan by the president and, for the first time, by the former Dadasaheb Phalke awardees, Jai­raj, Ashok Kumar and Dr. Bhupen Haza­rika.

Buddhadeb Dasgupta received the best film award for the feature film, Cha­rachar (Bengali). The best director award was presented to T.V. Chandran, and the best actor award, to Mammootty for Pon­than Mada (Malayalam). Shobhana got the best actress award for Manichi­trathazhu (Malayalam). Neena Gupta won two awards — for the best supporting actress in Woh Chhokri, and for the best non-feature film debut of a director for Bazar Sitaram. Paresh Rawal bagged the best supporting actor award for Sir. Ketan Mehta won the Nargis Dutt award for national integration for Sardar, a film on the life history of Sardar Patel.

President Shankar Dayal Sharma, in his speech, called upon the film industry to deal, through self-regulation, with the problem of depiction of values and themes which are alien to our way of life. He added that proscription is a solution worse than the disease itself. He further said that films were among the most vibrant forces of national integration and for strengthening ties with other societies and cultures, and the cultural intermingling, that was characteristic of the film industry, sym­bolised the oneness of India. He emphasised on maintaining a balance between entertainment and social relevance and asked filmmakers to accept it as a chall­enge.

I & B minister K.P. Singh Deo called on filmmakers to discharge their responsibilities to curb sex and violence and dis­courage anti-social trends in films.

Garma-Garam

** The bomb blasts did it last year. The plague is doing it this year. Does box-office have to take such a beating always?

** Except for the exhibitors, nobody is really happy about the reduction in entertainment tax in Maharashtra because the government has put a res­triction due to which admission rates cannot be increased for a year. And even the exhibitors are only putting up a brave front, trying to be happy. It’s because they have been caught unawares. They pleaded before the government, arguing that the high entertainment tax was making cine­ma-going too costly for the paying public and that people should be granted relief by reducing tax. All along, the exhibitors, perhaps, thought that when the government would relent and reduce tax, they (exhibi­tors) would not pass on the benefit to cinegoers and would, instead, pocket the benefit. But the government turned out to be smarter. It has made it clear that the cinemas can­not increase their nett admission rates from the 12th August ’94 (cut-off date) level and has, therefore, ensur­ed that the entire benefit of tax re­duction is enjoyed by cinegoers.

** The entertainment tax reduction in the state of Maharashtra has, so to say, created a rift between distributors and exhibitors. Distributors are condemning the reduction. Exhibi­tors are also condemning it but only in their hearts. On the exterior, they are pretending that they’ve achieved a great deal.

** Juhi Chawla has walked out of Sun­eel Darshan’s Ajay. This is a sequel to Suneel terminating the services of director and cameraman Manmoh­an Singh. Suneel will himself direct Sunny Deol, a new heroine and Ajay, of course.

** Even at the cost of sounding repetitive, I must say what I said last week — and with much more emphasis this time. The ‘Roop suhana lagta hai’ song of The Gentleman (music track of A.R. Rahman from the Telugu original version of the film) has all that it takes to become the new anthem. After ‘Ek ladki ko dekha’ and ‘Tu cheez badi hai mast mast’, it is this racy number of Gen­tleman that’ll be the favourite of masses and classes alike. It has a mesmerising effect and a rare magi­cal quality. Singers S.P. Balasubrah­maniam and Chitra have given it a unique freshness. Indivar’s lyrics are also beautiful. And Rahman’s music is… well, hear it for yourself.

** Let’s talk of more music. Boney Kapoor has recorded a song for his untitled film, being directed by David Dhawan. It is a potential hit. ‘Teri patli kamar mein hai jaadu, teri tirchhi nazar mein hai jaadu’ go the lyrics. Although Anand Milind have scored the music, they are honest to admit that the tune is that of one Nitin who is fond of writing songs and composing music for them. The lyrics of the song are also Nitin’s brainchild.

** N.N. Sippy has got made impressive sampler cassettes of his Teesra Kaun?. The songs (Anand Milind) seem to have catchy tunes.

** The makers of Suhaag have added one more song in the film. Its music cassettes do not contain this addi­tional number.

