(From our issue dated 25th June, 1994)

LATEST POSITION

It was a normal week at most of the places. Heavy rains, however, affected collections at some centres.

Aatish has done fantastic in the first week: Bombay 27,66,455 (92.77%) from 21 cinemas (11 on F.H.); Ahmedabad 6 days 6,68,285 from 7 cinemas, Surat 1,18,000 (100%), Baroda 2,34,335 (88.99%) from 2 cinemas, Rajkot 1,78,311 from 3 cinemas (1 in matinee); Pune 6,15,859 from 6 cinemas, Solapur 61,870 (100%), Nasik 84,190, record, Nasik Road 80,229; Hubli 1,14,039 (93.62%) from 3 cinemas, Belgaum 1,13,150 (86.15%) from 2 cinemas; Delhi 27,35,167 (90.16%) from 13 cinemas; Lucknow 2,12,144 (100%), Meerut 2,10,696 from 2 cinemas, Bareilly 80,727 (85.92%), Dehradun 81,113; Chandigarh 1,40,000; Calcutta 18,51,509 (87.80%) from 24 cinemas; Nagpur 5,51,420 from 6 cinemas, Jabalpur 1,75,105 from 2 cinemas, Amravati 1,56,866 from 2 cinemas, Akola 1,14,603, Raipur 1,32,563 (67.88%) from 2 cinemas, Bhilai 1,40,690 from 2 cinemas, Jalgaon 1,23,223 from 2 cine­mas, Yavatmal (30 shows) 94,769 (gross), Bilaspur 1,11,442; Indore 2,38,073 from 3 cinemas (4 cinemas on F.H.), Bhopal 2,87,240 from 3 cinemas; Jaipur 6,65,361 from 5 cinemas, Jodhpur (gross) 3,80,000; Hyderabad 21,51,906 from 15 cinemas (2 cinemas for 6 days), share 10,50,906, ex­cellent.

……

DO YOU KNOW?

* AATISH has created a record by collecting 1,15,209/- (against a capa­city of 1,25,521/-; 91.78%) in 1st week at Sadhana, Baroda.

* AATISH has created a record by collecting 84,190/- in 1st week at Ashok, Nasik.

* AATISH has created a theatre re­cord by collecting 94,769/- (gross) in 1st week (30 shows) at Apsara, Yeot­mal. 2nd week 1st day: 6,227/-

* ANTH has given a handsome share of 1,02,000/- in 2 weeks from Vasant, Akola.

* RAJA BABU has created a record by collecting 68,000/- in 1st week at Dreamland, Bijapur, in spite of Moharram.

* HUM HAIN RAHI PYAR KE has created a city record for second-run films by collecting 41,730/- in a week (24 shows) at Talreja, Parbhani.

* POTLATCH (E.) has drawn all shows full in 1st week at Radha, Akola.

YOU ASKED IT

A non-star-cast film has been acquired by my friend for the South circuit. Will the producer release the film in the South, without releasing it in other circuits sim­ultaneously?

– Producers generally prefer to release their film in at least one or two major territories first. If the film does­n’t find buyers, he may contemplate releasing it in the South only.

What is the reason for distributors pay­ing fancy prices for 1942 A Love Story?

– The price is being paid without seeing the film and the main reason for it is the ‘Ek ladki ko dekha’ song. This song has generated unprecedented craze and can be expected to ensure a bumper opening to the film when released.

Is Twinkle Khanna under a contract with Dharmendra as regards her first rel­ease?

– Twinkle is free to have any film as her premiere release after 31st Octo­ber, ’94.

NITIN MANMOHAN HOSPITALISED

Producer Nitin Manmohan had to be hospitalised on 21st June following a sud­den ailment. He is better now and has been advised complete rest.

IMPPA GENERAL MEETING ON 11TH JULY

An extraordinary general meeting of the IMPPA will be held on 11th July at ISKCON, Juhu, Bombay, to consider proposed amendments to the Articles of Association of the IMPPA. The amendments, inter alia, provide for election of 17 Ordinary class members instead of 16 at present. It is also proposed to expressly provide that additional members (not exceeding two), appointed by the executive committee from Ordinary class in special cases, will not have any voting power.

RAMRAO ADIK’S REMARKS IRK INDUSTRY:
IFFI BOYCOTT ON THE CARDS?

The film industry has almost decided to boycott the International Film Festival of India 1995, scheduled to be held in Bombay. This follows the remarks made by Maharashtra finance minister Ramrao Adik at the meeting of the various state ministers with representatives of the film industry on 24th June at Vigyan Bhavan in Delhi. The meeting had been fixed to discuss, among other things, the issue of entertainment tax. The various state sec­retaries had, a while ago, opined that the industry needed to be given relief in entertainment tax.

While most of the ministers were sym­pathetic to the demand of the film industry, Ramrao Adik is reported to have taken a contrary stand. He criticised the industry and its people and said, it did not deserve any relief. This, obviously, irked the industry representatives present at the meeting which was inaugurated by prime minister P.V. Narasimha Rao. Deputy chairman of the Planning Commission, Pranab Mukherjee, was present at the meeting.

The Madhya Pradesh chief minister announced at the meeting that he would grant 100% tax exemption to films shot in his state.

Earlier, while inaugurating the 21st conference of state ministers of information and cinematography, Narasimha Rao said that the film industry would have to impose self-regulation to check increasing obscenity and violence in films, fail­ing which the government would have to resort to other measures. Referring to complaints of high entertainment tax in some states, he said, the states were req­uired to augment their resources. He also added that the problem could be looked at in all its dimensions.

JAVED RIAZ DEAD

Producer Javed Riaz died on 20th June at Hinduja Hospital. He had been shot at by unknown assailants two weeks back at Versova and succumbed to his injuries on 20th.

Javed Riaz had produced two films, Jaan Ki Kasam and Yudhpath. He was currently producing Tu Vish Main Amrit.

ORIYA PRODUCER DEAD

Oriya filmmaker Subhas Mishra died after a cardiac arrest on June 17 at Cut­tack. He was awarded the Silver Lotus for his film, Swandana, in 1983.

MAHARASHTRA STATE POLICY ON WOMEN

Vice president K.R. Narayanan ann­ounced on June 22 the policy of the Maharashtra government on women for their overall development. The 29-point policy includes a demand from the Central gov­ernment to amend the Cinematograph Act to check atrocities on women in films, to issue clear censor guidelines, to give 50% representation to women on the CBFC and to allot a minimum of 36 hours on TV for programmes concerning women’s problems.

I-T AMENDMENT COVERS CINEMA BUSINESS? 

The Income-Tax Act has been amended with effect from 1st June, ’94 to provide for tax deduction at source (TDS) at the rate of 20% from rent payments of all kinds if the annual rent payable is more than Rs.1,20,000.

The new section, 194-I, of the I-T Act makes it obligatory for a person (other than an individual and HUF) paying rent, to deduct tax at source.

This section is likely to affect cinema business as cinemas screen films on rental basis. Third parties also take over control of cinemas on rental basis. Opinion is divided on whether the section covers cinema business at all.

ATMARAM NO MORE

Producer-director Atmaram breathed his last on 24th June in Bombay. He was 63 and had not been keeping well since a couple of years. He is survived by his wife and a daughter, besides two brothers, Vijay and producer Devi Dutt. Late Guru Dutt was also Atmaram’s brother.

Atmaram had just completed a 6-day shooting stint of a TV serial, Bhai Hum­ne To Suna Hai, which he was making for the Junior Artistes’ Retirement Fund. He had been shooting at home for the serial, giving instructions from his bed as he had been advised rest. He packed up around 8.30 p.m. on 24th. He felt uneasy at 11 p.m. and was rushed to Arogya Nid­hi Hospital where he was pronounced dead due to cardiac arrest.

Atmaram had produced and directed seven films under his banner of Atmaram Films. They were Kaise Kahun, Shikar, Chanda Bijlee, Umang, Yeh Gulistan Hamara, Aarop and Qaid. He had also directed Resham Ki Dori and Yaar Mera for outside banners.

Atmaram had recently also made a serial, Vividha, for Doordarshan. He had given up making films since many years.

He was actively involved in the Asso­ciation work of the industry, having re­mained on the executive committees of the Guild, Association of Motion Pictures Studios etc. He was a partner in Natraj Studios. Atmaram did a great deal for the economic upliftment of junior artistes.

His funeral took place this morning (25th June).

L.V. PRASAD NO MORE

An Institution Passes Away

Veteran producer-director L.V. Prasad died in Madras on the afternoon of 22nd June due to a respiratory ailment. He had been ailing for some years. He was 87 and is surviv­ed by his son, Ramesh, and a daughter.

An institution in himself, L.V. Prasad was a doyen of the Indian film industry. He made a number of films in Hindi, Tamil and Telugu. He also acted in several films and had the dis­tinction of working in the first talkie films in Hindi (Alam Ara), Tamil (Kalidas) and Telugu (Bhaktha Prahlada). He had left acting years ago but made an exception in the eighties for Kamal Haasan’s Tamil film, Raja Parvai, in which he played a key role.

The famous Prasad Laboratory and Prasad Studios in Madras were L.V. Prasad’s creation. The biggest 70mm dubbing theatre is also housed in Pras­ad Lab. He had also set up the L.V. Prasad Eye Institute in Hyderabad.

Akkineni Lakshmi Vara Prasad Rao had no proper formal education in his village in Andhra Pradesh. He quit school because he was fascinated by cinema.

His stint with the celluloid world started when he got a job of an errand boy for Venus Film Company. He had also done the job of a gate-keeper. He did bit roles in Tamil and Telugu films before he came to Bombay and joined Prithvi Theatres in 1946.

Besides directing Tamil and Telugu films like Grihapravesham, Drohi, Mana Desam, Shavukar, Samsar­am and others, L.V. Prasad also made a number of hits in Hindi. In fact, he was adept at remaking South language hits into Hindi. Among the hits made by him were Sharda, Milan, Sasural, Chhoti Bahen, Dadi Maa, Beti Bete, Jeene Ki Raah and Ek Duuje Ke Liye. He had also made Jay Vij­ay, Mere Ghar Mere Bachchey and Shaadi Ke Baad. Naag Panchami, which is the latest blockbuster of Bengali cinema, is also made under the banner of Prasad Productions (P.) Ltd. He directed a total of 60 films. His banner has produced 50 films.

Prasad-ji was a much revered man in the industry and a father figure. He was a multifaceted personality and a genius in the true sense of the word. He made a humble beginning but rose to dizzy heights by sheer dint of hard work and intelligence. In 1982, he received the Dadasaheb Phalke award for his outstanding contribution to In­dian cinema. He also bagged the Ud­yog Patra award from the president of India in 1980. L.V. Prasad had been president of the South Indian Film Chamber of Commerce. The office of the Chamber remained closed on 23rd June as a mark of respect.

Garma-Garam

** After the resounding success of Khal-nayak in the Overseas, the craze for Subhash Ghai’s Trimurti there is unprecedented. Ghai has offers of unimaginable prices for the film’s Overseas rights, but he is not in a hurry to finalise the deal.

** More and more exhibitors are showing interest in installing the Dolby Stereo sound system in their cinemas. With Hum Aapke Hain Koun..! and 1942 A Love Story releases round the corner, the number of cinemas that’ve installed the sound system and those that’re in the process of installing it is in­creasing week by week – sorry, now it is, day by day. To the list printed in our issue last week can be added the names of the following cinemas which have placed the orders for the sound system: (1) Raj Mandir, Jai­pur, (2) Maheshwari, Hyderabad, (3) Vasant, Akola, (4) Sujata, Ran­chi, (5) Rajkamal, Mysore, (6) San­gam, Mysore, (7), Taksal, Varanasi, (8) Satyam, Delhi, (9) Sapna, Delhi, and (10) Manjushri, Kanpur. By August, there should be about 75 to 80 cinemas with this sound system. In the coming months, at least three films are sure to be made in Dolby sound system – Trimurti, Prem and Ram Shastra. Their number will also increase.

** There’s a laboratory in Bombay that charges producers for liquid-gate printing although it also has one dry-gate high-speed machine for which the charges are lower. As a smart Alec remarked, “What does this lab do? Processing and duping!” Note the pun in ‘duping’.

** The industry is pleading for abolition of entertainment tax. But why doesn’t someone challenge the very basis of the tax, in court? And its relevance when there’s no tax on films shown on Doordarshan and satellite channels? We may succeed in the court. Who knows?

** There’s news from Ahmedabad’s Drive In that the audience goes ber­serk when the trailer of Mohrais screened. At Navsari, the excited cinegoers are showering coins on the screen in appreciation of the trailer. This is mast mast reaction, indeed!

3-E
Education-Entertainment-Englightenment

Great Hopes

Hopes are soaring high. After the fantastic initial that Aatish commanded, the trade is hopeful of bumper openings to Mohra and 1942 A Love Story. Both the forthcoming releases have, among other things, at least one song each, which has become a rage.

Another Song Too

That there was objection from the CBFC to the ‘Raat saiyan ne aisi bowling kari’ song of Vijaypath is well-known. Not so well-known is that the censors also objected to some parts of the picturisation of the ‘Ruk ruk ruk, arre baba ruk’ song. Reportedly, the objection stemmed from the showing of nuns and saints in the song. The Time people (producers) have since reshot the relevant portions.

Sippys’ ‘Bible’

It shouldn’t be one bit of a surprise if N.N. Sippy comp­letes his Teesra Kaun? by August, as scheduled. It was started on 16th June, and a non-stop shooting spell is to start before the month draws to a close, in Madras and Ooty. The entire script is ready and is on the sets in a bound book form. It is referred to (jocularly, of course) by the unit members as the Bible and when associate producers Pravesh Sippy and Prem Pillai proudly show you the bound script, they say, “Look, we have what hardly anybody would have before their film rolls and many wouldn’t even have after the film is complete – a complete script.” As the title suggests, Teesra Kaun? is a suspense drama. It stars, among others, Mithun Chakraborty, Chunkey Panday (whose costumes in the film are chic), Somy Ali, newfind Rituparna, Philips Top 10 Shah (that’s Satish Shah) and Rakesh Bedi. Somy Ali should thank K.C. Bokadia for Teesra Kaun? because it is after seeing a very sexy song of Bokadia’s Aao Pyar Karen that Sippy signed Somy. Information has also seen that song (‘Ooui maa, yeh kya ho gaya’) and Somy deserves distinction marks for her uninhibitedness and free performance. And so does writer K.K. Singh for his new style of working. Incidentally, Singh is off drinks.

Sharing Switzerland

Switzerland had become a meeting ground for producers of Sunny Deol starrers recently. Sajid Nadiadwala shot his Jeet for 15 days there. Besides Jeet, the two other Sunny starrers which were shot in Switzerland were Suneil Dar­shan’s Ajay and Anand Mama’s Himmat. And this was no coincidence. It was planned like that by Sunny. In the bar­gain, several costs got divided between three producers.

Chain Reaction

Raaj Kumar, who had been signed to act in an untitled maiden venture of Pitra Chhaya Productions (director Raj Sippy), has walked out of the project. It is whispered that the other hero, Rishi Kapoor, too, will not be working in the film since Rishi had signed the film mainly because it would give him a chance to work with Raaj Kumar.

(From our issue dated 18th June, 1994)

DO YOU KNOW?

* Meenakshi Enterprises, the Rajas­than distributors of AATISH, have paid Rs. 1 lakh towards advance overflow to producer G.P. Sippy.

* Asha Bhosle, who dubbed the title song of Major Ashok Kaul’s PAR­AM VIR CHAKRA on 15th June at Sunny Super Sounds, felt that the song was fantastic and would be an immortal one. Incidentally, a total of 10 top singers have lent their voices to the eight songs in the film.

* Anupam Kher and his secretary-brother, Raju, are acting together in a film for the first time. But they are not brothers in the film. They play enemies. The film in question is Avtar Bhogal and Zee’s Dil KA DOCTOR.

* TEJASVINI (tax-free) has created a district record by collecting 41,014/- (against a capacity of 42,827/-) in 1st week (29 shows) at Prabhat, Gondia. 28 shows were full.

* JURASSIC PARK has created a theatre record by collecting a total of 1,38,586/- in 9 weeks (60 shows) at Galaxy, Jamnagar.

* JURASSIC PARK (tax-free) has created a city record by collecting 32,608/- in 2nd week at Shree Mama­ji, Bhusawal.

* HUM HAIN RAHI PYAR KE has created a city record for repeat-run films by collecting 10,010/- on the opening day at Talreja Chitra Mandir, Parbhani. Better than JURASSIC PARK and YEH DILLAGI.

YOU ASKED IT

Why are trial reports of so many films “fantastic” even though they bomb when released?

– Trial reports are often reports of the connected people.

Why are top South stars paid so heavily for South language films while Hindi film artistes don’t command such prices in spite of the fact that Hindi films have a much wider market?

– Top South stars do a limited num­ber of films at any given time unlike many of the Hindi film stars. Secondly, in the South, the top actors/actresses are almost worshipped (and so are some directors) and they have immense fan following. Besides, the business of South hits often crosses 2 crore, a figure not many Hindi films touch.

If big industrial houses like Tata, Birla etc., were to enter Hindi film production, what changes could be expected in the filmworld?

– Maybe, Tatas and Birlas would change – they’d become indisciplined, filmy and what not!

DISCUSSION ON ENT. TAX ON 24TH

A meeting of the film industry with information ministers of all the states will be held in Delhi on 24th June. The ques­tion of entertainment tax will be discuss­ed at the meeting.

Before this, the industry leaders will meet under the aegis of the FFI in Madras on June 20 and 21.

I & B SECRETARY CRITICAL OF
VULGARITY IN FILMS

Film censorship is likely to become stricter. I & B ministry secretary Bhaskar Ghose is reported to have told members of the CFBC at a meeting addressed by him in Madras on 9th June to follow the censorship guidelines strictly and if they were not able to do so, to quit. He also said that he would hold the members of the Board responsible in the event of complaints regarding violence and sex in films.

Filmmakers and prominent film per­sonalities also participated in the meeting and revealed that Mr. Ghose was critical of members of the CBFC and some money-minded film producers whom he held responsible for depiction of sex and violence in films. He made specific reference to obscene songs and dances.

BOMBAY LAB STOPS PROCESSING WORK

Bombay Laboratories has stopped its processing department. Editing and rec­ording facilities are on and will continue to remain so.

‘LAADLA’ CELEBRATES 50 DAYS AT HANUMANGARH

Laadla completed 50 days of its run at Shiv Mandir cinema, Hanumangarh Junction (Rajasthan) on 10th June. Sweets were distributed among all the patrons who saw the film on the 50th day. A lucky draw was also held on that day.

SUBHASH GHAI DEFIES FMC
DIRECTIVE SHOOTS WITH SANJAY

Sanjay Dutt has participated in the shooting of Subhash Ghai’s Trimurti in direct violation of the FMC directive that Ghai cannot shoot with Sanjay as, according to it, films of other produ­cers are in the queue for clearance be­fore Trimurti.

A meeting of the FMC was held this week where Ghai’s representative confirmed that they had started shooting with Dutt as their set couldn’t wait any longer and Sanjay’s non-participation was entailing them heavy losses.

