DHADKAN

Venus Records & Tapes Ltd.’s Dhadkan is a love triangle with misplaced emotions. A poor bastard child (Sunil Shetty) loves a rich girl (Shilpa Shetty) whose father forces her to marry a wealthy businessman (Akshay Kumar). Three years after her marriage, her ex-flame comes into her life once again, in a bid to win her over. The only difference is that this time, he is a multi-millionaire. Not able to get her, his frustration gets the better of him and he directs his ire at her husband who is rendered homeless in a day. Hell hath no fury like a man scorned — or, rather, spurned! Unable to come to terms with reality, he is ultimately pacified by the girl’s husband who makes him see reason and take life as it comes.

The film’s screenplay (Naseem Mukri and Raj Sinha) and dialogues (Naseem Mukri and Dharmesh Darshan) are weak and, sometimes, even erroneous. Characterisations of the two heroes are anything but convincing. The husband’s Gandhian nature will not go down well with the audience for two reasons — one, such human beings are a rare breed in today’s times (and if one wanted to make it a believable character, one should have done it with much, much more conviction); secondly, the hero who plays the husband — Akshay Kumar — has an action image among the public and his Gandhian character looks completely out of synch. The other hero’s characterisation is faulty, to say the least. For, although he is not shown as a villain in the film, he does things befitting a villain — following his beloved even three years after she has been married to another guy; playing dirty with her husband to avenge his rejection by the girl while sparing her father who is the actual ‘villain’. The madness in his love for the girl after her marriage reminds of Yash Chopra’s Darr but in that film, Shah Rukh Khan was rightly shown as a villain who is murdered in the end, whereas in this film, Sunil Shetty remains a hero till the very end. Sorry, his deeds are anything but heroic! For that matter, Akshay Kumar also does not show heroism of the kind desired by the audience. So, there are two heroes but no heroism in that sense of the term. One gets the impression that the writers, wanted to be different, but in their quest to be different, they’ve done things wrong.

The scenes of the husband’s step-mother, step-brother and step-sister remind heavily of the director’s Raja Hindustani. Dialogues are good at places only. Another weak point is that there’s more gloom and less joy in the film — the girl is unhappy for a long time because she has to marry against her wish; later, she is sad because her ex-flame comes back into her life; the husband is sad because his family hates him; the bastard boy is unhappy because he loses his girlfriend. Climax is too tame and convenient; the ending is also predictable much before it comes.

Akshay Kumar does well according to his characterisation. Sunil Shetty also acts very ably. Shilpa Shetty does a fine job but she should have gone easy on her make-up. In fact, if Shilpa Shetty looks heavily made-up, the other heroine, Mahima Chaudhry, looks tired and lacks glamour. Mahima’s performance is good, though. Sharmila Tagore is over-dramatic. Kiran Kumar is alright. Sushma Seth is quite natural. Parmeet Sethi gives a good account of himself. Manjeet Kullar is also good. Neeraj Vora, Nilofer, Anjana Mumtaz, Kader Khan and Naseem Mukri lend ordinary support.

Dharmesh Darshan, having selected a difficult plot, has not been able to rectify the flawed screenplay, and his direction, consequently, provides little by way of an enjoyable drama. Even otherwise, the serious film holds appeal mainly for the class audience.

Nadeem Shravan’s music is one of the best things in the film. ‘Tum dil ki dhadkan mein’ and ‘Dil ne yeh kaha hai dil se’ are hit songs and are very melodious. ‘Dulhe ka sehra’, ‘Na na karte’ and ‘Aksar is duniya mein’ are also good numbers. W.B. Rao’s cinematography is the other brilliant aspect of the film. The camerawork and the picturesque locations on which the film is shot are fantastic. Background music (Surender Sodhi) is effective.

On the whole, Dhadkan is an insipid fare which fails to touch the heart and will, therefore, not be able to evoke audience appreciation.

Released on 11-8-2000 at Eros and 18 other cinemas of Bombay by Venus Records & Tapes Ltd. thru V.I.P. Enterprises. Publicity: excellent. Opening: good. …….Also released all over. Opening was dull in several places but very good in Calcutta and Nizam.

DEEWANE

S.P. Creations’ Deewane (UA) is about a CID inspector whose only passion in life is work. He loves his childhood girlfriend and she, too, is in love with him. The girl resents his devotion to work when it comes in the way of their romantic outings. By a turn of events, the officer slips into a coma and, in his place, comes his look-alike who is a criminal by profession. Planted by the commissioner of police in the CID officer’s place, this look-alike is attracted towards the officer’s girlfriend who is unaware of the impersonator. This look-alike, too, is passionate, but his passion is for the girl. In her interaction with him, the girl for the first time discovers what true love is. But all along, she is under the impression that the guy she is romancing is her old childhood-friend. All hell breaks loose in her life when, after her boyfriend comes out of the coma, she learns that she had been fascinated by the impersonator. Even as she and her buddy prepare for marriage, the look-alike tries to win her as she tries to shun him. But the realisation dawns upon her that she actually loves the impersonator. Misunderstandings are cleared in the end and while one guy sacrifices, the other gets the girl he loves.

Anees Bazmee’s story is quite interesting, but it has been ruined by a shoddy screenplay which seems to have been hurriedly written by Karan Razdan. There’s simply no thrill of a double role because, very often, the switching of roles between the two is revealed after an exciting incident has taken place rather than before it. Resultantly, the audience is not able to share in the excitement associated with trading places. So insipid is the drama that the viewer is not bothered about who of the two heroes the girl would ultimately marry. Such indifference and absence of a yearning of the heart of the audience for the principal characters is a dangerous sign in a love triangle. The romance looks feeble, at least from the girl’s side. The first  half is too lengthy, repetitive and boring. Post-interval, the drama is better, but only very slightly. Dialogues are alright. While the climax is not incorrect, it does not gladden the viewers’ hearts as two important characters in the drama have to simultaneously sacrifice their loves.

Ajay Devgan gives a sincere performance in a double role. Although there is some action of Ajay, it is mainly gun fights rather than the enjoyable fist fights. Urmila Matondkar is reasonably good. Mahima Chaudhry impresses in emotional scenes. Johny Lever’s comedy is superb. Paresh Rawal entertains at a few places and so do Pramod Moutho and Tiku Talsania. Gulshan Grover has very little scope. Aasif Sheikh, Reema, Usha Bachani, Shivaji Satam, Padmini Kapila, Neha P., Mini Tabassum, Raju Mawani and the rest fill the bill.

Harry Baweja’s direction is ordinary and gets burdened by a poor script. Sanjeev Darshan’s music is very good. The title song, ‘Ae dil’, ‘Qayamat’, ‘Churao na dil’ and ‘Jab ishq da’ are excellently tuned. However, most of the song picturisatins do not match their hit music. Camerawork is fair. Action lacks thrill. Editing is loose. Special effects (CMM Studios, Peter Pereira and Nirmal Jani) are quite nice.

On the whole, Deewane is a boring and dull fare which will put its distributors to heavy losses.

Released on 11-8-2000 at Liberty and 21 other cinemas of Bombay thru Devgan Entertainment & Software Ltd. Publicity: good. Opening: fair. …….Also released all over. Opening was very poor almost everywhere (good in Nizam).

LATEST POSITION

The dull openings of both the major releases of this week have shocked many.

Har Dil Jo Pyar Karega dropped after 4 days at many places but has managed very good shares in 1st week. Is excellent in Bombay, Maharashtra and Nizam. 1st week Bombay 82,06,409 (98.03%) from 14 cinemas (9 on F.H.); Ahmedabad 32,49,245 from 10 cinemas, Padra 2,51,755, Vapi 6,28,571, Jamnagar 1,72,100, Adipur 1,66,690 (73.83%), Bhuj 1,56,699; Pune 19,77,262 from 5 cinemas (1 in matinee), Solapur 4,33,966 from 2 cinemas; Delhi 79,69,730 (79.72%) from 14 cinemas (2 on F.H.); Kanpur 6,30,559 from 2 cinemas, Lucknow 8,25,892 from 2 cinemas, Agra 3,85,000, Allahabad 2,64,377, Bareilly 1,72,054; Calcutta 30,30,993 from 15 cinemas (17 on F.H.); Nagpur 9,41,855 from 4 cinemas, Jabalpur (gross, 6 days) 2,55,105, Amravati 2,98,968, Raipur (5 days) 1,75,311, Durg 1,14,171, Jalgaon 2,00,946, Gondia (gross, 29 shows) 1,42,641, Wardha 1,30,746, Yavatmal 1,86,441; Indore 2,62,254 (4 on F.H.), Bhopal 2,14,000 (1 unrecd.); Jaipur 12,88,643 (52.11%) from 5 cinemas, Ajmer (24 shows, gross) 2,52,856; Hyderabad (gross) 59,38,533 from 18 cinemas, share 35 lakh; Aurangabad (gross) 9,54,306 from 4 cinemas; Vijayawada (gross) 3,10,425, Guntur (gross) 96,535.

Justice Chowdhary 1st week Bombay 6,83,603 (46.53%) from 5 cinemas (6 on F.H.); Ahmedabad 94,950 from 2 cinemas; Pune 1,48,887 from 2 cinemas; Delhi 5,11,773 (19.65%) from 5 cinemas; Allahabad 33,990; Nagpur 98,743 from 2 cinemas, Raipur (5 days) 29,711; Jaipur (29 shows) 74,135 (25%); Hyderabad (gross) 1,80,702 from 3 cinemas.

…………

NEW CINEMA AT DAHISAR

Movie Gem, a new cinema, opened on 11th August at Dahisar, a distant suburb of Bombay, with Deewane.

‘REFUGEE’ TAX-FREE IN M.P.

J.P. Dutta’s Refugee has been granted exemption from payment of entertainment tax in the state of Madhya Pradesh for a period of six months with a maximum limit of 4 weeks in every centre, including shifting. The tax exemption came into effect from 9th August.

VIKAS VASWANI DEAD

Producer Vikas Vaswani died due to heart attack in the early morning hours of 11th August at his residence in Bombay. He was 58 and a bachelor. He will be cremated today (12th).

Vikas was a partner with producer Jagdish Sharma. The two had jointly produced Maa Kasam (Mithun Chakraborty and Amjad Khan). Their film, Kasam, starring Sunny Deol, is under-production.

DIRECTOR SATPAL NO MORE

Director Satpal (Sharma) passed away on 10th August at Cooper Hospital, Bombay, where he was being treated for jaundice. He was 62 and a bachelor. He was cremated on 11th August.

Satpal started his life as an office boy in a film production company. His struggle led him to Bhappi Sonie under whom he worked as an assistant director. He turned an independent director with Bhola Bhala (starring Rajesh Khanna, Rekha, Moushumi Chatterji) which was followed by Chunaoti (Feroz Khan, Neetu Singh) and Do Waqt Ki Roti. He was later associated with K.C. Bokadia. Satpal used to be very close to Dharmendra and Feroz Khan.

400 ILLEGAL VIDEO CDs SEIZED IN DELHI

At the instance of Feature Films Copyright and its staff, the Delhi police recently raided the shop of one Captain Video at Old Lajpat Rai Market and seized 400 pirated video CDs of various films including Jungle, Hum Aapke Dil Mein Rehte Hain, Hera Pheri and Kya Kehna!. One Ajay Gupta was arrested. The total value of the goods seized is estimated at Rs. 40,000.

NEW CINEMA OPENS AT BURHANPUR

A new cinema, Ankita, opened on 11th August at Burhanpur. Dhadkan is the opening attraction.

TWO BOMBAY DISTRIBUTORS ARRESTED

Naaz building in Bombay was rocked by two arrests in the last eight days. Vinod Kakkar of Veekay Enterprises, Bombay was arrested and sent to a jail at Panvel (near Bombay) on 5th August. On 9th, Devendra Shah was arrested alongwith his young son. The three were granted bail on 11th.

The arrests were made following criminal complaints by Thane sub-distributor Suresh Dave. In the case of Vinodbhai, the Thane sub-distributor alleged that he had double-sold the Thane sub-distribution rights of Shikari to him (Dave) is well as to another party (Ashok Ranglani). Devendra Shah is alleged to be owing huge monies to Dave in the account of Border which he (Shah) distributed in Gujarat and in the distribution of which Dave was a partner with Devendra Shah. Dave alleged that despite the elapse of three years, Devendra Shah was not paying him his share of profits.

KARNATAKA INDUSTRY IN A PREDICAMENT

The notorious Veerappan, while demanding a ransom of Rs. 50 crore for the release of Kannada matinee idol Dr. Rajkumar, has also held the Karnataka film and TV industry to ransom. Since the day the most venerated star was abducted, the Karnataka industry has rendered itself into a state of impasse due to which the financial loss for the film industry has amounted to crores.

ANNOUNCEMENT & LAUNCHING

Anil Kapoor, Satish Kaushik Launch Production Company

Anil Kapoor and Satish Kaushik launched Kapoor & Kaushik Entertainment P. Ltd. with their first production venture, Badhai Ho Badhai, on Aug. 9. A launching pooja was held at Audeus and it was followed by a song recording at Sahara. The song was penned by Javed Akhtar and composed by Anu Malik. The recording is being followed by a 3-day shooting spell in Bombay.

The film stars Anil Kapoor, Karisma Kapoor and Amisha Patel, and it is being directed by Satish Kaushik. Mukta Arts presents it. It will be completed in March 2001 and released in June 2001.

Satish Kaushik will also be directing a film to be produced by Mukta Arts. Its cast is being finalised and it will start shortly.

YOU ASKED IT

Is someone planning a film on Veerappan?

– Veerappan would give anything to a maker to make a film on him. 

Why do Indian filmmakers not break away from the mould and make a film that does not centre around the hero and heroine?

– Rajkumar Santoshi tried it in CHINA GATE which did not run. But that does not mean, such films will never succeed. A gutsy director must try again.

Do stage shows help in popularising stars’ images?

– Besides popularising the stars, they fill star-pockets too!

3-E
Education-Entertainment-Enlightenment

Kaun Karega First Move?

There is not an iota of doubt that the Kaun Banega Crorepati game show has become a national craze among TV viewers. Host Amitabh Bachchan’s “positive?”, “sure?” and “confident?” have become catch-phrases even among mundane conversations between friends. These three questions have also spawned a number of jokes. The latest one doing the rounds among friends’ circles is the following:

Husband: Can we go out for a romantic dinner tonight?

Wife: Oh no, not tonight.

Husband: Are you sure? ….Positive? ….Confident?

Wife: Yes, sure, positive, confident.

Husband: In that case, can I phone a (girl)friend?

Now, a suggestion from our side:

How about incorporating KBC-oriented jokes in a film which is slated for an early release — say, within six months? That would have the germs of becoming a highlight comedy!

For example, a character in a film could be shown as a KBC fan who only speaks in the style of Amitabh Bachchan in the game show. A lot of jokes could be ‘invented’ around the KBC show. Somebody like Govinda or Johny Lever would be able to carry it off brilliantly. Come on, producers and directors, the first one could hit it off!

P.S.: A word of caution, here. David Dhawan seems to have liked our suggestion (we told him two days back) and is very likely going to use the KBC host take-off in Jeetendra’s film which he is directing.

INFORMATION MEETS

“We should first be convinced that whatever we have made is at least good enough. And this applies whether we work with Mr. Yash Chopra, Mr. Raj Kanwar or Mr. Karan Johar.”

– JATIN (Jatin Lalit)

GAJAA

They are soft-spoken and cool unlike their music which comprises hot hits dipped in melody. They are not known to be aggressive or pushy to market their creativity. And neither do they believe in blowing their own trumpets or beating their own drums. Or even raking up controversies to grab publicity for themselves. Jatin Pandit and Lalit Pandit have slowly but steadily created a prime place for their music in the Hall of Fame. Today, they are firing on all cylinders. Or, shall we say, recording on all tracks.

Starting with Yaara Dildaara, and followed by Jo Jeeta Wohi Sikander, Khiladi, Raju Ban Gaya Gentleman, Kabhi Haan Kabhi Naa, Dilwale Dulhania Le Jayenge, Khamoshi, Yes Boss, Pyaar Kiya To Darna Kya, Ghulam, Pyaar To Hona Hi Tha, Kuch Kuch Hota Hai and Phir Bhi Dil Hai Hindustani, this Pandit duo has come a long way indeed!

Their forthcoming films include Mohabbatein, Kabhi Khushi Kabhi Gham, Dhai Akshar Prem Ke and Raju Chacha.

We now ‘record’ Jatin Lalit in Jatin’s words. Over to Jatin:

Music has become a big market today. It is more than a major territory. But the status of music directors hasn’t grown proportionately. What would you say to that?

– That’s a fact, a very sad fact. If the music directors are united, a lot of benefits can be got.

Will they ever be united?

– We really don’t know. Being in the rat race and indulging in cut-throat competition have become second nature to the music composers. Even those who have been in business for years, want to carry on, thus blocking the prospects of the younger crop coming up. The seniors want more and more and more….

Maybe, that’s because the seniors do not earn so much as to retire.

– That’s also true. The only way to face such competition is one’s work. That’s why we work hard, day in and day out. After all, quality of work counts. But how many producers care for good music? Sometimes, a producer approves our tunes, but if someone comes up with a ‘tempting’ offer, the producer goes there. So, unless and until we start the recording, nothing is confirmed. There’s many a slip between the producer’s approval and recording!

Has it happened with you?

– Yes, a number of times!

And don’t you indulge in under-cutting?

– Honestly, never! Today, we have enough work to keep ourselves creatively engaged. And we are quite content too. If we know that a certain music director has already had a meeting with a certain producer, we don’t approach that producer. Grabbing someone else’s film is unethical. I consider it a sin. As it is, we have proved our music’s worth. An international organisation has adjudged Sholay, Dilwale Dulhania Le Jayenge and Kuch Kuch Hota Hai as the best Indian films. We are proud to be associated with two of the best ones.

It is believed that frustrations and humiliations bring the best out of creative people. What has been your experience?

– Frustrations and humiliations can lead one to a little bit of hard work. But is only hard work enough? One has got to have creativity within oneself. As for the frustration part of your question, we were never frustrated despite people playing games with us. We are a soft-spoken duo which never displayed any aggressiveness where bagging assignments was concerned.

But today, everyone is out to make a fast buck. Haven’t you heard, while in Rome, do as the Romans do?!

– But Rome was not built in a day! We have been around for the last 10 years and we have been working at our own pace. Even at the risk of sounding immodest, we can claim that we have consistently provided quality music. Our music has worked! And that’s why we get work without indulging in any kind of hard-sell. We come from a gharana that is devoted to music. My forefathers were into classical music. My grandfather, Motiram-ji, and his brother, Jyotiram-ji, were court singers and composers of classical music. Our father, Pandit Pratap Narayan, our uncle, Pandit Jasraj, our sisters, Sulakshana and Vijayeta, are singers. We are from the Mewathi gharana. Even Lalit and myself sang songs under R.D. Burman.

But your gharana was involved in classical music. What made you branch out into film music?

– See, we all study in the same schools, we learn the same lessons, yet we branch out in different directions. To start with, a music director has to know about classical music before he branches out in any field of music, whether singing or playing music or film music direction. Tomorrow, maybe, my son might become a music engineer.

What’s your style of working — vis-à-vis lyricists, vis-à-vis directors and producers, and between yourselves?

– We both go into detailing about the subject, the situation and the character of the actor on whom the song is to be picturised. This kind of detailing helps us to co-ordinate between ourselves, our producers and our directors. It’s as simple as that. We don’t just ‘print’ songs! Every tune we make is nurtured like our own baby, whoever the producer or director. After all, music is what has to please one’s ears. We should first be convinced that whatever we have made is at least good enough. And this applies whether we work with Mr. Yash Chopra, Mr. Raj Kanwar or Mr. Karan Johar. What is sweet music to one person’s ears is sweet music to others’ ears too. It is always ideal to work with producers who understand the worth of good music.

But do you think, people devote so much time for detailing, etc.

– Time is an important factor. It is not every time that you come up with good music. Even if a producer wants something fast, we do our best. It might work, it might not. A good melody takes a good time coming.

I will give you an example of a film called Yeh Hai Bambai Meri Jaan. Though the film flopped, its one song, Mera chand mujhe aaya hai nazar, proved a super-hit.

Just the other day, Mr. Ramesh Taurani wrote to us stating that he was proud to be associated with Sarfarosh. He also acknowledged that the music of Ghulam and Jab Pyaar Kisise Hota Hai had sold like hotcakes and was selling even today.

Alright, the music is selling like hotcakes, but did you get a slice of the cake?

– Nobody shares the cake!

Why don’t you put a clause in your agreements for a share in the producers’ income from the music sales?

– One shouldn’t impose oneself since we all agree to work for a price. However, Shah Rukh and Yash Johar gave us a percentage from the music’s earnings for Phir Bhi Dil Hai Hindustani and Kuch Kuch Hota Hai.

There have been music directors who’ve scored music for many films in a few years, and given really good music. Then suddenly, they go out of form. Why does this happen?

– If you just rush and run, the ultimate result is rust and ruin. I won’t like to sermonise here. You know what happens when a candle is burnt at both the ends!

Most of the times, your music sounds R.D. Burman-ish.

– Yes, we are influenced by Pancham-da. He is an inspiration to us. We have also rendered songs under his baton when we were kids. That’s why Pancham-da chhaap comes out in our songs, at times!

What do you do when you are stuck up for a good tune?

– That will be letting out a secret! Anyway, I will definitely tell you what I do. I sing aloud old film songs tuned by the greats of the good old days — Shanker Jaikishen, S.D. Burman, R.D. Burman, Madan Mohan and O.P. Nayyar. And I sing them continuously for a couple of days and then come into my own. I consider this exercise as a kind of deep meditation.

Which of the old songs come to your mind at such times?

– Many.

Your five favourites?

– Madan Mohan’s Zara si aahat hoti hai to dil sochta hai (Haqeeqat), Laxmikant Pyarelal’s Suno sajana papihe ne (Aaye Din Bahar Ke), Shanker Jaikishen’s Zindagi ek safar hai suhana (Andaz), S.D. Burman’s Hum bekhudi mein tumko pukare chale gaye (Kala Pani), and Roshan’s Jo vaada kiya woh nibhana padega (Taj Mahal).

I remember a duo called Mandhir-Jatin. Are you the same Jatin?