3-E
Education-Entertainment-Enlightenment

Stars Rise To The Occasion

Film stars are doing all they can to spread awareness about the plague which has been causing widespread alarm. Thirty-second spots featuring popular stars of Bollywood will be telecast on the national network to dispel myths about the feared disease, as part of a campaign. Rishi Kapoor, Jackie Shroff, Aamir Khan, Manisha Koirala, Nana Patekar and Neena Gupta are among the stars who may participate in the TV spots. Nana has reportedly addressed viewers in Marathi, and there is a move to enlist stars and other celebrities to address audiences in other regional languages.

The 6-Year-Old Wonder

Playback singer Udit Narayan’s son is a little wonder. Just six years old, the kid is unbelievable when he performs on stage in shows. The boy has already stepped into papa’s shoes. Yes, he has lent his voice to songs of three films — Mansoor Khan’s Akele Hum Akele Tum, Sharukh Sultan’s Sanjay, and a Nepali film. It is a striking coincidence that Udit Nara­yan had also sung his first Hindi film song in Mansoor Khan’s film, Qayamat Se Qayamat Tak. The hit song was ‘Papa kehte hain bada naam karega’. As if to prove Majrooh Sultan­puri’s lyrics right, son Aditya Narayan also sang his first song for Mansoor Khan’s film, Akele Hum Akele Tum.

Child Prodigy

Talking of little wonders, there’s a little girl called Sunidhi Chauhan who sings Lata Mangeshkar’s songs so beautifully that she should soon become a singer to reckon with. Both, Udit Narayan’s son and Sunidhi, are part of the troupe which performs in Kalyanji Anandji’s show, called ‘Little Wonders’.

New Titles

Here’s a list of some new and interesting titles registered by the title registration committee:

Goonda Branch, Lifafa, Palat Tera Dhyan Kidhar Hai, Dil Loota Ke Dekho, Mukka, Mr. Kartoon, Aaj Ka Kar­toon, Hum Hain Kartoon, Main Hun Kartoon, Mujhe Gale Laga Lo, Saas Meri Saheli, Parde Mein Rahene Do, Kaun Kaheta Hai Ganga Maili Hai, I Hate You, Garm Josh, Shree Mati Pareshan Pati, Main, Made In India, Lion Of India, Hero Hindustani, Tu Cheeze Badi Hai Mast Mast, Shyane Log, Pyaar Pe Pehra Nahin, Rathi Maharathi, Tuition Teacher, Kadke Nawab, Bandh Gobhi Ke Patte, Noukari Chhokari Zhopadi, Public Hero, Bom­bay Ka Mawali…

(From our issue dated 24th September, 1994)

MAIN KHILADI TU ANARI

United Seven International’s Main Khiladi Tu Anari (UA) is a musical and action drama. Inspired from the English film, Hard Way, it is the story of a film hero and a police inspector, the latter training the former in action. The story has some freshness for the Hindi film au­dience but the screenplay leaves a lot to be desired. It affords a lot of opportunities for comedy but logic and continuity take a backseat. Recourse has been taken to contrived incidents to further the story, thereby hampering the smooth flow of the drama. The police inspector’s mission to avenge his brother’s death is relegated to the background as the antics of the two heroes take precedence.

A couple of drawbacks dilute the im­pact of the narration. There are some jokes very typically filmi, and the audien­ce may not necessarily appreciate them fully. Besides, the hero being responsible for the heroine’s death in the beginning and not even repenting it looks a bit odd. What is more, he doesn’t hesitate in later endangering the life of the heroine’s look­-alike too.

Music and action are the film’s high points. Light moments of Saif Ali Khan (film hero) are hilarious, at times.

Akshay Kumar does an extraordinary job in action and dances. The same, how­ever, cannot be said of his acting. He tends to overact to imitate bigger actors at times. Saif Ali Khan is cute and entertains with his comedy. Shilpa Shetty impresses very much in dances. She performs quite well. Rageshwari is good. Shakti Kapoor is the usual villain. Johny Lever may not be hilarious but is good. Kader Khan is almost wasted in a double role. Beena (she is pregnant in the beginning of the film but doesn’t deliver till the end), Mukesh Khanna, Goga Kapoor, Shiva, Ananth Mahadevan and the rest lend the desired support. Raveena Tandon provi­des glamour in a special appearance.