The FMC has taken a serious view of the violation by Subhash Ghai. A meeting of the governing council of the FMC was called earlier this week to decide on the action to be taken, but the meeting had to be adjourned as most of the members could not attend.

According to FMC spokesman K.D. Shorey, “The FMC had sent a telegram to Ghai on 11th May in reply to his req­uest for permission to shoot with San­jay Dutt, informing him that it was not possible to grant him permission and that disciplinary action would be taken against him if he flouted the FMC dir­ective. In spite of that, Ghai has chosen to shoot with Sanjay. The real strength of any association lies in the conscien­ce of its own members.”

‘Suhag’ 80% Complete

Shweta International’s Suhag was shot in a 40-day schedule at Khalsa College, Wilson College, Kamaal Am­rohi Studios, Film City, Juhu Scheme, R.K. Studios and other locales of Bom­bay. The film is now 80% complete. It stars Ajay Devgan, Akshay Kumar, Karisma Kapoor, Naghma, Aroona Irani, Dalip Tahhil, Adi Irani, Tiku Tal­sania, Brij Gopal, Gufi Paintal, master Ateet, Sunil Dhawan and Suresh Ober­oi. It is being jointly produced by Bal­raj Irani and Anil Sharma, and directed by Kuku Kohli. Music: Anand Milind. Lyrics: Sameer. Story advisor: Nausher Khatau. Screenplay: Honey Irani.

‘Raja’ 20-Day Spell

A 20-day marathon shooting schedule of Maruti International’s Raja will begin on sets and locations in Bombay from June 21. Sanjay Kapoor, Madhuri Dixit, Paresh Rawal, Mukesh Khanna, Dalip Tahhil, Reeta Bhaduri, Himani Shivpuri, Mushtaq Khan and Adi Irani will participate. The film is being dir­ected by Indra Kumar who also produ­ces it jointly with Ashok Thakeria. Music is scored by Nadeem Shravan. Lyrics: Sameer. Dances: Saroj Khan. Dia­logues: Tanveer Khan. Cinemato­gra­phy: Baba Azmi. Art: Bijon Das­gupta. Action: Amin Gani.

‘Akele Hum Akele Tum’ Marathon Spell Complete

United Seven Combines’ Akele Hum Akele Tum was shot in a 35-day schedule till June 15 at Famous Studios. Director Mansoor Khan picturi­sed two songs and scenes on Aamir Khan, Manisha Koirala, Tanvi Azmi, master Adil Baker, Neeraj Vora and a dog. Produced by Ratan Jain, the film also stars Deven Varma, Shafi Inam­dar, Satish Shah, Dinesh Hingoo, Har­ish Patel, Yunus Parwaiz, Anjan Sri­vastava, Mushtaq Khan, Veeru Krish­nan, Rohini Hattangady, Navnit Nish­an, Suresh Bhagwat and Paresh Rawal. Music: Anu Malik. Lyrics: Majrooh Sultanpuri. Story-screenplay: Mansoor Khan. Dialogues: Nasir Husain.

Madan Mohla Launches ‘Chhupa Rustom’

The muhurt of Seven Arts Pictures’ Prod. No. 7., titled Chhupa Rustom, was performed on June 16 at Hermes Villa. CCCA president Santosh Singh Jain performed the coconut-breaking ceremony, Mohan Segal switched on the camera, and Subhash Ghai sounded the clapper-board. Shakti Samanta dir­ected the muhurt shot taken on Sanjay Kapoor, Manisha Koirala and Mamta Kulkarni. The muhurt is being follow­ed by a 10-day schedule. Being produ­ced by Madan Mohla and directed by Aziz Sejawal, the film has music by Anand Milind and lyrics by Anand Bakshi. Story-screenplay: Rajiv Kaul and Praful Parekh. Cinematography: Kamlakar Rao. Choreography: Saroj Khan. Audiography: Venugopal. Other cast: Raj Babbar, Neena Gupta, Dalip Tahhil, Tinnu Anand, Johny Lever, Vishwajeet Pradhan, Satyen Kappu, Avtar Gill and Dinesh Hingoo.

The muhurt was graced by prominent film and trade personalities inclu­ding Sultan Ahmed, Surinder Kapoor, Boney Kapoor, N. Chandra, Harmesh Malhotra, Pahlaj Nihalani, Satyen Pal Chaudhary, Ramesh Sippy (B.R.A. Corporation), Bharatbhai Shah, Pranlal Mehta, Dharam Pal Arora, Arjun Lulla, Naraindas Mukhija, Satish Kaushik, Indra Kumar.

‘Raja Hindustani’ In Mysore, Ooty

Cineyug’s Raja Hindustani is being shot in a month-long schedule in Ban­galore, Mysore and Ooty. Director and story-writer Dharmesh Darshan is pic­turising four songs and scenes. Aamir Khan, Karisma Kapoor, Suresh Obe­roi, Johny Lever, Navnit Nishan, Fari­da Jalal, Tiku Talsania, Pramod Mou­tho, Archna Pooran Singh, Veeru Krishnan, master Kunal Kemmu, Mohnish Bahl, fighters, junior artistes and dancers are participating. The film is being produced by Karim Morani, Bunty Soorma and Aly Morani. Music: Nadeem Shravan. Lyrics: Sameer. Screenplay-dialogues: Robin Bhatt and Javed Siddique. Action: Tinnu Verma. Dances: Raju Khan. Art: R. Verman. Tips presents the film.

15-day Schedule For ‘Karan Arjun’

Film Kraft’s Karan Arjun will be shot in a 15-day schedule from June 22 at Mehboob Studios. All the artistes will participate. It stars Raakhee, Sal­man Khan, Shah Rukh Khan, Mamta Kulkarni, Kajol, Ranjeet, Arjun, Asif Sheikh, Jack Gaud, Ashok Saraf, Joh­ny Lever, Dinesh Hingoo, Suresh Chatwal and Amrish Puri. It is being pro­duced and directed by Rakesh Roshan. Music is scored by Rajesh Roshan. Lyrics: Indivar. Dialogues: Anwar Khan. Photography: Kaka Thakur. Editing: Sanjay Verma. Art: R. Ver­man. Dances: Chinni Prakash. Action: Bhiku Verma.

Naseer, Anupam, Ramya In Robin Bhatt’s Film

Ramya Krishnan, Naseeruddin Shah and Anupam Kher have been signed for Bhatt Production’s Prod. No. 1. The film stars Shah Rukh Khan and Pooja Bhatt in the lead. Producers: Ro­bin Bhatt and Viral Lakhia. Director: Mahesh Bhatt. Music: Anu Malik. Lyrics: Neeraj and Nida Fazli. The film’s second shooting schedule will com­mence in the first week of July.

‘Tu Chor Main Sipahi’ Launched

Producer Namrata Dehal launched her maiden venture, Tu Chor Main Sipahi, to be directed by Guddu Dhan­oa, on June 15 with a song recording at Sahara. The song, penned by Anand Bakshi and tuned by Dilip Sen Sameer Sen, was rendered by Kumar Sanu, Alka Yagnik and chorus. Starring Ak­shay Kumar, Saif Ali Khan, Tabu and one more heroine, the film has story-screenplay by Henry Robin and dialog­ues by Rumi Jaffrey. Cinematography: Sripad Natu. Editing: V.N. Mayekar. Action: Raam Shetty. Audiography: Venugopal.

Meanwhile, Anupam Kher has been signed to play an important role in the film being made under the banner of Pooja Arts.

‘Krantiveer’ Copy Out

The first copy of Mehul Movies P. Ltd.’s Krantiveer came out on June 15 at Adlabs. A Dinesh Gandhi pre­sentation, it is produced and directed by Mehul Kumar and stars Nana Pate­kar, Dimple Kapadia, Atul Agnihotri, Mamta Kulkarni, Paresh Rawal and Danny. The film is scheduled for rel­ease on July 15 all over.

3-E
Education-Entertainment-Englightenment

Raamlaxman, Tera Song Deewana

In Maine Pyar Kiya, it was the ‘Dil deewana’ and ‘Kabu­tar ja ja ja’ songs which made the audience deewanee. And now, in Hum Aapke Hain Koun..!, the ‘Didi tera devar deewana’ song has begun to drive the listeners deewana. The song is fast gaining in popularity and is a favourite of the young and old alike. Besides this song, there are several others (‘Samdhi-samdhan’, ‘Dhik tana dhik tana’ and ‘Wah wah Ramji’) which are very tuneful (Raamlaxman).

Confidence…. Barjatya Style

It may sound unbelievable but it’s true. The Barjatyas are so very confident of the super-success of their Hum Aapke Hain Koun..! that they’ve made provisions for its run for not weeks but years! Their contract with Liberty, the main cinema of Bombay where HAHK..! is booked, provides for an increase of 8% in theatre rental every year. That is to say, according to the relevant clause, the cinemas will charge 8% extra rental in the second year of screening of HAHK..!, 16% extra in the third year…… What do you call that? Super-confidence!

Strict, Very Strict

Producers, take care. The CBFC is going to become strict as never before. If the rumblings in the Bombay regional office of the CBFC are any indication, censorship guidelines will now be strictly followed. Sex and violence in films will be viewed with a hawk’s eye. According to regional officer A. Rama­krishnan, although the guidelines are the same as they were earlier, their implementation will be complete. “Earlier, we used to give producers the benefit of doubt and clear many things (with alterations) on humanitarian grounds. But it won’t be the same now,” he cautioned, adding,” The censors have been given a lot of power now.” Steps have also been taken to check interpolation in foreign films imported in India. It is re­ported that the customs authorities are being approached so that prints of foreign films are sent straight to the CBFC instead of the importer. Laboratories are also being asked to use caution.

“NIMPA Not To Blame”: Dharam Pal Arora

With the Supreme Court having dismissed distributor Anil Kapoor’s writ petition for the registration of Jurassic Park (dubbed) in NIMPA, its release in East Punjab circuit is also uncertain as was a month ago. NIMPA president Dharam Pal Arora told Information, “You (Information) have been wrongly putting the blame on the Association’s office-bearers or so-called vested interests. The NIMPA had, as far back as in 1990, passed a resolution that it would not register dubbed films because at that time, dubbed films were usually sexy films and their distributors used to interpolate scenes and make a quick buck at the cost of Hindi films. Since it was a general resolution for all dubbed films, the Association could not, obviously, register Jurassic Park too, although it had nothing to do with sex. Rather than approaching the Association, Anil Kapoor chose to go to court directly. He may have succeeded in the high court but the Supreme Court chided him.” The NIMPA president added, “Association matters must be settled in an atmosphere of friendship and trust. Had Anil Kapoor app­roached NIMPA, his film would have been registered long back.” Dharam Pal Arora also clarified that no pressure had been brought on any exhibitor, whether of Ludhiana or otherwise, to refrain from screening Jurassic Park after the Punjab and Haryana high court’s order and before the Supreme Court’s order.

A Bargain

Venus has struck a very good deal with producer Mukesh Udeshi who is currently making S.P. Parshuram in Telugu. Reportedly, a song in S.P. Parshuram has a tune copied from the ‘Oh Baba kiss me’ song of Venus’ Miss 420. This enraged the Venus people who contemplated taking legal action against Udeshi. A compromise was reached at, whereby it was agreed that the music rights of Udeshi’s Prod. No. 2 (under the same banner, Sai Charan Combines) in whatever language made, would be entrusted to Venus at a price equivalent to the cost of song recordings only. That’s a bargain, indeed!

Fast-Paced!

A producer, often referred to as a factory of film production, is indeed as ‘fast’ as a machine in a factory. Recently, he app­roached a top young star to sign him for one of his many films. When the star asked what the story would be, the producer is said to have narrated him two subjects. And for that, he took just three minutes! Phew! even a machine would feel ashamed of itself. As for the star, don’t ask what he felt!

Unusual Subject

Rakesh Roshan has tackled quite an unusual subject (of reincarnation) in his latest project, Karan Arjun. One had an opportunity to see the rushes of almost three-fourths of the film. What strikes the attention, besides the subject, are the performances of Raakhee, Salman Khan and Shah Rukh Khan, the picturesque Rajasthan locales (and it is not the desert sand), Kaka Thakur’s camerawork, and Rajesh Roshan’s music. Rak­esh Roshan has handled the subject with conviction.

Ek Duuje Ke Liye

Remember the terrible fight-in-print between Pahlaj Niha­lani and Govinda? All the film glossies in town must’ve writ­ten about the tamasha dialogues and names the two called each other. After that, the two patched up their differences and became friends again. All that is old story. The latest is that Pahlaj will be making another film with Govinda. It will be directed by – yes, you’ve guessed it – David Dhawan.

Collections Versus Capacity

A cinema in a suburb (Juhu) of Bombay has a weekly capacity of over a lakh of rupees. Its average collections are Rs. 5 to 6 thousand – per week, not per day! In spite of such dismal collections, the exhibitor has hiked admission rates recently. What is the logic of the exhibitor’s action? Your guess is as good as ours.

(From Our Issue Dated 11^th June, 1994

ANTH

Ashok Honda Productions’ Anth (A) is the story of a young guy who vows to wipe off all evil. His sister is raped and murdered, her financé, tortured to death, his brother and sister-in-law are killed and these incidents only serve to make him more adamant about fulfilling his mission which he finally does. The underworld don, his wicked son and a corrupt police officer are killed by him one by one.

Action (Ravi Dewan) is the film’s mainstay. Not only is there plenty of it, it is also very effective and beautifully shot. The hero himself performing the dare-devil stunts further serves to accentuate the impact. But the violence may not be palatable to the ladies audience. The first half is fast-paced while the second half has some dull moments, when the characters start sermonising. The climax, again, is full of action and extremely effective. There is an under-current of emotions coupled with action, which makes the proceedings touch the heart. Comedy is missing. Dialogues are natural and witty.

Sunil Shetty gets distinction marks for a performance that will be hailed by the masses. He is truly brilliant in action scenes and also acts well. Somy Ali is alright in her maiden film. She exposes uninhibitedly in the rain song. Paresh Rawal, as the don, is natural to the core and plays to the gallery. Deepak Shirke is very effective. Makrand Deshpande’s performance is wonderful. Mohan Joshi acts with the right amount of restraint. Achyut Potdar stands out in the single scene of his. Aloknath does a good job. Vijayendra Ghatge, Neena Gupta, Vinay Sapru, Farida, Reeta Bhad­ uri, Anil Nagrath and the rest lend able support.

Director Sanjay Khanna does a very good job and impresses in his debut-making attempt. His shot compositions are worth a mention. Editing (Ashok Honda) is very effective. ‘Aa ja jaane ja’ is a well-tuned (Anand Milind) song and has been sexily picturised. ‘Jaane ja dil na jala’ is also good. Camerawork (Najeeb Khan) is eye-pleasing. Production values are ade­ quate.

On the whole, Anth has superb action for the masses and a fantastic initial draw to prove an overflow film.

Released on 10-6-’94 at Minerva and 26 other cinemas of Bombay thru Kanak Films. Publicity: excellent. Opening: very good. …….Also released all over. Opening was wonderful everywhere. 1st day In­ dore 70,000/- from 4 cinemas.

JAI-KISHEN

Shalimar International’s Jai-Kishen (UA) is one more vendetta tale with act­ ion as the main attraction. A pair of twin brothers, of whom one is blind, avenges the murder of their father. Although the drama is predictable, the blind brother’s action feats are wonderful and will go down well with the masses. The tracks of romance, emotion and comedy have not been developed to the desired level. Dia­ logues are commonplace.

Akshay Kumar shines in action scenes. Some of his stunts are clapworthy. Aye­sha Julka does a fair job. Chandni is so-so; she has shed weight and looks quite good. Reema is alright. Tinnu Anand, Mahavir Shah, Deepak Shirke and Harish Patel come up with average performances. Aroon Bakshi, Avtar Gill, Vikas Anand, Viju Khote, Ram Sethi, Yunus Perwaiz, Sargam and the others lend the desired support.

Direction is so-so. Of the songs, ‘Jhule Jhulelal’ is a hit. ‘Yeh mausam’ is also very appealing. Camerawork is okay. Other technical values are quite good.

On the whole, Jai-Kishen has good action, a very reasonable price and good initial value (thanks, perhaps, to the ‘Jhule Jhulelal’ song, and its release after a month of ‘no-releases’) to surpass the average mark.

Released on 10-6-’94 at Naaz and 16 other cinemas of Bombay thru Mahalak­ shmi Films Distributors. Publicity: very good. Opening: good. ……Also released all over. Opening was impressive everywhere.

DO YOU KNOW?

* SAAJAN KA GHAR has created a record by collecting 85,587/- (gross) in 1st week and 72,500/- (gross) in 2nd week at Kohinoor, Patan (Guja­ rat). It is running in 3rd week.

* DILWALE has created a city record by collecting 49,402/- in 1st week at Shree, Kamptee. 2nd week first day: 6,473/-.

* HUM HAI RAHI PYAR KE (TF) has created a record for repeat-run films by collecting 59,299/- in a week’s run at Gitanjali, Nagpur. This is the highest collection of a repeat-run film in the 14 years’ history of the cinema.

* WAQT HAMARA HAI is doing good business at Ramavtar Talkies, Nagar (Bharatpur, Rajasthan), in spite of opposition of SAUDAGAR. It collected 3,165/- in one day.

* SHOLA AUR SHABNAM (r.r.) has created a record by collecting 53,523/- in 1 week at Rupam, Surat and 95,539/- at Vaishali, Surat.

* BOBBY (r.r.) has created a record by collecting 62,430/- in 1 week at Ajan­ ta, Surat.

* JURASSIC PARK (tax-free) has broken all records of last 15 years at Anuradha, Nasik Road, by collecting 46,150/- in 8th week.

YOU ASKED IT

Instead of asking for a ban on dubbed foreign films, why don’t our producers also produce films like Jurassic Park with novel elements?

– They are asking for a ban as they are afraid that the flood of foreign (dubbed) films may ruin the Indian film industry.

When the film channel of STAR TV will only screen old films – five years and over – how will it affect the business of producers and music companies, as fear­ ed by them?

– Any form of film-based entertainment channel would affect film and music business.

How much business has Tirangaa done in Bombay.

– Over 1.5 crore!

CONTEMPT OF COURT

Nilesh Patel and Alan Cordery of Celebrity Promotions International Ltd. will probably face contempt of court charges in London for allegedly continuing to use photographs of Sridevi and Anupam Kher from Saawan Kumar’s Chaand Kaa Tukdaa even after the court granted an injunction in favour of Saawan Kumar, ordering Celebrity Pro­ motions to stop using the photograph in the publicities of their show which was held in London on 4th June.

BOMBAY LAB CLOSING DOWN

Bombay Film Laboratories is in the process of downing its shutters, it is learnt.

WOMEN ORGANISATIONS DEMAND REPRESENTATION IN CBFC

Some women organisations of Madras submitted a memorandum to the Central Board of Film Certification (CBFC), pro­ testing against certifying the film Veera (Tamil), which allegedly legitimises bi­ gamy. They urged the Board to remove all those portions of the film which “port­ ray, recognise and legitimise bigamy”. The organisations feel that by passing such scenes, the Board has accorded its tacit approval to bigamy.

It has been said in the memorandum that cinema, the most potent mass medi­ um, rarely portrays a woman as a normal human being. She is invariably a glam­ orous exhibit in films or a tyrant. This further aggravated the prejudices about women and contributed to the violence against them.