– Yes, I am the same Jatin. Mandhir is our elder brother. He is also with us. At times, we seek his help. Mandhir is a top rhythmist and he is very busy as a musician. Mandhir and I did only one film together, Dil Hi Dil Mein. Thereafter, I and Lalit formed a team.

Finally, what keeps the Jatin-Lalit team in top form?

– Combination of hard work and talent. And destiny, of course!

LATEST POSITION

Kunwara has not found much appreciation. 1st week Bombay 62,85,725 (77%) from 13 cinemas (9 on F.H.); Ahmedabad 19,12,928 from 7 cinemas, Padra 1,75,905, Vapi 5,44,719, Rajkot 2,20,890, Jamnagar (matinee) 27,000 (1 in regular unrecd.); Pune 16,88,919 from 5 cinemas (1 in matinee), Solapur 2,80,375 from 2 cinemas (1 in matinee); Delhi 58,42,960 (66.70%) from 13 cinemas (2 on F.H.); Kanpur 4,51,261 from 2 cinemas, Lucknow 7,52,648 from 2 cinemas, Agra 3,55,000, Allahabad 2,51,162, Meerut 2,69,792; Calcutta 16,22,419 from 14 cinemas; Nagpur 7,39,651 from 4 cinemas, Amravati (6 days) 1,73,323, Raipur (4 days) 96,204, Wardha 1,00,090; Indore 4,47,601 from 2 cinemas (1 on F.H.), Bhopal 4,38,175 from 2 cinemas; Jaipur 8,70,229 (53.76%) from 3 cinemas, Ajmer (29 shows) 1,53,507; Hyderabad (gross) 31,39,836 (71.72%) from 14 cinemas (1 in noon), good.

Kaala Mandir 1st week Bombay 44,175 (24.43%).

Jungle drops but it should fetch some commission in almost every territory. (Telugu version Adavi has done poor.) 2nd week Bombay 11,31,256 on 2 prints (7 unrecd.; 7 on F.H.); Ahmedabad 5,65,667 from 5 cinemas, Rajkot 79,640, Jamnagar 30,446; Pune 7,84,555 from 3 cinemas (1 in matinee), Solapur 1,45,861 from 2 cinemas (1 in matinee); Hubli 93,267; Delhi 20,02,447 from 10 cinemas; Kanpur (6 days) 1,53,262 from 2 cinemas, Lucknow 2,04,191, Agra 2,15,000 (1st 4,10,000), Allahabad 87,200; Calcutta 6,04,785 from 5 cinemas; Nagpur 3,03,768 from 3 cinemas, 1st week Jabalpur 82,011, Amravati (6 days) 1,31,391, 2nd week Raipur (6 days) 76,954, Jalgaon 49,370, Chandrapur 1,02,722, 1st week Yavatmal 1,21,809; 2nd week Indore about 1,00,000, Bhopal 92,698 from 2 cinemas; Jaipur 1,54,710; Hyderabad (gross) 4,44,012 from 3 cinemas (2 in noon).

Bichhoo further drops badly. 3rd week Bombay 7,78,009 (33.28%) from 5 cinemas (5 on F.H.); Ahmedabad 1,60,353 from 3 cinemas, Rajkot 86,719 from 2 cinemas (1 in matinee); Pune 1,71,817 from 3 cinemas (1 in matinee), Solapur 1,32,257 from 2 cinemas (1 in matinee); Delhi 6,25,700 from 5 cinemas (1 on F.H.); Kanpur (6 days) 1,67,616 from 2 cinemas, Lucknow 2,08,021, Agra 1,02,700, Allahabad 1,11,877; Nagpur 91,723 from 2 cinemas, 2nd week Jabalpur 1,09,798, total 3,63,795, 3rd week Amravati (6 days) 99,887, Raipur (6 days) 52,895, Jalgaon 64,201, Wardha 32,498; Jaipur 1,15,877; Hyderabad (gross) 3,33,286 from 2 cinemas (1 in noon); 1st week Mangalore 1,47,819.

Refugee 4th week Bombay 16,89,056 (41.38%) from 9 cinemas (9 on F.H.); Ahmedabad 6,82,754 from 4 cinemas, Vapi 1,25,058, total 16,58,880; Pune 2,46,721 from 2 cinemas, Solapur 95,259; Delhi 5,37,229 from 4 cinemas (1 on F.H.); Kanpur 1,40,243 from 2 cinemas, Lucknow 2,66,058, Agra 65,000 (3rd 1,02,000), Allahabad 1,03,600; Nagpur 1,23,212 from 2 cinemas, 2nd week Jabalpur 1,52,526, total 4,17,392, 1st week Balaghat 77,583, 4th week Amravati (6 days) 82,243, Raipur (6 days, gross) 1,31,826, Jalgaon 76,400, 3rd week Yavatmal (gross) 50,353, Sagar (6 days) 27,836; 4th week Jaipur 5,18,605; Hyderabad (gross) 4,25,191 from 3 cinemas (1 in noon).

RAM YEDEKAR BIDS ADIEU

Veteran and eminent art director Ram Yedekar passed away on 24th July at his Lokhandwala Complex residence in Bombay. He was 72 and is survived by a son and a daughter.

Ram Yedekar started out as a helping hand under gifted art director G.D. Dixit during the making of Sohrab Modi’s Jhansi Ki Rani. G.D. Dixit then made Ram Yedekar his assistant. Yedekar later became an independent art director and did a number of films for Mehboob, Navketan Films, Nasir Husain, Raja Nawathe, G.P. Sippy (Sholay being one of the films) and Raj Khosla. The last film he worked as an art director for was Farishtay. Thereafter, he worked at an easy pace and did TV serials and advertisement shorts. He also worked on a large number of foreign films shot in India.

‘BADAL’ SILVER JUBILEE

Salim’s Badal entered combined silver jubilee week in Bombay and other places on 28th July. Directed by Raj Kanwar, the film stars Bobby Deol and Rani Mukerji. Music: Anu Malik.

‘HADH KAR DI AAPNE’ 100 DAYS

R.R. Productions’ Hadh Kar Di Aapne completed 100 days on 28th July in Bombay and other places. The film stars Govinda, Rani Mukerji, Johny Lever, Paresh Rawal, Satish Kaushik and Tinnu Anand. Produced by Rajeev Anand and Rakesh Malhotra, and directed by Manoj Agrawal, it has music by Anand Raaj Anand and lyrics by Anand Bakshi.

YOU ASKED IT

What is the difference between a presenter and a financier?

– A financier finances a film and gets interest on his finance. But a presenter, besides the interest, also shares in the profits and losses of the film. 

In which kind of films is less investment involved and high returns assured?

– Less investment is possible in a new star cast film but about high returns being assured, well, you must be joking! There’s no assurance of returns and you want high returns!!

Which was Aamir Khan’s first film?

– Ketan Mehta’s HOLI, released in 1984. But as a child artiste, he was seen in YAADON KI BAARAAT (1973).

DO YOU KNOW?

* To counter the formidable opposition of the Amitabh Bachchan-hosted KAUN BANEGA CROREPATI on Star Plus, Elbee and Rajmahal cinemas of Surat will conduct their last shows from 10.15 p.m. from Mondays through Thursdays. On the other days of the week, when the programme is not aired, the two cinemas will conduct their last shows from 9 p.m.

* Bombay distributors Shringar Films have been screening all their films at the same cinema — Shree — of Vapi. Their KUNWARA collected 5,44,719/- in 1st week at Shree. Their next, TERA JADOO CHAL GAYAA, is also due at Shree.

* Such was the rush at Sunderam cinema, Ujjain in the 6 p.m. show of KUNWARA on Sunday (23rd July) that the exhibitor performed a simultaneous show of the film at the adjoining Swarg cinema by having the English film running there, withdrawn for that show. …The film also did well in 1st week at Lily, Bhopal and Lokendra, Ratlam. 

3-E
Education-Entertainment-Enlightenment

Hamari Film Aapke Paas Hai

At a time producers have become as secretive about their films as one would be of things ultra-personal, the gesture of producer Boney Kapoor to show his Hamara Dil Aapke Paas Hai to his distributors comes as a whiff of fresh air. And what was shown was not the final print — how could it be shown when it is not out as yet — but rather the rush print. Distributors have for long been complaining that although they pay huge under-production monies to producers, they are never shown even a frame of the film. But producers have all along behaved as if they couldn’t care less for their distributors’ points of view. And this kind of secrecy is a relatively new phenomenon which has gained ground in the last three to four years only. Boney, however, chose to invite his distributors for a screening of Hamara Dil Aapke Paas Hai more than a month in advance. Rishi Kapoor, too, had shown his Aa Ab Laut Chalen to his distributors some days before its release. Just goes to show how much these two Kapoors care for their distributors. Contrast them with someone like Mani Rathnam who didn’t think his distributors of Dil Se.. were worth even a trial show before release! As for Boney Kapoor, the guy seems to be going with the spirit of his film’s title. After all, as Boney would tell his distributors, “Hamari film aapke paas hai.”

Mehul Kumar Two-Tuned

Producer-director Mehul Kumar had to face ‘two much’ of music at Sunny Super Sounds on 24th July. For, he was recording two songs for two different films, to be launched next month. On the first floor of Sunny, music director Anand Raaj Anand was recording one song, and on the third floor recording theatre, Sanjeev Darshan were recording a song for Mehul Kumar’s other film. Both the songs were duets. That makes four singers, three music directors, two songs and one common maker.

Better Pardes Than Uttar Pradesh

The U.P. State Film Development Board is keen that Hindi film producers shoot their films in Uttar Pradesh. The Board has offered all facilities for Hindi film units shooting in the state. Recently, in a meeting with the Board officials, producer Pahlaj Nihalani lamented that producers have to run from pillar to post to get work done in U.P. As if to endorse Nihalani’s opinion, Kamleshwar, who is the chairman of the U.P. State Film Development Board, told a press gathering in Lucknow recently that when he had sent a letter of acceptance (of the Board’s chairmanship), the letter could not be delivered to the official concerned as the bearer of the letter was asked by a secretariat’s peon for a bribe to allow him into the secretariat.

By the way, the U.P. Film Development Board has offered to accommodate the film’s makers and stars in its circuit houses, provided no VIP turns up. Which means that if a VIP turned up at any time, even during the middle of the night, the film folk will have to move out! Arrey bhaiyya, better to shoot in pardes or anywhere in apna desh than Uttar Pradesh!!

Title Jung

Whose title is Jung Ka Elan? Does it belong to producer Surendra Shrivastava (Suchitra Films Enterprises) or producer-director Kishan Shah? Producer Shrivastava has claimed it to be his. And rightly so. According to a copy of the letters circulated to the press by Shrivastava, the title Jung Ka Elan was allotted by AMPTPP to Shrivastava whose film of the same name, starring Mithun Chakraborty, is in progress. But Kanti Shah publicised his film with the same title. Following a complaint by Surendra Shrivastava, the AMPTPP and FMC asked Kishan Shah to desist from using the title for his film. So, Kanti Shah has made an elan that his film is now Meri Jung Ka Elaan. So possessive!

INFORMATION MEETS

“Basically, there should be sixty days of undiluted publicity for any film… that is, thirty days prior to the film’s release and thirty days after the release.”

– RAMESH SIPPY

GAJAA

Happy — in fact, active — days are here again for Bombay distributor Ramesh Sippy and his son, Rakesh Sippy. Some years ago, enterprising Ramesh Sippy was enviously admired by the ilk of his own trade for his dynamic approach, good judgement and astute dealings. His hit list grew. But, as they say, even a sprinter needs a pause. Ramesh Sippy paused. After a brief sabbatical, he started acquiring films — but fewer films. May be, this was to make his equally enterprising son, Rakesh, learn the first lesson of this unpredictable trade of distribution: of exercising caution. Rakesh has grasped the other finer points of his father’s business qualities and, what’s more, the son is well on his way to bringing about a great revival of his famous father’s business enterprise. The father-son duo has fired the first salvo by acquiring Shankar’s maiden Hindi venture, the costly Nayak The Real Hero. Truly, the interim period was, as Ramesh Sippy himself generalises for others, “a recoil for a bigger leap”. There are plans for acquiring more significantly big films, too, in a couple of months. The deals are being finalised. So Ramesh Sippy, the man known for his dynamism, foresight and acumen, is once again emerging as a force to reckon with along with his generation next, his savvy son, Rakesh.

Congratulations on bagging a big film like NAYAK THE REAL HERO for Bombay. How did you decide on this project?

We have always been on the lookout for big films, like films of Yash Chopra and Karan Johar. Since we couldn’t acquire them, we found Nayak to be ideally suitable. It will be rich, both, content-wise and visually. I and my son, Rakesh, saw the Tamil original (Mudhalvan) two months back at a projection in Bombay for Boney Kapoor as his brother, Anil Kapoor, had committed to do the film. Secondly, director Shankar’s track-record has been very good. And what’s more, it has already proved a super-hit in Tamil.

What’s the film about?

It’s an anti-politician film. Although there have been a lot of anti-establishment films made in the past, what sets Nayak apart from the rest is its fresh subject and treatment and a good amount of gloss and glamour.

(Ramesh Sippy narrated the story in full and dwelt on the various highlights. Suffice it to say that it will keep the viewer’s attention totally engaged.)

It’s too good. Have you planned to acquire some more biggies?

Yes. And we are moving to a bigger office, too, on the same floor (N.B. Kamat’s office).

We hear that your son, Rakesh, is all set for the big revival like the way you came with a bang years back, when you acquired big films of South banners.

He is the main guiding force. He had to make distribution his full-time job. Those days, we were buying remakes of films which were proven hits. But today, things are different. There’s always this generation next!

But today, prices have hit the roof…

Not yet, not yet. They are yet to hit the roof!

In the light of such high prices, how do you view the distribution scene today? Very risky, risky or return-yielding?

See, those days, films were being acquired at an average of, say, 20-25 lakh. And if the distributor was unlucky, he would lose about 5 lakh or so. But today, though Refugee was not appreciated, its initial was enough to cover the risk. Today, I could afford to lose 25 lakh in a Rs. 3-crore film, but not 25 lakh in a 1-crore film.

But many have quit the distribution trade in the last some years…

This is nothing new. It has been happening over the years. Many have gone for good. Some of them are deciding to quit. Maybe, some of them are taking a pause, perhaps, for a little recoil for a bigger leap.

Some are even contemplating going into film production…

More lately, there are some who are thinking on those lines. See, those days, satellite channels did not exist, Overseas was not at its peak, and music did not fetch the kind of money it is fetching today. The big money from all these three avenues encourages newcomers to enter production business.

Which do you think is a more lucrative business — distribution or production?

Production is, any day, better.

So, would you be going into production soon?

Well, I have my eyes open.

How much does promotion on TV help a film?

Film promotions are mostly songs-oriented. Songs do not necessarily ensure an opening. TV promotion needs to be modified. Padmalaya’s Sooryavansham comes to the mind as a case in point. Its TV promotions had songs showing the younger Amitabh. The film has a good many scenes of confrontation between the young and the old Amitabh. Glimpses of those scenes in promotional trailers could have created a remarkable curiosity for the film. The film’s songs promotion was not only improper, it was also inadequate.

There are those who think that print media has become obsolete where film promotion is concerned.

No, it hasn’t. I don’t agree with this. Print medium will never go obsolete. Right from the launch of the film till its completion and release, it is the print medium which informs the reader and cinegoer about the film. Today, a small-town exhibitor evinces interest in a film because he has read about it somewhere. When I ask him why he wants the film for his cinema, he tells me that he liked the subject about which he had read in some magazine or newspaper. As a distributor, I might not be knowing the film’s story, but that exhibitor knows it. Many of the cinegoers decide to see a film after reading its reviews in newspapers. The reviews may not always be right, but readers form their own opinions after reading the critic’s comment. No amount of showcases on TV can assure a decent opening like comments and reports appearing in the print medium.

Basically, there should be 60 days of undiluted publicity for any film, whether it be on the channels or journals and newspapers, that is, 30 days prior to the release and 30 days after the release, so that you don’t miss out on any medium or any avenue of promotion. After all, a film’s promotion is done only once.

Not very long back, producers used to take their distributors into confidence by showing rushes of whatever they had shot and edited. But this is not happening today. Is it not regrettable?

It is indeed regrettable but then if you show a film which involves a big stake, the six distributors will see the film and come up with varying opinions. If the producer and the director start considering the various opinions, there is bound to be confusion. Secondly, producers have a fear psychosis, though they might not admit to this. Just one negative remark might land them in a soup. The ideal way is to go by the director’s track-record and by reposing confidence in active producers — producers who participate in the film’s day-to-day making.

Films which are made by producers who are directors themselves have generally been successful. Today, we have such pro-active producers, like Subhash Ghai, Indra Kumar, Boney Kapoor, Gordhan Tanwani, Vashu Bhagnani… They are totally involved. And their involvement pays.

As involved as Ramesh Sippy and sonny Rakesh Sippy are in finalising big buys…

TERA JADOO CHAL GAYAA

Puja Entertainment Ltd.’s Tera Jadoo Chal Gayaa is a love story of a simpleton guy from U.P. and an ambitious girl of Bombay. It is love at first sight for the boy, but the girl has bigger dreams. Her dream-boy, rich and suave, comes into her life and she falls head over heels in love with him, thereby breaking the simpleton’s heart. Not only that, she also tells the simpleton to do things to lower himself in the eyes of her boss as he (the boss) thinks very highly of him (the simple boy) and is under the wrong impression that the two of them are engaged to be married. Despite his best efforts to obey his beloved’s command, the simpleton every time ends up winning the boss’ affection more and more instead of falling low in the esteem in his eyes. Ultimately, the girl realises that it is the guy from U.P. whom she, too, loves and the two unite in matrimony.

The film, inspired from the English film, Picture Perfect, is a love story alright, but the strange part is that there’s hardly any romance in it. The reason for this is that while the guy from U.P. loves the girl, she doesn’t reciprocate his love; likewise, while the girl loves the rich boy, he is not even aware of her love for him for quite some time! In other words, it is a tale of romance with mostly one-sided love. A weak link in the story is the girl asking the boy to do things which would make him look foolish in front of her boss because she wants a solid reason to break off her supposed engagement with the boy. This demand of the girl looks too contrived because umpteen simpler ways immediately come to one’s mind to get out of the presumed engagement. Besides, the guy’s several attempts at losing the boss’ confidence but instead winning his love more than before have no punch or comic flavour at all. In fact, the film, especially the second half, moves at a slow pace and gets very boring at times. There’s hardly any novelty in the drama and whatever novelty there is (one-sided romance), it is a weak point rather than an asset.

Abhishek Bachchan is average as the simple guy from U.P. He impresses in emotional and dramatic scenes but is weak in most of the comedy scenes. His costumes leave a lot to be desired. Even his characterisation is sketchy — his introduction song gives the impression that he is as famous as the Taj Mahal in Agra, but the director and writer have simply not shown how or why he is so famous! Kirti Reddy looks okay and makes a lacklustre debut. Sanjay Suri looks handsome and does well in a brief role. Kader Khan performs ably in the role of Kirti’s boss. The best show in the film is put up by Paresh Rawal. His Aa reeya hai ki jaa reeya hai punch-line is excellent. Himani Shivpuri entertains. Johny Lever is not at his hilarious best, maybe because of the limited scope he gets. Farida Jalal and the others lend average support.

A. Muthu makes a dull debut as director. His narration is dry and his selection of subject, characterisations of artistes and treatment leave a lot to be desired. Ismail Darbar’s music is melodious but, considering that it’s a love story with a new girl and an almost new boy, the need was for a super-hit score. ‘Mujhe pyar karo’, the title song, ‘Ae chand’, the Agra song, ‘Ishq ka matlab’ and ‘Qayamat’ numbers are good. Song picturisations strike for their richness and the beautiful foreign and Indian locations on which they’ve been shot, but the choreography should have been much, much better. Santosh Thundiyil’s camerawork is effective but not consistently so. Action (Bhiku Verma) is of a good standard. Production values are rich.

On the whole, Tera Jadoo Chal Gayaa cannot hope to cast the magical spell it set out to weave on the viewers and will prove an expensive proposition for distributors and exhibitors.

Released on 18-8-2000 at Minerva and 19 other cinemas of Bombay by Puja Films thru Shringar Films. Publicity: bumper. Opening: very good. …….Also released all over. Opening was excellent in U.P. (except some stations), C.P. Bear (except small centres) and C.I.

LATEST POSITION

Both the releases of last week reaped the benefit of holidays. DEEWANE has not found appreciation and will entail heavy losses to all its distributors and those exhibitors who paid fancy terms. DHADKAN, too, will result in losses for its distributors and the few exhibitors who booked the film on huge MGs and FHs.

Dhadkan 1st week Bombay 53,55,652 (84%) from 10 cinemas (9 on F.H.); Ahmedabad 18,45,966 from 5 cinemas, Jamnagar (28 shows) 1,30,642; Pune 11,39,340 from 5 cinemas (1 in matinee), Solapur 2,61,167 from 2 cinemas (1 in matinee); Delhi 54,64,317 (72.07%) from 12 cinemas; Kanpur 5,03,864 from 2 cinemas, Lucknow 6,91,410 from 2 cinemas, Agra 5,07,000, Varanasi 2,99,755, Allahabad 2,13,128, Bareilly 1,75,864; ran for a week in Jalandhar, shifted, Amritsar 47,154; Calcutta 18,92,117 from 13 cinemas; Nagpur 6,40,737 from 3 cinemas, Akola 2,17,134, Raipur (6 days) 1,64,595, Bhilai (gross, 6 days) 2,03,733, Jalgaon 2,25,156, Rajnandgaon (6 days) about 1,00,000, Chandrapur 2,21,764, Sagar 89,299; Indore 2,43,100 from 2 cinemas (3 on F.H.); Jaipur 6,68,856 (51.02%) from 3 cinemas, Ajmer (gross, 29 shows) 2,78,443, Bikaner 2,29,378, poor in Bharatpur; Hyderabad (gross) 25,63,121 from 8 cinemas (1 on F.H.), share 15,63,949.