Direction leaves something to be desi­red. Although the film has a big canvas, hit music and lovely action, its presentation is not convincing enough to arrest attention. Anu Malik’s music is super-hit. ‘Chura ke dil mera’ is already a rage. The title song and ‘Chura ke dil mera’ are also very beautifully tuned. Picturisations of the title song and ‘Chura ke dil mera’ are ex­cellent. Mauritius locations are captivating, and camerawork is remarkable. Acti­on is breathtaking. Production values are rich. Technically, of standard.

On the whole, Main Khiladi Tu An­ari has gloss and material for the ears (music) and eyes (action) but not for the heart. An average entertainer, it will fare better in Bombay and Southwards and in cities. Lack of releases will give it a boost.

Released on 18-9-’94 in Nasik and on 23-9-’94 at Novelty and 32 other cinemas of Bombay thru Shringar Films. Publici­ty: excellent. Opening: very good. …..Also released all over. Opening was below ex­pectations in Indore, Jaipur and some other places. 1st day Jaipur (3 shows, 5 cinemas) 91,258/- against 1,18,356/-.

LATEST POSITION

…….

Hum Aapke Hain Koun..! continues to score and is doing unprecedented and unheard of business. It has surpassed the total share of Rajshri’s own Maine Pyar Kiya in just 6 to 7 weeks at many of the released centres. 7th week Bombay 9,28,253 (95.30)% from 4 cinemas (1 on F.H.); Ahmedabad 3,60,487 from 3 cine­mas (1 cinema unrecd.), Baroda 1,53,785, 5th week Surat (25 shows) 2,40,599 from 2 cinemas, 6th Jamnagar 89,147, city re­cord, total 5,09,691, 4th week Bhavnagar 92,622, city record; 7th Pune 4,39,446 from 3 cinemas, Solapur 88,700 (6th 91,650), Nasik 1,30,053, total 8,68,555, record, Kolhapur 98,357 (95.39%), 3rd week Satara (gross) 95,845 (92%), city record; 7th week Delhi 14,94,822 (100%) from 5 cinemas; Kanpur 1,64,030, Luck­now 2,28,422, record, Agra (6 days) 1,07,000, 3rd week Meerut 1,57,663, city record, Bareilly 1,24,962, Allahabad (23 shows) 1,20,846, Gorakhpur 1,14,000, city record, 7th week Calcutta 3,62,461 from 3 cinemas; 2nd week Patna (gross) 2,65,350, all 30 shows full; 7th week Nagpur 2,43,135 from 2 cinemas, city record, Amravati 1,01,384, total 7,44,602, share 4,87,545, city record, Akola 64,846, city record, total 4,49,948, share 2,67,254, theatre record, Bhilai 72,033, 3rd week Raipur 1,30,068, city record, 2nd Jabal­pur 1,39,379, total 2,89,433, city record, 1st week Chandrapur 1,12,058, city re­cord; 6th Bhopal 1,37,056, total 8,31,997, 2nd week Ujjan 90,000 (100%); 7th Jai­pur 2,62,545 (100%); Hyderabad 6,88,325 (gross) from 3 cinemas; Bangalore 2,46,913 from 2 cinemas (1 in daily 1 show); total 81,44,592 from 51 cinemas.

Krantiveer 9th week Bombay (TF) 8,65,899 (88.17%) from 8 cinemas (1 on F.H.) (8th week was 4,65,315; 94.13% from 4 cinemas, and not 88.88%); Ahmedabad 26,870 from 2 cinemas (1 unrecd.); Pune (TF) 2,56,328 from 4 cinemas (1 in matinee), Kolhapur (TF) 54,826 (95.56%), Solapur (TF) 47,579, Nasik (TF) 49,368; 5th week Dharwad (noon) 4,897, 3rd Belgaum 43,187 (100%) from 2 cinemas (1 in noon); 9th week Delhi (TF) 12,60,753 from 8 cinemas; Amravati (TF) 36,558, Akola (TF) 31,285, 2nd week Jalgaon (TF) 36,341, 3rd War­dha (TF, 4 days) 27,683, 2nd week Khandwa 19,985; 8th Hyderabad 3,59,211 from 4 cinemas (1 in noon).

…….

DO YOU KNOW?

* Like last year, this year too, Rajesh Khanna is taking a keen interest in the ensuing IMPPA elections. The United Group’s list of candidates was reportedly finalised in the star-MP’s office and under his supervision.