The memorandum demanded inclusion of representatives of women organisations in the CBFC.

ANIL KAPOOR INJURED

Anil Kapoor was injured behind the ear on 9th June while participating in an action scene for Tutu Sharma’s Raaj­ kumar at Film City. He was engaged in a sword fight with a fighter and as the sword was real, it hit him behind his ear when he failed to dodge it in the nick of time. Five stitches had to be administered on the injured area.

JAVED RIAZ HURT IN FIRING

Producer Javed Riaz was shot at twice near Versova, Bombay on the evening of 7th June by two unknown assailants. He was admitted to the intensive care unit of Cooper Hospital and his condition was described by the police as stable.

Javed, who is currently producing Tu Vish Main Amrit, was with his wife when the assailants confronted him. There was a brief conversation before two bullets were fired at him in the chest. His wife escaped unhurt. No arrests have been made so far.

NAVNEET ADHIKARI NO MORE

Producer and cinematographer Nav­ neet Adhikari passed away suddenly on 4th June due to heart failure. He was 77.

He had produced several Gujarati films, besides cinematographing a number of big films including those of Prakash Pictures and V.M. Vyas.

Sadadi was held on 6th at his Irla (Bombay) residence.

Navneet Adhikari was actively associated with the Western India Film Produ­ cers’ Association (WIFPA) as its executive committee member for several years. His sons, Gautam and Markand Adhikari, are actively involved in the production of TV serials and films.

MAJROOH SULTANPURI BAGS PHALKE AWARD

Majrooh Sultanpuri will get the prestigious Dadasaheb Phalke award for 1993 for his outstanding contribution to the growth and development of Indian cine­ ma. He is the first lyricist to win this award. The award consists of a Swarn Kamal, Rs. 1 lakh cash and a shawl. The award will be presented at the National Film Awards ceremony. Majrooh is the twenty-fifth recipient of the award but the first lyricist to be so honoured.

His career spans over four decades – from the fifties to the present. He came to Bombay (from Uttar Pradesh) in 1947 and by the mid-fifties, he had made a com­ fortable place for himself in the world of lyrics-writing.

Just last year, Majrooh Sultanpuri had bagged the Iqbal Samman, the Madhya Pradesh state award in recognition of his life-long contribution to Urdu literature.

FMC, FDC SIGN AGREEMENT

The agreement between the Film Makers Combine and the Film Distri­ butors’ Council in the matter of delayed video release and other things was signed on 10th June at IMPPA House, Bombay. It provides for a delay of two weeks in the release of video cassettes of films, from the date of premiere theatrical release. It also provides for a delay in telecast through cable TV by 6 months from the date of premiere release in cinemas and by five years for telecast on Doordarshan and satellite channels. This will apply to films started on or after 1st January, 1994.

The meeting was scheduled for 6th June earlier but was postponed to 9th. Detailed discussions were held between the FMC and the FDC on 9th regarding the clauses and language of the agreement. The actual signing of the agreement took place on 10th June.

FDC MEETING

Before the FMC and the FDC met on 9th, each association had a meeting of its members to discuss on the proposed agreement. The FDC had its meeting on the morning of 9th at the office of the IMPDA. MPA (Delhi), NIMPA (East Punjab), EIMPA (Bengal), BMPA (Bihar) and CCCA (C.P.C.I. Rajasthan) were re­ presented in the FDC. Reportedly, some members were not happy with a “mere 2-week delay of video cassettes”.

NO TO 5 YEARS

There was a proposal by the FMC to reduce the MG royalty agreement period from 10 years to 5 years, but the same was rejected by the FDC. Films will, therefore, be continued to be sold to dis­ tributors on MG royalty or outright basis for a period of 10 years as at present. In the case of release on advance or com­ mission basis, it was left to the individual producer and distributor to decide the period of agreement.

NO DUPE CHARGES

The FDC decried the tendency of pro­ ducers to collect dupe charges from dis­ tributors as a rule. After a lot of discussions, it was decided that no dupe charges would be collected on release prints. It was also decided that dupe charges would be collected from distributors on additio­ nal prints, only if the producer had actually taken out a dupe negative.

RELEASES AFTER A MONTH

The signing of the agreement between the FMC and the FDC puts to an end the month-long dispute between producers and distributors, mainly over the issue of video release. Anth, Jai-Kishen and Mawali Raj were released this week after a month-long period of ‘no releases’ following the FMC’s embargo on releases.

HAPPY

FDC president K.G. Dossani express­ ed satisfaction over the cordiality with which the meeting was conducted. “Let us now pray for the best,” he told Infor­ mation. FMC spokesman K.D. Shorey and CCCA president Santosh Singh Jain were also happy with the outcome of the meeting.

‘JURASSIC PARK’ IN PUNJAB: SC DISMISSES DISTRIBUTOR’S WRIT

The Supreme Court earlier this week dismissed East Punjab distri­ butor Anil Kapoor’s writ petition in the matter of the dubbed Hindi film Jurassic Park, on technical gro­ unds. It remarked that a writ petition could not be filed against a private association (which NIMPA is).

It may be recalled that Anil Kap­ oor (N.M. Films) had filed a writ in the Punjab and Haryana high court against the NIMPA’s refusal to register his dubbed film for East Punjab territory. On a favourable order from the high court on 20th May, the NIM- PA registered the film in his favour but went in appeal in the Sup­ reme Court against the high court’s order.

The SC ruled that a writ petition was not maintainable in the present case and asked Anil Kapoor to with­ draw the case as dismissed, which he did.

STARVATION PERIOD OVER!

That the public was starved of entertainment due to the embargo on new film releases since 6th May was evident from the excellent openings recorded all over by both the releases of this week, viz. Anth and Jai-Kishen. Which proves the point once again that people want to come to cinemas. Give them good stuff and they’ll give you good returns!

HERO HONDA…..
ER, HONDA’S HERO!

Believe it or not but Sunil Shetty has worked in Anth for a mere 30,000/- as his remuneration. So considerate is Sunil that he refused to accept money paid by producer Ashok Honda on the film’s release, towards his remuneration. “You’ve gone over-budget, keep the money,” Sunil and his dad are reported to have told Honda. Why, they even offered to help Honda by lending him money!

If all the heroes were like Sunil Shetty…..

3-E
Education-Entertainment-Enlightenment

In Action After Inaction

After a month of inactivity on the release front, the industry is in action again and how! All the three releases of this week – Anth, Jai-Kishen and Mawali Raj – are out-and-out action fares. That’s what one calls ‘Coming back with a ven­ geance’!

What A Song!

Had R.D. Burman been alive today, he would have been thrilled to see the immense popularity of one of his last com­ positions – the ‘Ek ladki ko dekha to aisa laga’ song from Vinod Chopra’s 1942 A Love Story. The song has become a veritable rage among the old and the young alike. Besides its wonderful tune, its simple lyrics (Javed Akhtar) and excellent rendition (Kumar Sanu) are responsible for the pride of place it occupies today among top chart-busters. In fact, this song alone can be expected to ensure the film a terrific opening.

“Unprecedented Craze”

While on 1942 A Love Story, Bombay distributor Bal­ krishna Shroff’s comments are worth mentioning here. “I’ve released so many films to-date but the craze 1942 has gene-rated among the public is unprecedented. I get so many calls from acquaintances not connected with the film industry, ex­ pressing their desire to see the film. Even the demand for its charity premiere shows is heavy. Baazigar may have done a business of 1.75 crore in Bombay but the craze for it before release was in the trade, not so much among the public.”

Hot News On Raaj Kumar

Not many may be aware that Raaj Kumar never shoots in Bombay in the months of May and June. It’s the heat, jaani. He would agree for shooting in these two months only if the shooting is at a hill-station.

Honour To Lyricist

It is a strange coincidence that a lyricist should be honour­ ed with the highest award in the world of Indian cinema in the year in which film lyrics have come under so much fire. The ‘Sexy sexy’, ‘Khatiya’, ‘Choli’ etc. songs have come in for heavy criticism, as much for their allegedly obscene picturisations as for their erotic lyrics. It is a great feeling then that veteran lyricist Majrooh Sultanpuri has been declared the winner of the prestigious Dadasaheb Phalke award for 1993. Rightly has veteran Naushad commented, “The Phalke award to Majrooh Sahab comes at a time when good lyrics were gasping for breath in the stinking crowd of cheap words. True admirers of poetry will rejoice at the government’s decision to honour Majrooh Sahab.” Gulzar said, “The fact that a lyricist has been honoured with the Phalke award is an auspicious indication. Songs and lyricists have long been treated as pariahs. Now poetry has been accorded its place of honour in the cinema clan.”

^{(From our issue dated 4th June, 1994)}

LATEST POSITION

The heat wave in the North and other parts of India is taking its toll on the box-office collections.

…..

Jurassic Park (dubbed) proves the biggest blockbuster among dubbed films to-date as also of 1994 so far. 7th week Bombay (TF) 7,27,359 (51.55%) from 6 cinemas (3 on F.H.); Ahmedabad 1,24,385 from 3 cinemas, Surat 11,731, Baroda 25,180 (35.31%), 6th Jamnagar 12,500 (7 shows); 7th week Pune (TF) 2,62,069 from 5 cinemas (1 in matinee), Kolhapur (TF) 42,912 (68.57%), Solapur (TF) 21,635 (14 shows), Satara (TF, 14 shows) 13,880, Nasik Road (TF) 49,303; Delhi 6,44,416 from 5 cinemas; 6th week Lucknow 1,51,664 from 2 cinemas, 7th Agra 42,749, 3rd week Allahabad 38,700, 5th Meerut (6 days) 46,680; 6th week Calcutta 9,45,836 from 16 cinemas; 7th Jabalpur 40,170, total 5,19,542, Amravati (TF) 42,396, 7th combined week Akola (TF) 50,500, 5th Raipur 45,705, 6th week Bhilai 30,690, 4th Jalgaon (TF) 49,000, 2nd week Wardha (TF) 25,614, 6th Bilas­pur 15,504, total 2,05,000; 7th week Bho­pal 29,362; Jaipur 1,10,725, 5th Jodhpur 90,000, 6th week Ajmer 37,575; 7th Hy­derabad 1,09,143 from 2 cinemas (1 in noon).

Tejasvini 9th combined week Bom­bay (TF) 2,66,365 from 4 cinemas; 9th week Kolhapur (TF) 32,720 (65.68%), Solapur (matinee, TF) 7,725, 4th Nasik (TF) 34,500; 8th week Meerut (6 days) 26,919; 9th combined week Nagpur (TF) 96,676, 9th Amravati (TF) 37,975, Akola (TF) 32,650, 3rd week Jalgaon (TF) 48,634, 4th Bhusaval (TF, 6 days) 15,383.

……

DO YOU KNOW?

* Before Rajesh Khanna entered national politics, he had a tutor tea­ching him the Constitution of India.

* Gitanjali Cinema, Nagpur has been screening tax-free films of Khan heroes of late. Instances: Ayub Khan’s SALAAMI, Shah Rukh Khan’s KABHI HAAN KABHI NAA, Aamir Khan’s JO JEETA WOHI SIKANDAR, QAYAMAT SE QAYAMAT TAK and HUM HAIN RAHI PYAR KE.

* Police had to resort to lathi charge at Manek, Akola last week to control the crowds for KRANTI (r.r.). Accor­ding to Khanbhai of Khatri Film Enterprises, the exhibitor was quite reluctant to screen KRANTI (in its fifth run) and had to be almost for­ced to screen it. The result: record crowds and policemen to control them! Collection (at reduced rates): 63,919/-, a record for repeat-run films.

* LAADLA has created a city record by collecting 83,874/- in 2 weeks at Goyal, Kamptee. 2nd week collection: 35,708/-.

* DILWALE has created a record by collecting 1,87,371/- in 7 weeks at Alankar, Sagar (C.P.). The distributor’s share is a record 1 lakh!

* BEERA BEGO AAYEEJE (R., TF) has created a record by collecting 1,84,349/- in 1st week at Man­pra­kash, Jaipur. 2nd week first day noon show: 7,848/-, full.

SNAPSHOTS

‘HOT’ PROJECT

Vinod Khanna’s film has become ‘hot’ even before its formal announcement, not to talk of the launching. Even though the music director has not been finalised as yet, at least one music company has offer­ed Khanna 65 lakh for the film’s audio rights. One supposes, it is the father-son combination that has made the project so ‘hot’ – father as producer and son, Akshay Khanna, as the debut-making hero.

*       *       *

SANJAY DUTT ‘CLEARED’

The Cine Artistes’ Association, which had decided to monitor the star-ceiling scheme, has reportedly cleared Sanjay Dutt for Subhash Ghai’s Trimurti. San­jay is likely to participate, for the first time, in the film’s next shooting schedule.

*       *       *

BUMPER HIT

Even as the Hindi dubbed version of Jurassic Park is doing unheard of busi­ness in India, the original English version is said to have crossed the 1-billion dollar mark in the world! Coming back to the Hindi version, it is expected to touch a crore each in West Bengal (25% of a major territory) and C.P. Berar (40% of a major territory).

YOU ASKED IT

Is the FMC-FDC settlement a victory for the producers or the distributors?

– If the agreement can be implemented properly, it would be a victory for both, producers and distributors.

How much extra would the prints of 1942 A Love Story with Dolby Stereo sound cost?

– The producers have decided to charge Rs. 10,000 extra for every print, whether mono or Stereo.

With so much hue and cry being raised over obscenity in films, do you think cen­sors will become stricter?

– Whether or not the censors be­ come stricter, the producers themselv­es have realised that vulgarity/obscenity alone cannot guarantee success.

ARREST WARRANT FOR SANJAY KHAN

The first additional chief judicial magistrate of Mysore city court recently issued a non-bailable warrant against Sanjay Khan when he failed to appear be­fore the court in connection with the Pre­mier Studio fire tragedy case of February 1988, in spite of several extensions.

FILM CITY TO TIE UP WITH WARNER, UNIVERSAL

The Maharashtra Film Stage and Cul­tural Development Corporation, which runs the Film City in Bombay, is negotia­ting with Warner Bros., Universal Studi­os, American Television and companies in South Korea for special effects techno­logy, computerised lighting and camera work and other processes.

New sets are also to be put up at Film City, according to its managing director, Govind Swarup. An additional air-conditioned studio is also on the anvil.

Incidentally, security has been beefed up in Film City. A retired major has been appointed.

NATIONAL AWARDS FUNCTION POSTPONED

The 41st National Film Awards function, scheduled to be held on June 4 in New Delhi, has been postponed. The new date will be announced in due course. However, public screenings of the award-winning films will be held from June 5 to 16, as per schedule.

INDUSTRY MEETS PARLIAMENTARY COMMITTEE

The film industry representatives had a meeting with the parliamentary committee on communications on 1st June in Delhi. Sex and violence in films were the main topics of discussion. Vimla Verma, MP, presided over the meeting.

The committee wondered how obsce­ne songs were being passed by CBFC. FMC and CBFC chairman Shakti Sam­anta informed the committee that he had to merely sign the censor certificate and that films were not viewed by him. He also revealed that now film songs were being censored even before their telecast on Doordarshan or satellite channels. It is understood that the working of the CBFC will be improved now.

The committee is expected to make a report to Parliament soon. Other MPs who attended the meeting were L.K. Advani, Sushma Swaraj, Shravan Kumar Patel and Fazal Ahmed.

AFTER A MONTH!

There will be new film releases exactly after a month – from 10th June onwards. The FMC had suspended all releases after 6th May. Aa Gale Lag Jaa and Mohabbat Ki Arzoo were, consequently, the last releases. Anth and Jai-Kishen will be the first relea­ses after the settlement of the FMC-FDC dispute over the issue of video release.

VIDEO PIRACY AGAIN?

With the FMC and the FDC hav­ing decided to delay video cassettes of films by two weeks and with the governmental machinery being as it is, the menace of video piracy may recur. Since release in Overseas (theatrical as well as video cassettes) would be simultaneous with theatrical release, it may not be possible to stop the proliferation of pirated video cassettes in the country. If the pirated ones do not come from abroad, they may also be made indigenously. Who will check them? The FMC? The FDC? The video distributor concerned? Or the circuit distributors? Or would it be the government? No­ body is clear on this aspect as yet. Yes, the recent amendments in the Copyright Act may help. But finally, it is the implementation of the am­endments that will decide whether or not piracy can be stopped/checked.

Video Release Dispute: Chronology Of Events

(1) 25th November, 1993: The FMC and the FDC met in Indore and jointly decided to delay the release of video cassettes by 3 months from the date of theatrical release. 1st December, 1993 was fixed as the cut-off date, meaning that films started after 1-12-’93 would have video release delayed by 3 months.

It was also resolved at the Indore meeting that no films would be given for telecast on Doordarshan or any satellite channel before 5 years from the date of premiere release in the country.

(2) 11th February, 1994: The FMC, at a general meeting of producers, resolved to release video cassettes simultaneously with theatrical release of films. It rejected the Indore resolution of 25th November, 1993.

(3) 9th March, 1994: The FDC resolved that the 3-month delay would stay. In a meeting held in Bombay, it was decided that videos would be released only 3 months after theatrical release, as decided in the joint meet­ing of the FMC and FDC in Indore.

(4) 21st March, 1994: The FMC, at a meeting of its executive committee, decided to stick to its resolution for simultaneous release of video cass­ettes. It was resolved that there would be no delay in release of video cass­ettes.

(5) 1st May, 1994: The FMC, at a general meeting of producers, resolved to put off all releases after 6th May, 1994. It also reiterated its stand of simultaneous release of video cassettes.

(6) 11th May, 1994: East Punjab distributors (NIMPA) resolved that no distributor of the circuit would, until further directions, send any remittances to producers, whether the payment was towards signing amount, under-pro­duction instalments or overflow money.

(7) 12th May, 1994: CCCA (association of C.P.C.I. Rajasthan distributors and exhibitors) resolved to discontinue its joint tribunal with the Film Makers Combine.

(8) 20th May, 1994: Motion Pictures Association (MPA), Delhi, decided that distributors should not pay the instalments due to producers. They should also claim compensation/damages from the producers for not giving the delivery on the due date.

(9) 2nd June, 1994: FMC and FDC agreed, in Delhi, upon a 2-week delay of video cassettes. It was also agreed that cable TV rights would be sold for telecast not before 6 months from the date of a film’s premiere theatrical release. Telecast on DD and satellite channels not before 5 years from date of premiere theatrical release.

NEW RELEASES FROM 10TH JUNE

FMC-FDC Dispute Resolved

VIDEO CASSETTES TO BE DELAYED BY 2 WEEKS

The embargo on film releases has been lifted by the Film Makers Combine (FMC) following settlement of its dispute with the Film Distri­butors’ Council (FDC) in Delhi on 2nd June. It has been unanimously decided that video cassettes will be delayed for two weeks from the date of theatrical release. It has also been agreed that films will not be per­mitted to be telecast through cable TV for at least six months from the date of theatrical release and on Doordarshan and satellite channels, for five years.

Following the settlement, releases of films will re-start next week i.e. from 10th June. Anth and Jai-Kishen will be relea­sed on 10th, followed by Aatish on 17th. Vijaypath was scheduled for relea­se on 24th June but it is subject to CBFC clearance. The revising committee view­ed the film on 3rd June but its decision was not known to producer Dhirubhai Shah.