Deewane 1st week Bombay 33,73,086 (70%) from 11 cinemas (11 on F.H.); Ahmedabad 20,63,351 from 10 cinemas, Rajkot (28 shows) 2,45,771, Jamnagar 1,03,113; Pune 9,34,177 from 5 cinemas (1 in matinee), Solapur 3,55,814 from 3 cinemas (1 in matinee); Delhi 45,46,323 (58.50%) from 13 cinemas (1 on F.H.); Kanpur 4,04,992 from 2 cinemas, Lucknow 4,21,067, Agra 2,65,000, Varanasi 2,64,866, Allahabad 2,00,343, Bareilly 1,60,549, Pilakhwa 70,000; Amritsar 52,230; Calcutta 15,47,721 from 11 cinemas; Nagpur 4,74,937 from 4 cinemas, Jabalpur 2,11,944, Akola 1,89,397, Raipur (gross, 6 days) 2,96,123, Jalgaon 1,90,050, Wardha 1,08,374; Bhopal 1,40,500 (2 cinemas unrecd.); Jaipur 6,36,001 (42.83%) from 3 cinemas, Bikaner 1,72,804; Hyderabad (gross) 21,01,472 from 8 cinemas (5 on F.H.).

………….

Har Dil Jo Pyar Karega faces a steep decline in collections, but is better in Bombay city. 2nd week Bombay 64,09,202 (74.85%) from 14 cinemas (7 on F.H.); Ahmedabd 8,92,214 from 6 cinemas, Jamnagar 84,014; Pune 13,63,310 from 5 cinemas (1 in matinee), Solapur 1,94,215; Delhi 31,31,552 from 9 cinemas (1 on F.H.); Kanpur 3,75,526 from 2 cinemas, Lucknow 3,27,612 (1st 4,61,887), Varanasi 1,76,230, Allahabad 1,57,800, Bareilly (6 days) 91,436; Calcutta 11,51,576 from 7 cinemas; Nagpur 5,10,806 from 3 cinemas, Jabalpur 2,01,828 (1st 2,75,495), Amravati 1,99,577, total 4,98,545, Akola 98,192, total 3,01,330, Raipur (5 days) 1,12,662, Jalgaon 76,548 (1st 2,00,946), Gondia (gross) 77,558, Wardha 65,391, Rajnandgaon (6 days) about 45,000; Indore 1,64,000 (2 on F.H.); Jaipur 2,45,817 (50.15%), Ajmer (gross) 1,63,876, Bikaner 1,20,042; Hyderabad (gross) 13,14,967 from 5 cinemas; Vijayawada 2 weeks’ total (gross) 5,07,879, 2nd week Guntur (gross) 96,822, total 1,93,357.

Woh Bewafa Thi 1st week Bombay 1,53,369 (34.43%) from 2 cinemas.

Refugee is steady in Maharashtra (Bombay and C.P. Berar) due to tax exemption. 7th week Bombay 88,739; Solapur 27,834; Delhi 1,15,982 (1 on F.H.); Kanpur 29,765, Lucknow 90,613, Agra 2,81,000, Varanasi 64,662, Allahabad 42,500; Calcutta 1,11,625; 5th week Jabalpur (TF) 99,407, total 6,95,125, 7th week Raipur (TF, 6 days) 55,147, Sagar (TF, 3 days) 10,022; Jaipur 4,08,381 (43.11%).

_____

Aai Thor Tujhe Upkar (Marathi; TF) 1st week Bombay 2,09,490 (70%) from 2 cinemas, Vasai 50,000, Kalyan 55,000, Alibag 60,000.

NEW CINEMA OPENS

A new cinema — Sharda — opened on 12th August at Bhind (C.P. Berar) with Har Dil Jo Pyar Karega. The film collected excellent in 1st week.

NAZIA HASSAN DEAD

Playback singer Nazia Hassan expired on 13th August in London. She had been suffering from cancer since 1994. Even after she was detected for cancer, her fiancé got married to her. Just a few days before her death, her marriage was reportedly declared null and void following a divorce. Her body had not been handed over to her family even five days after her death as it was being claimed by both, her ex-husband as well as by her parents.

Nazia, who had playbacked in Feroz Khan’s Qurbani, shot to fame with her very first song in films, Aap jaisa koi meri zindagi mein aaye, which had become a veritable anthem then. She also lent her voice to songs of Star and cut a couple of albums like ‘Disco Deewane’ with her brother, Zoheb Hassan. Most of her songs were composed by Biddu. A Pakistani living in London, she had carved a niche for herself in the field of pop songs in her short career.

RENU SALUJA DEAD

Leading film editor Renu Saluja passed away on 16th August at Bombay Hospital in Bombay. She had been undergoing treatment for cancer of the stomach since more than three months. Her condition had deteriorated in the last couple of days and she breathed her last on 16th night. She was cremated on 17th. She was 48.

Renu was the ex-wife of producer-director Vinod Chopra. She had edited films like Pardes, Godmother, Bandit Queen, Ardh Satya, Sar Ankhon Par, Parinda, Dharavi, Sardar, 1942 A Love Story, Kareeb, Janam, Papa Kehte Hain, Hey! Ram and Nagesh Kukunoor’s due-for-release Bollywood Calling. She won National Awards for her slick editing in Godmother, Parinda, Dharavi and Sardar.

KHAJANCHIS BEREAVED

Padmabai R. Khajanchi, wife of late R.R. Khajanchi and mother of leading C.P. Berar distributors Bharat and Vijay Khajanchi of Khajanchi Film Exchange, Amravati, passed away on 1st August at Bhilwara (in Rajasthan). The 12th day ceremony was held on 12th in Amravati.

MINERVA REDONE!

With the release of Tera Jadoo Chal Gayaa, Minerva Cinema, Bombay presents a fresh new look. The walls and ceilings have been given a fresh coat of paint, the decor and designs changed, seats firmed up and everything redone. The admission rates have consequently been revised. The new admission rates are: stall Rs. 45, dress circle and balcony Rs. 65. The rates for matinee shows, however, have not been hiked.

T. RAMA RAO’S SON TO WED

Wedding of director T. Rama Rao’s son, Ajay Kumar, with Ragha Shyama will be solemnised on 24th August in Secunderabad at Jewel Gardens.

MAHARASHTRA CM’S PAT FOR SUBHASH GHAI’S IPO

A personality no less eminent than the chief minister of Maharashtra, Vilasrao Deshmukh, unveiled the production banner, Kapoor & Kaushik Entertainment P. Ltd., promoted jointly by Anil Kapoor and Satish Kaushik, at the party hosted by Mukta Arts Ltd. on 10th August at The Regent, Bombay. The production house was launched a day earlier with a song recording for its maiden film, Badhaai Ho Badhaai, at Sahara. The song, penned by Javed Akhtar, was composed by Anu Malik. The party on 10th was in celebration of the launch.

Mukta Arts Ltd. are the presenters, business promoters and world rights controllers of the film which stars Anil Kapoor, Karisma Kapoor and Amisha Patel. Satish Kaushik directs the venture.

Speaking at the launch party, Vilasrao Deshmukh congratulated Subhash Ghai and his Mukta Arts Ltd. on the success of their IPO. He added, “Mukta Arts has brought the film industry on the capital market map for the first time and has also brought a lot of respectability to and faith in this much misunderstood industry.” He felicitated Ghai and his stars on the occasion of the golden jubilee of Taal. Golden jubilee trophies were presented to the film’s cast and technicians at the hands of celebrities.

Speaking on the occasion, Subhash Ghai said, “This is the first deal done by Mukta Arts after going public. We’ve entered into a very important agreement signifying a tie-up for movie-making in future.” Badhaai Ho Badhaai, which is being jointly produced by Mansoor Ahmed Siddiqui of Anas Films, is the remake of a Tamil hit. The guests who attended the party were a mix of names from various walks of life — Surinder Kapoor, Jeetendra, Jackie Shroff, David Dhawan, Vimal Agarwal, Hrithik Roshan, Govinda, Akshaye Khanna, Kareena Kapoor, Gulshan Grover, Gava, Ashok Thakeria, Tutu Sharma, Prakash Jha, Joy Augustine, John Mathew Matthan, Srichand Hinduja, Yukta Mookhey, Yash Johar, Karan Johar, Tolu Bajaj, Adi and Parmeshwar Godrej, Sridevi and Boney Kapoor, Ketan Parikh, Vallabh Bhansali, Vinay Maloo, Vijay Choraria, Manmohan Shetty, Amit Khanna, Udit Narayan, Kiron Kher, Alka Yagnik, Anu Malik and Ravi Gupta.

JAIRAJ BIDS ADIEU

P. Jairaj, the popular ‘he-man’ of the silent era and talkie films, passed away on 11th August at Lilavati Hospital, Bandra, Bombay following kidney failure. He had been hospitalised on 4th. He was 91 and is survived by two sons and three daughters.

A recipient of the Dadasaheb Phalke award, P. Jairaj had not been keeping good health since the last one year, after he was admitted to Jaslok Hospital following a heart ailment.

Born on 28th September, 1909 in Hyderabad, Jairaj came to Bombay in 1928 to make a career in films. He got his break in 1929 in Indulal Yagnik’s silent film, Sparkilng Youth (Jagmagati Jawani) opposite Madhuri. P. Jairaj had played the lead man opposite Devika Rani, Durga Khote, Nargis, Suraiya, Nimmi and Madhuri. He had acted in about 200 films as hero and later in character roles. He had enacted many historical legends such as Maharana Pratap, Tipu Sultan, Chandrashekhar Azad, Prithviraj Chauhan and also the fabled Hatimtai. Among his films are Hamari Baat, Anjuman, Amar Kahani, Chhoti Si Duniya, Magroor, Noorjehan, Humjoli, Raj Mukut, Garibi, Amarsingh Rathod, Pardesi (Indo-Soviet co-production), MGM’s Maya and 20th Century Fox’s Nine Hours To Rama.

He had directed five films — Rajghar, Mala, Pratima, Mohar and his own production, Sagar.

Jairaj was also associated in a number of social activities in the film industry. He was an avid participant in the fund-raising drives for national causes. While many of his confreres had retired and led secluded lives, Jairaj remained active in social work. He was last seen in an important character role in Khoon Bhari Maang.

Paying tribute to Jairaj, O.L. Sharma, founder-member of the Dadasaheb Phalke Trust of India, said, “At the function to celebrate the 131st birth anniversary of Dadasabeh Phalke on 30th April, 2000 in Bombay, Jairaj was the highlight.” He had been awarded a lifetime achievement award of the millennium by the film industry at the function.

Grand Music Release Function Of ‘Dhaai Akshar Prem Ke’

Compact discs and music cassettes of producer-director Raj Kanwar’s Dhaai Akshar Prem Ke were released at the hands of Amitabh Bachchan at a glittering function in New Delhi, hosted by Super Cassettes on 10th August. Amitabh and Jaya Bachchan specially flew to New Delhi to offer blessings and good wishes to their son, Abhishek Bachchan, who plays the lead role in the film, and to Aishwarya Rai, Raj Kanwar, executive producer K. Pappu and the unit of Inderjeet Films Combine. Super Cassettes Industries were represented by Bhushan Kumar, Krishan Kumar and Chandrabhan Dua, managing director of Super Cassettes Industries Ltd. and father of late Gulshan Kumar.

Amrish Puri, Shakti Kapoor, music directors Jatin Lalit, lyricist Sameer and singers Anuradha Paudwal and Babul Supriyo were also present on the occasion. Jaya Bachchan lit the traditional lamp. There were song and dance performances by Saroj Khan’s troupe of dancers.

DO YOU KNOW?

* Special colourful tickets of TERA JADOO CHAL GAYAA have been made for Novelty Cinema, Lucknow. The reverse of the tickets has utility value as important telephone numbers (railways, airlines, emergency services, 24-hour petrol pumps in the city, blood banks and medical shops) are printed there. Time difference around the globe is also printed with reference to IST. That’s not all! Looking to the popularity of the KAUN BANEGA CROREPATI show on television, the telephone numbers, which intending participants need to dial in Bombay, Delhi, Calcutta or Bangalore, have also been given!

* BACHELORS (Telugu), made at a cost of Rs. 40 lakh and which has entered 50th day at 25 centres of Andhra this week, has already grossed 2 crore so far and is expected to do a business of 3.50 crore. The film has been made (not dubbed) in English too and it will be released all over next month along with its dubbed Hindi version, with the same title. 

* Actor Mahesh Raaj must have felt like a true police officer by the end of the day on 17th August. For, he faced the cameras in the role of a DCP for not one or two but three films that day at Esel Studios. The films in the shootings of which he participated were DAAKU BHAIRAV SINGH, CHEHRA MAUT KA and DAMAN CHAKRA.

* Shyam Talkies, Yavatmal is probably the only cinema in the whole of C.P. Berar circuit where DEEWANE drew all 28 shows full in 1st week. 

YOU ASKED IT

I am a school student who wants to know whether watching films and TV programmes during or before examinations affects our minds?

– Of course, it does! Films remain in the mind, whether they are good or bad.

Despite a majority of films proving flops, why do cinegoers hanker for watching films in cinemas in the first three days?

– Because cinema is the cheapest form of entertainment in our country. And everybody wants to be entertained.

For a long time now, no film on a historical or legendary character has been made. If a film were to be made on such a subject, encompassing romance, emotions, action, valour, comedy etc., on whose character can it be made?

– Bajirao Mastani is one such subject. Attempts were made to make a film on this subject by some makers including Manmohan Desai. BAJIRAO MASTANI was made only once, in 1925, during the silent era.

COMMENTS

G.D. MEHTA (Delhi-U.P. distributor and exhibitor)

Prices continue to rage like a never-ending inferno. But distributors are hardly cautious. Rather than retreating from the fire, they continue to surge ahead and play with fire. No wonder, many have burnt their fingers.

3-E
Education-Entertainment-Enlightenment

In Search Of The Yaadgaar Beat

Subhash Ghai last week employed the services of famed percussionist Sivamani for three songs of his Yaadein. Sivamani has been the head of the rhythm department in A.R. Rahman’s group, besides being a drumming genius. The flamboyant musician, who uses a large number of unusual percussion instruments, has featured in a number of programmes organised for national causes and, as such, has got a lot of prominence the world over for his esoteric and acrobatic styles while he is engaged in displaying his rhythmic skills. Some of his work in films include hits like Humma Humma from Bombay, and Chhaiyyan Chhaiyyan from Dil Se... What sort of memorable beat he creates for Yaadein remains to be seen… or heard, should we say?

Uttar Pradesh Calling

A 20-page booklet, titled ‘Uttar Pradesh Film Policy 1999’ has an appearance of a tourism promotional booklet. It carries about 20 colourful pictures of landscapes, landmarks and tourism sites of U.P. along with the U.P. government’s seemingly filmmaker-friendly assurances. This booklet was handed over to those who attended the luncheon organised by FICCI president K.K. Modi in honour of Uttar Pradesh chief minister Ram Prakash Gupta in Bombay at The Regent on 12th August. The chief minister invited filmmakers to come to his state to shoot their feature films. He urged filmmakers to spell out their various needs and demands when they came to his state to shoot their films. Among those who met the U.P. chief minister were Yash Chopra, Ramanand Sagar, Shakti Samanta, Amit Khanna (co-chairman, FICCI) and G.S. Mayawala of the Motion Picture Association, Delhi.

Those present at the meeting were highly critical of the high (100%) entertainment tax in U.P. This seems to have had an effect on the CM’s mind. For, back home, he ordered the entertainment tax department to consider reduction in tax. But knowing the U.P. CM’s habit of forgetting things, even this point of tax reduction just might slip out of his mind. Who knows?!?

Hospitality In Style!

Distributors generally never have a good word for their producers. Either the film price is too high for their (distributors’) liking or the product is bad or the producer is not found worth his word… But distributors of Har Dil Jo Pyar Karega are singing a different tune as far as the film’s producer, Sajid Nadiadwala, is concerned. They are all praise for the 32-year-old producer and not without reason. To celebrate the grand sale of the film’s music, Sajid not only invited his all-India distributors for the party he and Super Cassettes hosted on 17th August in Bombay, but also played the perfect host by arranging for their stay for three days in a 5-star hotel — Centaur — all at his cost. What’s more, the large-hearted Sajid plans to take all his distributors to Mauritius for a brief holiday soon. All this, because — to quote Sajid — “they are my distributors and they’ve stood by me through thick and thin.”

A ‘Shaan’dar Bash?!

The party to celebrate the 25th anniversary of Sholay, held on 12th August at The Regent, Bandra, Bombay, was as lacklustre as G.P. Sippy’s next film, Shaan. Everyone thought that the event would set off sparks of nostalgia of those happy days 25 years ago when Sholay created box-office history. But none of the living protagonists of the film — Dharmendra, Amitabh Bachchan, Hema Malini, Jaya Bachchan and director Ramesh Sippy — turned up. The only ones who cared to be present were Mac Mohan and Jagdeep, the ‘Sambha’ and ‘Soorma Bhopali’ of Sholay, and writer Salim. Among the guests who came to greet G.P. Sippy were Dilip Kumar, Anil Kapoor, Randhir Kapoor, Prem Chopra, Milind Gunaji, Nadira, Shyama and Shakila. The big set of Gabbar’s den, which had been specially erected, was the best thing of the ‘nostalgic’ evening!

The Naked Truth

After Jis Desh Mein Ganga Rehta Hai, an enterprising producer is planning to announce a film with a similar though shocking title. He has signed Salman Khan for the film. It is titled Jis Desh Mein Nanga Rehta Hai. Who better than Salman to play the lead role, what with his penchant for taking off his clothes on screen at the drop of a hat, to flaunt his body!

INFORMATION MEETS

“The National Award meant a lot, not so much in terms of reward for the good work done but in regard to renewing my confidence and boosting my morale.”

– ISMAIL DARBAR

GAJAA

Unpredictable are the ways of Destiny. Which is why you never know when it will pitchfork a musician to an eminent position of a music director just as it did with Ismail Darbar. Not many years ago, while Jatin-Lalit were recording a song for Sanjay Leela Bhansali’s Khamoshi, this self-effacing musician was playing violin among the rows of violinists. At that point of time, little did Sanjay Leela Bhansali know that this unassuming musician would make his debut as music director in his next film — and for that, also be conferred with National honours! As for Ismail, he must not even have dreamt of this incredible prospect! From violin to an exclaim of voila!

To Ismail Darbar goes the unique distinction of bagging the prestigious National Award for the best music of 1999, with his very first film — Hum Dil De Chuke Sanam.

Here, Ismail talks about his early days, his music and his feelings:-

From a musician to a music director of eminence. What do you feel about this transition?

– Well, it is like a mission accomplished. To tell you what my mission was, I will have to rewind my life’s tape to those days in 1985 when I started out as a violinist under Laxmikant Pyarelal. After some time, when I left them, I thought that I must become like them. This thought kept growing in me. In the meanwhile, I worked under Pancham-Da. Thereafter, I worked under Bappi-Da’s music direction. I did the maximum work under Bappi-Da. Those days, I hardly used to get time for rest and recreation.

Much before that, when I started learning violin, I thought of making it big in the realm of music — whether as a musician or as a music director, I was not sure.

I got my first lessons in violin from Maira Teacher and then from Babaji (Ram Prasad Sharma, who has been a guru to many of the present-day musicians and who was the father of music directors Pyarelal and Ganesh). Then, Ganesh uncle took me under his tutelage. I used to be with him from morning till night. Ganeshji not only taught me music but also gave me an insight into the world of film music: how tunes are made and what music directors do to make their place here, and all those things. I was his only student then. He was my real guru, guide and philosopher.

…And one day, the big break happened. Before meeting Sanjay Bhansali for HUM DIL DE CHUKE SANAM, did you have to go through a great deal of struggle. How many producers’ doors did you knock?

– I did not have to knock anyone’s doors. It was ittefaq! There was a TV serial called Ittefaq, directed by Hanif Chhipa. I did a song for it, in which I introduced a new singer, Kunal. Now, this guy, Kunal was struggling to become a playback singer in films. During his rounds of struggle, he one day met Sanjay Bhansali. Sanjay told him that he was on the lookout for a new music director and not a singer. Kunal suggested to Sanjay to try me out. Kunal came to me with Sanjay Bhansali’s message and told me to contact him. When I went to Sanjay’s house, he himself was at the door. He was a bit surprised on seeing me because he knew me by my face since I used to play violin during the recordings of his Khamoshi. I had nothing ready with me to make Sanjay aware of my ability, except an album of Zee Music, in which I had provided the tunes. Then I hummed out a tune which he liked. That tune became the title song of Hum Dil De….

Although the songs of HDDCS became hits, the songs of TERA JADOO CHAL GAYAA, despite good sales of its music albums, are not on everybody’s lips except for the title song. 

– My music is not easy to sing for the man in the street. Why, even the playback singers found my compositions a tad difficult to sing in the beginning.

Why so?

– Because I make songs from my heart. Whether easy or difficult, dil se nikli hui cheez kabhi fail nahin hoti. Every man’s soul is beautiful, it depends on how one uses it.

People say that the credit for the big success of the music of HDDCS goes to Sanjay Bhansali.

– Yes, they are absolutely right! It was due to Sanjay’s encouragement that I could deliver the goods. He has a sharp ear for music. If he likes anything, he will immediately say, “Yes, this is it”. He is quite easy and cordial when we discuss the tunes. We have already recorded five songs for Devdas and they have all come out very well.

You have acknowledged Kunal for your meeting with Sanjay Bhansali. Will you not make him sing your songs?

– No, it’s not that way. To Kunal, I will always remain thankful for suggesting my name to Sanjay who gave me the big break. But the day Kunal develops his talents fully well, I will definitely use his singing talents. Even my elder brother, Yasin, has a very good voice, and I can easily give him a chance but… You see, singing for films is a different ball game.

You have another brother who is also a music director in Gujarati films.

– He is my cousin, Iqbal Darbar.

Anyone else in your family who is into music?

– My father, Hussain Darbar, was a musician, but not in films. He used to play saxophone. In films, he played it for only one film, Kashmir Ki Kali, for the song, Ye duniya usee ki, zamana usee ka. Thereafter, he did not carry on because he was too self-respecting a person to plead with people for work. He was associated with band groups.

When the music of HDDCS became such a big hit, why were you not so much in demand?

– After HDDCS, there was no dearth of offers, but I took up only four films — Tera Jadoo Chal Gayaa, Mehbooba, Deewangi and one more. But then came Sanjay’s offer of Devdas. And do you know, I spurned 28 offers — only due to Sanjay and Devdas. If Sanjay Bhansali were to ask me whether I had the time to devote for Devdas, could I have afforded to say, ‘No, I’m busy’? After all, he is my mentor. I will always remain indebted to him.