* In the trial circuit, ANDAZ APNA APNA is the hot favourite these days.  Trade people and their families are going ga ga over the film and, what’s more, even showing a keen desire to repeat it. Rajkumar Santoshi and Vinay Sinha must be hoping, even the audience behaves the same way.

* Wild rumours of thespian Dilip Kumar’s death made the rounds in Bombay on 21st September. Of cour­se, they were baseless but, nevertheless, had the industry panicking.

* Delhi-U.P. distributor Tolu Bajaj will be releasing two big films on Diwali, viz. THE GENTLEMAN and SUH­AAG.

* Udit Narayan, who was committed to dub for a song of SANJAY on 18th September, did not go to Delhi to re­ceive an award the same day but preferred to stick to his commitment.

* Pankaj Mehta, who had released Mira Nair’s English film, MISSISSIPPI MASALA, in Bombay a few months back, is now planning the release of its dubbed Hindi version.

* Novelty Talkies, Lucknow, and Nan­dan Cinema, Meerut have installed Ultra Optical Stereo Sound System and have also been equipped with other technical innovations to enrich the screening of HAHK..!.

* Delite Cinema, Delhi is being comp­letely renovated at a cost of 4,00,000/- for releasing HAHK..! from Septem­ber 30.

* HAHK..! created all-time city record by collecting 1,12,058/- in 1st week at Jayant, Chandrapur.

* HAHK..! created record by collecting 1,39,379/- in 2nd week at Vanda­na, Jabalpur. Two weeks’ total: 2,89,433/-.

* HAHK…! created city record by collecting 95,844/- (92%) in 3rd week at Radhika, Satara, which is better than 1st and 2nd weeks.

* HAHK..! created a record by collecting 1,13,068/- in 3rd week at Raj, Raipur.

* HUM AAPKE HAIN KOUN..! has created a city record by collecting 1,24,962/- in 3rd week at Prabha, Bareilly, in spite of business being affected due to anti-reservation and Uttarakhand demand stir.

* HAHK..! has created city record by collecting 1,14,000/- in 3rd week at Maya, Gorakhpur.

* HUM AAPKE HAIN KOUN..! has yielded a distributor’s share of 7,40,829/- in just 4 weeks from Sap­na, Delhi. It has surpassed the total share of Rajshri’s MAINE PYAR KIYA which had had a 21-week run at Paras, Delhi. The share of MPK was 7,35,888/-.

* HAHK..! created theatre record by collecting 1,30,058/- in 7th week at Vijay, Nasik; total for 7 weeks 8,68,555/-.

* HAHK..! created theatre record by grossing 1,21,126/- in 7th week at Jayshri, Vapi; total for 7 weeks 9,53,683/-. It surpassed the 17 weeks’ share of MAI­NE PYAR KIYA in just 7 weeks.

* HAHK..! has created triple mega re­cords in just 7 weeks by collecting 12,51,094/- at Manjushree, Kanpur, and paying distributor’s share of 9,54,593/-. It has broken the records of: NADIYA KE PAAR in just 4 weeks – it had given a share of 5,52,257/- in 62 weeks; of SHOLAY in 5 weeks – it had given a share of 6,56,320/- in 76 weeks’ run at Sun­der; and of MAINE PYAR KIYA in just 7 weeks – it had given a share of 8,00,000/- in 26 weeks. Moreover, HAHK..! has given an all-time high distributor’s share from any cinema of Kanpur.

* HAHK..! has created a city record by collecting 1,01,384/- in 7th week at Chitra, Amravati; total for 7 weeks 7,44,602/-, distributor’s share 4,87,545/-.

* HAHK..! created city record by coll­ecting 64,846/- in 7th week at Vasant, Akola; total for 7 weeks 4,49,948/-, a theatre record, with distributor’s share of 2,67,254/-.

* KRANTIVEER (TF) created a city record by collecting 50,827/- in 2nd week at Vasant, Wardha.

* KRANTIVEER (tax-free) has created a theatre record by collecting 4,09,500/- in 9 weeks at Shalini, Akola.

* MOHRA created a city record by collecting 71,339/- in first week, in second run, just after 35 days, at Babulal Talkies, Raipur.

* GHAYAL (tax-free), re-released after a short gap of 5 months, collected 53,794/- in one week at Uday, Akola, which is better than the previous run’s collection.