COMPROMISE FORMULA

Hectic meetings were held in Delhi between representatives of the FMC and the FDC on June 1 and 2. While the FMC had offered to delay video cassettes by a week, and cable TV telecast by three months, the FDC stepped down from its demand for a 3-month delay in release of video cassettes. It (FDC), however, insisted on a 4-week delay. A compromise was arriv­ed at by extending the period of delay for video cassettes to 2 weeks and for cable TV telecast from 3 months to 6 months. For Doordarshan and satellite channels, the period of delay would be five years.

TENSION-CHARGED

The marathon meeting sessions were not without their moments of tension. IMPDA president N.N. Sippy and FMC representative K.D. Shorey were involved in a heated wordy duel and almost came to blows in the meeting on 1st June. At least on one more occasion besides when N.N. Sippy and K.D. Shorey had a heated exchange of words, it seemed as if the negotiation would break down. That was when the FDC demanded a mini­mum 4-week delay of video cassettes.

CUT-OFF DATE

The cut-off date for the 2-week video release is not yet certain. It is believed that producers of films started on or after 1st January, 1994 would have to delay their video cassettes by two weeks.

FDC NOT TO MONITOR STAR CEILING

The monitoring of the star-ceiling scheme was also left to be decided by the FMC and the Cine Artistes’ Association (CAA). The FDC had taken upon itself the monitoring of the scheme as it felt that the FMC was not doing the job properly. At the meeting in Delhi, it was decided that the FDC would not be concerned with the implementation of the star-ceiling scheme. As the CAA had, a few days ago, resolved to monitor the scheme itself, the meeting left the issue to be settled between the FMC and the CAA.

AGREEMENT ON 6TH JUNE

Although the dispute between the FMC and the FDC has been settled, a written agreement will be signed on Monday, June 6, in Bombay. FDC representatives G.S. Mayawala, G.D. Mehta, O.P. Mittal (all from Delhi), K.G. Dossani (Calcutta), Prabhat Bhushan (Patna), Yashpal Mittal, Dharam Pal Arora (both from Jalandhar), H.S.P. Rao (Bhusawal) and Vijay Rathi (Amravati) are expected to arrive in Bombay tomorrow (June 5) for the meeting on 6th. Prior to the joint meeting of the FMC and the FDC at IMPPA House, a meeting of the executive committee of the FDC will be held at the IMPDA office on 6th.

BOMBAY DISTRIBUTORS KEEN

Insiders reveal that had this settlement not been arrived at, chances were that the Film Distributors’ Council would have disintegrated. The Bombay distributors had reportedly made up their minds that enough was enough and that the dispute had to be settled, come what may. They had also conveyed this to their counterparts in Delhi and Bengal, it is learnt. Had the FDC been adamant on a 3-month delay of video cassettes, the Bombay dis­tributors may have even split from the FDC.

CABLE TV RIGHTS

In the course of the negotiations bet­ween the FMC and the FDC, the latter put up a proposal that in the absence of a 3-month delay of video cassettes, distributors should be given the cable TV rights at least. Of course, the FMC rejected the proposal.

‘‘JURASSIC PARK’ IN EAST PUNJAB

Registered But Not Released

NIMPA TO MOVE SUPREME COURT

Following the Punjab and Haryana high court’s order of 20th May, the Northern India Motion Pictures Association (NIMPA) has registered the dubbed Hindi film, JURASSIC PARK, in favour of Anil Kapoor of N.M. Films for East Punjab. But that hasn’t improved matters for the distributor.

Exhibitors of Punjab are reportedly being pressurised by vested in­terests to refrain from screening the dubbed JURASSIC PARK. They are being threatened with non-supply of films in future for their cine­mas if they would screen the dubbed film. One exhibitor of Ludhiana reportedly screened the film on 27th May but had to discontinue it the following day (on 28th), obviously bowing down to pressure tactics.

In the meantime, NIMPA has preferred an appeal in the Supreme Court against the high court’s order dated 20th May. It has stated that the high court was not empowered to pass the order which it did as it involved an internal matter of the Association. The appeal is likely to come up for hearing on June 6 or 7.

It may be recalled here that no dubbed films were hitherto registered by the NIMPA and, consequently, they could not be released in East Punjab circuit. The landmark decision of the high court has opened the gates of the territory for dubbed films, but vested interests, occupying positions in the NIMPA, continue to be against the release of such films. Why else would an Association go in appeal against a high court order which makes it possible for a distributor to release a dubbed film in East Punjab?

Unanswered Questions:
Tough Task Ahead For FMC, FDC

It is fine that the FMC and the FDC have sat across the table and thrashed out their differences, arriving at a settlement. All unilateral decisions taken by both the sides have naturally been withdrawn.

A settlement is a settlement and so long as the entire industry benefits from it, it is not to be assessed as to which side stands to gain more and which side, less. There has to be a give-and-take attitude, more so when a dispute of the dimension as the current one is sought to be settled.

Both, the FMC and the FDC, had realised that they had gone too far in their individual stands. Both were, in fact, keen on a settlement. This served to make things easier.

Although a broad agreement on the various issues has been arrived at, some questions still remain unanswered. The ambiguity on undecided secondary issues needs to be removed for the proper implementation of the agreement in letter and spirit. The unanswered questions that need the immediate attention of the FMC and the FDC are:

(i) What will be the cut-off date from which the resolution of the 2-week delay of video cassettes will come into effect?

(ii) What about films launched after the cut-off date but of which video rights have been sold for simultaneous release?

(iii) What about producers who launch their films after the cut-off date but enter into back-dated agreements for sale of video rights (simultaneous release) to circumvent the FMC-FDC resolution?

(iv) Who will be responsible for ensuring that video piracy does not restart?

(v) How do the FMC and the FDC propose to stop infiltration of video cassettes from Overseas?

(vi) How do the FMC and the FDC plan to ensure that films are not shown on cable TV before 6 months of their theatrical release?

(vii) Who would be responsible for cable TV telecast in violation of the FMC-FDC agreement?

(viii) What will be the course open to producers if video distributors refuse – as they will, in all probability, if the agreement is implemented in letter and spirit – to take delivery after two weeks of theatrical release be­ cause a film has flopped?

(ix) Will the FMC take action against a video distributor who releases video cassettes simultaneously with theatrical release or will that be left to the producer concerned? And what if the producer himself clandesti­nely permits the video distributor to release the cassettes simultaneously despite agreement to the contrary?

(x) How much will the quantum of penalty be for violation of the agree­ment?

(xi) What if video distributors decide to refrain from buying new films unless video cassettes are allowed to be released simultaneously?

All these questions need to be answered now. The settlement of the FMC-FDC dispute is just a fraction of an achievement. So that the achie­vement bears fruits, it is imperative that decisions be taken on the above matters also. If, not, the agreement will remain merely on paper and nothing will come out of it.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Salim-Devgan Together Again

Although producer Salim Akhtar and Ajay Devgan have had a tiff and have decided not to work with each other, Salim has repeated Ajay’s dad, Veeru Devgan, in The Don. Veeru had earlier composed the action scenes in Salim’s Jigar. Like Jigar, The Don is also being directed by Farogh Siddiqui.

K.P.S. Gill’s New Role

Punjab IGP K.P.S. Gill is not just a fan of Sridevi. He is also fond of acting, it seems. For, Mr. Gill has played the role of a DGP in producer-director Darshan Bagga’s Punjabi film, Mera Punjab. Indeed, the film’s title suits Gill more than anybody else!

(From our issue dated 28th May, 1994)

RELEASES

All releases are subject to the embargo on releases being lifted by FMC.

No new releases next week.

*        *       *

AATISH 10th June Maratha Mandir Bombay & all over

JAI-KISHEN 10th June Naaz Bombay & all over

ANTH 10th June all over

MAWALI RAJ (dubbed) 10th June many circuits

VIJAYPATH 17th June all over

EKKA RAJA RANI 17th June Dream­land Bombay & all over

CHEETAH 17th June all over

Janta Ki Adalat 17th/24th June all over

BRAHMA in June at Super Bombay

JUAARI, AAG, KRANTI-KSHETRA, WATAN, FAUJ & DO FANTOOSH in June

MOHRA 1st July Novelty Bombay & all over

KRANTIVEER 1st July all over

1942 A LOVE STORY 1st/8th July Metro Bombay & all over

AMAANAT 15th July all over

POLICEWALA GOONDA, ANDAZ APNA APNA & EENA MEENA DEEKA in July

HUM AAPKE HAIN KOUN..! 5th Aug. Liberty Bombay & all over

MR. AZAAD 5th Aug. all over

CHAAND KAA TUKDAA 19th Aug. all over

JAI VIKRAANTA in Aug.

DO YOU KNOW?

* Dharmendra is working in Mohan Kumar’s film – AAZMAYISH – after a gap of 32 years. Mohan Kumar had directed Dharmendra in ANPADH (released in 1962). Dharmendra is playing the father of debut-making lead man Rohit Kumar (son of Mohan Kumar) in AAZMAYISH.

* Producer-director Mehul Kumar has directed three actor-directors – Nana Patekar, Tinnu Anand and Danny – in KRANTIVEER. Earlier, he had directed two Khan actor-directors – Amjad Khan (in PHIR JANAM LENGE HUM) and Feroz Khan (MEET MERE MAN KE).

YOU ASKED IT

What is the loss to the industry due to the FMC embargo on releases?

– The producers whose films cannot be released due to the embargo are los­ing interest on their borrowings every day of delay. But there is a silver lining, too. Re-issue films are fetching very good terms (which, otherwise, would not have been possible) from exhibi­tors as there is a shortage of films.

Why is there no superstar after Amit­abh Bachchan?

– To be a superstar, one has got to be a complete actor and one’s films must run on the strength of his name. The industry doesn’t have such an actor.

What lesson does one learn in the film industry?

– That it is the most speculative in­dustry in the world. And that luck matters a lot in this line!

How much penalty will Dimple Kapa­dia have to pay producer Rahul Gupta for walking out of Kartavya?

– The quantum of compensation is to be decided jointly by the FMC and the Cine Artistes Association. The FMC has withdrawn its ban on Dimple as the CAA has made that a condition for negotiations.

PUNJABI FILM PRODUCERS FORM ASSOCIATION

An urgent meeting of Punjabi film producers was held at Dara Villa under the patronage of producer-director Dara Singh on May 22, to study and discuss the latest offer of ‘all help’ for Punjabi film industry by the Punjab government. The meeting was attended by over 30 Punjabi film producers who welcomed the Punjab government’s new liberal policy and decided to form the first ever body of all producers under the banner of ‘Pun­jabi Film Producers Association’.

Dara Singh, Preeti Sapru, Babu Singh Mann, Iqbal Channa, Karan Mann and Vinod Sharma were selected to form the working committee that will run the affairs of the association till the registration and other legal formalities are completed.

The very first meeting of the newly formed association also decided to urge the Punjab government to follow the Maharashtra pattern for the Punjabi film industry. It was also demanded that the government of Punjab should take an early cabinet decision on the matter.

It was further decided that a high-level delegation of the association, led by Dara Singh, call on the Punjab chief minister and other senior state administration offi­cials to put forward the case of the Pun­jabi film industry.

SALMAN-SANGEETA NOT MARRIED

Rumours regarding Sangeeta Bijlani’s marriage with Salman Khan have been denied as baseless by the former’s secretary.

KANU CHAUHAN STOPS USING UNAUTHORISED PHOTOGRAPHS

Kanu Chauhan, who is holding a star show in New York today (28th May), has apologised to Saawan Kumar for unau­thorisedly using stills of Sridevi and Anu­pam Kher from his Chaand Kaa Tuk­daa. This follows a legal notice sent by Saawan Kumar to Kanu, making it clear that if the latter did not desist from using the photographs in the publicity of the show, the former would commence a lawsuit against him.

In his reply dated 25th May, Kanu Chauhan has irrevocably agreed to stop using the photographs now and in the fut­ure, to remove all remaining posters bear­ing the infringing photographs, and to return these posters to Saawan Kumar.

GRANDSON FOR MEHMOOD

Mehmood became a grandfather for the first time on May 3 when his NRI-son, Masoom Ali, was blessed with a daughter in New York.

Masoom Ali is one of the producers, along with Ashok Mishra and Babubhai, of Canmore Cinema’s Dushman Duniya Ka, being directed by Mehmood.

CONDOLENCE MEETING FOR PHANI MAJUMDAR

Cine Society, Bombay, will hold a condolence meeting to mourn the demise of veteran Phani Majumdar and Subodh Mitter, on 30th May at 6 p.m. at Tarabai Hall, Marine Lines, Bombay. New Thea­tres’ Doctor, directed by Phani Majumdar, will be screened on the occasion. Phani was the chairman of the Cine Society.

RAJIV KAUL UNWELL

Writer Rajiv Kaul (Pattu of Pattu-Parekh fame) is unwell since more than a week and has gone to Pune for treatment.

‘AATISH’ AFTER FMC-FDC DISPUTE SETTLEMENT

G.P. Sippy has given an assurance to the FMC that he will not release his Aatish till the FMC permits releases. Earlier, he had sought the intervention of Shiv Sena chief Bal Thackeray in the matter. Bal Thackeray, while refu­sing to involve himself in the industry’s “internal problem”, asked Sippy to comply with the directives of his association. Bombay exhibitor U.A. Thadani last Saturday (21st May) obtained a court order directing G.P. Sip­py to deliver the prints of Aatish for release. However, Sippy is said to have conceded the FMC directive and ag­reed to postpone the release. If a set­tlement between the FMC and the FDC comes about, it will be released on 10th June.

Meanwhile, it has been decided that G.P. Sippy will continue to be the pre­sident of the Film Producers Guild of India. A meeting of the Guild was held on 21st May. Members prevailed up­on Sippy to refrain from releasing Aatish for the sake of unity of the industry.

‘ANTH’ NOT ON 3RD

Ashok Honda was planning to re­lease Anth on 3rd June but decided against it after yesterday’s (May 27) meeting of the FMC. The film may now come on 10th, according to Hon­da. The release would, however, be subject to the FMC lifting its embargo on releases.

“FIRST UNILATERAL DECISION EXCLUDED”: SANTOSH SINGH JAIN

FDC representative Santosh Singh Jain, while expressing happiness that movement was being made in the dir­ection of a settlement, said that the FMC had conveniently forgotten to include its (FMC’s) own resolution of not delaying video cassettes by 3 months, in the list of unilateral deci­sions, in its letter dated 27th May to the FDC.

Says Jain, “The FMC and the FDC had jointly resolved in Indore to delay video cassettes by 3 months from the date of theatrical release of films. But the FMC unilaterally decided to rescind that resolution. In fact, the FMC’s going back on the Indore resolution was the first unilateral decision from which stemmed other unilateral deci­sions. While the FMC has listed all the unilateral decisions that followed the first one, it has not included the first one. If even that could be with­drawn, as it should be in all fairness, we could begin our talks from the In­dore resolutions of Nove­m­ber ’93 and modify them to suit both, producers and distributors.”

GOLDEN PERIOD GOING

Unfortunately for producers, distri­butors and exhibitors alike, it is the golden (holiday) period that is being lost, thanks to the indefinite postponement of all releases. Collections at the box-office windows show a rise in the summer vacations every year, and two weeks of this period have already gone (technically, it is three weeks, but Aa Gale Lag Ja and Mohabbat Ki Ar­zoo were released on 13th May, a week after the FMC resolution came into effect). No new release is fixed for next week, too.

The industry is praying that an early settlement is arrived at and at least the remaining portion of the holiday peri­od is fruitfully utilised. For, the time that’s gone, is gone forever.

FMC, FDC KEEN TO SETTLE DISPUTE
Ball Set Rolling
Exhibitors Feel Pinch Badly

The ice has been broken. Although no meeting has been held between the two warring parties – the Film Makers Combine and the Film Dis­tributors’ Council – there is brisk movement in that direction. Letters are being exchanged between the FMC and the FDC and hectic meetings are held everyday – in Bombay (FMC) and other cities (various affiliates of the FDC). Unofficial talks between individual members of the FMC and the FDC also give an indication that both the parties are now keen for an early settlement. A meeting between the FMC and the FDC is on the cards early next week and it is expected that some solution will definitely be arrived at. If this happens, releases will begin from 10th June.

The Film Makers Combine (FMC) has written to the Film Distributors’ Council (FDC), inviting it for a dialogue after withdrawing its resolution passed unilaterally, while itself agreeing to withdraw its unilateral decision to cancel all releases. The FDC had earlier asked the FMC to lift its embargo on releases before it could come on the negotiation table. The FDC’s letter (dated 24th May) was in res­ponse to the FMC’s invitation (dated 23rd May) to the FDC to come for a dialogue with it to settle the dispute.

FMC WRITES TO FDC

A meeting of the FMC was held on 27th May where it was decided to rush a letter to the FDC, asking it to withdraw its unilateral decisions too, in the same way as the FMC was prepared to withdraw the unilateral resolution (no releases) passed by it, as desired by the FDC. Letters were despatched to FDC president K.G. Dossa­ni and other members of the executive committee like Santosh Singh Jain, G.S. Mayawala (general secretary), N.N. Sip­py etc. on 27th itself.

UNILATERAL DECISIONS

The FMC letter lists the following as unilateral decisions:

(i) FMC’s resolution to put off all releases;

(ii) FDC’s resolution to not permit its affiliated associations to register films un­less videos are delayed by three months from date of premiere release;

(iii) FDC’s resolution to monitor the star-ceiling scheme;

(iv) resolutions passed by the various affiliates of the FDC, stopping under-production instalments and overflow payments to producers.

FMC’s PROPOSAL

The FMC, in the said letter, has also given the following composite proposal for the consideration of the FDC:

(i) Home video to be delayed by 1 week from the date of theatrical release;

(ii) cable TV rights to be sold for re­lease not before a minimum period of 3 months from the date of premiere release;

(iii) telecast on Doordarshan and satellite channels not before five years from the date of premiere release.

The ball is now in the court of the FDC. In the meantime, there were no new releases (except for a dubbed Hindi film) for the third week in succession following the embargo on releases by the FMC. No film is also scheduled for release next week (3rd June) as no settlement has taken place as yet. If the differences are resolv­ed, Aatish, Anth and Jai Kishen are the most likely releases of 10th June.

That will ease the position of exhibi­tors all over the country, who are now feeling the pinch of lack of films very badly.

3-E
Education-Entertainment-Enlightenment

Banners Blackened

One doesn’t know whose mean mind and evil hands have worked on the film banners and hoardings in Bombay, but several of them have been defaced and damaged. Dhirubhai Shah’s Vijaypath has had to bear the maximum brunt of this crazy operator. Some hoardings of Anth have also been simi­larly defaced. Black paint has been smeared on the banners, rendering them almost useless.

Objectionable Bowling

While on Vijaypath, here’s one more. The Shah brothers have changed the words in the ‘Kal saiyan ne aisi bowling kari’ song from the film. It may be recalled that the song, which was sought to be censored by them, was found objectionable (vulgar) by the CBFC and was refused certificate. The Shahs have now had the lyrics changed. The song goes somewhat like this: ‘Kal saiyan ne aisi baat kari’.