How did the industry react to your bagging the National Award for your very first film?

– See, I don’t roam about much in the industry. My work keeps me engaged enough. About the National Award, I was first informed by Sanjay Bhansali but he was in a doubt. Later, Amitabh Bachchan congratulated me on the phone, and it was then that I became sure of having bagged the Award. Vashu Bhagnani reacted happily by throwing a party the day after the announcement of the Awards.

What did the National Award mean to you?

– It meant a lot, not so much in terms of reward for the good work done but in regard to renewing my confidence and boosting my morale. I was damn confident about getting all the awards for HDDCS, but none came my way. I was, therefore, simmering from inside. It was like I was suffering under the scorching sun in the hot desert region. But this National Award came as Godsent welcome showers!

Which music directors do you admire?

– I have been a fan of Laxmi-ji and Pyare-ji. It was God’s will and my good fortune that I got to learn violin from this family — Laxmi-Pyare and Ganesh uncle.

Then, I was also very fascinated with the notes of Salil-Da (Salil Choudhary), the feel of Naushad Saab, the undiluted sweetness of Madan Mohan’s melodies, and Pancham-Da’s (R.D. Burman’s) brilliance. And, of course, among the current ones, I admire A.R. Rahman.

With such competition among music directors today, how can you afford to remain content with just a few films?

– See, if I do good work, I will be sought-after. It’s better to do few films and produce quality work. As it is, while working for three films — Mehbooba, Deewangi and Devdas — I get a feeling of working in a hundred films.

As of now, Ismail Darbar seems to be following that famous saying: ‘One year of joy, another of comfort, and all the rest of content.”

‘Beti No. 1’ Refuses To Leave Maika

RELEASE CANCELLED AT ELEVENTH HOUR

After high-tension drama that lasted for a few hours on Wednesday, August 30, the release of Rajeev Kumar’s Beti No. 1 on 1st September was cancelled. The tension and drama were sparked off by a shortfall of funds because of which some financiers refused to let go off a part of their money. The shortfall arose due to two reasons — lack of coverage by the producer due to the film not finding buyers to cover its cost, and secondly, some distributors going back on the committed price.

One distributor, whom the producer claims to have sold the film for Rs. 1.11 crore, refused to pay a rupee more than Rs. 85 lakh. According to the distributor, the price at which he had struck the deal was 85 lakh and not 1.11 crore. In the absence of a written agreement between the producer and the distributor, it was a case of believe-at-your-own-risk.

Reportedly, the shortfall was to the tune of Rs. 75 lakh. Finding himself in a helpless situation, producer Rajeev Kumar landed in the ICU of a city hospital. The aggrieved financiers claimed that Rajeev had feigned illness and intentionally got himself hospitalised to avoid embarrassment to himself. AMPTPP president Pahlaj Nihalani was trying his best to bring about a settlement between the producer, his distributors, financiers and the laboratory owner (Girdharilal Seksaria, Ramnord Lab). The lab owner, too, had reported sick and did not come to office on 30th. Pahlaj and the others, who had intervened, were trying to prevail upon financiers to forgo part of their money and upon distributors, to pay more than the contracted price.

With no solution in sight, a couple of distributors announced on Wednesday night itself that the film would not be released on Friday in their circuits. The more hopeful ones kept the release issue hanging fire till Thursday afternoon. Some cinemas in Bombay did not know till as late as 1 p.m. on Thursday whether Beti No. 1 would be screened at theirs from the following day.

Even though the film has not been released this week, efforts to bring about a settlement were on even on Thursday afternoon and evening.

Finally, as a quip remarked, “Beti (producer ke) ghar se, bina dahej, nahin jaayegi!”

In the meantime, exhibitors who had booked Beti No. 1 were panic personified. Running programmes had to be continued in many cinemas due to the cancellation of Beti No. 1. Other cinemas desperately hunted for alternative programmes. Among the film’s distributors, it was probably the C.P. Berar distributor (Suresh Rathi, Vishnu Films) who proved to be the most gullible. Unaware of the impending tension, he paid the entire delivery amount to one of the financiers but had to suffer due to the release cancellation.

The new release date of the film is still not known.

LATEST POSITION

The pre-Ganpati festival has affected and the Ganpati festival continues to affect the box-office, adversely at many places and favourably at some.

Hamara Dil Aapke Paas Hai, as predicted last week, has met with mixed responses in the various circuits. Except in Gujarat and Saurashtra, where it is extraordinary, and in Bombay and Maharashtra (including some stations of C.P. Berar), where it is good, it could not pick up to appreciable levels in many of the centres of other circuits. Is particularly poor in Rajasthan, generally ordinary in Delhi-U.P. and Bihar, dull in East Punjab, West Bengal and C.I., and fair in Nizam. 1st week Bombay 52,35,525 (81.12%) from 12 cinemas (12 on F.H.); Ahmedabad 33,14,746  from 7 cinemas, Rajkot 2,45,660 (1 in matinee on F.H.), Jamnagar 2,04,637, Adipur 1,54,568 (70.55%); Solapur 2,45,873 from 2 cinemas (1 in matinee); Delhi 60,27,276 (74.25%) from 12 cinemas; Lucknow 4,70,262, Agra 4,36,407, Varanasi 1,90,505, Allahabad 2,03,305, Meerut 2,07,630, Aligarh 2,23,948, Dehradun 1,86,017, Gorakhpur 1,79,837, Moradabad 1,55,617, Saharanpur 1,96,991, Jhansi (8 days) 1,37,293; Calcutta 25,19,055 from 23 cinemas; Nagpur 6,52,094 from 3 cinemas, Jabalpur (6 days) 1,18,614, Amravati 1,96,355, Akola 1,55,838, Raipur (6 days) 1,11,990, Jalgaon (6 days) 2,06,920, Wardha 90,002, Chandrapur 1,51,762; Indore 3,32,611 from 2 cinemas (2 on F.H.), Bhopal 3,32,989 from 2 cinemas; Jaipur 11,01,757 (58.47%) from 3 cinemas, Bikaner 2,02,024; Hyderabad (gross) 19,57,027 from 9 cinemas (1 in noon); Ongole (gross) 91,367.

…………..

Tera Jadoo Chal Gayaa crashes further. Will entail heavy losses to exhibitors (like those of Allahabad, Aligarh, Kanpur, stations of East Punjab and other circuits) who had booked the film at fantastic terms. 2nd week Bombay 23,43,830 (62.58%) from 7 cinemas (9 on F.H.); Ahmedabad 2,88,448 from 2 cinemas, Rajkot 1,98,000, Jamnagar (matinee) 16,247; Solapur 1,54,926 from 2 cinemas (1 in matinee); Delhi 24,63,652 from 6 cinemas (4 on F.H.); Lucknow 3,86,582, Varanasi 98,341, Allahabad 1,32,500, Bareilly 57,868, Shamli about 30,000; Calcutta 2,86,739; Nagpur 2,07,679 from 2 cinemas, Jabalpur (6 days) 40,139, Amravati 1,06,557 (1st 2,28,576), 1st week Akola 1,50,595, 2nd week Raipur (6 days) 66,515, Jalgaon (6 days) 60,351, Chandrapur 97,998, total 3,42,594; Indore 1,15,000 (1 uncrecd., 1 on F.H.), Bhopal 70,000; Jaipur 3,25,652 (31.01%) from 2 cinemas, Bikaner 75,242; Hyderabad (gross) 4,04,582 from 3 cinemas (2 in noon).

Dhadkan 3rd week Bombay 5,81,591 (7 cinemas unrecd., 7 on F.H.); Ahmedabad 7,54,454 from 6 cinemas, Jamnagar 63,369; Solapur 1,09,122 from 2 cinemas (1 in matinee); Delhi 12,57,395 from 6 cinemas (1 on F.H.); Lucknow 2,52,558, Varanasi 1,24,250, Allahabad 77,029, Bareilly (6 days) 87,544, Shamli about 25,000; Calcutta 4,38,968 from 3 cinemas; Nagpur 3,35,304 from 3 cinemas, 2nd week Jabalpur 1,71,569, total 4,35,159, 3rd week Amravati 1,14,977 (2nd 1,65,181), Akola 96,103, total 4,74,603, Raipur (6 days) 70,101, Bhilai (6 days, gross) 91,886, Durg 32,535, Jalgaon (6 days) 94,928, Sagar 48,225 (2nd 77,801); Jaipur 1,59,420 (31.01%), Bikaner 66,899; Hyderabad (gross) 7,37,624 from 3 cinemas (1 in noon, 1 on F.H.).

Deewane 3rd week Bombay 6,81,214 (39.59%) from 6 cinemas (7 on F.H.); Ahmedabad 4,54,062 from 5 cinemas, Jamnagar 43,398; Solapur (matinee) 20,813; Delhi 1,54,040 from 2 cinemas (1 on F.H.); 2nd week Lucknow 2,25,133, 3rd Varanasi 75,750, Allahabad 57,336, Bareilly (6 days) 48,963, Shamli about 10,000; Calcutta 1,06,066; Jabalpur (6 days) 34,831, Amravati 68,237 (2nd 1,25,470), Akola 48,218, total 3,48,418, Raipur (6 days) 72,054, 1st week Sagar (5 days) 52,193; 3rd week Jaipur 34,644 (12.78%).

Har Dil Jo Pyar Karega 4th week Bombay 11,56,325 (50.72%) from 5 cinemas (10 on F.H.); Ahmedabad 53,803; Solapur 82,747; 3rd week Bijapur 54,013, total 2,24,103; 4th week Delhi 86,587; Lucknow 1,32,788, Varanasi 55,550, Allahabad 56,000, Bareilly (6 days) 28,471, 3rd week Shamli about 11,000; 4th Calcutta 1,05,591; Nagpur 80,560, Jabalpur (6 days) 39,946, Amravati 87,346 (3rd 1,32,718), Raipur (5 days) 27,477; Jaipur 80,165 (16.35%); Hyderabad (gross) 4,93,446 from 4 cinemas (1 in noon).

VASHU, ABHISHEK VISIT LUCKNOW, KANPUR

Producer Vashu Bhagnani and hero Abhishek Bachchan last Friday (25th August) went on a whirlwind tour of two cities of U.P. to promote their film, Tera Jadoo Chal Gayaa. The duo made an appearance at a screening of the film at Nishat, Kanpur. Both received a tumultuous welcome from filmgoers. Later, they visited Novelty, Lucknow, where another grand reception was planned for them. The duo was accompanied by MP Amar Singh at both the places.

AUSTRALIAN DIGNITARY VISITS IMPPA

Ms. Gayle O’Brien, senior trade officer — emerging markets — trade division, Queensland, Australia, visited the IMPPA House at Bandra, Bombay on 25th August. She invited Indian filmmakers to explore the virgin locales of Queensland for their films’ shootings. O’Brien assured the producers of all possible help including concessional rates for hotels, transportation, availability of local technicians, equipments etc. A detailed brochure and video cassettes of some of the locations were handed over to the IMPPA.

Gayle O’Brien later also met Film Information editor Komal Nahta to know more about the functioning of the film industry in Bombay.

‘ANOKHA MOTI’ FOR IRAN FILM FESTIVAL

Gaurang Films’ Anokha Moti has been selected for the 15th Isfahan International Festival of Films & Video for Children & Young Adults of Iran. The festival will be held in Iran from October 14 to 20. The film is directed by Tapan Sinha, and produced by R.A. Jalan.

B.N. TIWARI ELECTED WIMPTSEA PRESIDENT

B.N. Tiwari was elected president of the Western India Motion Picture & Television Sound Engineers Association for 2000-2001 at its annual general meeting held on 13th August at Empire Audio Centre. The other officer-bearers and executive committee members elected are: S.C. Bhambri, hon. general secretary; Dinesh Chaturvedi, vice president; Madan Prakash and J.C.V. Rao, joint secretaries; E. Rudra, treasurer; A.K.Biswas, Tahir Khambati, Ramanand Prasad, J.P. Sehgal, Dilip Sawant, Buta Singh, Vinod Potdar, Ashat Kapoor and M.G. Dalal.

CINEMAS REOPEN IN KARNATAKA

Cinemas in Bangalore and all over Karnataka state reopened on 1st September. They had downed shutters before more than four weeks following the kidnapping of Kannada film matinee idol Dr. Rajkumar by forest brigand Veerappan on 30th July. The entire film industry of Karnataka had, in a show of solidarity, remained closed for a month.

CBFC, BOMBAY GETS NEW R.O.

Virendra Kumar Singla has been appointed the regional officer of the Central Board of Film Certification, Bombay. Singla, who was with the All India Radio, Jabalpur, took charge as the R.O. on 14th August.

IMPPA AGM ON SEPT. 22

The 61st annual general meeting of the Indian Motion Picture Producers’ Association (IMPPA) will be held on Friday, 22nd September at 3 p.m. at ISKCON Auditorium, Juhu, Bombay.

As is customary, five veterans of the industry will be felicitated at the annual meet, for their contributions to the Indian film industry. The veterans chosen for the honour this year are Amjad Khan (posthumously), Rajesh Khanna, J. Om Prakash, Gaffarbhai Nadiadwala and Hema Malini.

MAHAVIR SHAH DIES IN ROAD ACCIDENT

Actor Mahavir Shah died following a road accident in the USA on the night of 31st August. He was 48 and is survived by his wife, a daughter and a son.

Mahavir had gone to the US to stage his Gujarati play, Saathi, in different countries. He was the producer of and was also playing the male lead in the play which is the adaptation of the famous Hindi play, Salgirah (Anupam Kher and Kiron Kher). Sarita Joshi was Mahavir’s co-star.

The small unit of the play was travelling in a van from New York to Chicago where the play was to be staged, when the van collided with a truck. While all the others travelling in the van, including the driver, escaped with minor injuries, Mahavir sustained grievous injuries. He was rushed to hospital in a helicopter but succumbed to his injuries in a short while after admission. He passed away following haemmorhage.

Mahavir Shah had acted in many Hindi and Gujarati films, besides some television serials too. Among his better-known Hindi films are Tezaab, Tirangaa, Krantiveer, Ankush and Hum Dono. He generally played villainous roles. On the small screen, he shone in serials like Dastaan. He had been active on Gujarati stage for the last 28 years. He had turned a drama director last year.

VED PRAKASH MEDIRATTA ELECTED CINE CLUB PRESIDENT

Ved Prakash Mediratta was elected president of the Cine Club of Indore at the first meeting of its new executive committee, held after its elections recently. He bagged 63 votes at the election. Sandeep Jain, who bagged the highest number of votes (74), was elected secretary; Sunil Choudhary was elected vice president (66 votes); Chandulal Goyal, treasurer (67 votes); Ashish Goel, joint secretary (53 votes); and Harish Janiani, games secretary (37 votes). Shyam Rajpal, Ashok Choudhary, Hemant Vyas, Girdharilal Agarwal and Raj Kumar Kapoor were the other members who were elected to the executive committee.

Pulkit Narsaria, Sunil Udani and Rajesh Agarwal were co-opted to the committee.

Ninety members, out of the total 120, cast their votes in the election which was keenly contested by two groups — one led by Ved Prakash Mediratta, and the other, by Ashok Choudhary. While nine members of Mediratta’s group were declared elected, only two of the second group found a place on the committee.

Those vanquished were Ratanlal Garg (35 votes), Jagdish Advani (34), Manoj Jain (34), S.N. Gupta (32), Anwar Khan (31), Arun Patel (27), Jagdish Sharma (23), Rajesh Tharani (21), Bharat Jain (19) and Kamal Agarwal (13).

YOU ASKED IT

For how many years are the satellite rights acquired by buyers?

– It varies. Sometimes, it is for five years, sometimes two to three years, sometimes for more years. There is also often a restriction on the number of telecasts within that time period.

Is there any written rule under which a producer cannot announce his film’s release date in public until he gets the censor certificate?

– Not at all! But producers fear announcing the release date prior to getting the censor certificate lest the censors act tough.

Just a few years back, you used to give a ‘post-mortem’ of unsuccessful films. Why don’t you do it now?

– What our filmmakers require today is not post-mortems of films but pre-release corrective measures for their films because today, stakes are very high and the debacle of just one film is enough to destroy a person. Once a film is complete, everybody is in a hurry to release it. If green trials are held, corrective steps could be taken or changes effected before the film comes in front of the public and gets rejected.

SIGNED

Raj Kumar Kohli Signs Technicians

Producer-director Raj Kumar Kohli has signed Tinnu Verma to execute action scenes, and Thomas A. Xavier to cinematograph Shankar Movies’ Prod. No. 25. He has also signed story writer Aatish, art  director Sunil Singh, editors Kuku and Cuckoo, and sound recordist J.P. Saigal. The film stars Sunny Deol, Akshay Kumar, Sunil Shetty, Manisha Koirala, Rambha, Aftab Shivdasani, Aditya Pancholi, Mohini Sharma, Arshad Warsi, Rajat Bedi and Munish Kohli. Lyrics: Sameer. Music: Anand Milind. The film is presented by Nishi.

PRODUCTION NEWS

‘Nayak – The Real Hero’ 25-Day Spell Complete

The 25-day initial shooting schedule of Sri Surya Movies’ Nayak – The Real Hero in Bombay, Mysore, Madras and Ladakh was completed this week. Written and being directed by Shankar, and produced by A.M. Ratnam, the film stars Anil Kapoor, Rani Mukerji, Amrish Puri, Pooja Batra, Johny Lever, Paresh Rawal, Shivaji Satam, Saurabh Shukla and Sushmita Sen in a special appearance. Music: A.R. Rahman. Lyrics: Anand Bakshi. Dialogues: Anurag Kashyap. Editors: B. Lenin and V.T. Vijayan. Cinematographer: K.V. Anand. Art: Thotta Tharani. Action: Kanal Kannan.

‘Deewangee’: Fifth Song Recorded

Music director Ismail Darbar recorded the fifth song of Neha Arts’ Deewangee at Octavius Recording Studio on Aug. 27. Penned by Salim Bijnori, it was rendered by Sunidhi Chauhan. The film is being produced by Nitin Manmohan, and written and directed by Anees Bazmee. It stars Sanjay Dutt, Ajay Devgan, Karisma Kapoor and Raveena Tandon. Cinematographer: Piyush Shah. Action: Bhiku Verma. Art: R. Varman.

‘Chandni Bar’ 20-Day Spell In Hyderabad Complete

Shlok Films’ Chandni Bar was shot in a 20-day schedule, till Aug. 29, in Hyderabad. The film stars Tabu and Atul Kulkarni in the lead with Shrivallabh Vyas, Rajpal Yadav, Vinay Apte, Abhay Bhargav, Preeti Kar, Vaarun Vaardaan, Ananya and Suhas Palshikar in supporting roles. Being produced by Mrs. R. Mohan, and directed by Madhur Bhandarkar from his own story, it has screenplay by Mohan Azad, and dialogues by Masood Mirza. Cinematography: Rajeev Rai. Choreography: Kishore Oreskar. Art: Prasanna and Yashwant Patil.

Tips Industries To Go Public: Bid Opens 5th September
Floor Price Rs. 325

Tips Industries Limited, one of the leading music companies with a consistent growth in turnover and profitability for the last 10 years, will enter the capital market with an initial public issue of 30,00,000 equity shares of the face value of Rs. 10 each at premium of Rs. 315 (floor price is Rs. 325). The issue includes book-building portion of 27,00,000 equity shares (90% of the issue) and fixed price portion of 3,00,000 equity shares (10% of the issue). The bid opens on 5th September and closes on 12th September. The fixed price portion opens on 26th September. The issue is to part-finance the company’s expansion plans — to set up a studio for recording music, a plant to manufacture CDs, expand the existing cassette manufacturing capacity, acquire audio rights, augment long-term working capital, and to meet issue expenses.

The audio-visual of Tips’ growth over the years, screened at its press conference on 30th August at The Taj, to brief the media about its future plans, was pretty impressive.

Tips has a vast repertoire of film and non-film albums (totalling over 8,000) and has a number of super-hits to its credit. Tips has also acquired the entire music catalogues of Time Audio, Weston, Oriental, Swaran Sudha and Rajshri (Gujarati). Besides, the company has already acquired audio rights of 57 forthcoming films which are under different stages of production, for which the company has already paid around Rs. 31 crore. Almost all the audio rights are outright purchases.

Tips manufactures and markets pre-recorded audio cassettes, blank audio cassettes and replicated CDs. It has a capacity to manufacture 744 lakh audio cassettes per annum at its plants at Silvassa and Palghar.

Tips plans to increase its market share through acquisitions of more audio rights and forging alliance with overseas companies for distribution of its music in international markets.

For the year ended 31st March, 2000, Tips Industries recorded a profit after tax of Rs. 23.32 crore on sales of Rs. 115.82 crore. It expects to end the current year with a net profit of around Rs. 35 crore on a total sales of around Rs. 159 crore. The company has had an average return on net worth (RONW) of over 50% in the last 5 years. The estimated EPS for the year ending 31st March, 2001 on a post-issue capital of Rs. 12 crore works out to Rs. 29.36 as against Rs. 25.91 for the year ended March 31, 2000 on an equity of Rs. 9 crore. The company has a conservative accounting policy where payments for purchase of all audio rights and marketing expenses are written off fully in the year of release of music.

Promoted by the Taurani family, its chairman and managing director is Kumar Taurani. Prominent names on the Board of Directors are Shiv Abhichandani, Boney Kapoor, David Dhawan and Shyam Lakhani. Anand Rathi Securities Pvt. Ltd. is the book-running lead manager to the issue. The shares are proposed to be listed on the Bombay Stock Exchange and the National Stock Exchange.

DO YOU KNOW?

* Now that both, Yash Chopra’s MOHABBATEIN and Vidhu Vinod Chopra’s MISSION KASHMIR, are definitely scheduled for Diwali release, Babloo Pachisia will postpone his FARZ by two to three weeks thereafter. He had always maintained that he would bring his film to the sound of fire-crackers only if one of the two films would be postponed. So finally, it would be Chopras ki Diwali this year!

* Encouraged by their partnership which resulted in the completion of their FIZA in 10 months, Culture Company (I) Pvt. Ltd. and UTV Motion Pictures have decided to continue their association with two mega film projects shortly. The cast and credits of the two big films are being finalised.

3-E
Education-Entertainment-Enlightenment

What A Craze!