MIX MASALA

HOT NEWS

The air-conditioner at Liberty, Bom­bay, screening Hum Aapke Hain Ko­un…!, was not functioning last Friday (16th September). Although the management had put up a notice outside, regretting the inconvenience caused for reasons beyond its control, the paying public did­n’t quite like it. After all, they were paying Rs. 75 and Rs. 60 for a ticket.

JUMPING JILL

Like Jeetendra was nicknamed ‘Jump­ing Jack’, Shilpa Shetty may soon get the title of ‘Jumping Jill’. The girl was made to ‘jump’ to her death from a height in Baazigar and again in Main Khiladi Tu Anari.

PRASAD IN
SUPREME COURT

Sunil Dutt was hopeful that the bail application of Sanjay would be accepted by the Supreme Court. After the hearing on 21st September, senior Dutt distribu­ted prasad in the Supreme Court (out­side the court room). The order rejecting the bail application was pronounced on 23rd.

SESHAN SINGH JAIN

We have a T.N. Seshan in the CCCA too. Like the chief election commissioner, T.N. Seshan, has made identity cards compulsory for all voters this time, CCCA president Santosh Singh Jain has also brought in the system of identity cards. Yellow-coloured I-cards have been issued to voters whose photographs are affixed on them. While Seshan’s recommendation has yet to see implementation, CCCA’s Seshan’s rule has been implemented in toto!

SC REJECTS SANJAY’S
BAIL APPLICATION

The Supreme Court on 23rd Septem­ber rejected the bail application of Sanjay Dutt in the TADA case. The hearing was completed on 21st when the judges reserved their order. It was pronounced on the morning of 23rd.

YOU ASKED IT

On what basis should star prices be determined?

– Stars should be categorised into three classes – those whose names en­sure a show’s house-full opening, those who ensure a day’s house-full opening, and those ensuring three days’ opening – and their prices determined accordingly. Not to forget those who can gua­rantee no opening – and most of them would fall in this category!

Will more English films be dubbed in Hindi?

– Yes, they are being dubbed.

Is content more important in a film or presentation?

– Content – not necessarily wholly new – coupled with fresh presentation is the best combination.

PRESIDENT WITNESSES ‘HUM AAPKE HAIN KOUN..!’

President Shankar Dayal Sharma and his wife, Smt. Vimla Sharma, witnessed, at a special screening, Hum Aapke Hain Koun..! on 17th September at Rashtrapa­ti Bhavan Cinema Hall. Among the other dignitaries present on the occasion were Shri Shivraj V. Patil, Speaker of Lok Sabha, Smt. Sheila Kaul, union minister of urban deve­lopment, and Kumari Selja, union dy. minister of human resource development.

Shri Rajkumar Barjatya and Shri Ajit Kumar Barjatya along with their family members were present on the occasion. Before the show, the Barjatyas had a small get-together with the President and the First Lady wherein pleasantries were ex­changed and general topics were dis­cussed over tea.

ARREST WARRANT AGAINST FEROZ KHAN SOUGHT

A charge-sheet has been filed in the court of the first class judicial magistrate of Nelamangala, Karnataka against pro­ducer-director-actor Feroz Khan and three others for allegedly assaulting a government servant. A non-bailable warrant against them has been sought, as they are allegedly evading arrest. The incident pertains to August 1991 when a film unit, led by Feroz Khan, entered the Aradinakunte forest area in Nelamangala, near Banga­lore. When the range forest officer, Shiva­putte Gowda, objected to their shooting without permission from the forest autho­rities, Feroz Khan and his unit members allegedly assaulted him.

CONTEMPT OF COURT: IMPRISONMENT ORDERED

A civil judge and munsif magistrate of Jaipur has ordered simple imprisonment of CCCA president Santosh Singh Jain and secretary Shiv Kumar for three months in a contempt of court case filed by Rajas­than distributor Deepak Gupta. The order was pronounced on 16th September. The judge also ordered attachment of property of the CCCA, valued at Rs. 15,000, and issuance of arrest warrants in the names of Jain and Shiv Kumar.

Deepak Gupta had alleged that the CCCA had deregistered Kohraam which stood in his favour and thereafter registered it in favour of another party. Despite court orders, the CCCA failed to register the film again in the name of Deepak Gupta. The CCCA on 28th April, 1994, preferred an appeal against the court or­der and also filed a revision petition, but both were dismissed by different courts. Even after the dismissal, the CCCA re­fused to register the film in Deepak Gup­ta’s favour. The latter then initiated con­tempt of court proceedings.