Sanjay Dutt Starrers & Controversies

It’s simply a coincidence but a crazy coincidence at that. Somehow, Sanjay Dutt starrers have had a lot of pre-release problems in the last two-three years. Khal-nayak came when Sanjay had the TADA case going against him. There was great uncertainty about whether Shiv Sena and some other organisations would or would not allow it to be released. On the Diwali of 1992, Yalgaar had to bear the brunt of the exhi­bitors’ demand for a tax-free service charge of Re. 1 per tic­ket, from the Maharashtra government. Its advance booking started on Wednesday instead of the customary Monday. Sahibaan had far too many financial problems and it entailed the intervention of CCCA president Santosh Singh Jain and producer Mukesh Duggal to sort out the mess before it could finally hit the screen. Again, this time, with the FMC and FDC at loggerheads, it was Sanjay starrer Aatish that was at the centre of a raging controversy. Some people, it would seem, are born to be controversial or indirectly involved in controversies.

Uff Yeh Handa!

If you meet the young and enthusiastic producer-director of Uff Yeh Mohabbat, Vipin Handa, chances are that you will be in splits till you bid him goodbye. Vipin loves to crack jokes – even at himself – and has a wonderful style of narrating them. When he describes his maiden film as a teenage romantic story, you can bet, it will have comedy as its high­light. Vipin is making the film with Twinkle Khanna and Abhishek Kapoor (Gattu), both newcomers, in the lead. He him­self is a newcomer for the big screen but he has already made some TV serials. His partner in production, Anil Saigal, says, “Basically, it is the same; only the format is different, there, it is the small screen, here, it is the big screen.” Uff Yeh Mohabbat has been shot for a substantial portion in Sikkim.

Super-Confidence!

The producer of a big film due for an early release at Met­ro, Bombay, is so confident of its super-success that he is re­ported to have told the cinema manager, “Which film has had the highest run at your cinema? Book my film (in advance) for a week more than that film!”

(From our issue dated 21st May, 1994)

DO YOU KNOW?

* JURASSIC PARK has created a city record by collecting 1,54,972/- in 1st week, 1,55,484/- in 2nd week, and 1,56,456/- in 3rd week at Shubham, Lucknow.

* JURASSIC PARK has created a re­ cord by collecting 73,741/- in 4th week at Navina, Calcutta.

YOU ASKED IT

What business is the Hindi dubbed version of Jurassic Park expected to do?

– Over a crore per major territory! It has already crossed 50 in Bombay and touched 50 in Delhi-U.P.

Will the Cine Artistes’ Association be able to monitor the star-ceiling scheme?

– It doesn’t seem so. It is like pro­ducers asking for self-censorship.

How much does tax exemption add to a film’s business?

– At least 25% unless the film is a flop.

When will producers apply brake on the ever-increasing prices of films?

– When distributors apply brakes on their eagerness to buy such films.

HOLLYWOOD STUDIOS
TO BOOK VIDEO PIRATES

Hollywood studio giants Paramount and Universal Pictures have decided to take on Indian video pirates. This ann­ouncement was made at a press conference in New Delhi on 20th May, by the vice president of the Motion Picture Export Association of America (MPEAA) and director of the Asia-Pacific Anti-piracy division, Lowell B. It came close on the heels of Parliament passing the Copyright (second Amend­ment) Bill, 1992 last week.

The new amendment provides that rental or lending of even legitimate video cassettes without authorisation from the copyrights owner or its licensee, shall be an offence.

Video library owners were warned that copyright infringement or piracy was a cognizable offence and a police officer was entitled to take suo moto action and seize without a magistrate’s warrant all pirated video cassettes, equipment and machinery used for making such copies. The penalties ranged from Rs. 50,000 to Rs. 2 lakh and imprisonment from 6 months to 3 years. Subsequent offences would attract heavier penalties.

MIX MASALA

PRICEY BOOKLET

A leading producer, whose film is due for a very early release, has done what no producer must have done earlier. He has charged his distributors for the booklets sent to them! Each booklet has cost the distributors Rs. 10!! Can’t believe it? We, too, can.

KRISHAN DHAWAN DEAD

Veteran actor Krishan Dhawan breath­ ed his last on 20th May in Bombay follo­wing a cardiac arrest. He was 67.

Krishan Dhawan had started his career with Prithvi Theatres and had acted in a number of plays. He worked in about 100 films and in almost all films made by Manoj Kumar, Navketan and R.K. He had a prominent role in Ram Teri Ganga Maili. He had also acted in several TV serials.

He is survived by his wife and actor-son Dilip Dhawan. The final rites were performed this morning (21st May).

PRASENJIT WEDS DEBASREE ROY

Prasenjit got married to leading Beng­ali film actress Debasree Roy recently in Calcutta. The marriage was kept a closely-guarded secret.

ART DIRECTOR KULKARNI DEAD

Veteran art director N.B. Kulkarni died at his residence in Bombay on 15th May after a brief illness. He was 78 and is sur­vived by his wife, a son and a daughter.

After his education at the J.J. School of Arts in Bombay, he started his career as an art director with Bombay Talkies. He later started working with Kamal Amrohi. Among the films for which he had erected sets were Kavi, Stage, Dayara, Razia Sultan and Pakeezah.

COURT SCENES IN FILMS: RAJASTHAN LAWYERS
IN COURT

Lawyers are shown as persons sold to criminals, tampering with the evidence, shouting in the courtrooms at the top of their voices….. judges are shown as weak­ lings, lacking knowledge of law…. the law is shown to be full of loopholes and helpless… judicial process never reaches the criminals who, in turn, are not booked for their crimes….. These are some of the many charges in the writ petition filed by the Rajasthan Chapter of Indian Associa­tion of Lawyers, through its secretary Vineet Kothari, in the Jodhpur bench of the Rajasthan high court.

Reacting to the charges against court scenes depicted in Indian films, which allegedly degrade the judicial system, Justice V.J. Palsikar on 17th May issued notices to the government of India and the Cenral Board of Film Certification (CBFC). Submitting the writ petition, senior advocate Marudhar Mridul said that these only tend to shake up the faith of the common man in the judicial sys­tem. The scene from Shahenshah was cited as an example. In the scene, the hero barges into the court, bashes up the eye­ witness and eventually goes to the extent of having the villain hanged to death in the precincts of the court. In the writ peti­tion, it was prayed that a retired judge of the Supreme Court or an eminent jurist be appointed as chairman of the CBFC, whose duty it would be to not permit any scenes to be passed, which depict the law or the court of law in bad light.

SATISH KULKARNI APPOINTED

Prominent Marathi film producer Satish Kulkarni has been appointed as special invitee on the board of directors of the Maharashtra Film Stage & Cultural Development Cor­po­ration (Film City) and the Kolhapur Chitra­nagari Mahaman­dal, by the government of Maharashtra with immediate effect.

SAAWAN KUMAR TAKES SHOW
ORGANISERS TO COURT

Saawan Kumar has filed suits in the courts of law in London and New York against two show organisers who have allegedly used photographs of Sridevi and Anupam Kher from his underproduction film, Chaand Kaa Tukdaa, without seeking his permission.

Nilesh Patel and Alan Cordery of Celebrity Promotions International Ltd. will hold the show in London on 4th June. The New York show is being organised by Kanu Chauhan and it will be held on 28th May. Both the show organisers have allegedly used stills of Chaand Kaa Tukdaa in their publicity pamphlets/hand­ outs etc.

Saawan Kumar has served a legal notice on Celebrity Promotions in London and is expected to move the court any day now. Before leaving for London and New York on 19th May, Saawan Kumar informed that he would claim heavy damages from both the show organisers.

STOP PRESS

COURT ORDERS SIPPY TO DELIVER
‘AATISH’ PRINTS

Judge Deshpande of the Bombay city civil court today (on May 21) or­dered Sippy to deliver the prints of AATISH to Bombay exhibitor U.A. Thadani for release on 27th May. This order followed Vijay Sippy’s appearance before the judge at the latter’s residence this morning, where Vijay claimed that AATISH was complete and ready for release. He also said, the letter of Anand recording studio, pro­duced by the FMC in court yesterday (May 20), was incorrect.

Earlier, on May 20, the judge had fixed May 23 as the date for further hearing, but realising the urgency, the matter was heard today itself.

Technically speaking, therefore, AATISH can now be released on 27th May subject, of course, to the CBFC clearance. The release plan of the film following the court order, however, was not known.

FMC-FDC DISPUTE: NO HEADWAY

With no settlement arrived at bet­ween the Film Makers Combine (FMC) and the Film Distributors’ Council (FDC), the FMC’s embargo on releases continues for the second week. No films were released this week. G.P. Sip­py’s Aatish was due for release on 27th May (next week) but with no time left, the release on 27th seems to be almost impossible. The new date has not been announced so far. (Read Aat­ish release story given elsewhere in this issue.)

There is no evident move for a com­ promise from both, the FMC and the FDC sides. It may be recalled that the embargo on releases was announced by the FMC on 1st May in retaliation to the FDC’s decision that (i) no film would be registered by any distributors’ association unless the producer gave an undertaking that he would post- pone the release of its video cassettes by three months from the date of thea­trical release, and (ii) producers should obtain clearance certificate for new films from the FDC.

In view of the FMC embargo, a meeting of the distributors of Delhi-U.P. was held on 20th May in Delhi under the aegis of the Motion Pictures Association (MPA).

The meeting was very largely atten­ded and the “unilateral” action of the FMC was discussed. The distributors reitera­ed that the FMC had gone back on the joint decisions taken by itself and the FMC in Indore in November ’93. They felt that the joint decisions should be strictly adhered to by the FMC. The distributors requested the FDC not to com- promise with the terms already settled.

The distributor-members were of the view that the producers had taken this decision under the pressure of a lobby created by Cable TV operators and Video Operators Association, who are injuring the distributors’ interests as al­so the interests of the industry all over the country.

It was also decided that the distributors may not pay the instalments due or they may claim compensation/damages from the producers for not giving the delivery on due date.

The FDC was also authorised to take a decision that the films, as and when released by the distributors, should be in the sequence they had been cen­ sored or advertised for release but de­layed due to the unilateral decision of the FMC.

FMC chairman Shakti Samanta told Information, “Distributors don’t want to meet the producers to settle the mat­ter. Producers are willing to sit across the table. The general opinion is for a 1-week delay in the release of video cassettes. Beyond that, the delay period could be left to the individual producers and distributors. But as far as cable TV goes, a three-month delay was ag­reeable to producers. As regards the star ceiling, it can rightly be monitored only by the FMC.”

VETERAN PHANI MAJUMDAR DEAD

Veteran writer, producer, director Phani Majumdar breathed his last on May 16 at Hinduja Hospital in Bombay. He died a natural death. He was 82 and is survived by his wife, Monica Majumdar, an actress of yesteryears.

Phani Majumdar started his career in Calcutta under the great P.C. Barua in 1931 at New Theatres, and graduated as an in­ dependent director after seven years with a bilingual, Street Singer (Hindi) and Saathi (Bengali) under the banner of New Theatres. The films were commercially successful. His next, Zindagi, was a hit. Kapal Kundla, his third film, also did well. He migrated to Bombay in 1941 and made a number of notable films including Mohabbat, Justice, Door Chal­en, Hum Bhi Insaan Hain, Andolan, Tamasha, Dhobi Doctor, Baadbaan and Faraar.

In 1955, Phani Majumdar signed a five-year contract with Singapore-based Shaw Brothers and made a number of films for them.

On his return to India, he made many films during the sixties, like Pyasi and Oonche Log. He made his first film for Raj­shri, Aarti, in 1962. It was a super-hit. He held a kind of world record for directing films in eight languages: Bengali (his mother tongue) – 3, Hindi – 35, Malay – 8, Chine­se – 2, English – 1, Magadhi – 1, Mai­thili – 1 and Punjabi – 1.

Recently, Phani Majumdar was associa­ – ted with the writing of the epic tele-serial, Ramayan. He also completed a script on Swami Vivekananda as well as one on Lord Buddha.

Phani Majumdar, who was among the first few Indians to have studied scenario writing and cinematography in America, wrote the scripts of such popular films as Kajal, Neelkamal, Badaltey Rishtey, Jaan Hatheli Pe and Ek Chadar Maili Si.

A very humble person, Phani Majum­dar always kept himself busy in writing scripts. He was felicitated by the Indian Film Directors’ Association in December 1991 on his 80th birthday. Shakti Saman­ta, who started his film career with Phani Majumdar’s Andolan, paying tributes to his guru, had then called him ‘a pure human being’, B.R. Chopra had said that he was a versatile man and to find an equal to him was very difficult.

Paying his tribute to Phani, prime min­ister P.V. Narasimha Rao said that he was a multi-faceted film personality whose films stood as a testimony to his talent as a filmmaker. Information and broadcasting minister K.P. Singh Deo said, “His death is a loss to the cine world in particular.”

‘Aatish’ Release Drama

SIPPY CORNERED

The heat that the Aatish release controversy generated all through the week gone by and more particularly on Friday, May 20, would make even the Sun hang its head in shame. There were as many stories about the release date of Aatish as tongues that wagged. At the time of going to the press, however, it was certain that Aatish would not be released on 27th May. In G.P. Sippy’s own words, “It will take some time now. But Aatish will not come on 27th.”

A number of developments took place simultaneously on 20th May, making it difficult, if not impossible, for Sippy to meet the release date of 27th May.

Bombay exhibitor U.A. Thadani moved judge Deshpande’s court in the city civil court, Bombay, on 20th, seeking delivery of the prints of Aatish for release at his cinemas on 27th. The FMC, presumably fearing that Sippy was hand-in-glove with the exhibitors, obtained a consent letter from him (Sippy), permitting the FMC to defend the case in the court. It was argued in the court on behalf of Thadani that he had contracts with Sip­ sons (the Bombay distribution concerns of the Sippys, which would be releasing Aatish) to rele­ ase Aatish at his cinemas on 27th. It was also pointed out that the film had been released on 6th (for 1 show) at Edward, Bombay and the daily collection report for the said show was produ­ced in the court as evidence. The FMC (on behalf of Sippy) argued that since the film was not complete, delivery thereof could not be effected. In support of its claim, the FMC produced in the court a letter of Anand Recording Studio, stating that the film’s mixing was not yet comp­lete. On behalf of Thadani, it was argued that Aatish had already been certified by the CBFC and, therefore, the question that it was incomplete did not even arise. The C.C. no. (1216, UA, dated 5-5-’94) was quoted. The judge reserved his order and, in the absence of G.P. Sippy in the court, asked for an affidavit from Sippy to as­ certain the actual position regarding its completion. The matter was again fixed for hearing on Monday, May 23. Sippy has been directed to file an affidavit, if he so desired. It is reliably learnt that Vijay Sippy, however, will appear in the court today (May 21) at 11 a.m. and state on oath that his film is complete and ready for release. If the court orders that the exhibitors were entitled to be given delivery for 27th release, there is a possibility (theoretically speaking) of the film coming on schedule. But there is another hitch – that of the censor certificate (read further).

It may be mentioned here that the judge opined that the FMC’s embargo on relea­ses was general and a consequence of the fight between distributors and producers. Exhibitors could not be made to suffer because of the embargo, the judge noted.

In the meantime, G.P. Sippy obtained letters from Anand, retracting its earlier letter given to the FMC. The two letters dated 19th May clarified that the mixing of Aatish was complete and that the earlier letter was inadvertently issued by an administrative staffer of Anand, who had no technical knowledge.

Meanwhile, the FMC also rushed a complaint to the CBFC on the basis of the letter it had obtained from Anand. In turn, the CBFC sent a letter to Sippy Films on 19th May (received by Sippy late in the evening of 19th), which, in effect, can­ celled the certificate (no. 1216, UA) issu­ed by it. The letter reads:

“We have received a complaint from M/s. Film Makers Combine that mixing and re-recording is being carried out in the Hindi film Aatish after a certificate for public exhibition has been issued. In this connection, your attention is invited to Rule 33 of Cinematograph (Certifica­tion) Rules, 1983, which clearly states that when a film is altered by excision, addi­tion, colouring or otherwise after it has been certified under these Rules, it shall not be exhibited unless the portion or por­tions excised, added, coloured or otherwise altered, have been reported to the Board in Form III in the Second Schedule and the Board has endorsed the particulars of the alteration or alterations on the certificate. It is further laid down in Rule 33(4) that pending examination of the altered film under this Rule, the applicant shall not exhibit the film incorporating the proposed alteration.

“You are therefore requested to com­ply with the provision of Rule 33 and submit the necessary application to this offi­ce for further necessary action. You are further advised that till the issue is finally settled, no action in regard to exhibition of film Aatish may be taken on the basis of certificate no. UA-1216 dated 5-5-1994 issued by this office.”

According to G.P. Sippy, he was shock- ed to receive the letter from the CBFC. In a hard-hitting reply to the CBFC, he has said that Shakti Samanta, who was the president of IMPPA, was misusing his position as the CBFC chairman and had issued him a letter to appease the mem­bers of IMPPA.

He denied that rule 33, as mentioned in the CBFC’s letter, applied to Aatish. He also mentioned in his reply that he had already submitted on 17th May the addi­tions to the CBFC, and the same had even been viewed by two members of the exa­mining committee and the assistant re­gional officer, but the endorsement on the censor certificate was pending. A hurt G.P. Sippy told Information, “The FMC has stabbed me in the back when I was standing by the FMC. The letter of the CBFC, written at the behest of the FMC, is totally wrong and illegal.” Sippy’s remark re­garding standing by the FMC was an obvious reference to an undertaking given by him to the FMC on 18th May that he would not release Aatish on 27th since the dispute between the FMC and the FDC was not settled. Vijay Sippy told In­ formation, “We’ve made a movie, we’ve got it certified. Is that a crime? Why are we being penalised.?”

CBFC chairman Shakti Samanta, however, did not think that the CBFC letter had cancelled the censor certificate. “It is only the official language used,” he said matter-of-factly, adding, “If Sippy has already submitted the additions and they have been viewed by the CBFC, the cen­sor certificate cannot be withdrawn. It’s a small thing.” Shakti-da said, he did not draft the letter to Sippy Films, as rumour­ ed. “I definitely told the administrative officer to use soft language,” he explain­ed.

In the meanwhile, according to reliab­le sources, the Bengal distributor of Aatish has secured a court order directing the producers to give delivery of the prints to him for release on 27th May. The Over­ seas distributor has filed a similar case in Bombay.

But with the censor certificate being put on hold, the Sippys cannot hope to achieve much on the strength of court orders. What assumes paramount importance now is the stand of the CBFC. Only if it gives Aatish the green signal can the film be released on 27th. In Vijay Sippy’s words, “We want to release the film. But Aatish is in a strange fix. Let’s see.”

COMPOUNDING TAX INTRODUCED IN KARNATAKA

Specific Cinema Activities Accorded Industry Status

The Karnataka state government has taken a major decision which will prove beneficial to the film industry. It has accorded cinema the status of an industry, besides announcing several concessions and subsidies, including a slab system for collection of entertainment tax. The subsidies will total Rs. 25 crore.