The eagerly-awaited music album of Yash Chopra’s Mohabbatein finally arrived in the market on 30th August. HMV, sensing the craze for it, released a whopping 15 lakh units on day one. And if you think 15 lakh is too big a number, think again. For, there were repeat orders on the first day itself! Needless to add, HMV welcomed the new orders with joy. As for young director Aditya Chopra and music directors Jatin Lalit, they are smiling from ear to ear.

Mission Panorama!

Though Vidhu Vinod Chopra’s Mission Kashmir is scheduled for release in Diwali, it has already been seen by the censors. That is, seen nearly two months before its release date! The censors saw the film in its video format. But then, why so much in advance? Well, there is a ‘mission’ behind it. The producer-director wants the film to be entered in the Indian Panorama section of the International Film Festival of India (IFFI) 2001. And since only films certified on or before 31st August, 2000 are eligible for entering the Panorama section, Chopra, without losing any time, encapsulated the film in the video format and applied to the CBFC for certification, on 29th August. The CBFC saw the film on 31st August.

Record Number Of Prints?

Mission Kashmir might set a new record where the number of release prints is concerned. In C.P. Berar alone, the film will be released with a record number of 40 prints! Har Dil Jo Pyar Karega so far holds the record in C.P. for the maximum number of prints (33) released on premiere. When asked whether his film would open with about 450 prints all over India, producer-director Vinod Chopra revealed, “The number of prints, including Overseas, might even go up to 500!”

Aiming For The World Record

Well-known Telugu and Hindi filmmaker Dasari Narayana Rao has staked a claim for an entry into the Guinness Book of World Records as the person with the most multi-faceted jobs done in the cinema industry. Dasari, who is also a member of the Rajya Sabha, has already dispatched a detailed account of his exploits in a career spanning nearly three decades. He has already directed 144 films since starting out in 1973! This, in addition to acting in 54 films and producing 24! As if these many jobs weren’t enough, Dasari has penned the dialogues, lyrics and stories of every film he has made. A record-breaking feat, indeed! If Dasari gets a mention in the Guinness Book of World Records, he may well become the second South Indian film man to be given the honour, after D. Rama Naidu.

Among the many Hindi films directed by Dasari are Swarag Narak (1978), Jyoti Bane Jwala (1980), Pyaasa Sawan (1981) and Aaj Ka MLA Ramavtar (1984).

Udaipur From Ghai’s Eyes

The unit of Subhash Ghai’s Yaadein returned from Udaipur last week after the hotshot director picturised a song and scenes at the panoramic locales. One has heard the song and is sure of it becoming a major hit and highlight of the film. This number has Hrithik Roshan and Kareena Kapoor dancing atop a sailing boat in the middle of the famous Pichola Lake of Udaipur. In order to make the song a visual treat, Ghai even transported, all the way from Bombay, his brand new remote-operated crane (jig) that can make the camera rotate at 360 degrees and which does not need the cameraman to be perched on the crane. Perhaps, Bina Kak, the Rajasthan tourism, art and culture minister, who was in Bombay a few weeks ago to exhort film producers to shoot in Rajasthan, could begin granting the promised tax-exemption to films shot in the state, with Yaadein itself. For, Udaipur must’ve never looked as beautiful on screen as it will look in Yaadein. The song, penned by Anand Bakshi and tuned by Anu Malik, has been set to a catchy rhythm by percussionist Sivamani. Choreography was by Saroj Khan.

Musical Prelude To ‘Fiza’

Shringar Films, which is handling the distribution of Fiza in Bombay territory, has hit upon two musical ideas for the film’s promotion. The first one is a medley of four songs of the film, mixed in 6-track Stereophonic sound. This 10-minute musical medley will be played at all cinemas where Fiza will be released next week. The second idea is an edited version of the taandav music of the film, which will be played before the start of the film in every show. The edited version is of 2½ minutes (it lasts for 4½ minutes on the screen).

DHAAI AKSHAR PREM KE

Inderjeet Films Combine’s Dhaai Akshar Prem Ke is a superficial love story inspired by the English film, A Walk In The Clouds (which was also the base of the recently-released Kunwara). A rich girl is petrified of her strict father when he decides to get her married to the son of his friend, much against her wishes. Rather than oppose him, she runs away from home and attempts suicide but is saved by a young army officer. She narrates to him her tale of woes and the noble-hearted man that he is, he offers to help her out of her dilemma. To reason out with the girl’s father, he accompanies her home but is misunderstood by her entire family (a big joint family) to be the girl’s husband. This misunderstanding is born out of an earlier bit of misinterpretation by the girl’s paternal aunt who assumes that she has already married a boy of her choice. Rather than help the girl out of her problems, the boy himself gets into more and more problems, being unable to convey to the family that he is not her husband.

Circumstances force him to stay with the girl and her family for a fairly long time. Ultimately, however, he decides to run away from the family and tells the girl so. But, in the meantime, the girl has fallen head over heels in love with him. He, on the other hand, has another girl whom he loves madly. When he reaches home, he is shocked to learn that his girlfriend has already got married to another guy. Shattered, he returns to the joint family only to see that the girl is indeed being married off to the criminal son of her father’s friend. Ultimately, the criminality of the son and his father comes to light, and the army officer gets the rich girl’s hand in marriage — but after moments of tension, drama, suspense and action.

The story moves at an extremely slow pace and tests the audience’s patience. What irritates even more is that even routine things are sought to be conveyed in a round-and-about manner as if they were being shown on the screen for the first time! Writer-director Raj Kanwar seems to be under the impression that the audience has all the time in the world, when the fact is that today’s cinegoers want a fast-paced drama. One gets the feeling several times that something intense is coming but what ultimately emerges is shallow and superficial.

The very base of the film rests on a weak foundation. When the girl’s father is against her supposed love marriage, one wonders why she or the army officer can’t clear all misunderstandings by openly declaring that they aren’t married. What is there to be afraid of when the father himself refuses to accept the marriage? The girl is constantly shown prompting the guy to reveal his true identity to her father. But pray, why can’t she do it? With such a background then, the repeated pleas that the boy and the girl did not get the opportunity to break the news (that they were not man and wife), sound ludicrous. Besides, the whole drama moves ahead simply on the misunderstandings created by the paternal aunt and the household servant (!) — first, that the girl has got married; next, when she brings the hero home, the assumption that he is her husband; again, the incident when she feels giddy, the jumping to the conclusion that she is pregnant. The large family is shown as comprising absolutely brainless people who need no reason whatsoever to get excited.

Even the love from the girl’s angle is more in her mind and, as such, there’s no romance in the film. Philosophical dialogues, when the army officer gets drunk, are very boring. At several other places too, the dialogues (Jainendra Jain) are boring.

Abhishek Bachchan does fairly well; he is handicapped by a pathetic script (Raj Kanwar, Ratna Rajaiah and Viral Lakhia). Abhishek must take much, much more care of his costumes. Aishwarya Rai looks gorgeous at many places and if only she would learn to be more natural in her acting and far less stiff, she could create wonders. Her performance is not really convincing. Sonali Bendre (special appearance) looks pretty but has limited scope. Amrish Puri is okay. Anupam Kher, Shakti Kapoor and Harish Patel have been hopelessly wasted. Except for one scene of (some) substance which Anupam has, there’s nothing worthwhile for either him or the two others. Sushma Seth, in a weird wig, is fair. Neena Kulkarni, Tanvi Azmi and Himani Shivpuri lend average support. Supriya Karnik exhibits her clothes more than her acting talent. Dalip Tahhil, Inder Sudan, the child artistes and Salman Khan (wasted in a friendly appearance) are average.

Raj Kanwar, who has delivered a line of successful films in the past, seems to have been complexed by the runaway success of films of younger directors like Sooraj Barjatya, Aditya Chopra and Karan Johar. The film reminds of Hum Aapke Hain Koun..! and others, but can’t match them at all. Besides his scripting, even his otherwise generally unfailing direction is dull in this film. Music (Jatin Lalit) is a mixed bag. The title song, ‘O mere rabba’, ‘Hai deewana’, ‘Aaja aaja ve mahi aaja’ and ‘Tu mere dil ka raja’ are quite well-tuned but a few other songs are terribly boring. Some are ill-timed and pop up abruptly. Ishwar Bidri’s cinematography is inconsistent — good at places and not so good at others. Editing is loose. Action scenes are fair. Special visual effects (Rajtaru) are quite good.

On the whole, high-priced Dhaai Akshar Prem Ke is a poor show and will entail losses to its distributors. The dull start the film has taken at many places will aggravate matters.

Released on 29-9-2000 at Eros and 22 other cinemas of Bombay thru Ethnic. Publicity & opening: good. …….Also released all over. Opening was way below the mark in most of the other circuits!

LATEST POSITION

Another hope of a fruitful start was dashed to the grounds with the dull opening of DHAAI AKSHAR PREM KE this week.

Bhai No. 1 ran for 1 week with dull collections in Bombay.

Meri Jung Ka Elaan 1st week Bombay 91,200 (15.57%, 1 unrecd., 1 on F.H.); Ahmedabad 1,15,780 from 2 cinemas; Pune  1,41,685 from 2 cinemas; Delhi 67,472 (29.93%, 1 on F.H.); Varanasi 43,781, Bareilly 62,700; Jaipur 1,57,365 (42.26%).

………..

Fiza 3rd week Bombay 41,92,609 (64.13%) from 11 cinemas (6 on F.H.); Ahmedabad 1,62,176 from 2 cinemas (1 unrecd.), Rajkot 84,019, Jamnagar 50,103; Solapur 1,14,188; Delhi 32,86,401 from 13 cinemas (2 on F.H.); Kanpur 1,65,617 from 2 cinemas, Lucknow 2,42,309, Varanasi 1,11,280; Allahabad 1,14,000, Bareilly 49,712; Calcutta 7,13,592 from 3 cinemas; Nagpur 2,33,824 from 2 cinemas, Jabalpur (5 days) 62,011, Amravati 1,01,165, Raipur (6 days) 82,981, Jalgaon 56,800 (2nd 1,06,000), 1 week Gondia (gross) 1,03,944, 3rd week Bilaspur 67,964; Indore 95,000 (2 on F.H.); Jaipur 2,69,893 (25.19%) from 2 cinemas, Ajmer (gross) 1,01,585; Hyderabad (gross) 7,32,050 from 4 cinemas (1 in noon); 1st week Guntur (gross) 98,356.

Hamara Dil Aapke Paas Hai 5th week Bombay 13,88,486 (34.62%) from 7 cinemas (7 on F.H.); Ahmedabad 8,15,640 from 7 cinemas, Rajkot 95,680 (1 in matinee on F.H.); Pune 2,59,479 from 3 cinemas, Solapur 1,12,918 from 2 cinemas (1 in matinee); 4th week Hubli 1,09,847, Belgaum 68,439; 5th week Delhi 9,68,092 from 4 cinemas; Kanpur 1,14,252 from 2 cinemas, Lucknow 2,09,438, Varanasi 77,414, Allahabad 73,208, 2nd week Bareilly 80,211 (1st 1,39,048); 5th week Calcutta 1,48,957; Nagpur 59,769, Jabalpur (5 days) 49,929, Amravati 1,28,013, excellent, Raipur (6 days) 67,093, Jalgaon 79,237, Chandrapur 70,659, total 5,12,508, 3rd week Yavatmal 50,000; 5th week Indore 90,000, Bhopal 65,618; Jaipur 5,83,212 (74.34%), Ajmer 43,823; Hyderabad (gross) 3,30,192 from 2 cinemas (1 in noon).

Dhadkan is doing well in Maharashtra — Bombay and C.P. Berar — and Nizam.

GREENLAND DRIVE-IN INAUGURATED IN SURAT

Greenland Drive-In cinema, Surat, was inaugurated on 29th September. The cinema, located on the Meg-Dalla Sachin Highway, opened with Dhaai Akshar Prem Ke. This is the first cinema in the country to introduce futuristic technology of sound and screen.

Owned by Nilesh Hasmukhbhai Ahir and his family and partners, the cinema is controlled by D.Y. Pattani. It has a seating capacity of 500 and space for 500 cars. The tickets are priced at Rs. 50. Car owners are charged a rental of Rs. 50 per car.

This is the third drive-in cinema to have come up in Gujarat. The other two are in Ahmedabad and Rajkot. With two more drive-in cinemas being in operation — one in Bombay and the other in Bangalore — Greenland Drive-In becomes the country’s 5th drive-in theatre.

STAR TV, UTV TO CO-PRODUCE FILMS

UTV and Star TV will co-produce Hindi films. Negotiations between the two companies have almost reached an agreement and the modalities are being worked out. UTV will have the world theatrical rights, while Star TV will keep the satellite rights of the films produced by them jointly. 20th Century Fox will also be a part of the arrangement. It will distribute the films in the Overseas territory.

GUJARAT, THE HOTTEST TERRITORY TODAY

Film prices for Bombay territory are increasing day by day, thanks to the increasing volume of business in Gujarat over the past few months. The reason for such an encouraging trend in Gujarat can be attributed to the recent reduction in entertainment tax and the coming up of new state-of-the-art cinemas, including multiplexes (more such cinemas are coming up). Yet another factor, of course, is the third parties who are lured to the trade by its sheer glamour.

Gujarat sub-distributors are offering unheard of lucrative terms to the main (Bombay) distributors for the distribution rights of films for Gujarat. The terms offered for Yash Chopra’s MOHABBATEIN and Vinod Chopra’s MISSION KASHMIR are indeed amazing!

Before this, HAR DIL JO PYAR KAREGA was sold for Gujarat for a record price. HAMARA DIL AAPKE PAAS HAI, too, fetched a lucrative price for the sub-circuit. But these fancy prices, too, are fast appearing as low when one hears of the terms being offered for the entire Gujarat or even individual stations of Gujarat for forthcoming films.

No doubt, business has gone up. But it is also a fact that the sub-distributor of HAR DIL JO…. will lose. In the case of HAMARA DIL…., the sub-distributor will make money despite the high price he paid. Anyway, how long this euphoria will last, one doesn’t know!

JOHARILAL JHANJHARIA CELEBRATES JUBILEES OF TWO CINEMAS

Joharilal Jhanjharia, the noted cinema owner of Indore, celebrated the golden jubilee of his Alka cinema and silver jubilee of his Premsukh cinema on 29th September. CCCA president Santosh Singh Jain and the executive committee members of the CCCA, Indore mayor Gopikrishna Vijay, collector Manoj Shrivastava, minister for local self government, Sajjan Singh Verma, and other notable guests graced the occasion. Mementoes were presented at the function to various distributors on their ‘firsts’ at these two cinemas. In the list of honours are: Dinesh Salgia of Talkie Films, for supplying the print of his Raaj Mukut for the opening programme; S.M. Kothari, the film spectator for purchasing a ticket for the opening show; Laxminarayan and Dayanand Kapoor, whose Ajanabee was the opening attraction at Premsukh cinema.

Shawls and coconuts were presented. In the list of recipients are the following. V.K. Joshi of Famous Pictures, Bhusawal, on their Bobby celebrating silver jubilee at Alka; Anil Rathi of S.R. & Brothers on their Himmatwala celebrating silver jubilee and Ram Aur Shyam completing 100 days, both at Alka; Lalchand Janiani of Prem Films on Dushmun, Hero No. 1 and Mera Gaon Mera Desh celebrating 100 days at Alka; Govind Acharya, manager, Rajshri Pictures (Indore) on the 100 days of their Dosti and Chhoti Bahen at Alka; L.S. Acharya on Guide celebrating 100 days at Alka; Harish of Kamlesh Pictures on 100 days of Be-Imaan at Alka, and 100 days of Sanyasi at Premsukh; Jitendra Jain of Sanman Films for 100 days of Anari at Alka; Mrs. Jatinder Anand of Suchitra Pictures for 100 days of Dulhan at Alka; Vedprakash of Vaishnodevi Pictures Palace on Tulsi celebrating 100 days at Alka; Trilokinath Kapoor of Bharti Film Distributors for 100 days of Kati Patang at Alka; and Darshan Sabarwal of Shri Krishna Pictures on the silver jubilee of Muqaddar Ka Sikandar, and 100 days of Dostana, both at Premsukh.

MASSIVE I-T RAIDS ON INDUSTRY PEOPLE

The income-tax department swooped on several top names of the film industry on 26th September. Among those whose residences and offices were raided were Salman Khan, Aishwarya Rai, Urmila Matondkar, Rani Mukerji, Yash Chopra, Yash Johar and Amrish Puri. The Sekhris, who are chartered accountants of several top industry names, were also raided. Sushil Gupta, financier and leading raw film supplier, also had the unwelcome guests.

Several incriminating documents were seized in the raids that sent shivers down the industry people’s spines. Investigations are still on.

YOU ASKED IT

How many cinemas in India are equipped with DTS sound?

– Over 535 cinemas have DTS sound. The rough state-wise break-up is: Andhra Pradesh 166; Tamil Nadu 86; Maharashtra 72; Karnataka 64; Kerala 59; Gujarat 33; Delhi 14; Madhya Pradesh 13; West Bengal 10; Uttar Pradesh 8; Rajasthan 6; and Punjab 5.

Can you call Hrithik Roshan the no. 1 star today?

– Do you want more proof even after the phenomenal opening of FIZA? You must be joking! Hrithik is no. 1 beyond doubt!

How profitable are the small-budget sex and horror films?

– The producer makes about a lakh of rupees on each such film if he is lucky. Distributors also manage to make money if the (illegal) ‘bits’ in them are good. The risk factor (financial) in such films is minimal. 

MIX MASALA

WANTED: PARENTS FOR ABHISHEK!

“The makers of the forthcoming Abhishek Bachchan starrers would do well if they showed him on the screen as a son of living parents.” Not our words. They have been uttered by someone believing in occult sciences. Come to think of it, Abhishek is indeed shown an orphan in all his three films released so far. Need one say more?!!

DO YOU KNOW?

* Madhusudan is the president of three film trade bodies — Indian Film Directors’ Association (IFDA), Federation of Western India Cine Employees (FWICE), and the All India Film Employees Confederation (AIFEC). He is also on the world executive board of Media Entertainment International (MEI).

* Jhamu Sughand and Mahesh Manjrekar’s ASTITVA, made in Hindi and Marathi with the same title, was completed in a record 18 days’ time. The film’s Marathi version has some notable firsts to its credit: Tabu, Mohnish Bahl and Namrata Shirodkar will be seen in a Marathi film for the first time; Sukhwindara Singh, who has composed the music with Rahul Ranade, has scored music for a Marathi film for the first time; it is the first Marathi film to be mixed in Dolby Digital sound. 

* SHOLAY is indeed “a joy forever” film. And this was proved once again, for the umpteenth time in the last 25 years, since the time it saw its first theatrical release. The film was revived at Regent, Patna last week. The cinema could conduct only 23 shows instead of the normal 28. Guess, how many times, the cinema had to put up the house-full boards? All the 23 times! And, needless to say, it has created a unique theatre record by collecting 1,09,831/- in 1st week. This, despite the film having been screened just six months back at Ashok, Patna!….. Suddenly, there is a demand from exhibitors all over to book the film at their cinemas. The film is being distributed in East Punjab, Eastern Circuit, C.P.C.I. Rajasthan and Nizam by Rajshri Pictures.

3-E
Education-Entertainment-Enlightenment

Saawan Ko Jaane Do!

Politics is a dirty game, whether at the national level or the micro level of film producers’ association — the IMPPA. Elections to the executive committee of the Indian Motion Picture Producers’ Association were held on 22nd September at the ISKCON, Juhu, Bombay and the group headed by producer Saawan Kumar Tak defeated the one headed by Shakti Samanta. Or so it seemed for about 15 hours. That is, till the following day when it was time to elect the new president of IMPPA, and Saawan Kumar lost to Shakti Samanta!

Actually, what had happened was that both the groups had common candidates. These as well as some candidates who belonged exclusively to the Saawan Kumar group, ditched their leader and, crossing floors, elected the retiring president, Shakti Samanta, back to head the august body. Saawan Kumar was so disgusted at being let down so badly by his ‘supporters’ that he instantly resigned from the committee.

Quite funnily, Saawan Kumar called his group the Sunrise Group. Sadly, the sun set on his political ambitions even before it could rise!

Incidentally, actress-producer Preeti Sapru was elected senior vice president, and Marathi film actress-producer Sushama Shiromanee, vice president of the IMPPA. So there’s some glamour, too, at the IMPPA this time.

INFORMATION MEETS

“That’s why I say that one more strike is the need of the hour to protest against illegal telecasts of films by cable networks….”

– PRANLAL DOSHI

GAJAA

For 20 years, the name Pranlal K. Doshi has been synonymous with these four letters: C.E.A.I., the Cinematograph Exhibitors’ Association of India. Having headed the Association as its president for 20 consecutive years, it is only this year that he has chosen to step down in favour of a new president. This septuagenarian, known for his razor-sharp memory, analytical mind, ever-helping nature and an unrelenting fighting spirit for the cause of his exhibitor-members, has a lot of steam left in him even now, before he hangs his boots. Now as an active member of the executive committee, he promises to maintain the same kind of interest in his Association’s work.

Pranbhai, as he is affectionately and respectfully addressed by his confreres, now plans to concentrate more on his philanthropic activities which he has been pursuing over the years without any pompous exhibition or fanfare.

Pranbhai is owner/co-owner of Central, Super, Palace, Sahakar and Anupam cinemas in Bombay; Krishna, Pune; Prince, Baroda; and Hemlata, Nasik.

It is indeed creditable that you have held the post of the president of CEAI for 20 years consecutively. Has anyone in the past been in the president’s chair for so long in the 44 years’ history of the Association?

– Nobody has held this post for so long. I was made the president for all the last 20 years because they found me to be fit for the post. Even this year, they wanted me to head the Association, but I pleaded inability to continue.

Why didn’t you wish to carry on?

– See, I should have time to discharge my duties. I am already tied up with a lot of social activities. You see, I am a trustee of 22 institutions which run schools, colleges and temples. I want to devote my services towards this end now. One institution — Mahavir Jain Vidyalaya — has eight branches and it funds 900 students every year. This social and charitable work will take a lot of my time and I would not be able to devote myself fully to our Association work. That’s why I decided to retire as president this year. I would now like to devote my time to other activities of life while also serving our Association in the capacity of an executive committee member. Mr. G.N. Desai, our new president, is an able man. Apart from being an exhibitor, he is also an advocate and thoroughly knows government rules and regulations. He was the treasurer of the CEAI for the last 20 years consecutively. He deserved this promotion.