GULSHAN RAI BETTER

Gulshan Rai, who suffered a paralytic attack on 16th September, is recuperating at Breach Candy hospital, Bombay. His condition is reported to be fine now and he is likely to be discharged from the hos­pital in a couple of days.

DEEPAK BALRAAJ,
KISHORI BLESSED
WITH SON

Producer-director Deepak Balraaj Vij and actress Kishori Vij were blessed with a son on September 16. Kishori delivered the new-born at Holy Spirit Hospital, An­dheri, Bombay.

MADRAS HC CUTS TAX
ON CABLE TV OPERATORS

The Madras High Court on Sept. 19 by an interim order, reduced from 40 to 20 per cent the Tamil Nadu government’s levy of entertainment tax on cable television. Mr. Justice J. Kanakaraj who passed orders on a batch of miscellaneous peti­tions, also reduced the registration fee from Rs. 10,000 to Rs. 5,000, which was sought to be collected from cable television operators (CTVOs).

HARI SHIVDASANI
PASSES AWAY

Veteran actor Hari Shivdasani, father of Babita, passed away in Bombay on Septe­mber 16, after a prolonged illness. He was 85.

Born on December 6, 1909 at Hyde­rabad, Sind, he started his career in films as an actor-producer-director with East­ern Arts in 1932 and produced about a dozen films, including Prem Pariksha, Bharat Ki Beti and Sher Ka Panja. Over a span of 50 years, he acted in over one hundred films, including Raj Kapoor’s Shri 420 and Sangam, and B.R. Chopra’s Waqt and Humraaz.

ANIL KAPOOR AT
PLANET HOLLYWOOD 

Anil Kapoor was in Hong Kong some days ago on a promotional tour for his shows to be held in October and he was overwhelmed by the affection and the enthusiasm with which he was received wherever he went. There was a strong 1942 A Love Story fever all over the place. He received the greatest honour when he was wel­comed at the Planet Hollywood, a uni­que restaurant owned by three leading Hollywood stars – Bruce Willis, Syl­vester Stallone and Arnold Schwarze­negger. Anil presented Planet Holly­wood with one of his costumes from 1942 A Love Story. According to the custom of the restaurant, it will be treasured as a memento from Anil who is the first Indian star to be hon­oured by Planet Hollywood which boasts of memorabilia from some of the greatest living stars of Hollywood today.

N.N. SIPPPY RE-ELECTED
IMPDA PRESIDENT

The newly elected executive committee of IMPDA had its first meeting on September 23 and elected the following office-bearers for 1994-95: N.N. Sippy (president), Indravadan R. Shah (vice president), Kantilal C. Mehta (hon. treasurer), Devendra T. Shah (hon. secretary), and Suraj Prakash Seth (hon. secretary). N.N. Sippy has been elected president for the 10th term.

Earlier, on 21st September, at the elections of the IMPDA held after its annual general meeting at Birla Kreeda Kendra, Chowpatty, Bombay, eleven sit­ting members and one new member were elected to the executive committee in the Ordinary class. Guru Shenoy is the new incumbent who polled 90 votes and was declared elected. Of the sitting members, Ramesh Luthra is not on the committee for the year 1994-95.

Balkrishna Shroff bagged the highest number of votes (130), followed by Dev­endra Shah (127). The others elected in the Ordinary class were: U.A. Thadani (120 votes), N.N. Sippy (119), Haresh Bhatia (113), Kanti Shah (101), Gulshan Rai (98), Vijay Kondke (98), Sharad Doshi (91), Guru Shenoy (90), Ayub Selia (82), and Suraj Prakash (80).

There were no elections in the Asso­ciate class, as there were only as many contestants as seats available. Those re-elected are: Indravadan R. Shah, Mohan Susania and D.Y. Patani. Those who lost the elections (Ordinary class) were: Sanjay Trivedi (60), Nandu Bohra (59), Dilip Dhanwani (59), N.B. Kamath (59), Man­oj Khivasara (55), Abib Zafar (54), Suresh Vora (40), Jayant Acharya (30), Tekchand Anchal (28), Iqbal Singh (21), Shishir Kanakia (20), and Jagdish K. Devnani (19).