The new slab system for entertainment tax collection is as follows: for places with population upto one lakh, 15% for 14 shows per week; it would be 20% for 21 shows in places with a population bet­ ween one lakh and three lakh; 22% for 23 shows per week in places with a population between three lakh and five lakh; 25% for 25 shows per week in places with a population between five lakh and 10 lakh. In towns with a population of over 10 lakh, the tax would be 28% for 25 shows per week.

The much needed revenue, generated by the immediate introduction of the slab system, would help in setting up a film city in the state.

Further, an exemption of entertainment tax for three years to new cinemas excluding those in Bangalore, was announced, provided they reserved 75% of their screening time for Kannada films. A 10% subsidy upto a maximum of Rs. 5 lakh would be given for construction of cine­ mas outside the city.

A cash investment subsidy of 10% with a ceiling of Rs. 5 lakh would be granted for setting up film processing, printing and developing centres, outdoor shooting units, dubbing and recording theatres and film studios. Non-speculative cinema activities such as the above would be accorded industry status. These units would be exempted from payment of stamp duty, and concessional registration charge of Re. 1 per Rs. 1,000 would be collected for loans on credit documents to be executed by them and sale deeds to be exempted for purchase of land required.

Chain Of Events

The Film Makers Combine seems to have beaten G.P. Sippy at his own game. The sequence of events:

(1) 1st May: FMC puts an embargo on all releases after 6th May.

(2) 5th May: Censor certificate is issued to Aatish.

(3) 6th May: Aatish is screened in one show at Edward, a side cinema of Bombay, without any fanfare or notable announcement.

(4) In Bombay, exhibitor U.A. Thadani prepares to move the court to get Sippy to deliver the prints to him for release at his cinemas on 27th May as per contract between him and Sippy. G.P. Sippy is fully aware of Thadani’s move even before 10 days.

(5) 18th May: The FMC is critical of Sippy’s move to release Aatish on 27th without waiting for a solution to the FMC-FDC dispute. Sippy gives an assurance that he will not release the film on 27th. FMC asks Sippy to let it (the FMC) appear in court on behalf of Sippy in the Thadani case on 20th. Sippy grants permission.

(6) 18th May: A delegation of FMC meets Ramesh Patel of Filmcenter and asks him not to deliver the prints of Aatish till the FMC-FDC dispute is resolved.

(7) 18th May: The same FMC delegation goes to the CBFC office in Bombay and questions its issuance of a censor certificate to the film even though its post-production work is still in progress at Anand recording studio (Anand’s letter obtained by FMC).

(8) 19th May: The CBFC dashes a letter to Sippy Films on a complaint by the FMC. Sippy Films is asked by the CBFC not to release the film under the censor certificate issued to it on 5th May.

(9) 20th May: Thadani moves the city civil court, Bombay. No order is passed. Case kept back for Monday, May 23.

(10) 20th May: An infuriated Sippy writes to the CBFC, alleging foul play and seeking its endorsement on the censor certificate for the additions made in the film and applied for certification on 17th May. (The additions, claims Sippy, have been seen by the regional officer and two members of the examining committee on 18th.) Sippy refutes the charges that alterations have been made in the film after the C.C. was issued on 5th May. He also obtains a letter from Anand recording studio to the effect that its earlier letter (issued to the FMC) was null and void.

(11) 20th May: The Bengal distributor of Aatish obtains a court order, directing Sippy to deliver the prints of Aatish for release on 27th.

From the above, it is clear that G.P. Sippy wanted that his film should be released on 27th May. He tried his best to meet the release date, but some­ where along the way, he seems to have bowed down to the pressure of the FMC. The FMC’s complaint to the CBFC later, seems to have hurt Sippy.

The FMC, on its part, did not want to take any chances. Not only did it obtain authority to represent Sippy in court, it also complained to the CBFC and had the censor certificate of Aatish virtually cancelled! But for this, Aatish may have been released on 27th May. The FMC, however, upheld the unity among producers.

Garma-Garam

** I was in Jaipur earlier this week and it was disheartening to see veterans in the trade in a despondent mood. Both, distributor-exhibitor O.P. Bansal and distributor Trilok Singh, were critical of the high prices de­manded by producers on the one hand, and sky-high theatre rentals, on the other. Mr. Bansal was of the view that within a couple of years, the MG royalty sys- tem would go and films would be re- leased on agency/commission basis. Trilok Singh-ji lamented, “I’ve stopped buying films… I don’t understand where the prices are going… There’s nothing like average business today. If your film doesn’t click, you are in the red.” Mr. Bansal said, he failed to understand how a star can shoot up his price by leaps and bounds just because one Raja Babu clicks.

3-E
Education-Entertainment-Enlightenment

Primary Dispute And Secondary Disputes

It is funny how the dispute between the FMC and FDC has been temporarily side-tracked and a new dispute – that bet­ ween the FMC and G.P. Sippy – has arisen. The impending release of Aatish is creating so many problems that it has be­ come a full-time job for the FMC to monitor Aatish alone. No doubt, the FMC has risen to the occasion and is doing all it can to keep unity among producers alive. But putting in so much time and effort in the Aatish case is leaving it with hardly any time to think of a solution for its primary dispute, that with the FDC. One hears that all is not well in the FDC too. Reportedly, a section of the FDC office-bearers aren’t too happy with Santosh Singh Jain’s over-enthusiasm in granting clearance to two films of the South. Interestingly, one of the films stars Sanjay Dutt. While Sanjay Dutt has not been clear­ ed for Subhash Ghai’s Trimurti, he has got the FDC’s (cour­ tesy Santosh Singh Jain) green signal for the South film. And this has not met with the approval of all in the FDC.

His Conviction, His Confidence, His Price

Vidhu Vinod Chopra has been pretty lucky in getting the price he demands from distributors for his 1942 A Love Story. After C.P. Berar, which was sold for 40, the deal for C.I. has also been clinched at a fabulous price. One can’t help admiring Vinod Chopra’s conviction in his product. Not once dur­ ing its making did the man lose confidence when no buyers came forth at the price he was quoting. He continued to make his film with the concentration few could emulate and most would envy. And today, he is getting the rewards of his confidence and perseverance. In fact, when Chopra had signed R.D. Burman to score the music in the film, it hadn’t met with much approval in trade circles because R.D. was considered to be passé. Today, if Vinod Chopra is getting the phenomenal price for his film, it is largely because of the popularity of its music. The ‘Ek ladki ko dekha to aisa laga’ song, especially, has caught the fancy of music lovers throughout the length and breadth of the country. One waits with bated breath now, to see whether the film will also catch the fancy of cinegoers in a similar fashion.

From 1977 To 1994

For Parto Ghosh, directing Teesra Kaun? for N.N. Sippy must be the most exciting thing. For, Parto used to assist Maneck Chatterjee when the latter was directing N.N. Sippy’s Ghar in 1977. Parto used to then get a salary of Rs. 200 per month. From a salaried assistant to calling the shots – for the same producer – is indeed a creditable growth.

Goodbye To Rajasthan

J.P. Dutta has a penchant for shooting his films in Rajas­ than. No single director must have exposed as much raw stock in the deserts of Rajasthan as J.P. has. Whether it was Ghulami, his first directorial venture, or Hathyar, Batwara or Kshatriya, Rajasthan has always been the backdrop in his films. But the surprise is that he will not shoot a single frame of his new film, which he is directing for producer Sunderdas Sonkiya, in Rajasthan. Seems unbelievable but it’s true!

New Chief For ‘Mukhia’

Producers Mushir Riaz had announced Mukhia over a year back. Remake of the Tamil hit Thevar Magan, it was to have been directed by J.P. Dutta. But J.P. has now been re­ placed. South film director Bharatan will call the shots. Inci­ dentally, while Anil Kapoor plays a leading role in Mukhia, a hero to play the title role is yet to be finalised.

Then And Now

This one is from music director Milind: “Till about two months back, music companies used to insist that songs have a little bit of double-meaning lyrics to “lure in the masses”. After Andaz, the same music companies tell us to keep miles away from vulgar lyrics.” How typical of the film industry!”

(From our issue dated 14th May,1994)

DO YOU KNOW?

* According to producer Premji, he has changed the title of his film from AURAT to AURAT AURAT AURAT as it speaks about the three phases in a woman’s life, viz. maidenhood, married status and motherhood.

* Director Talat Jani directed his father, the famous qawwal, Jani Babu, for Super Cassettes’ album, ‘Allahwala’, on 13th May.

* So impressed was director Talat Jani with the crew-cut hair of the trainees at State Reserve Police Force Quart­ ers, Jogeshwari, Bombay, where he had gone to shoot his HIMMATVAR recently, that he too trimmed his hair then and there.

* For the first time, perhaps, three tax-free films – JURASSIC PARK, TEJ­ ASVINI and SALAAMI – were running in Yavatmal last week.

* LAADLA has created a theatre re­cord by collecting 47,581/- (nett) in 2nd week at Vasant, Wardha.

* BEERA BEGO AAYEEJE RE (Raj­asthani, TF) has created a record for Rajasthani films by collecting 2,07,220/- in 1st week at Girdhar Mandir, Jodhpur. It has also created a theatre record by collecting 73,055/- at Swapnalok, Udaipur. It has created another record at Manthan, Pali.

* JURASSIC PARK has created a new record by collecting 34,610/- in 4th week at Circle, Nasik.

* JURASSIC PARK (Hindi, TF) has created a record by collecting 90,529/- in 4th week at Anuradha, Nasik Road. Total for 4 weeks: 3,91,113/-.

* JURASSIC PARK (TF) has created a theatre record by collecting a total of 1,73,515/- (against a capacity of 1,94,880/-) in 4 weeks at Kakani, Malegaon. 4th week: 40,012/-.

* JURASSIC PARK has created a theatre record by collecting 93,196/- in 1st week and 84,692/- in 2nd week at Prabhat, Dehradun.

MIX MASALA

NATION’S SHOW PLACE

Bombay’s Minerva cinema is advertised as the ‘pride of Maharashtra’, and Novelty, as ‘Theatre Magnificent’. Now, Liberty, which is being readied to release Rajshri’s Hum Aapke Hain Koun..!, is being publicised as ‘Show place of the nation’.

YOU ASKED IT

How many cinemas have closed down in Bombay in the last 10 years?

– Twenty cinemas!

Despite so many associations in the in­dustry and their rules and regulations, why is the film industry so indisciplined?

– For one, there are too many associa­tions and they often work against each others’ interests. Secondly, many in the industry do not take rules and regulations too seriously; it is money and status that matter.

What are the pre-requisites of a succ­essful hero today?

– He must be young, fresh, lucky and a good actor and dancer. In the alternative, he must be a dinosaur!

‘1942 A LOVE STORY’: MRTPC SUSPENDS OPERATION OF FMC CIRCULAR

The Monopolies and Restrictive Trade Practices Commission (MRTPC) on 11th May suspended the operation of the FMC’s boycott of Vinod Chopra Productions vide the former’s (FMC’s) circular dated 19th November, 1993. The order was passed in the injunction application no. 65 of 1994 made by Vinod Chopra Pro­ductions. The application is listed for hearing on 23rd May before the Commission.

It may be recalled that following Vin­od Chopra’s flouting of the FMC resolution in November ’93, the FMC had on 19th November issued circulars asking the distributors’ associations and Film City and other studios as also other associations and federations to boycott Vinod Chopra and his production concern. The FMC had resolved to suspend all shooting activities in November ’93 as a result of its dispute with cine workers, but Vinod Chopra had shot his 1942 A Love Story despite the suspension.

The MRTPC has suspended the operation of the FMC circular. Notice under section 10(a)(i) and 12-A of the Monopo­lies and Restrictive Trade Practices Act, 1969 has been issued to the FMC.

KAMAL CANCELS TRIP

Kamal Haasan has boycotted the Cannes film festival where his Thevar Magan (Tamil) is being screened. The boycott came as a result of the lackadaisi­ cal attitude of the Directorate of Film Festival authorities who were not even present to receive Kamal at Bombay airport where he arrived earlier this week from Madras to proceed to Cannes.

BABY BOY FOR SUNNY DEOL

Sunny Deol’s wife delivered a baby boy in London on 12th May. This is the couple’s second child.

VETERAN ACTOR DEAD

S.B. Nayampally, a veteran actor of the late silent and the early talkie era, died of old age in Bombay on May 7. Having started his career with Wedding Night in 1929, he had to his credit many films like Noor Jehan, Alam Ara, Zarina, Saire Paristan, Kal Koot and Zingaro. His other notable films were Jhansi Ki Rani and Jis Desh Mein Ganga Behti Hai, his last film.

VETERAN FILMMAKER SUBODH MITRA DEAD

Subodh Mitra (86), a veteran filmmaker of New Theatres, died on April 29 in Calcutta, after a prolonged illness. Hav­ing started his career as an editor with New Theatres, he had edited about 150-odd films made by New Theatres bet­ween 1931 and 1954. His first directed film was Doctor. Grihadata, made in 1967, was his last film. It was a big hit.

FOX MD DEAD

J.R. Shenoy, managing director of 20th Century Fox Corpn. (India) P. Ltd., died on 1st May in Bombay, succumbing to the multiple head injuries he suffered on April 12, when the car he was travelling in skidded near Sahar airport, Bombay. He was on his way to Hong Kong to attend the conference of the managers of Fox when the accident took place.

REGE APPOINTED CBFC ARO

Mrs. M.P. Rege of the CBFC, Bombay, has taken charge as assistant regional offi­cer and superintendent officer.

CCCA BREAKS JOINT TRIBUNAL WITH FMC

The Central Circuit Cine Associa­tion (CCCA), in its executive committee meeting held on May 12 and 13, decided to discontinue its joint tribunal with the Film Makers Combine. This follows the ongoing dispute between the FMC and the Film Distributors’ Council over the issue of video release and monitoring of the star ceiling scheme.

PUNJAB DISTRIBUTORS SUSPEND PAYMENTS TO PRODUCERS

An emergency meeting of distributors of East Punjab, held on 11th May in Jalandhar, condemned the stand of the FMC to postpone all releases after 6th May. The meeting decided that no distributor would, until further directions, send any remittances to the pro­ducers, whether the payment was to­ wards signing amount, under-production instalments or overflow money. It was also decided that if any distributor did not comply with the decision, he would be suspended from the membership of NIMPA for six months and a penalty of Rs. 50,000 would be levied on him.

SELF-REGULATION BY STARS: CAA TO MONITOR CEILING

Even as the stalemate over who would monitor the star-ceiling scheme – the FMC or the FDC – continues, the Cine Artistes’ Association (CAA) has decided to monitor it itself.

On a representation made by major stars that they would like to self-regu­late their assignments and would like the CAA to monitor the same, the ex­ecutive committee of the CAA at its meeting held on 8th May, resolved that henceforth all stars shall self-regulate their assignments. It was also resolved to form a sub-committee of stars to monitor the same. The meeting decided that henceforth, all artistes desiring to start shooting for new films would have to approach the sub-committee and obtain necessary clearance before starting shooting for the same.

Vulgarity, Violence In Films Condemned

CBFC chairman Shakti Samanta gave an assurance that vulgar songs will not be permitted in films henceforth. He was speaking at a meeting convened on 11th May in Delhi on film censorship, by I & B minister K.P. Singh Deo. The meeting lasted over four hours and was attended by parliamentarians, members of the Nat­ional Commission for Women, film critics, cable TV operators, members of the CBFC and representatives of the film industry.

Vulgarity and obscenity in films came in for sharp criticism by the government. References were made at various stages to Khuddar, Raja Babu, Dulaara and Khal-nayak. Shakti Samanta said, by the time the aforesaid films came up for cen­sorship, the songs (found objectionable) in them had already been telecast a num­ber of times on Doordarshan and satellite channels. He added, the CBFC had cur­rently started censoring the songs prior to their release in the market and their tele­cast on television. Even violence was being gradually curbed, he informed.

BJP MP Uma Bharti wondered why more films like Maine Pyar Kiya and Roja were not being made. She added that both the films were enter­taining, be­ sides being full of messages.

Actor-turned-MP Arvind Trivedi de­cried the vulgarity in songs and warned, “Today, they are merely asking what lies behind the choli. Tom­orrow, they will actually show what lies behind. What will we do then?”

Members of the Women’s Commission refuted the contention of filmmakers that they were giving what the audience want­ed. According to them, a recent finding revealed that the cinegoers, especially women, found sex and violence in films revolting

Film industry representatives felt, the allegations were mostly unwarranted as only a handful of films con­tained vulgar songs and excessive vio­lence. They pointed out that the govern­ment had not granted the film in­dustry the status of an industry so far.

Actor-cum-MP Sunil Dutt explained that there were always two sides to a coin. “You must find out what the industry has gone through before you look down upon us and condemn us as dishonourable, vulgar people,” he said.

Raj Babbar also defended the film in­dustry in the Rajya Sabha on 13th May. In his maiden speech in the Rajya Sabha, Raj said that vulgarity in films was only a reflection of society. He called khadi wallahs (politicians) the real villains of society. He opined that it was wrong to blame films alone.

FMC-FDC Stalemate Continues

Early Settlement In Sight

Preparations On For ‘Aatish’ Release

The stalemate in the dispute between the Film Makers Combine and the Film Distributors’ Council continues, with no official announcement of a joint meeting. Consequently, the FMC’s embargo on releases continues to be in operation.

No new films were released this week. Both, Mohabbat Ki Arzoo and Aa Gale Lag Jaa, had been technically released last week (6th May) and they were released all over India on 13th. Aatish, Anth, Jai-Kishen and a couple of other films were scheduled for release on 20th May but since no settlement has been arrived at, they have all been postponed. Consequently, there will be no new release next week.

In the meantime, preparations are on to release Aatish on 27th May. Large-scale publicities of the film have come up all over Bombay, presumably, in the hope that the film will be released on 27th. It is rumoured that G.P. Sippy is trying his best to bring about a settlement so that Aatish can come on 27th. Gulshan Rai’s Mohra, which was fixed for release on 27th May, has been postponed to 10th June.

The producers’ delegation which was in Delhi on 11th May for a meeting with the I & B minister and others, had unofficial discussions (on 12th) with G.S. Mayawala, G.D. Mehta and others representing the FDC. However, no concrete solution could be arrived at. G.D. Mehta, it may be mentioned here, is distributing Aatish in Delhi-U.P. He is also reportedly very keen that a settlement comes about soon so that Aatish can be released on 27th. Several members of the FMC also concurred with Mayawala and Mehta in Delhi that an early settlement was necessary. Among those who were present in Delhi in the unofficial meeting on 12th afternoon were Shakti Samanta, Shreeram Bohra, J. Om Prakash, G.P. Shirke, N.N. Sippy, K.D. Shorey, Sultan Ahmed, Shabnam Kapoor, Pahlaj Nihalani, Pappu Verma and Sush­ ama Shiromanee. Santosh Singh Jain of the FDC had returned to Bombay on the night of 11th itself.

Meanwhile, rumours were rife in Bombay and Delhi trade circles all through the week that a settlement had been reached at. Most of the rumours were born out of the fact that hectic pre­parations were on to release Aatish.