What is the strength of CEAI as of date?

– We have 2,538 members.

And the TOA (Theatre Owners’ Association)?

– They have only 28 members.

Then, why are there two Associations?

– It was started by Kuka and his cinema-owner friends.

What are the prime concerns of the CEAI today?

– Cable TV is threatening film business. The second problem is the high entertainment tax. In Japan and England, entertainment tax is 5 to 10 per cent. Here, in Maharashtra, entertainment tax is 60%. Why?

But how are the exhibitors concerned with the high entertainment tax? Many are just concerned with their theatre rentals.

– Today, practically all cinemas are booking films on percentage basis. Main cinemas of Bombay have even reduced their rentals!

Entertainment tax in Maharashtra is the highest. In Delhi, it is 40%, and in Tamil Nadu and Kerala, tax is much more reasonable and, therefore, business is steady.

It is high time, we all united to plead for a reduction in entertainment tax and also for pressurising government into stopping illegal screening of films on cable TV.

There are 13 lakh cable connections in Bombay, but the government gets tax for only three lakh connections. If the state government levied entertainment tax on every cable TV operator, it would earn more revenue from the cable TV circuit than from cinemas. The cable operators are hand in glove with the police and, therefore, they go unpunished despite screening films illegally. Our Association will prevail upon the state government to levy tax on them.

It’s time, we protested against the state government’s attitude towards the cinema industry. It’s time, we showed our unity and gave an ultimatum to the government and registered our resentment towards its policies.

It was unity among all the ranks of the industry in 1986, which led to a month-long strike (from 10th October to 10th November). The government finally scaled down entertainment tax from 175% to 100% and abolished the surcharge of 10%. At that time, I remember the way your editor, Ramraj Nahta, had pleaded the industry’s case. He had meticulously furnished the statistics and fought the case very strongly.

Again, in 1992, our CEAI and other Associations proposed to down shutters of cinema halls from 9th October to protest against the state government’s continued apathy towards the problems of high taxation and mounting cinema-running expenses. Discussions were held with the government. However, the agitation (the proposed bandh) was postponed due to the riots in Bombay following the demolition of Babri Masjid in Ayodhya. The efforts, however, bore fruit when the government of Maharashtra granted cinemas the right to levy a tax-free service charge of 50 paise per ticket from 25th Dec., ’92. Later, however, from 16th Sept., ’94, the state government reduced entertainment tax from 100% to 50% — initially for a year, but subsequently continued till 31st Dec., ’96. The service charge of 50 paise was also raised to Re. 1 from 16th Sept., ’94.

The Maharashtra government declined to continue the 50% tax beyond 31st Dec., ’96 as the government found its funds dwindling. An action committee of the film industry was then formed, and all cinemas remained closed from 1st January, ’97 to 28th January, ’97. That did it! Seeing the industry’s unity and its strong case, the state government reduced entertainment tax by 40%.

That’s why I say that one more strike is the need of the hour to protest against illegal telecast of films by cable networks, besides entertainment tax and other problems.

What other problems need to be tackled on a war-footing?

– The municipal taxes and water charges are unreasonably high. For example, I will cite the instance of our Anupam cinema (Goregaon, Bombay). Ten years back, we were paying municipal tax amounting to Rs. 1 lakh per annum. Now, we have to pay Rs. 9 lakh per annum plus water charges amounting to Rs. 1.50 lakh.

And what is municipal tax? It should be the tax on one’s use of property. A shop-owner — may be, he sell diamonds or jewels — may be having a turnover of 20 lakh or 20 crore, he will be liable to a municipal tax depending on the floor area of his shop and not on his turnover. But the municipal tax on a cinema is based on the collections of six months in the last three years. Why should municipal tax be based on turnover? Isn’t it anomalous? With so much of outgoings, how can one maintain a cinema up to certain standards. Given a choice, more than half the cinemas would close down! Curiously enough, only the Maharashtra government levies municipal taxes on cinemas!!

And what’s more, salaries of cinema staff are increased periodically. Even the salaries are mounting. Maintaining a cinema has become a Herculean task. Even though we have modernised our Central cinema (Bombay) with sophisticated equipments and sound systems, it does not fetch us anything. We are just running it. Similar is the case with so many other cinemas.

Now, people are going to build multiplexes. Sterling cinema is proposed to be turned into a multiplex with five screens. There will be no entertainment tax for multiplexes for five years and there will also be no sales tax on the equipments imported for installation in the new cinemas. In such a situation, what will happen to the nearby New Empire cinema? The distributor will naturally go to Sterling because it will fetch him handsome shares. This is just by way of an example.

In the coming years, there might be many multiplexes coming up. But what will happen to the old cinemas in the vicinity? Either, they should be allowed to levy a tax-free service charge of Rs. 10 per ticket for maintenance or such cinemas should be allowed to close down without any condition of having at least a small-capacity cinema built on the premises. Look, what happened to Majestic! We are now going to pursue this matter with the state government.

PRODUCTION NEWS

Hrithik, Amisha Shoot For ‘Aap Mujhe Achche Lagne Lage’

Emkay Enterprises and Mohan Kumar’s Aap Mujhe Achche Lagne Lage is currently being shot in a 6-day stint on a terrace set at Film City. Director Vikram Bhatt is picturising scenes on Hrithik Roshan and Amisha Patel. The film is being produced by Rohit Kumar and presented by Gautam Kumar. It is based on a story-screenplay by Robin Bhatt and Sanjeev Duggal. Dialogues: Girish Dhamija. Lyrics: Ibrahim Ashq. Music: Rajesh Roshan. Cinematographer: Pravin Bhatt. Dances: Raju Khan. Art: Gappa Chakravorty. Sound: Murari Krishna. Editor: Amit Saxena.

LATEST POSITION

Last week’s KAROBAAR has fared miserably and is a total loss.

Karobaar 1st week Bombay 16,88,960 (28.72%) from 10 cinemas (8 on F.H.); Ahmedabad 4,24,344 from 4 cinemas, Jamnagar 56,022 from 2 cinemas (1 in matinee); Pune 3,17,032 from 4 cinemas (1 in matinee), Solapur 66,138; Delhi 3,49,377 (17.40%) from 3 cinemas; Kanpur 77,342, Varanasi 43,932; Calcutta 2,39,940 (other cinemas unrecd.); Nagpur 1,64,136 from 3 cinemas, Jabalpur (6 days) 29,673, Akola 58,486, Raipur (6 days) 35,771; Jaipur 1,03,532 (19.44%), Bikaner 80,000.

Kaali Topi Laal Rumaal is also poor. 1st week Bombay 9,77,315 (35.31%) from 6 cinemas (3 on F.H.); Pune 3,23,974 from 4 cinemas, Solapur 71,467; Delhi 4,67,189 (26.36%) from 4 cinemas (2 on F.H.); Agra 60,500, Bareilly 43,946; Nagpur 1,03,181 from 2 cinemas, Wardha 40,132; Jaipur 2,07,538 (26.32%) from 2 cinemas; Hyderabad (gross) 4,24,135 from 6 cinemas (2 in noon).

………….

Fiza crashed further in most of the places, but is better in parts of Maharashtra. 2nd week Bombay 55,14,232 (79%) from 12 cinemas (8 on F.H.); Ahmedabad 7,88,094 from 4 cinemas, Rajkot 1,36,000, Jamnagar 60,312; Pune 12,60,066 from 4 cinemas (1 in matinee), Solapur 1,74,970 (1st 2,51,860), Satara 1,45,004 from 2 cinemas (1 in matinee); Bijapur 71,674 (1st 1,58,485); Delhi 53,69,420 from 13 cinemas (2 on F.H.); Kanpur 2,44,996 from 2 cinemas, Lucknow 5,63,136 from 2 cinemas, Agra 2,03,000 from 2 cinemas, Varanasi 1,61,488, Bareilly 83,734, Saharanpur 65,000 (1st 1,42,000); Calcutta 11,52,327 from 4 cinemas; Nagpur 4,72,967 from 3 cinemas, Jabalpur (6 days) 1,25,399, Akola 88,932, total 3,00,415, Raipur (6 days) 1,10,627, Durg 61,906, Jalgaon 1,00,000 (1st 2,26,805), Wardha 40,628 (1st 1,11,981), Chandrapur 1,25,576, total 3,79,202, Yavatmal 62,233 (1st 1,41,086), Bilaspur 86,362 (1st 2,03,700); Indore 1,41,000 (3 on F.H.), Bhopal 1,22,206 (1st 2,10,250, 1 unrecd.); Jaipur 3,65,866 (32.75%) from 2 cinemas, Bikaner 82,145; Hyderabad (gross) 9,28,266 from 4 cinemas (1 in noon).

Hamara Dil Aapke Paas Hai is steady at places. 4th week Bombay 15,31,955 (48.67%) from 6 cinemas (8 on F.H.); Ahmedabad 6,83,432 from 4 cinemas, Rajkot 1,35,790, Jamnagar 55,457; Pune 5,43,798 from 3 cinemas (1 in matinee), Solapur 1,37,736 from 2 cinemas (1 in matinee), Satara 67,063; 3rd week Hubli 1,23,856, Belgaum 79,483, Dharwad 45,649; 4th week Delhi 11,19,486 from 5 cinemas (1 on F.H.); Kanpur 1,54,941 from 2 cinemas, Lucknow 2,70,811 (3rd 3,08,392), Agra 2,25,000 (3rd 2,45,000), Varanasi 85,876, Bareilly 1,39,048, Dehradun 96,000 (3rd 1,24,000), Saharanpur 48,000, total 2,94,956; Calcutta 3,82,503 from 3 cinemas; Nagpur 86,000, Jabalpur (6 days) 69,227, Amravati 1,40,000 (3rd 1,29,733), very good, Akola 94,689 (3rd 84,677), total 4,56,167, Raipur (6 days) 76,727, Jalgaon 1,03,182 (3rd 1,12,512), Wardha 33,821, Chandrapur 83,699, total 4,41,848, 2nd week Yavatmal (6 days) 65,820; 4th week Indore 1,62,000 from 2 cinemas, Bhopal 80,975; Jaipur 6,13,738 (78.24%); Hyderabad (gross) 3,50,764 from 2 cinemas (1 in noon).

Tera Jadoo Chal Gayaa has touched 2.5 in Bombay. 5th week Bombay 2,45,358 from 2 cinemas (5 on F.H.); Ahmedabad (mg. shows) 13,000; Pune 1,22,550 from 3 cinemas, Solapur 49,000; Delhi 1,82,195 from 2 cinemas (1 on F.H.); Lucknow 1,52,819, Agra 45,000, Bareilly 21,535; Calcutta 78,046; Jaipur 98,185 (14.18%).

WRITER C.L. KAVISH DEAD

Well-known film writer C.L. Kavish breathed his last on September 17. He died of old age. He was 82 and had written more than 70 films, three novels and over 150 short stories. He is survived by his wife, four sons and two daughters. Kavish was a founder-member of the Film Writers Association (FWA). He was closely associated with Ramanand Sagar and the story department of Sagar Arts for more than 30 years during the making of super-hit films like Arzoo, Ankhen, Baghawat etc. Some of Kavish’s films include Badal, Nanabhai Bhatt’s Poornima and Khyber, Wadia’s Son Of Sindbad, S.U. Sunny’s Palki as well as Meri Soorat Teri Ankhen, Deewana, Sapnon Ka Saudagar and Batwara.

Kavish had also acted in many films including as a villain in Muqaddar Ka Sikandar.

‘AASHIQUI’ BASH

Super Cassettes Industries Ltd. hosted a party on 14th September at King’s International, Bombay to celebrate the success of its private album, ‘Aashiqui’. Singer Abhijeet, music directors Nikhil Vinay and the album’s lyricist, Faaiz Anwaar, were present on the occasion. The videos of two songs of the album were screened on the occasion.

Ramesh Rao Of Gemini Lab Arrested

Ramesh Rao, the Bombay representative of Gemini Lab, Madras, was arrested by the Bombay police on 22nd September and remanded to police custody by the 3rd court of the metropolitan magistrate, Esplanade. He will be produced in the 1st Class judicial magistrate’s court at Mungher (Bihar) on 26th September. Ramesh Rao’s bail application was moved on the night of 22nd in the sessions court but his plea for bail was rejected.

Shyam Bahadur Singh of Mungher was to receive an amount of Rs. 3.12 lakh from Gemini Industries & Imaging Ltd. but when the latter refused to fulfil its obligation for a year, Singh took the ultimate step of having a non-bailable warrant issued and executed against Ramesh Rao of Gemini.

The story relates to Hote Hote Pyar Ho Gaya, released on 2nd July, 1999. Jackie Shroff had a lab letter of Gemini towards part remuneration of his. Shyam Bahadur Singh paid of Jackie partly, for which Gemini agreed to repay Shyam Bahadur Singh. Towards this, a letter of Gemini Industries & Imaging Ltd., dated 4th September, 1999, confirmed that the company owed Shyam Bahadur Singh Rs. 3,00,000 as well as “a compensation of Rs. 12,000”, to be paid totally “on or before 12th of September, 1999 without fail”.

Shyam Bahadur Singh sent several reminders to Gemini for his payment but they all fell on deaf ears for months together. In sheer exasperation, he knocked the doors of court for justice. A wind-up petition was filed in the Madras high court. The matter is still pending in the court.

In Mungher, Singh filed a criminal case under sections 406 and 420 IPC against Gemini’s directors and officers around six months back. Summons in the case were served on Gemini directors Manohar Prasad, A. Ravi Shankar Prasad, manager Ram Mohan Rao and Bombay branch manager Ramesh Rao. But all the four, ignoring the summons, refused to attend court. Bailable warrants were then issued in their names but still, they continued to avoid attending court. On 19th June, 2000, non-bailable warrants were issued by Shri Murlidhar, 1st Class judicial magistrate, Mungher. When even that warrant, sent to the Bombay police for execution, was not executed, non-bailable warrants were issued for the second time on 4th August, 2000. On 20th July, 2000, in the meantime, Singh, thru his advocate Nagesh S. Joshi, wrote a letter to the Bombay commissioner of police, drawing the latter’s attention to the earlier arrest warrant. Finally, on 22nd September, the Bandra police arrested Ramesh Rao from his residence at 5.30 a.m. He was produced before Justice Usha Iyer of the 3rd court of the metropolitan magistrate, Esplanade, Bombay the same day.

After hearing the arguments of the public prosecutor and Ramesh Rao’s advocate, Justice Usha Iyer ordered the arrest of Ramesh Rao and remanded him to police custody. Rao will be produced before the 1st Class judicial magistrate of Mungher on 26th September.

Ramesh Rao tried to obtain bail by appealing on the night of 22nd September but his bail application was rejected by the sessions court.

While the courts will finally decide in the matter, a pertinent question which arises is: what is the value of a lab letter these days? In Shyam Bahadur Singh’s hand, the lab letter of Gemini was like a worthless piece of paper for several months.

3-E
Education-Entertainment-Enlightenment

Kiski Hogi Murad Puri?

Amrish Puri and Raza Murad may have been pitted against many heroes in their long acting careers. They may even have played leaders of rival gangs on screen (eg. Tridev where they turned allies for a brief time). But the two screen baddies will be fighting a battle in real life soon.

Both the screen villains will contest elections to the executive committee of the Cine & TV Artistes’ Association (CINTAA), to be held on 2nd October at Holiday Inn, Juhu, Bombay after its 42nd annual general meeting. While elections to the committee is no big deal, both the screen meanies have their eyes on the president’s chair — and that’s going to, perhaps, result in a lot of pre-election fireworks. Raza Murad, it may be mentioned here, is currently CINTAA president and has been doing yeoman services for the Association. Amrish Puri, in 1998, was co-opted to the executive committee after elections.

This type of a direct fight between two known actors for the chief’s chair is not the norm in CINTAA elections.

Inside reports reveal that Amrish Puri’s supporters want him to head the Association this time. Towards this end, they’ve formed their group. Not to be left behind, Raza Murad’s followers have formed another group. And boy! the two groups are working tirelessly, each group waiting to see its leader lodged in the coveted chair.

If Amrish Puri gets the chair, he’ll, perhaps, say, “Mogambo khush hua!” And if Razabhai is elected president, he’ll, perhaps, have this to say, “Meri murad puri huyee.”

In the meantime, await more exciting details on Mogambo versus Mr. Murad.

High Hopes!

While the interactive meeting between ministers and the film industry, held on 16th September at the government guest house in Bombay, was a good move, it seems very unlikely that anything fruitful is going to emerge out of either this meeting or the recent amendments made to the Cable Network Regulation Rules, 1994.

Under the amended law, cable TV operators cannot telecast any film on their network unauthorisedly. Otherwise, they are liable to be punished, the minimum punishment being imprisonment upto 2 years.

But right on the day the meeting was held in Bombay, cable TV operators in the city were screening new films, perhaps, unaware of the new law. And so was the scene all over the country.

Union I & B minister Arun Jaitley informed at the said interactive meeting that the cable operators had shown eagerness to go by the law. Nobody expected cable operators to say that they would not go by the law. Then, why assume that they will do what they promise? Jaitley also informed that cable operators had confessed that they used to telecast films illegally because of competition between cable operators, and subscribers’ demands. The very act of confession is a slap on the government’s face. No reason can ever be good enough for an illegal act. So the confession should not be lauded; rather, the subject matter of the confession (act of piracy) should have been punished long back. But we Indians have got a way to make martyrs out of thieves also!

D. Sivanandan, the joint commissioner of police of Bombay, at the same meeting, asked the film industry to set up a monitoring agency for tracking down erring cable operators. Thank you! Now the industry will do what the police should be doing. Sivanandan also assured that immediate action would be taken against the culprits. Come on, haven’t we heard that one umpteen times earlier? And how immediate is ‘immediate’? Six days have elapsed since Sivanandan’s assurance but no cable operator has even been threatened, leave alone action being taken. Is the police unaware of the new films being openly telecast by cable operators all over?

But then, does the industry have a choice? We just don’t sell dreams. We also see dreams — beautiful dreams — and assume that some day, they will wipe out all our nightmares. Didn’t someone say, this industry survives on HOPE?

Hopeless!

– Komal Nahta

FIZA

The Culture Company (I) Pvt. Ltd. and UTV Motion Pictures’ Fiza (UA) is the story of a homely boy who gets sucked into the world of terrorism, leaving behind his widowed mother and unmarried elder sister to fend for themselves. The film, set amidst the 1993 riots of Bombay, reminds of Mani Ratnam’s Bombay but minus its intensity, emotions, finesse and class.

Fiza and Amaan are two grown-up children living in Bombay and being brought up by their mother. Amaan, during the 1993 riots, one night accompanies his friends to a place near his house where a communal riot has broken out. Before he knows it, he, too, has become a part of the rioters. To save his life and the lives of other helpless people, he finds himself resorting to cold-blooded murder. Having committed such heinous crimes, he does not return home but instead joins a group of youth whose aim is to prevent such riots from erupting in the future. This group does not believe in communalism of any sort but it is always on the run from the police. After several years, the boy’s sister sets out in search of him and succeeds in pulling him out of the terrorist group. She brings him home but the restless boy rejoins the group he had left, as he feels that service through that group and only that group is his mission in life. In the end, after more barbaric killings, he himself is killed at the hands of his sister.

The film, besides being too grim, tragic and depressing, suffers on many other fronts. The screenplay has flaws and the narrative and techniques adopted to convey the story, too, are not without mistakes. For one, why does Amaan get sucked into terrorism? There’s no real instigation for the lad to leave his family and become a criminal overnight. This is, perhaps, the biggest minus point of the story because the audience, in the absence of a solid motivating factor for Amaan to turn a terrorist, is not ready to sympathise with a hero who picks up the gun so meaninglessly. Secondly, once he returns with his sister, why does he go back to the terrorists? This is sought to be explained through dialogues to the effect that he is being rejected by society and hence his return. But there are no scenes of his rejection! Yet another weak point is the time lag of about six years before the sister sets out in search of her brother. The impact of the tragedy of loss of a brother is diluted completely in the intervening period of so many years. A better way out would have been to avoid the use of so many flashbacks and to instead have kept a straight narrative — perhaps, the first half could have been devoted to the family life and romantic lives of the brother and of the sister, and the post-interval portion could’ve dealt with the sister’s search for her brother. As it is, romance is almost missing in the film and comedy is feeble. Emotions lack impact.

The first half is somewhat interesting but, after interval, the film becomes boring and often meanders directionlessly. The pace also becomes unbearably slow.

On the positive side, the film boasts of an excellent music score (Anu Malik and one song by A.R. Rahman), peppy song picturisations and excellent camerawork by Santosh Sivan, besides a fabulous performance by Fiza (Karisma Kapoor). But where the musical score is fantastic, song situations look contrived and, therefore, reduce the impact of the hit music. Karisma Kapoor’s dance in the discotheque can be easily deleted. The song picturised on Asha Sachdev, too, can be edited. The ‘Aaja Mahiya’, ‘Mujhe mast mahaul mein’ and title song are superbly tuned.

Jaya Bachchan does a good job as the widowed mother of Amaan (Hrithik Roshan) and Fiza (Karisma). But the suicide committed by such a strong lady is difficult to digest. Karisma Kapoor is first-rate as the suffering sister in search of her brother. She goes through her character with a rare understanding and with such aplomb that the audience’s hearts go out to her. Hrithik Roshan looks very charming and acts ably. His dance on the ‘Mere watan’ song and his muscles shown therein are a pleasure to watch. His fans, however, will feel a bit let down due to the limited scope he gets. Manoj Bajpai does well in a small role but his talent has been wasted. Bikram Saluja looks handsome but has no worthwhile role as Karisma’s boyfriend. Similarly, Neha, too, has no significant role and is average as Hrithik’s girlfriend. Sushmita Sen mesmerises with her sexy dance. Anoop Soni and Sabir Masani are impressive. Isha Koppikar is okay. Asha Sachdev does a fair job. Johny Lever raises laughter even though his entry looks contrived. Shivaji Satam, Sanjay Narvekar, Dinesh Thakur, Ravi Jhankal and the others lend fair support.