A total of 213 votes were polled, of which one was declared invalid. That is to say, there were a total of 212 valid votes cast.

The annual general meeting was a regular affair.

The meeting and elections were follo­wed by cocktails and dinner hosted the same evening at the BCA (Garware Club) at Churchgate, Bombay. The election res­ults were announced prior to that at the venue of elections.

Garma-Garam

** The industry received the news of the Supreme Court rejecting Sanjay Dutt’s bail application, on 23rd Sep­tember with sadness. What next? That’s the question on everybody’s lips.

** Nagarjuna-starrer Hello Brother (in Telugu) has become a hit. David Dhawan has acquired its Hindi re­-making rights and plans to direct it for one of his producers. It is a story of twin brothers, and the remake may star Govinda – in double role, of course!

** N.N. Sippy has decided to postpone the release of his Teesra Kaun? by a few weeks. It was scheduled to hit the screen on Diwali, but it should now come in or around mid-Nov­ember. The music cassettes of the film will be released in the first week of October, and Sippy feels, he should give it (music) at least 7 to 8 weeks to become popular. Two of the four confirmed Diwali releases so far are Suhaag and The Gentleman. Both boast of good music. The ‘Roop suhana lagta hai, chand purana lagta hai’ song of The Gentleman should soon become a hit. There are other lovely songs too in the film. Coming back to Diwali, the other releases, besides the two aforesaid, will be Mr. Azaad and Yaar Gaddar.

** K. C. Bokadia has also postponed the release of Aao Pyar Karen. It was to come on Dassera. It may now be released on 21st October. And the songs of this film are already a rage.

** Talking of popularity of songs, the ‘Amma dekh tera munda bigda jaaye’ number of Stuntman has been a rage for a long time now. Jackie Shroff rarely looks so good in a dance number as in this ‘Amma’ song.

** The Barjatyas may repeat Madhuri Dixit in their next. They have reportedly spoken to Madhuri and booked her dates from December ’95. Which means, a year of planning before the camera rolls.

3-E
Education-Entertainment-Enlightenment

Shock & Surprise

The trade is shocked that Main Khiladi Tu Anari did not take house-full opening all over. The songs had become a rage even before the film’s release and it was well-hyped too. In addition, it stars two hot-shot heroes – Akshay Kumar and Saif Ali Khan. Then why did it not take an impressive start?

The industry is pleasantly surprised at the way HAHK..!  is behaving, creating new records and breaking old ones. Is sky really the limit now?

The Long Wait

The ordinance for reduction of entertainment tax in Maha­rashtra was to have been promulgated, but there is no news so far. Exhibitors are afraid whether their excitement was unfounded. The trade was overjoyed when the Maharashtra chief min­ister announced last week that tax would be reduced to 50% of the nett capacity. There was, and still is, confusion over whether the benefit of tax reduction would have to be passed on to the paying public or not. Wait and watch… but the question is, wait for how long?

A Faith Re-Confirmed

Vijay Kondke, nephew and long-time associate of Dada Kondke, made his debut as a filmmaker not by making a film replete with double-meaning dialogues, like Dada, but by making a clean family drama, Maherchi Saadi (Marathi), which proved to be a super-duper hit. His confidence has dou­bled now with the mind-blowing success of Rajshri’s Hum Aapke Hain Koun..!. He plans to launch his next movie – this time in Hindi – Le Chal Apne Sang, in December. It will be a musical social. Raamlaxman will compose nine songs for the film which will be based on a script by Vijay Kondke himself.

Not Good News For Bad Men?

Raza Murad saw Hum Aapke Hain Koun..! recently at Basant, Chembur (Bombay) and was, obviously, floored by the film. Said he, “I loved the film, though it is dangerous that such films should run. Because, if more of such films start clicking, we villains will be out of job!”

Raza’s Wisecracks

Here are two more from the witty Raza Murad:

“After Baazi, the industry will get one more heroine – Aamir Khan.” Aamir, it is reported, has done a fantastic job as a girl in a song of Baazi.

Raza, who is always there in Salim Akhtar’s films, says, “I am Salim’s Avtar Gill.” Avtar, it may be mentioned here, is invariably there in a Mahesh Bhatt film.

(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.