It is also rumoured that G.S. Mayawala and G.D. Mehta are coming to Bombay in a day or two and will hold a meeting with the FMC on Monday, May 16, to arrive at a possible solution. N.N. Sippy of the FDC pleaded ignorance about any meet­ing between the FMC and the FDC. “I’ve not been informed of any meeting,” he said. He confirmed, an unofficial meeting was held in Delhi, but said, he couldn’t participate actively in it as he had to leave for Indore even while discussions were on. “Further, I did not have the mandate of the FDC to talk to the FMC, so I wasn’t keen on the unofficial meeting anyway.” explained Sippy.

Know-alls in the trade hint that an early settlement is on the cards because of Aatish. “There’s G.P. Sippy on the side of the FMC, and G.D. Mehta and G.S. Mayawala in the FDC, who’ll see to it that the embargo is lifted so that Aatish can be released on 27th,” said an industry leader wishing to remain anonymous.

Garma-Garam

** Vidhu Vinod Chopra is leaving no stone unturned to make his 1942 A Love Story a ‘1994 Most Discussed Story’. He is all set to fly to England to mix his film in Dolby stereo sound. This would make 1942 the first Indian film in Dolby sound. The mixing would take about 20 days and, consequently, its release has been postponed by three weeks. Some re-shooting is also on the cards. “The film will now hit the screen on 1st July,” said Vinod Chopra. Incidentally, Suresh Sikchi (Anurag Films, Amravati), who is, these days, busier than the proverbial bee in counting the handsome shares from Jurassic Park (he has released it in C.P.C.I. Rajasthan), has acquir­ed 1942 for a phenomenal price for C.P. Insiders say, the MG price is 40! Sikchi says, “The film will be a blockbuster.”

** Metro Cinema in Bombay and Mangala Cinema in Pune have made arrangements to screen Vinod Chopra’s 1942 in Dolby stereo sound. Other cinemas are expected to foll­ow suit.

** After Vinod Chopra, I come to Vinod Doshi. The financier and one-time producer has launched his son, Gaurang, as a hero. Writer Vinay Shukla will direct Gaurang in a film to be produced by Tutu Sharma. The dinner party hosted by Vinod Doshi two weeks back at Juhu Sports Club, to celebrate the launching, was note­ worthy for the extremely tasty food, shudh shakahaari.

** The Cine Artistes’ Association seems to have made a smart move. Even while the FMC and the FDC are in­volved in a battle about who would monitor the star ceiling scheme, the CAA has thrown a bombshell. The scheme will be monitored by the CAA alone, according to a resolution passed by the Association. One scheme and three guardians!

** Sanjay Dutt was to have reported out of Bombay for the shooting of a big film last week. But he couldn’t make it to the location and consequently, the shooting schedule had to be can­ celled midway. The unit has since returned. And the set on the picturesque location stands there silently (since March), waiting for Sanjay.

3-E
Education-Entertainment-Enlightenment

Logic Worth A Crore

A leading producer (who also owns a music company) reportedly met Yash Chopra recently and expressed his desire to buy the music rights of his next film. Chopra, who always sells the audio rights of his films to HMV, told the producer so. When the latter did not give up, Yash Chopra is reported to have quoted an exorbitant price of 1 crore for the music rights. The Marwari producer is said to have asked for 5 minutes’ time. After 5 minutes, he told Yashji, “For 1 crore, why don’t you direct a film for me?” Yash-ji couldn’t figure out why the producer had agreed to the crore figure. The producer’s logic was that if Yash-ji would agree to direct his film for 1, the price would cover the charges for direction as also for the music rights because those would then, obviously, vest with his company. Smart logic, isn’t it?

(From our issue dated 7th May, 1994)

YEH DILLAGI

Aditya Films’ Yeh Dillagi is a musical, youthful love story. Music is its biggest scoring point and it must be said to the credit of music directors Dilip Sen Sam­eer Sen that they’ve come up with some fantastic songs. The picturisations match the quality of music, thereby making the songs a veritable audio-visual treat.

The story deals with a poor girl and two rich brothers – one, a Casanova, and the other, a straightforward and sober businessman. The Casanova brother rubs the girl the wrong way but falls in love with her once she becomes a top-ranking model. The other brother, unaware of his brother’s one-sided love story, also falls in love with the girl who reciprocates his love. Finally, one brother sacrifices his love for the sake of the other’s love.

Although the story has hardly any novelty, the scripting is fresh and the drama has been presented well. The light scenes, the fun and frolic, the songs (well spaced out) and dances, all of these make the film an entertaining experience. The comedy scene with the gay and Saif is hilarious. Climax is predictable. Dialog­ues are good.

Akshay Kumar does a fine job, acting with just the right amount of restraint. His single action scene is superb and so is his dance. Saif Ali Khan is cute and acts very well. He is excellent in the ‘Ole Ole’ dance. It is Kajol who gets the best foot­ age and she comes out with flying colours. Her performance is praiseworthy and she looks stunning as the model. Saeed Jaffrey and Deven Varma provide good light moments. Reema, Achyut Pot­dar, Neena Softa and the rest lend able support.

Debut-making Naresh Malhotra’s dir­ection is competent. Music, as said above, is super-hit. The ‘Ole Ole’ song is already a rage with youngsters and its picturisation is superb. ‘Hothon pe bas’ is also wonderful and has been sexily pic­turised. ‘Barkha ki ghadi’ and ‘Naam kya hai’ are well picturised. The title song and Pankaj Udhas’ ghazal are lyrically rich. Camerawork is very effective. Simla lo­cations are a treat to watch. Production values are very good.

On the whole, reasonably priced Yeh Dillagi is a racy musical entertainer for teenagers and masses. It will bring in rich dividends and can prove class ‘A’.

Released on 6-5-’94 at Novelty and 20 other cinemas of Bombay thru A.A. Films. Publicity: excellent. Opening: very good. …….Also released all over. 1st day Indore 47,367/- from 3 cinemas, Bhopal 35,715/- from 2 cinemas, Jaipur 79,397/- from 3 cinemas, C.P. Berar excellent.

DO YOU KNOW?

* HMV, in a bid to promote Vinod Chopra’s 1942 A LOVE STORY and its music, has got printed special pic­ture postcards of the film, having pic­tures of scenes from the film on one side and a little explanation of the picture on the reverse.

* Allahabad may be topping the list of cities in India as far as closure of cinemas is concerned. It had 18 cine­mas not long ago, of which seven have downed shutters. The closed cinemas are Naaz, Rupbani, Vish­wam­bhar, Payal, Jhankar, Vishwa­ mitra and Kalpana.

* Mehul Kumar has completed the entire shooting of his KRANTI­ VEER in just 6 months. It took him 72 shifts, spread over 62 days, to complete the film.

* On the last day of shooting of KRANTIVEER, Nana Patekar bid a tearful farewell to all the unit mem­ bers. He became emotional while taking leave of the cast and crew of KRANTIVEER.

* Dimple Kapadia participated in a Holi dance for KRANTIVEER last week at Aram Nagar, Versova, Bom­bay. And she will go through the Holi revelries all over again at the same venue from May 9 to 12, this time for PATHREELA RAASTA.

* JURASSIC PARK (Hindi) is creating records at Sadhna, Baroda. It had collected 96,436/- in 1st week and 1,03,507/- in 2nd week. In the 3rd week, it has collected 1,12,395/-.

* JURASSIC PARK (Hindi, TF) has created a record by collecting 42,928/- in 3rd week at Circle, Nasik. It has also created a record by collecting a total of 3,50,050/- in 3 weeks (3rd week TF) at Anuradha, Nasik Road.

* JURASSIC PARK (Hindi) has created a record by collecting 1,20,180/- in 3rd week (36 shows) at Regal, Kan­pur. 1st week (28 shows) was 1,15,680/- and 2nd week (28 shows) was 1,06,152/-.

* JURASSIC PARK (Hindi) has created a city record for dubbed films by collecting 53,049/- in 2nd week at Balram, Bilaspur. 1st week was 62,300/-. 3rd week 1st day 5,210/-, record.

MIX MASALA

CALCUTTA CALLING

Both, Dilip Kankaria and Salim Akh­tar, have released their films (Mohabbat Ki Arzoo and Aa Gale Lag Jaa) this week in a couple of cinemas only, while the actual release will be next week. This has been done with a view to circumvent (without flouting) the FMC regulation that no deliveries will be effected after 6th May. Interesting to note that both the producers hail from Calcutta.

NO DELIVERY,
ONLY RELEASE

Heard of a film’s release without its delivery being effected? Qatil Husn Ka, a dubbed film, was released last month in C.I. although its distributor (Ankit Enter­ prises) did not take delivery thereof from the producer. Reportedly, the prints were taken from the Rajasthan distributor and screened in Indore and Bhopal. Qatil producer ka!

YOU ASKED IT

Is the Hindi dubbed version of Jura­ssic Park expected to cross the business of the dubbed Roja?

– Yes, it should.

I want to make a Hindi film with Ar­vind Swamy of Roja as the hero. Is it advisable to sign him?

– After the success of ROJA, Arvind has become a favourite at many places.

When films dubbed in Hindi from South languages don’t all fare well, do you think, dubbed foreign films will affect the Indian film industry adversely?

– Dubbed foreign films with an ele­ment of novelty can be expected to score in India.

POOJA BEDI WEDS

Pooja Bedi got married to model Farhan Ibrahim on 6th May in Bombay.

GULSHAN KUMAR’S STUDIO AT NOIDA INAUGURATED

Gulshan Kumar’s new studio at NOIDA (U.P.) was formally inaugurated recently by his father, Chandrabhan. The first film to be shot there is Gulshan Kumar’s own film, Suryaputra Shani­ dev. A 14-day schedule is in progress at the studio on two different sets. The film stars Puneet Essar, Adarsh Gautam, Sunita Rao, Dinesh Kaushik, Dharmesh Tiwari, Vaishali, Arvind Kirad, Naresh Suri, Rooplata, Brijesh Tiwari and Sudhir Dalvi. Director: Uday Shankar Pani. Music: Nandu Honap. Art: R.K. Handa.

I-T RAIDS ON SUBHASH GHAI, ASSOCIATES

The income-tax department carried out raids on Subhash Ghai, his office in Delhi and Bombay, as also on his associa­tes – his distributor-partner, Tolu Bajaj, his Bombay distributor, Bharat Shah, and Tips, the music company which released the cassettes of his Khal-nayak – on 4th May.

‘JURASSIC PARK’ TAX-FREE IN MAHARASHTRA

The Hindi dubbed version of Jurassic Park has been granted 100% tax exemption in Maharashtra for a period of one year. It is being screened at tax-free rates from 2nd May.

BABUBHAI PATEL NO MORE

Babubhai Patel (Krishnakant A. Patel), proprietor of Gopal Talkies, Cambay, passed away on 3rd May at Cambay (Guja­rat).

VULGARITY IN FILMS: MPS TO MEET INDUSTRY

Vulgarity and obscenity in films will be the topic of discussion in a meeting of the film industry with members of Parliament (including lady MPs) on 11th May in Delhi. The I & B minister and the ministry’s secretariat will also attend the meeting. A delegation of the film industry will leave for Delhi on 11th morning.

DD TO DO AWAY WITH CUT-OFF YEAR

The cut-off year for the telecast of feature films under Doordarshan’s sponsored films’ scheme is likely to go soon. This assurance was given by Mr. R. Basu, additional secretary, I & B ministry, and director-general of Door­darshan, Miss S. Gokhale (joint secretary of I & B ministry), and R.K. Singh (additional director-general of DD), to a delegation of the film industry on 5th May in Delhi. The industry delegation comprised G.P. Shirke and K.D. Shor­ey. According to Shorey, “The meeting was very fruitful.”

Doordarshan has fixed 1984 as the cut-off year for purposes of this scheme but there may soon be no restriction on the year. The minister assured the dele­gation that good films produced before 1984 (from 1964 to 1979) would be telecast on national holidays and Wed­ nesday nights, while the cut-off year would be considered for Saturday screenings till the restriction was re­ moved completely.

The officials also assured the team that the rates for telecast of Hindi as well as regional films would be increa­sed. The new rates for regional films would be two-and-a-half times the current rates but DD would be entitled to telecast them thrice (instead of once only) at the concerned regional centre. The rate for ‘B’ category Hindi films would be enhanced from Rs. 4 lakh to Rs. 5 lakh.

Award-winning films would be per­mitted to be telecast after being dub­bed in various languages for different DD kendras. Half the cost of dubbing would be borne by the I & B ministry.

NO NEW RELEASES AFTER 6TH MAY
FMC GETS STRICT, REBUTS FDC
No Early Solution In Sight

Even six days after the Film Makers Combine’s decision to postpone indefinitely all releases after 6th May, no headway has been made in settling the dispute between the FMC and the Film Distributors’ Council (FDC). No early solution also appears to be in sight, with the FDC taking a couldn’t-care-less stand vis-à-vis the FMC decision. The FMC, at the general meeting of producers held on 1st May at ISKCON, Juhu, Bombay, resolved that no producer would directly or indirectly allow the release of his film after 6th May. The extreme step has been taken by the producers due to the “unprecedented attitude of confrontation, high-handedness and harmful interference by the Film Distributors’ Council (FDC) in the activities of the production sector.”

The atmosphere was charged at the well-attended meeting of producers held under the aegis of the FMC, and the mood was upbeat. Producers decried the FDC resolutions of (i) delay of video cassettes by three months from the date of theatrical release, and (ii) producers hav­ing to seek clearance of the FDC before starting new films. Besides deciding to stop all releases of new films after 6th May, it was also resolved that no producer would deliver any new print of old films also.

TOKEN RELEASES

Producer Salim, whose Aa Gale Lag Jaa was scheduled for release on 13th May, announced amidst applause at the meeting that he did not mind if releases were suspended from 13th, even if that meant his release being affected. Later, however, Salim effected deliveries of his film to his distributors before 6th so that it could be released on 13th. It was also released at Metro, Bombay on 6th and will be released all over next week. Likewise, producer Dilip Kankaria, too, effected de­ liveries of his Mohabbat Ki Arzoo be­fore 6th and released it in a distant suburb of Bombay (one print) and a small centre of Rajasthan. Mohabbat Ki Arzoo would also be released all over next week.

MIXED REACTIONS

The convenient way in which the two producers have circumvented the FMC resolution, without technically flouting it, met with mixed reactions in trade circles. While some felt, the two were justified in doing what they had done, many others opined that it was not right.

SONKIYA APOLOGISES

The general meeting of producers felt that a three-month delay in release of video cassettes was impractical. It also condemned and decided to punish those producers who had sought FDC clearance before starting their new films despite FMC directions to the contrary, as they had thereby accorded recognition to the fdc. One of the producers who sought FDC clearance, Sunderdas Son­ kiya, has since tendered an apology to the FMC and has written to it that his application to the FDC for clearance stands withdrawn. On its part, the FDC has al­ready cleared Sonkiya’s film and granted him permission to shoot.

NO FURTHER RELEASES

A meeting of the executive committee of the Film Makers Combine was held on 6th May at IMPPA House and it was decided that nobody would be allowed to effect their deliveries hereafter. The cases of producers Salim and Dilip Kankaria were also discussed and it was decided that since they had technically released their films on 6th, they should not be stopped from actually releasing them on 13th. Barring these two films, it was deci­ ded that no other films should be allowed to be released till a settlement was reach­ ed at.

ASSURANCES

The meeting also took up for consideration rumours that G.P. Sippy was going ahead with the release of Aatish on 20th May. Sippy, who was present at the meet­ing, assured the FMC that he would not release his film till the latter and FDC did not settle the dispute. Gulshan Rai’s Mohra was scheduled for release on 27th May but he, too, gave an assurance that the film would not be released if there was no settlement.

RUMOURS

Rumours were rife all through the week that Sippy was planning to release Aatish on 6th at a station of Gujarat so that he could release it all over on 20th May even if the FMC resolution was not withdrawn till then. Insiders, however, re­veal that although Aatish has been cen­sored, some re-shooting was still to be done, and the film could not be released prior to that.

SHIRKE BLASTS

In a chat with Information, G.P. Shirke lamented that G.P. Sippy was thinking of releasing Aatish on 20th at the cost of unity. He condemned Sippy’s plans in no uncertain terms.

LAST CHANCE

J. Om Prakash was concerned for the production sector and prayed that unity would be maintained in the FMC. “No­ body must flout the FMC resolution,” he said, adding, “This is the last chance for producers. If there surfaces a Vibhishan among producers, our Lanka will be burnt.”

FDC NOT IN HURRY

Reacting to the FMC resolution, San­tosh Singh Jain, speaking on behalf of the FDC, said that it (the FDC) was in no hurry. “If the FMC will not allow its members to release films after 6th May, let that be, we don’t mind,” he said. Acc­ording to Jain, it may take two months before a solution is arrived at. “Good construction can come only after a good destruction,” he said, adding, “A strong foundation must be laid for a strong structure to be built. Putting off the releases is like destruction or, in other words, a good foundation.”

Distributors’ Misdirected Enthusiasm

It has happened for the second time in seven months. In November ’93, producers were involved in a battle with cine workers and had to ulti­mately resort to suspension of all production activities. This time, they are engaged in a battle with distributors and have had to call for suspension of releases of films after 6th May.

The present dispute with distributors is mainly on two issues – one, re­lease of video cassettes, and two, clearance to producers for their new films. It is the contention of the Film Distributors’ Council (FDC) that video cassettes should not be released for three months from the date of theatrical release of a film. The FDC also wants that producers should seek its clearance before starting any new film so that it (FDC) can monitor the star ceiling scheme. The FDC has alleged that star ceiling was its baby and it was taking its possession back from the Film Makers Combine (FMC) as the latter had failed to take care of it or, in other words, had not implemented it properly.

The FDC seems to have taken these unilateral decisions because the FMC went back on its agreement with it on the point of delaying video cassettes by three months.

Whatever the reasons for the actions and counter-actions of the two parties, some re-thinking needs to be done on both the sides. Confron­tation benefits none. Both, producers and distributors, must bury their egos for the common interest of all.

The FDC’s move to delay the release of video cassettes is no doubt laudable, but isn’t it getting too impractical in asking for a three-month delay? Delaying videos by three months is fraught with at least two dangers – (i) surfacing of pirated video cassettes, and (ii) video distributors refusing to take delivery after three months in a majority of the cases as 85% of the films are flops/disasters/losers. To begin with, a two-week delay would be ideal. If the idea clicks, producers would themselves be open to delay for a longer period.

The FDC’s bid to monitor the star ceiling scheme is nothing but misdirected over-enthusiasm. Producers sign stars, they produce films, then on what basis can the distributors appoint themselves as the clearance authority? Next, they may say, all scripts must be approved by the FDC. The distributors’ involvement is praiseworthy, but let them not usurp the pow­ers of the producers. Because, finally, it is the producer who is the principal, and a distributor is but his agent. And nowhere in the world does an agent wield more power than the principal. The film industry is no exception.

– Komal Nahta3

3-E
Education-Entertainment-Englightenment

I-T Sleuths Impressed

On Thursday, May 5, the national dailies of Bombay carried the news of income-tax raids on Subhash Ghai and his associates, on their front pages. And what exactly did the I-T sleuths think about Ghai and his accounts? Well, they were mighty impressed with the meticulous functioning of the showman’s office. Reportedly, the cash in hand tallied paisa to paisa with that shown in the accounts book. The I-T offi­cials got whatever information they wanted, in seconds, thanks to the data fed into Ghai’s computer. And about Sub­hash Ghai himself, they said, they’d never met a more simple person.