Khalid Mohamed’s debut as a director is confused. Along the way, he seems to have forgotten what he wanted to say and also how he wanted to say it. His over-dependence on tight close-ups gets too monotonous after a while. Just an example of how tight close-ups can mar the effect of a sequence is the climax where Hrithik is pleading with his sister to kill him even as the police force is charging towards him. Since Hrithik and Karisma are shown in close-ups, and the police’s movement is also shown in close-ups, the tension of the approaching police force is never felt — since all the characters are never shown in one frame! Dialogues (Javed Siddiqi) are very natural and appealing too. Action scenes are alright. Ranjit Barot’s background score is effective.

On the whole, Fiza is a disappointment as far as its plot and narration go. It is too depressing to be liked by the audience. The Hrithik mania and the hit music have resulted in a bumper opening for the film but, given its slow pace and dull, dry and drab content, the appreciation will be forthcoming only from the class audience in ‘A’ class centres. Exhibitors, who’ve booked the film at crazy and fancy terms to cash in on the craze, will face losses. Business in Bombay and Maharashtra will definitely be better.

Released on 8-9-2000 at New Excelsior and 19 other cinemas of Bombay by Culture Company in association with UTV thru Shringar Films. Publicity: extraordinary. Opening: bumper. …….Also released all over. Opening was mind-blowing almost everywhere.

LATEST POSITION

It was a normal week…. The opening of FIZA this week is bumper.

……….

Hamara Dil Aapke Paas Hai is very strong in Gujarat and Saurashtra and steady in good cinemas of Delhi and in U.P., parts of C.P. Berar and Nizam. 2nd week Bombay 45,80,840 (68.87%) from 12 cinemas (8 on F.H.); Ahmedabad 24,61,542 from 7 cinemas, Surat 5,87,000, Anand 1,89,000, Baroda 4,01,000, Mehsana 84,493, Navsari 2,79,411, Ankleshwar 1,24,000, Bharuch 1,39,000, Palanpur 1,67,069, Vapi 3,16,666, Valsad 1,66,556, Rajkot 2,83,220 from 2 cinemas (1 in matinee), Jamnagar 1,36,925, Bhavnagar 1,77,608 from 2 cinemas (1 in matinee), Junagadh 1,02,980, Adipur 95,811, Porbandar 86,195, Bhuj 1,04,000, Morbi 46,176; Pune 8,74,005 from 3 cinemas, Solapur 2,08,503 from 2 cinemas (1 in matinee); Delhi 34,29,084 from 8 cinemas; Kanpur 2,84,016 from 2 cinemas, Lucknow 4,19,484, Agra 3,55,000, Varanasi 1,35,859, Allahabad 1,38,134, Meerut 1,71,407, Dehradun 1,42,715, Gorakhpur 1,09,582, Aligarh 1,60,000, Moradabad 1,13,598, Jhansi 99,799; Calcutta 12,66,366 from 15 cinemas; Nagpur 3,70,116 from 3 cinemas, Jabalpur 1,13,784, Amravati 1,76,410, Akola 1,20,961, Raipur 1,33,201, Bhilai 1,09,646 from 2 cinemas, Jalgaon 1,57,172 (1st 2,27,213), Chandrapur 1,17,996 (heavy rains), total 2,69,758, Bilaspur 72,948; Indore 2,39,278 from 2 cinemas (1 on F.H.), Bhopal 2,38,225 from 2 cinemas; Jaipur 7,03,741 (89.71%); Hyderabad (gross) 6,87,382 from 3 cinemas (1 in noon).

Tera Jadoo Chal Gayaa 3rd week Bombay 9,43,815 (59.38%) from 3 cinemas (11 on F.H.); Pune 4,23,438 from 3 cinemas (1 in matinee), Solapur 1,06,444; Delhi 4,72,477 from 2 cinemas (2 on F.H.); Muzaffarnagar 25,000 (2nd 35,000); Calcutta 1,86,389; Nagpur 1,19,803 from 2 cinemas, Jalgaon 47,786, total 2,80,762, Chandrapur 67,607, total 4,10,201; Indore 69,462, Bhopal 50,000; Jaipur 1,80,891 (26.03%); Hyderabad (gross) 2,94,515.

Dhadkan entered 5th week in Bombay at Eros and 10 other cinemas; 4th week Baroda (21 shows) 1,88,886 (3rd 1,99,632); Pune 3,60,175 from 4 cinemas (1 in matinee), Solapur 89,528 from 2 cinemas (1 in matinee); Delhi 18,77,615 from 10 cinemas (1 on F.H.); Muzaffarnagar 45,000, total 3,06,463; Calcutta 1,79,020; Nagpur 3,13,616 from 3 cinemas, 1st week Balaghat 90,233, 4th week Jalgaon 92,984 (3rd 1,05,058), Sagar 30,289, total 2,45,614; Jaipur 1,40,207 (27.27%); Hyderabad (gross) 7,52,449 from 3 cinemas (1 in noon, 1 on F.H.).

Deewane 4th week Bombay 5,82,492 from 5 cinemas (4 on F.H.); Pune 2,30,304 from 3 cinemas, Solapur (matinee) 15,631; Delhi 73,356; Bilaspur 35,890; Jaipur 79,395 (16.52%).

10-MINUTE JUDICIAL CUSTODY FOR DILIP KUMAR

Veteran star Dilip Kumar, who is a director in Mohan Meakins Ltd., Lucknow, which was charged with violating pollution control laws, was held in judicial custody for 10 minutes on 4th September, on charge of being the director of a polluting industrial unit. He was released on bail by special judicial magistrate, pollution, Vidushi Singh. The actor furnished a personal bond of Rs. 30,000 and two sureties of like amount. He remained in judicial custody for ten minutes after he surrendered in the special court. The court had warned him to appear before the court on the date fixed, either in person or through his counsel, failing which the surety amount would be forfeited.

The charge against the actor came up following U.P. Pollution Control Board’s allegations levelled in 1983 against Mohan Meakins Ltd. and its directors at Ghaziabad and Lucknow for violation of pollution laws.

DADASAHEB PHALKE AWARD FOR HRISHIKESH MUKHERJEE

Veteran director Hrishikesh Mukherjee will be the recipient of this year’s Dadasaheb Phalke award. The 79-year-old director has been conferred with the honour in the 55th year of his career in cinema. Reacting to the news, the director expressed, “I am happy and even surprised that this honour has come to me in the 55th year of my career in cinema. It’s nice to know that people still remember me. ….But I no longer feel like making films.”

Hrishikesh Mukherjee had his own distinctive style of providing entertainment on the big screen. He always narrated simple tales of simple people, like in Anuradha, Anupama, Abhimaan, Anari, Asli Naqli, Guddi, Satyakam, Anand, Chupke Chupke, Mili, Namak Haraam, Bawarchi and Khubsoorat.

Hrishi-da’s maiden film, Musafir, had won the President’s silver medal in 1958. His last released film was Jhoot Bole Kauwa Kaate, starring Anil Kapoor and Juhi Chawla.

Many top stars of the last five decades have worked under Hrishikesh Mukherjee — right from Ashok Kumar, Dilip Kumar, Raj Kaproor, Dev Anand, Dharmendra, Rajesh Khanna and Amitabh Bachchan to Anil Kapoor and Juhi.

KETAN ANAND, VIVEK RELEASED ON BAIL

Ketan and Vivek, sons of late filmmaker Chetan Anand, were released on bail on 7th September by a court in Bombay. Additional sessions judge H.S. Deshpande enlarged them on bail of Rs. 20,000 in addition to one surety each. The judge directed them not to leave Bombay without leave of the court and also not to contact witnesses. The judge was of the opinion that there were two possibilities in the case — the accused could have been either present or absent at the scene of the crime and, therefore, it would be too harsh to refuse them bail.

Ketan and Vivek, alongwith their servant, Mala Choudhary, and her relative, Ashok Chinnaswamy, were arrested on 4th April for their alleged involvement in the murder of former actress Priya Rajvansh who was a life-long companion of Chetan Anand.

RANDHIR KAPOOR HOSPITALISED

Randhir Kapoor was hospitalised at Breach Candy a few days back for severe infection in both his legs. While his infected right leg was responding favourably to the treatment, the infection in his left leg was slow in recovery.

Reportedly, the actor-producer-director will be discharged from hospital after some days.

MUKRI NO MORE

One of the finest comedians of Indian screen, Mukri, passed away on 4th September at Lilavati Hospital, Bandra, Bombay. He had been battling for life for over a month, suffering from respiratory problems and renal failure. He had been moved to the intensive care unit two weeks before the end came. Mukri was 78 and is survived by his wife, three sons and a daughter (Naseem Mukri who had co-written Dhadkan). He was buried the same day at the Yari Road crematorium, according to Muslim rites, in the presence of many film personalities. Dilip Kumar, a childhood friend who was his classmate at the Anjuman Islam School, was present by his bedside when Mukri breathed his last.

The pint-sized comedian, who made his debut in films six decades ago with Nadan (1943), rose to fame in Devika Rani’s Pratima, a Dilip Kumar starrer made in 1945 under the banner of Bombay Talkies and directed by Jairaj, who, incidentally, passed away last month (11th August).

Mohammed Umar Mukri, born on January 5, 1922, was a constant companion of Dilip Kumar in films like Pratima, Kohinoor, Aan, Ram Aur Shyam, Leader and his latest, Qila. He starred with Amitabh Bachchan in films like Amar Akbar Anthony (the song Taiyab Ali jaan ka dushman was picturised on Rishi Kapoor and, among others, Mukri who played Taiyab Ali), Sharaabi (Amitabh’s patent dialogue in the film  — Moochhe ho toh Nathuram jaisi — referred to Mukri’s moustache), Coolie, Naseeb and Bombay To Goa. Some other notable films of Mukri, who worked in nearly 600 films in his 60-year-long film career, are Padosan, Mother India, Amar, Kala Pani, Mera Saaya, Milan and Himalay Ki Godmein. In the early fifties, the Shaikh Mukhtar-Mukri pair of Lambu and Chhotu proved a hit in films like Ustad Pedro, Dada, Qaidi No. 1, Barood and Dara.

In his condolence message, Dilip Kumar has expressed the following sentiments: “Our friendship was well over five decades old. Mukri was a man of crystal quality, loyal, outspoken and most affectionate at heart, with a wide circle of caring friends who held Mukri in astonishing admiration to his very end. As an actor, he had his own era and his global fans who never failed to greet him wherever they saw him. May God receive him in His abiding grace and eternal favour.

Comedian Johny Walker, who worked with Mukri in about a dozen films, paid tributes to him, saying, “Mukri had his own unique style, no one could copy him. He was a good worker and a good human being.” Another comedian, Jagdeep, who also worked with Mukri in about 18 films, said, “He gave a lot to India in a funny way. He was a wonderful person. I will always remember him as a jovial person even on the sets.”

MAMTA KULKARNI’S ALLEGATIONS AGAINST MAGISTRATE

Mamta Kulkarni’s allegations against additional metropolitan magistrate, Bombay, K.H. Holambe Patil has made the Bombay high court take serious note of them.

A division bench of the high court on 7th September directed the court registrar to place before Chief Justice B.P. Singh, certain averments made by Mamta Kulkarni, for appropriate administrative action, if he deemed fit.

The high court also quashed Mr. Patil’s order passed on July 19, 2000, levying a penalty of Rs. 15,000 on the actress in an obscenity case, regarding a cover page photograph in Stardust in 1993. The court was hearing a petition filed by the actress, seeking to quash the magistrate’s order. Significantly, the bench comprising Justices G.D. Patil and R.M. Lodha directed the state to refund to Mamta Kulkarni the fine paid by her as they observed, the magistrate did not have any legal jurisdiction to levy such a penalty.

The magistrate had charged her Rs. 15,000 as penalty when she requested him to cancel a non-bailable warrant issued against her. According to the petition, the magistrate had issued summons against her even though her name was not mentioned as an accused in the First Information Report. She was acquitted in the obscenity charge on August 25 by Mr. Patil.

Senior advocate Ramrao Adik and advocate Peter Lobo said, no court can levy a fine or penalty for cancellation of a non-bailable warrant. Additional advocate general P. Janardhanan conceded that there was no such provision under law.

The contentions made by Mamta Kulkarni in her petition included that the magistrate, while hearing an application made by her, allegedly “conducted himself in a manner unbecoming of a presiding officer of the court”. She alleged that the magistrate seized the opportunity of “insulting” her in the most “derogatory” manner. She said in her petition that when she begged to be pardoned by the magistrate for not being present once on a previous date, he allegedly said, “There are many beggars on the street near Gateway of India but alms are given to deserving beggars only.”

Mamta Kulkarni said the magistrate even questioned her motive behind wearing a black burkha to court. He allegedly said, she wore the black burkha to “deceive the police and evade arrest”. He allegedly said that the actress “did not care about the kind of clothes she wore on screen and while posing for photographs”.

Mamta Kulkarni further contended in her petition that when her lawyer submitted that her non-bailable warrant may be cancelled for a Rs. 500 fine, the magistrate allegedly replied saying that, taking into account her “attitude and status” even a Rs. 5,000 fine was “too little” and that even the peons and clerks attached to his court made more money by way of bakshish.

‘DULHAN HUM LE JAYENGE’ JUBILEE

Producer Gordhan Tanwani’s Dulhan Hum Le Jayenge, directed by David Dhawan, has entered combined 25th week at Naaz (matinee), Bombay. It stars Salman Khan, Karisma Kapoor, Anupam Kher, Paresh Rawal and Om Puri. Music: Himesh Reshammiya.

B.S. GROVER NO MORE

Producer B.S. Grover passed away on 2nd September at a hospital in Bombay following multiple organ failure. He was 60 and is survived by his wife, a son and a daughter. B.S. Grover was a noted industrialist and was the chairman of the All India Manufacturers’ Organisation (AIMO) for two consecutive years (1987 and 1988). As a producer, he made Bahu Ki Awaaz (1985).

‘KUCH KUCH HOTA HAI’ 100 WEEKS!

Yash Johar’s Kuch Kuch Hota Hai, which marked the triumphant debut of its director, Karan Johar, and which won the National Award for the best film providing wholesome entertainment, entered 100th combined week at Imperial (matinee), Bombay, on 8th September. It stars Shah Rukh Khan, Kajol, Rani Mukerji, Salman Khan (guest appearance), Farida Jalal, Anupam Kher, Archna Pooran Singh and Johny Lever. Music: Jatin Lalit.

YOU ASKED IT

Can you recall any art or class film which created such a craze in advance booking as Fiza did?

– Not really. FIZA had two trump-cards to create a pre-release hysteria — Hrithik Roshan and hit music! No other art or class film had such major highlights or plus points.

What percentage of a film production cost constitutes artistes’ remuneration in a big-budget project?

– About 20%-25%.

Which film trade association’s AGM and elections are expected to generate much heat this year?

– None at all!

DO YOU KNOW?

* MISSION KASHMIR has been booked for Surat at an unheard of price. The deadly combination of Sanjay Dutt, Jackie Shroff and Hrithik Roshan alongwith the impressive promotional trailer currently on air seem to have done the trick for the film directed by Vidhu Vinod Chopra.

* As many as 9 prints of HAMARA DIL AAPKE PAAS HAI have been added in the 2nd and 3rd weeks — 4 in Delhi-U.P., 2 in Bihar, 2 in C.P. Berar and 1 in Nizam.

* GALIYON KA BADSHAH may be among the very few small-budget films of which music rights have been picked up by a music company. Tarana Music Company acquired the audio rights of the film, directed by Kanti Shah, earlier this week. Music is scored by Jitin Shyam and lyrics are penned by Jalil Ahmed.

* C.P. Berar distributor Laloo Kabra (of Vishwajyoti Films, Bhusawal), who had distributed KN…PH in his territory, has 3 Hrithik Roshan starrers for distribution in C.P. Berar — MISSION KASHMIR, which is slated for release on Diwali; NA TUM JAANO NA HUM, early next year; and AAP MUJHE ACHCHE LAGNE LAGE, in mid-2001.

‘Hamara Dil Aapke Paas Hai’ Event In Baroda

The whole of Baroda was in a spin on the evening of 2nd September. And not without reason! Stars no less than Anil Kapoor, Sridevi, Boney Kapoor and Satish Kaushik had descended on the cultural city of Gujarat and, notwithstanding the almost 2-hour delay of the flight, the enthusiastic and joyous crowds waited with bated breath at the airport to welcome their favourites.

The Holiday Inn Convention Centre, Baroda, had planned an event around Boney Kapoor’s Hamara Dil Aapke Paas Hai on the night of 2nd September. It was for this event that producer Boney Kapoor had graciously consented to take his film’s unit to Baroda. Bombay distributor Ashok Ahuja, too, was a special guest (Vimal Agarwal and Nandu Ahuja could not make it to Baroda). The film’s runaway success not only in Baroda, but all over Gujarat and Saurashtra only added to the excitement in the air. The event was a dinner with the Hamara Dil Aapke Paas Hai unit. And boy! the response from the Baroda inhabitants was stunning, to say the least.

The Holiday Inn Convention Centre and Indian Express also put up a Hamara Dil Aapke Paas Hai contest. Participants have to, among other things, answer a series of questions relating to the film, in the contest running currently. The contest, open to people staying in Gujarat, has exciting prizes — the first being gold jewellery worth Rs. 75,000, sponsored by Baroda’s leading jewellers, C.H. Jewellers, and the second, a home theatre and a 21-inch colour TV by Crown TV. Other prizes include stays in BASS Hotels & Resorts, a hundred gift hampers from Coca-Cola and a host of stays from Holiday Inn Hotels in India. All these expensive gifts would, of course, be the winners’ for free. No statements like hamara bill aapke paas hai by the sponsors!

The unit zipped off in waiting cars to C.H. Jewellers before the members checked in at Holiday Inn. Paresh Soni of the jewellery showroom was only too glad to present a shining gold bracelet to Anil Kapoor. Hamara jewel aapke paas hai!

In the hotel, guests on the sprawling lawns accorded a thunderous and warm welcome to the unit as Boney, Sridevi, director Satish Kaushik and Anil Kapoor occupied their seats on the dais. Still photographers clicked merrily as the stars posed gamely for them, flashing their million-dollar smiles as myriad flash-guns brightened the night. Hamara still aapke paas hai!

Snehal Kulshreshtha, the young and dynamic general manager of Holiday Inn, made the most of the stars’ presence and hosted a live quiz show before dinner. Questions about Hamara Dil Aapke Paas Hai as also about the careers of Anil Kapoor, Sridevi, Satish Kaushik and Boney Kapoor were thrown to the distinguished guests of Baroda. The audience participation was both, heartening and enlightening. That the people of Baroda are so well-informed about films and their favourite stars was quite a revelation! The lucky winners of the on-the-spot quiz contest were given CDs and audio cassettes of HDAPH, specially autographed by either of Anil Kapoor, Boney Kapoor, Sridevi or Satish Kaushik. Gift vouchers of Holiday Inn were also handed over as prizes. Enthusiastic winners — girls and guys, men and women — personally received their prizes at the hands of the celebrities. An over-enthusiastic young girl, unable to control her emotions, even planted a kiss on Anil Kapoor’s cheek. Hamara kiss aapke paas hai!

The question-and-answer session went on for a good 45 minutes to an hour and the people of Baroda were zapped at the enthusiastic way in which the stars participated in it. Before the spot quiz, Boney Kapoor formally launched the Holiday Inn – Indian Express contest revolving around his film. The series of questions about the film are being published in the Indian Express all over Gujarat every alternate day for one month. Slogans regarding Holiday Inn and Indian Express would be required to be filled in by the participants. The lucky winners will get their prizes at the time of 100 days’ celebration of the film in Baroda, declared Snehal before dinner. Hamara 100 days aapke saath hai!

Kanak Ghosh, general manager, Gujarat, and Vipin Pubby, editor, Gujarat, both of Indian Express, were present at the celebrations. Sanket Jhaveri of Crown TV also welcomed the Bombay guests with bouquets of flowers.

Before dinner could be served, Anil Kapoor, Satish Kaushik and Ashok Ahuja visited Apsara Theatre, Baroda, where HDAPH was being screened to a packed house. The guests at Holiday Inn waited for them to return for dinner. After all, hamara meal aapke saath hai! Anyway, the audience at Apsara and the crowds outside Apsara went wild with joy on seeing Anil and Satish in flesh and blood. Nimesh, the owner of Apsara, presented trophies to Anil, Satish and Ashok Ahuja and handed over trophies to Boney Kapoor and Sridevi later in the hotel. The excited crowds would not let Anil Kapoor and Satish Kaushik leave the dais before they obliged them by mouthing dialogues from their films or singing songs from their earlier hits.

After a very late dinner, the Bombay guests retired to their rooms as they had to board the early morning flight to Bombay. Boney Kapoor and Sridevi stayed back for the day and returned only in the evening. For, Boney had a stiff and painful neck that didn’t permit him to sleep all night. The doctor was summoned the next morning and Boney had to pop pills to get relief. Hamara pill aapke paas hai!

But the love and affection of the Baroda people in general and the Holiday Inn folks in particular was so much that all the pain in the neck (for Boney) must have vanished into thin air in no time.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

A Dream Come True!

Aatish Kapadia, the writer of the popular Gujarati serial, Sapnana Vavetar, and its Hindi version, Ek Mahal Ho Sapno Ka, and noted writer-director of Gujarati plays, Vipul Shah, always dreamt of one particular hit Gujarati play of theirs being made into a film. At long last, the film will be made by producer Gaurang Doshi (son of producer Vinod Doshi who had made Sachaa Jhutha, Blackmail and Nastik). But this was only half the battle won for Aatish and Vipul. The two had all along wished that Amitabh Bachchan would play the central role in the film. But the role was villainish. Would the Big B, a legend in his own lifetime, agree to do a negative role after having played the good and virtuous man all these years?, they wondered. Mustering enough courage, they did approach AB. Amitabh received them warmly, put them at ease and, after giving a patient hearing, said that he had liked the subject and gave his consent to do the negative role. However, Amitabh offered a suggestion, in fact, a premise for the negative character. It was “a great suggestion”, felt Aatish and Vipul. So, Amitabh Bachchan will be doing a bad man’s role after nearly three decades — that is, after Parwana (1972) and Gehri Chaal (1973).