Moral of the story: If you don’t want the I-T people as your guests, don’t be a Simple Simon. Right, Mr. Ghai?

Record Tax!

And while on Ghai and the income-tax raids, it wouldn’t be out of place to mention here that the showman has paid income-tax of Rs. 72 lakh last year.

Keeping I-T People Away… The Ghai Way

Overheard after the income-tax raid on Subhash Ghai and his associates, reportedly initiated by the department due to the outstanding sale of the music of Khal-nayak: “Now, just to spite the income-tax department, Subhash Ghai must make a film with poor music.” Na rahegi (bajegi) music, na aayen­ ge income-tax wale.

White Cars

There’s a shortage of white Ambassador cars in Madras! A total of 300 such cars were required for the climax shooting of Pranlal Mehta’s Mafia, but the makers could manage to get only 194. The cars are being used in the shooting from 3rd to 9th May.

Inspired From….

Of course, this is a sheer coincidence, but both the releases of this week, Pehla Pehla Pyar and Yeh Dillagi, are inspired from Audrey Hepburn starrers of the fifties, viz. Roman Holiday and Sabrina respectively. The Bombay distributors of both the films (Kanak Films and A.A. Films respectively) have their office in Naaz building in the same premises.

Personal Touch

Kajol visited Gaiety cinema at Bandra, Bombay on 2nd May, the day on which the advance booking of Yeh Dillagi opened, and personally autographed the tickets. There was almost a stampede to see Kajol, and police had to be called in to control the crowd.

Jugal Hansraj, too, visits Metro, Bombay daily and is there from 11 a.m. to 2 p.m. while the advance booking of his Aa Gale Lag Jaa is on.

Considerate Pahlaj

There are few producers like Pahlaj Nihalani who think of their distributors so considerately. Realising that his distributors would lose in Andaz mainly because of its high price, he has promised to adequately compensate their losses. Natu­rally, his distributors are thrilled with Pahlaj’s concern.

IFDA Decries Obscenity

The Indian Film Directors’ Association has expressed grave concern over obscenity on cinema screens. In a press release issued by general secretary Madhusudan, it has put the blame on the I & B minister, K.P. Singh Deo, and the CBFC chairman, Shakti Samanta, “who is holding an elected posi­tion in the film producers’ apex organisation. He is in no posi­tion to annoy or alienate any of the producers who are his electoral constituency.” The release adds that the crying need is the strict and uniform application of guidelines. No one should be allowed to circumvent. “It is not that cinemas will empty out if cinegoers do not see forward thrusts of the pelvis or gruesome, blood-splattered violence…… There are a host of producers who feel revolted at the kind of films they have to compete with. They should not be left to feel helpless.”

New Titles

Let’s have a look at some of the interesting new titles registered by the title registration committee in its meeting held on 18th April:

Dear India, Race Course, Aaj Ka Nayak, One Way Traffik, Herapheri Master, Vijay Ki Vijay, Calendar 1995, Bharat Mein Mahabharat, Hum To Mohabbat Karega, Hinsaraaj, 1 Dn. – Calcutta Mail, Conductor, Bus Stop, Laila Chhaila, Buckle, Drummer, 1-13-7, Fauladi Mard, Bangali Babu, Bangali Babu Bombay Mein, Laadla Beta, Love Ticket, Gunda Vakil, 13 Khoon, One More Idea Sir, Sali Ras Ki Pyali.

Frighteningly Crazy

A distributor of Rajasthan telephoned his producer on the day of release of their film. “How is it?”, questioned the excited producer. As the public response was dismal, the unhappy distributor replied, “Darr lagta hai….” The producer shot back. “Oh, great! I’ll be happy if it is as good as Darr. Mujhe bhi meri film Darr lagti thi.” The distributor banged down the receiver in disgust.

(From our issue dated 30th April, 1994)

SAAJAN KA GHAR

Roopvati Productions’ Saajan Ka Ghar, remake of the Marathi super-hit Maherchi Saadi (which itself was ins­pired from hits in other languages), is an emotional family drama. It is the story of a girl whose father refuses to even see her face right from the time she is born be­cause he considers her unlucky. But, in fact, she spells luck wherever she goes. Finally, the girl sacrifices her life for the sake of the happiness of her mother-in law, and when her father yearns to see his dead daughter’s face, nature comes in the way. The first half is a tear-jerker and has plenty of emotions for ladies. The film becomes a bit dull after interval and the sentiments then do not manifest them­ selves as effectively. Dialogues (Adesh K. Arjun) are excellent and some are ex­tremely touching. Comedy track is quite entertaining but it does not have any con­nection with the story. Climax is effective.

Juhi Chawla is the life of the film and gives a praiseworthy performance as the suffering girl. Rishi Kapoor has less scope but does full justice to his role. Deepak Tijori, as Juhi’s step-brother, plays the sympathetic rebellion with complete con­viction and wins the audience’s hearts. Anupam Kher is okay. Bindu is effective and so is Shubha Khote. Farheen does an average job. Kader Khan and Johny Lever entertain to some extent. Aloknath, Mohnish Bahl, Anjana Mumtaz, Beena, Tej Sapru and others support adequately.

Direction is quite good. Had the focus been equally, if not more, on father-dau­ghter as on sister-brother, it would have been better. The ‘bidaai’ song,’ ‘Apni bhi zindagi’, ‘Saawan aaya’ and ‘Nazar jid­har jidhar jaye’ are musically appealing numbers. ‘Dard sahenge’ is good. Song picturisations (Raju Khan and Farah Khan) are eye-catching. Action is appropriate. Photography and other technical values are of good standard. Background music serves to accentuate the emotional impact in the film.

On the whole, Saajan Ka Ghar is a slow starter (except in Bombay) but will pick up by word of mouth, on the strength of ladies audience to prove a paying film.

Released on 29-4-’94 at Minerva and 15 other cinemas of Bombay thru Shrin­gar Films. Publicity: excellent. Opening: very good (1st day Minerva full, Chitra 13,175/-, Bandra Talkies full, Pinky 20,506/-, Kasturba full, Jaya 17,174/-, Kalpana 14,867/-). …….Also released all over.

LATESTPOSITION

Vacation period is aiding the box-office. On the other hand, summer heat is taking its toll.

Anjaam has not been appreciated. Collections started falling after a very good start…..

…..

Jurassic Park (dubbed) continues to do roaring business. 2nd week Bombay 10,40,055 (78.46%) from 6 cinemas (9 on F.H.); Ahmedabad 3,11,810 from 5 cinemas, Baroda 1,03,507 (89.60%), re­ cord, 1st week Jamnagar (7 shows) 22,000; 2nd week Kolhapur 60,414 (96.54%), Solapur (14 shows) 38,388, Satara 68,459, Nasik Road 91,874, Malegaon 42,903; Delhi 14,39,098 from 7 cinemas; 1st week Lucknow 1,54,903, 2nd Agra 99,980, Aligarh (shifting) 73,810; 1st week Calcutta 73,794 (98.74%); 2nd Nagpur 1,89,310 from 2 cinemas, Jabalpur 1,00,615, record, Am­ravati 84,384, Akola 46,500, 1st week Bhilai 1,48,018 from 2 cinemas, 2nd week Chandrapur 45,442 (1st 69,510), 1st week Bilaspur (27 shows) 62,146, record; 2nd Indore (31 shows) 86,400 (100%), theatre record, Bhopal 1,25,453 from 2 cinemas; Jaipur 1,86,948, 1st week Aj­mer (29 shows) 68,919, Kota 86,035; 2nd Hyderabad 4,39,928 from 4 cinemas.

……

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Jurassic Park (English) 2nd week Sterling, Bombay 2,71,530 (100%); Ah­medabad (last) 33,876, Surat 40,260, Baroda 57,970 (76.34%); Kolhapur 24,848 (38.22%), Solapur 29,951, Nasik 51,000; Nagpur 50,397, 1st week Raipur 45,730; 2nd Vijayawada 2,84,124 from 2 cine­mas, Visakhapatnam 2,26,336, Rajah­mundry 66,742.

DO YOU KNOW?

* ANJAAM has created a theatre re­cord by collecting 1,16,049/- (against 1,25,780/-) in 1st week at Vihar, Baroda.

* ANJAAM has created a theatre re­cord by collecting 68,970/- in 1st week at Rajlaxmi, Amravati.

* JURASSIC PARK (Hindi) has created a theatre record by collecting 1,03,507/- (against a capacity of 1,15,521/-) in 2nd week at Sadhana, Baroda.

* JURASSIC PARK (Hindi) has created a theatre record by collecting 1,45,374/- in 2nd week at Smruti, Nagpur. 1st week was 1,49,905/-.

* JURASSIC PARK (Hindi) has created a theatre record by collecting 50,103/- in 1st week at Rajkamal, Dhulia.

* JURASSIC PARK (Hindi) is the first film to have collected over a lakh (1,00,165/-) in 2nd week at Anand, Jabalpur. Total for 2 weeks: 2,02,050/-, all-time theatre record.

* JURASSIC PARK (Hindi) has created a theatre record by collecting 86,400/- in 2nd week (31 shows) at Sapna, Indore. All shows were full. The cinema was forced to conduct 6 shows on Saturday owing to huge family crowds. Incidentally, the C.I. distributor, in the press publicity of the film, advertises the names of the cinemas as ‘Disneyland’ with the actual name in brackets!

* ANDAZ has created a theatre record by yielding a distributor’s share of 1,70,000/- in 3 weeks at Pratap, Baro­da. 3 weeks’ collections:- 1st 87411/-, 2nd 78,292/-, 3rd 65,820/-.

YOU ASKED IT

So many films are exempted from payment of entertainment tax these days. What do you think about it?

– We need complete abolition of entertainment tax.

Which Hindi film has taken the long­est time in the making? And which, the shortest?

– LOVE AND GOD took the longest time – more than two decades – in the making. M. Maroof’s MOHABBAT KA MASIHA took the shortest time – 48 hours – and this has qualified it to be entered in the Guinness Book of World Records.

G.P. SIPPY BEREAVED

Sunita J. Uttamsingh, daughter of pro­ducer G.P. Sippy, expired in London on 28th April. She was 42. The production and distribution offices of the Sippys re­mained closed on 29th.

‘TEJASVINI TAX-FREE IN MAHARASHTRA

N. Chandra’s Tejasvini has been granted tax exemption in Maharashtra, for a period of one year. The film is running at tax-free rates from 29th April.

ISHRAT ALI WEDS

Marriage of actor Ishrat Ali with Nigar Sultan was solemnised on April 24 in Bombay. A reception to celebrate the wedding was held the same evening at Vile Parle Club, Juhu. It was well-attended by film personalities.

LALCHAND JANIANI’S SON TO WED

Wedding reception of Harish, son of Lalchandji Janiani of Prem Films, Indore, with Lata will be held on May 6 at Yesh­ want Club Ground, Indore.

AMRUTA ASSAULTS JOURNALIST

Amrita Singh allegedly attacked film journalist Kanan Divecha on 27th April at the Star & Style office at Juhu, Bombay. Amrita had gone to the office alongwith her husband, Saif Ali Khan, and their sec­retary, Bhupendra.

The magazine’s editor, Uma Rao, call­ed a press conference on 29th at the Press Club and stated that the apparent provocation for the attack was a story written by Kanan Divecha in Star & Style two years ago, on an “embarrassing encoun­ter” between Amitabh Bachchan and Amrita Singh. According to Uma, Amrita and Saif had sought a meeting with her in the presence of Kanan to clear a recent mis­understanding. While the meeting was on at the office, Amrita suddenly “poun­ced on Kanan and began strangling her and beating her all over”. Uma added that Saif and Bhupendra were mere spectators to the drama.

Uma tried to set Kanan free from Am­rita’s grip and it was only when she failed that Saif and Bhupendra pulled her away from Amrita. It is alleged that later Saif became aggressive.

Both the parties have lodged comp­laints against each other and a case has been registered in the Santacruz police station.

MISSED THE BUS

Producer Ashok Thakeria has pro­ved unlucky twice in the last eight months. And both the times, with dub­bed films!

His distributor-friend, Tolu Bajaj, had suggested that the two of them distribute Roja in partnership in Delhi-U.P. Somehow, the deal did not mate­rialise; Roja went on to become a hit. (It was distributed by another distributor.)

The second time, it was the Hindi dubbed version of Jurassic Park. Once again, Tolu and Ashok decided to buy the film in partnership. And once again, it was not to be. But this time, Tolu Bajaj’s luck favoured him. He bought the film without Thakeria’s partnership. Jurassic Park, needless to add, is a blockbuster.

Moral of the story: If it’s a dubbed film now, and if the offer is from Tolu Bajaj, Thakeria must simply nod in agreement.

‘Krantiveer’ Complete

The entire shooting of Mehul Movies P. Ltd.’s Krantiveer, a Din­esh Gandhi presentation, produced and directed by Mehul Kumar, has been completed following a 22-day marathon schedule which concluded on April 27. The last schedule was held at R.K. Studios, Chandivali, Fil­mistan, Natraj and Kamaal Amrohi Studios and at Convent Villa, where the remaining dramatic, action and preclimax scenes were picturised featuring the entire cast. Nana Patekar and Dimple Kapadia head the cast of the film starring Atul Agnihotri, Mamta Kulkarni, Paresh Rawal, Bindu, Fari­da Jalal, Tinnu Anand, Ishrat Ali, Mukesh Rawal, Rakesh Bedi, Mah­esh Anand, Mushtaq Khan, Zubair Khan, K.K. Raaj, Anu Dhawan, Ghanshyam Nayak, Devendra Pandit, Ankush Mohit and Danny Denzong­pa. Written by K.K. Singh, it has music by Anand Milind and lyrics by Sam­eer. Cinematography: Rusi Billimoria. Editing: Yusuf Shaikh. Action: Man­soor. Art: Sunil Singh. The film’s post-production work commences on May 5 with dubbing session.

GENERAL MEETING OF PRODUCERS TOMORROW

The Film Makers Combine has convened a general meeting of all the producers on 1st May at 5.30 p.m. at ISKCON, Juhu, Bombay.

The meeting will discuss the matter pertaining to the video re­lease of feature films vis-à-vis the stand taken by the Film Distri­butors’ Council. The meeting will also take for consideration other matters affecting the production sector due to the various decisions taken by the FDC.

A.P. GOVT. PLAYING HIDE-N-SEEK WITH FILM INDUSTRY

The Andhra Pradesh government has still not announced the measures it would take to assuage the grievan­ces of the film industry in the state, although it had promised to do so on 11th April, the day the Nandi awards function was to be held. But the function itself was postponed to 30th Ap­ril. It has been further postponed now and, therefore, the government’s decision on the memorandum of de­mands submitted by the industry is still not known.

It may be recalled here that the in­dustry had postponed its proposed strike from 1st April, 1994 only due to the assurance given by the gov­ernment that action would be taken on 11th April.

Garma-Garam

** The set erected at the entrance of Film City for Tutu Sharma’s Raaj­ kumar is indeed majestic. It must­’ve cost Tutu and Vinod Doshi (who presents the film) a huge packet but the encomiums being showered on the castle set by all those who’ve seen the heavenly creation are worth more than the hefty cost. When Tutu invited me to see his set a few weeks back, saying that it was one of the finest sets erected, I thought, he was talking like a typical producer who finds everything he does, the best. But when I saw the set for myself, I had to believe what Tutu said. Art director Nitesh Roy (yes, he had created that talked-about set for 1942 A Love Story, too, at Film City) has done a marvellous job and reportedly, it took him two-and-a-half months and the efforts of 400 workers to build the castle – not in the air, of course! According to me, it is a must-see for everyone in the industry.

** After Khal-nayak, Sanjay Dutt will appear as Nayak. That’s the title of Ramgopal Varma’s new film starring Sanjay. Another film of Varma is titled Rangeela.

** Now that Jurassic Park (Hindi) has become a hit, there must be several distributors who must be cursing themselves. These distributors are those who were offered JP for distribution but refused the offer on one ground or the other. The main fear was that it was an experiment, and not many wanted to take the risk. Those who did take the risk are having the last laugh. Suresh Sikchi (of Anurag Films, Amravati) bought its distribution rights for C.P.C.I. Rajasthan. He then ventured to sell the rights for C.I. and Rajasthan but nobody came forward. He must’ve been nervous for having to release it in the entire circuit but his nervousness has given way to smiles. Tolu Bajaj was undecided till the eleven­th hour about whether he should or should not buy it for Delhi-U.P. It was kabhi haan kabhi naa for him. Finally, he clinched the deal and, in the bargain, got a jackpot. Bombay distributor Sharad Doshi was the first to strike a deal with Paramount Pic­tures. There was no buyer for Ben­gal, and Sharad Doshi acquired it for part of that territory after seeing the first week’s collections!

** The general meeting of producers, convened by the Film Makers Com­bine on 1st May, is not a day too early. The FDC’s unilateral decisions about video releases and clearance for new films are creating a lot of confusion in the minds of producers. Besides a solution to the problem, the general meeting can be expected to at least clear the con­fusion.

3-E
Education-Entertainment-Englightenment

Rishi & Juhi Film Festivals

It’s going to be a virtual Rishi Kapoor film festival beginning this week. Saajan Ka Ghar is the inaugural film follo­wed by Pehla Pehla Pyar next week and Mohabbat Ki Arzoo on 13th May. Close on the heels of these films will come Ghar Ki Izzat, Rishta Ho To Aisa and Premyog. Juhi Chawla’s film festival started with Andaz. Her second film in the festival was Paramaatma, followed by Saajan Ka Ghar this week. Ghar Ki Izzat and Rishta Ho To Aisa will come next.

Ladies First…… And Last

Shringar Films, the Bombay distributors of Saajan Ka Ghar, held free opening shows of the film for ladies only, at various places. Gentlemen were prohibited in such shows, held at Bombay (Minerva and Ashish-Chembur), Kolhapur, Pune, Nasik, Ahmedabad and Surat. The ladies show at Minerva, the main cinema of Bombay, was formally inaugurated by the Mayor of Bombay, Nirmala Samant-Prabha­ valkar. What’s more, handkerchieves were also distributed free among the ladies audience in these shows. …..At Ashish-Chembur, the crowd of ladies in the special show was so much that they compelled the management to allow them to see the film, sitting on the floor. At Minerva, questionnaires were distributed among the audience for their views on the film. At Kolhapur, a crowd of 5,000 ladies had gathered for the special show (for which tickets were distributed at the ticket-window by a leading corporator) and police had to be summoned to control them.

The Great Studio Project

Producer-director Sanjay Khan is so enamoured of JodhPur that he is game for investing upto Rs.130 crore in a studio project he has in mind, to be built in this picturesque city of Rajasthan. This was revealed by the Khan who was shooting the battle of Panipat for his TV serial, The Great Maratha, at Mandalnath Hills near Jodhpur recently. He said, the stud­io would cost Rs. 500 crore and he was ready to invest 26% of the project cost if the Rajasthan government provided land at concessional rate, and the financial institutions provided loan at low interest and easy repayment facility. The maker added that he was sure not only of regional film producers of Rajasthan wanting to shoot at the studio, besides those of nearby states of M.P., U.P. and Bihar but also Bollywood producers because the city had wonderful locations and of different kinds.