When Good Is Not Good Enough

It is now hero Rajat Bedi’s turn to turn bad. Bad on the screen, that is! This six-footer has decided to do villain roles too, henceforth. Just recently, Puru Raaj Kumar, whose debut as hero in Bal Bramhachari did not do anything for his career, turned negative in Boney Kapoor’s Hamara Dil Aapke Paas Hai and played Mukesh Rishi’s evil brother. His villainy has come in for a lot of praise. Before that, Sharad Kapoor, too, found favour for his negative role in Josh. Jackie Shroff and Sanjay Kapoor are two more heroes who’ll be seen in negative light in two forthcoming films — Mission Kashmir and Koi Mere Dil Se Poochhe respectively.

Corporates Eyeing Filmworld

Some time ago, the Pantaloon people hopped onto the entertainment bandwagon by announcing that the company will produce a Hindi feature film, Na Tum Jaano Na Hum, under the banner of PFH Entertainment Ltd. The film, directed by Arjun Sablok and starring Saif Ali Khan, Hrithik Roshan and Esha Deol, is currently at an advanced stage of production (ready in 14 reels).

Now comes the news that another Indian corporate honcho, B.L. Saboo, a Delhi-based industrialist whose main business is manufacturing LPG cylinders, has also plunged into filmdom. He is jointly producing — with Mrs. Rahul Rawail — the Indianised version of Parent Trap, titled Kuch Khatti Kuch Meethi, being directed by Rahul Rawail. The film stars Rishi Kapoor, Rati Agnihotri, Kajol, Sunil Shetty and Pooja Batra in stellar roles.

It may be recalled that a while ago, corporate giant, Reliance, had also announced plans of investing in the entertainment industry. Even though the company has no plans of getting into film production, it is certainly eyeing the entertainment sector. Its immediate plan is to create infrastructure for broadband transmission.

The total revenue generation of the film industry in India is expected to grow from Rs. 6,215 crore in 1999 to Rs. 33,984 crore by 2005. The export earnings from film software are expected to grow from Rs. 665 crore in 1995 to Rs. 14,700 crore in 2005. Little wonder then that corporates, too, are bidding for their share of the pie.

A Festival Of Three Patis

Whose statues are the hot favourites in the Ganesh pandals erected for the Ganpati festival in Karnataka? Giving company to one pati (Ganpati) are two other patis! Occupying a pride of place in many Ganpati pandals are Amitabh Bachchan as seen in Kaun Banega Crorepati and jungle pati Veerappan.

INFORMATION MEETS

“My tunes are born out of warmth, passion and love. That’s all I need to make good music!”

– ANU MALIK

GAJAA

Anu Malik seems to have turned over a new leaf in the present-day scenario of music. His common refrain these days is, “I am updating myself to survive amidst competition.” But then, he is also back-aging himself when he says, “Even though I am touching forty, I feel like I am only 30 years old.” Anu came on the music scene in 1981 with Harmesh Malhotra’s Poonam. Despite good music in his first film, Anu’s quality work could not get much recognition and he got just a few assignments till he finally came up with some distinctive melodies in F.C. Mehra’s Sohni Mahiwal. He was thereafter backed by F.C. Mehra in films like Ek Jaan Hain Hum, Jaal, Mujrim, Chamatkar and Ram-Jaane as well as by Manmohan Desai in Mard, Allah-Rakha and Toofan. After a brief lull in his career, he hit back with Phir Teri Kahani Yaad Aayee (a telefilm), Baazigar, Maa and Sir, which heralded Anu Malik of a musically different kind. He slowly but surely became a seasoned music director and has been going steady since then. In recent times, Anu has hit really big time with films like Border and Soldier. And this year, it is Badal, Josh, Refugee, Har Dil Jo Pyar Karega and, of course, Fiza.

With Subhash Ghai selecting him for the music of Yaadein and Badhai Ho Badhai, Anu Malik is surely on a roll and can well afford to declare to the world the sentiments expressed by Vivian Y. Laramore:

“I’ve shut the door on yesterday
And thrown the key away —
Tomorrow holds no fears for me,
Since I have found today.”   

Excerpts from a conversation with the hotshot music director:

With so much of competition among music directors, how do you manage to keep yourself in the front ranks?

– I keep updating myself. I don’t rest on my past laurels. If you keep on harping on your glorious past, you will not be able to break new grounds. If I have to survive, I have to be different. And how can I be different? By being melodic. Every composer today sticks to a single form or pattern. But as against those days, when there were just four or five music directors in the reckoning, today, there are fifty-five to hundred so-called music makers because everyone has access to various sounds, CD-ROMs and downloaded music. One day, when I was surfing the various television channels, I realised that all the music was sounding the same. I felt, we are all sound factories. In this kind of a scenario, I thought to myself, ‘How will Anu Malik survive’? The answer I got was: ‘By giving original music which is sheer melody’! Fomerly, there were fewer music critics. Today, there are a lot of them. So, how do I make original music to impress the critics and the people alike? I kept thinking about it and I thought of drastically updating my work. That resulted in Josh, Refugee, Har Dil Jo Pyar Karega and now, Fiza. All these are entirely different musical scores from one another.

I remember the fabled Pied Piper story in which the rats of the town followed the Pied Piper who played a tune. With due respect to all other music directors, I felt, we were all behaving like rats. I was one of the rats who left the pack! I refused to follow a certain set pattern. Today, everyone seems to know how to make music, almost anybody pops out an album!

You said a while ago that you now make original music. But one recently got to know that the Aaja mahiya song from FIZA has been lifted by you from an album already released in the UK about six months back. 

– That’s balderdash! Some of my friends heard that music album and they found the two songs to be poles apart. The word Aaja is the only common word in both the songs. I had this word even in a song in Sohni Mahiwal. Does that mean, every song with Aaja is plagiarised from my Sohni Mahiwal number?

It’s now that you are claiming to be original and updated. But at one time, you were being accused of lifting tunes. What would you say to that?

– In those days, I did it in majboori because I had to survive. But none of the lifted tunes worked as much as my original tunes did, and that’s why, I would not advocate lifting of tunes. From now on, I have decided not to work with any director or producer, howsoever big or small, who comes to me with suggestions to flick tunes for their songs from here and there. I have decided to give my own kind of music.

There’s another resolve which I have made. And that is to not work for films which would need me for just two-three tunes. I did not accept Vidhu Vinod Chopra’s Mission Kashmir for this very reason. He needed me for only two songs while the other songs were to be composed by other music directors. So, I told Vinod a polite ‘no’. However, in Fiza, there is only one song of A.R. Rahman. It is a naath devoted to Haji Ali Baba of whom I am an ardent devotee. This devotional naath was recorded long back, even before I was signed. Why, in my success too, I believe there’s definitely some divine intervention.

What would you call this change in your attitude to go original? Rennaisance or reformation?

– No rennaisance, no reformation. It’s simply an exercise in updating — to survive in a competitive world.

What inspires you to update?

– There is an English quote: ‘Either you have it or you don’t.’ I know, I don’t have it without God’s will. It is God who guides me and steers me to my goal. Music comes to me in a flash. I am able to update myself because I believe in feeling young. Even though I am touching forty, I feel as if I am 30. I feel romantic at heart and that keeps me going.

Romantic? Have you been having affairs lately?

– By ‘romantic’, I mean that I am romancing my career. I am not having a fling with anybody.

Today, I am recording for Gulzar Saab’s film, Filhaal, which is to be directed by his daughter, Meghna. I am also scoring the music for Shah Rukh Khan’s Asoka, Abbas-Mustan’s next, Rakeysh Mehra’s Aks and Subhash Ghai’s Yaadein, as also the one being presented by him, Badhai Ho Badhai, and one more film of his, to be directed by Prakash Jha. So, you see, this is what I mean by ‘romancing my career’. In any case, I have seen the pitfalls in having flings. More the harmony at home, more the pleasantness in life.

Now that you are scoring music for Subhash Ghai in YAADEIN, do you think, you have reached the crescendo of your career? How has your experience working with Ghai been?

– It’s been a refreshingly different experience! With due respect to my other director-friends, Subhash-ji gives me the complete due respect where money and name are concerned. He knows so much about music that he makes me feel like a beginner. I feel blessed to be working under him. I am learning a lot of things from him. One great quality of his is that he encourages his technicians a great deal and puts them at ease. In this way, he extracts the best out of them.

Here, I will narrate you an incident. Once, after we had had a sitting with Anand Bakshi-ji at his (Anand Bakshi’s) house, we finalised a tune. Then, while we were leaving, Subhash-ji said that he would accompany me till my home. He told his driver to trail my car. While I was driving, I noticed from Subhash-ji’s body language that he was not at peace with himself. I told him, “Subhash-ji, I think you have not liked the song.” He agreed. I had left my home far behind and we almost reached his Audeus. At Audeus, Subhash-ji, restless as he was, hit his finger on the synthesiser just for the heck of it. That set off the sound of a rhythm patterm. It had an inspiring beat. That got me into the mood and I began singing a line with it. I had altered a word here and there. That did it! Subhash-ji was ecstatic! Inspired as he was, Subhash-ji and I went straight back to Bakshi-ji’s place. He explained the change of words to Bakshi-ji who also liked it. And a song was finalised.

It is said that music can make or mar a film. In that case, do you think, music directors are paid much less than what they deserve?

– Yes, they are. But there are two sides to a coin. If a certain music director has fifty films, he cannot demand what he desires or deserves. But the one who opts for fewer films and, more importantly, the one who gives quality music can ask his price. In future, I plan to cut down further on my assignments and ask the price my music deserves.

Supposing you work hard on a tune and the good tune gets rejected, how do you feel?

– I get upset. At such times, I feel that the director or producer rejecting the tune does not know what good music is all about. Once, a hero — I won’t name him — butted in after I had recorded a song, to say that the song should have been like this and like that. I told the director that if his hero knew so much about music, he should let him only compose the songs. The hero then came and apologised. He added that he would not make any unnecessary comments. After that, it was all okay.

But don’t you believe in that Rig Vedic thought, ‘Let noble thoughts flow from all sides’?

– Of course, I do believe in such a noble thought. I would love to have good ideas coming, but only when the tune is being made, that is, during the sittings. But certainly not after the song is recorded!

What do you need to set a good tune? A good imported CD, a good mood, an inspiring situation or a good night’s sleep?

– None of these! I need to have an inspiring director. And peace of mind, which is very important. There should be someone who almost says, ‘Look, Anu, I have come to you because I believe that you will come up with something really good’. That’s enough to inspire me. After all, my tunes are born out of warmth, passion and love. That’s all I need to make good music!

SHIKARI

Kavita Pictures’ Shikari (A) is a murder drama. A young man (Govinda) flees from jail and flies from India to Cape Town in South Africa. Once there, he murders a rich industrialist (Nirmal Pandey) who is married to a pretty girl (Tabu). He then feigns romance with his dead victim’s younger sister (Karisma Kapoor). The latter also falls in love with him as he fools her into believing that he is helping her and the police in nabbing the killer. While escaping from the searching eyes of the police, the guy also kills a girl who gets to know that he is the murderer. His third victim is the Indian police officer (Kiran Kumar) who had given him a wild chase when he had escaped from jail in India. This police officer is the brother of the murdered industrialist and has come to Cape Town to ask after his sister-in-law and niece. He even pushes the industrialist’s sister in a well in a bid to kill her when she learns that he is her brother’s murderer. But the sister manages to escape.

The reason for the cold-blooded murders is revealed after all the killings and only towards the end of the drama. It had so happened that Govinda, a simple engineer in India, and Tabu had been in love, but the latter was married off to Nirmal Pandey. However, before the marriage, Nirmal Pandey had blamed Govinda’s father (an honest temple priest) of theft and had got his father and mother murdered and his sisters, raped.

Govinda murders Nirmal Pandey in an act of revenge, fuelled by his desire to get his love — Tabu — back. The other two killings are, of course, to save his skin and escape being caught by the police.

The biggest flaw of the film is a patchy screenplay. Showing the justification of Govinda for the killings, at the end of the drama, doesn’t appeal. The intention, obviously, is to create suspense, but the suspense irritates and tests the viewers’ patience rather than lending chills and thrills. Further, the audience find the whole drama rather unconvincing because the reasons for Govinda’s killing are revealed too late in the day and also because the romance between Govinda and Tabu is barely established. Since Govinda is playing a role completely off his image, utmost care should have been taken to first create a strong base to justify his killings.

Once the reasons are revealed, his romantic track with Karisma Kapoor also looks unnecessary and seems to have been incorporated only to infuse the script with an angle of romance. The film reminds of earlier films like Darr and Baazigar.

Although the proceedings are unconvincing and also uninteresting at many places, the three lead players have spared no efforts in giving the film their best shot. Govinda does a fine job as a killer and lives the role. He succeeds in terrifying the viewer at the right places. He acts with effortless ease, getting into the skin of the difficult character. However, it is not likely that the audience, who love to see him as an out-and-out entertainer, will accept him as a manic killer. Karisma Kapoor looks pretty and exudes a lot of energy in her performance. She is excellent in the pre-climax, when she confronts Govinda and Tabu in a car. Tabu, too, is superb — restrained and dignified. Her reaction to the news of her sister-in-law’s (Karisma’s) likely death is mind-blowing and so very different from performances in scenes of this kind. Nirmal Pandey is so-so. Johny Lever evokes laughter at a couple of places but, overall, his role is not one which affords hilarity. Razzak Khan complements Johny Lever ably. Kiran Kumar acts well. Shweta Menon, Sushma Seth, Rana Jung Bahadur, Vishnu Sharma, Beena, Deep Dhillon and the others provide fair support.

N. Chandra’s direction is slipshod. He is also handicapped by a weak script (Rajiv Kaul and Praful Parekh). Dialogues are okay. Action scenes and thrills are fairly good. Aadesh Shrivastava’s music is quite a letdown. Except for a couple of songs, the others are almost walk-out items. Even the good numbers are far from being hits. Song picturisations are routine. Foreign locations are wonderful. Camerawork (W.B. Rao) leaves something to be desired. A lot of scenes seem to have been shot in insufficient light. Editing should have been much crisper.

On the whole, Shikari does not manage to hold audience interest as it neither entertains nor thrills. This hunter will haunt its distributors with losses — at places, heavy!

Released on 6-10-2000 at Minerva and 16 other cinemas of Bombay thru Govinda Yashwardhan No. 1 Distributors. Publicity: good. Opening: fair. …….Also released all over. Opening was below the mark almost everywhere.

AAGHAAZ

Suresh Productions’ Aaghaaz is an action film in the mould of good versus evil. Remake of the Telugu hit, Sivaiah, it is about a one-man army against the local goons whose very existence is threatened by this noble man from Punjab. Sensing danger to the gang culture, rival gang leaders join forces and come to the aid of the endangered local gangsters. They all rape the man’s sister in full view of hundreds of people who simply watch in silence, like timid spectators. The gangsters also beat him up, injuring him grievously. Rather than avenging his sister’s rape single-handedly, the guy tries to stir the timid people out of their fear and prepares them to fight evil forces. He succeeds in bringing about a mini revolution.

In this action track, there’s also another track of the hero’s romantic life. He loves a girl but is forced, by circumstances, to get married to another girl who has been impregnated by her lecherous lover. Ultimately, the path is cleared for him to marry his beloved.

The film moves at an extremely fast pace in the first half. The emphasis is on action, and what the viewers get is some exciting scenes of action and drama. The only question which arises here is: where is the police when there is so much violence on the streets every now and then? Secondly, despite a good pre-interval portion, there is no novelty in the subject. The pace slackens after interval. There is plenty of verbiage in the second half and the philosophising and sermonising by the hero irritate no end. The slight newness in the hero’s approach to avenging the atrocities perpetrated on him and his sister is more than offset by the slow pace in the post-interval portion. In short, the second half is bad.

Sunil Shetty is brilliant as the noble lad from Punjab, who becomes a one-man army against gangsters in Bombay. Not only does he impress marvellously in action scenes but he also acts wonderfully. Sushmita Sen has a minuscule role and gets precious little scope for anything. Namrata Shirodkar looks good and acts with conviction. Anupam Kher does a nice job as a large-hearted man from Punjab. Johny Lever is not in his element; yet, he does evoke laughter at places. Sharat Saxena, Gulshan Grover, Mukesh Tiwari and Govind Namdev are good as the gang-leaders. Alok Nath is effective. Asrani is cute. Shraddha Nigam leaves a mark with a natural performance. Padmini Kapila, Noopur, Rakesh Bedi and Akshay Anand lend good support. Sharad Kapoor is effective in a special appearance. Suman Ranganathan is so-so. Asha Sachdev, Viju Khote, Rajesh Puri, Anjan Srivastava, Shiva, Yunus Parwaiz, Rajendra Mehra, Achyut Potdar and the other artistes are alright.

Yogesh Ishwar’s debut direction is good. He has an understanding of the medium, but his sense of editing needs polish. Screenplay (Nikhil Saini) has some weaknesses. Dialogues (Kamlesh Pandey) are fine. Anu Malik’s music is a little above average. Songs are just about hummable although the film could’ve done with much better music.

Action scenes (Abbas Ali Moghul) are fantastic. Background music lends credence to the tension-ridden scenes. Foreign locations in song picturisations are absolutely eye-filling. Shyam K. Naidu’s cinematography is very good. Production values are of standard. Technically, appropriate.

On the whole, Aaghaaz has a good beginning but becomes too routine and boring after the mid-point. Given the poor opening all over, it will find the going tough as it now has some chance in ‘B’ and ‘C’ class centres only.

Released on 6-10-2000 at Maratha Mandir and 17 other cinemas of Bombay by Suresh Productions thru Shringar Films. Publicity: good. Opening: fair. …….Also released all over. Opening was disastrous at many places.

DIL PE MAT LE YAAR

Talking Pictures’ Dil Pe Mat Le Yaar (A) gives an insight into the selfish side of all human beings. It professes that humans will do anything and go to any extent if it serves their purpose. All talk of friendship, brotherhood and the like is humbug is yet another conclusion the film tries to arrive at.

A young, honest and principled motor mechanic becomes the subject matter of a lady-journalist’s writings because she finds that genuine people like him are a rare species. She becomes so friendly with him that the simpleton mechanic misinterprets it as her reciprocation of his silent love. He is shocked to learn one day that she does not love him one bit. Learning that she is of easy virtues, only shocks him further. Dejected, the same principled guy plans to use unfair means to make fast money. For this, he even accepts a contract to kill somebody. His best friend tricks him into the game and captures on camera his act of killing so that the footage can be sold to a satellite channel for lakhs of rupees.

The story is quite abstract. Screenplay comprises realistic incidents which usually don’t go down well with the audience. In short, Saurabh Shukla’s script has very very little appeal for the masses and would make fractionally better sense to the class audience. Actually, there’s not much that’s conveyed through the depressing plot which reveals one by one that every human is a fraud, a cheat, a crook…. Not a very good feeling to see such a thing on screen!

Manoj Bajpai enacts the role of the motor mechanic with sincerity. But the audience accepting Manoj as a hero is a far cry. He does not possess the requisites of the conventional hero. Manoj goes overboard in the scenes following his act of killing. Tabu is likeable and natural to the core. She is the best thing in the film and lends some elegance to the drama. Saurabh Shukla plays Manoj’s best friend ably. He breezes through his role with consummate ease. His wife (in the film) acts wonderfully. His Dubai-returned friend is quite good. Harsh Chhaya leaves a mark. The rest of the cast provides perfect support. Kashmira Shah exudes sex appeal in a dance number.

Hansal Mehta’s direction is dull. A drab story is complemented by inane narration and the outcome is a boring film. Music would appeal to few. The title song and ‘Chal padi’ are two such numbers which may be liked by a section of the audience. Camerawork is alright. Action scenes are fairly well-composed. Comedy, which is so important in earthy films of this kind, is weak.

On the whole, Dil Pe Mat Le Yaar is too realistic to really appeal to viewers. With its dismal initial value and unexciting face value, it can be expected to entail heavy losses to its distributors.

Released on 6-10-2000 at Metro and 14 other cinemas of Bombay thru Ahuja Films. Publicity: good. Opening: so-so. …….Also released all over. Opening was poor in all the other circuits.

ASTITVA

Friends India and Satyashwami Entertainment Pvt. Ltd.’s Astitva (A) is a bold film with an unusual story about adultery. An ambitious male chauvinist and his loving wife are happily married but the guy is not able to devote much time to her as his desire to make it big in this world is of paramount importance to him. His work keeps him away from home for days together, making the wife feel lonely. In one such lonely moment, the wife succumbs to her urges and indulges in a physical relationship with her music teacher, which results in her becoming pregnant. She tries to confess about her lapse to her husband but he is so excited about her pregnancy and his consequent becoming a father that he is in no mood to listen to her sob story. Twenty-five years later, however, circumstances force the suspicious husband’s mind to work overtime and he confronts his wife with facts and figures which prove that he had not had physical relations with her for more than nine months before her child’s birth. Then whose child is it? The wife is bold enough to admit her mistake and asks for his forgiveness, but the husband is not in a mood to forgive her ‘sin’. Even after it is proved that he, too, has cheated on his wife, the husband is unrelenting. Finally, the two are divorced, but the wife gives the husband a piece of her mind on equality between the two sexes.

The theme is too bold to be digested by the masses. The Indian psyche is such that the audience will not be able to accept that a married woman has had an extra-marital relationship and, thereby, cheated on her husband. In fact, the majority of the audience will endorse the very view which the director in this film tries to prove is wrong — that a married man can have his share of extra-marital flings but an Indian wife cannot! The treatment of the subject is of the kind which would appeal to the class audience and mainly, the ladies.

An important question which remains unanswered and, therefore, points the needle of suspicion against the wife is: why did she not confess some days later if she couldn’t confess on the day she learnt of the pregnancy? How could she have hidden from her husband, something so serious, for so many years?

The film has an easy pace. It is devoid of the usual ingredients of a commercial fare.

Tabu does a brilliant job. She deserves distinction marks for a performance that’s so wonderful that she could pick up awards for it. Her expressions and body language are extraordinary. In emotional scenes, she is simply mesmerising. Sachin Khedekar is also first-rate. He plays the male chauvinist exceptionally well. Namrata Shirodkar is okay. Her performance in the last scene is weak. Sunil Barve is fair. Mohnish Bahl is superb as the music teacher. Smita Jayakar gives a lovely account of herself and leaves a mark. Ravindra Mankani is also very natural. The rest lend adequate support.

Mahesh Manjrekar’s direction is extraordinary, given that the subject and narration are aimed at the class audience only. Music is not of the popular variety. Yet, two songs do appeal. Emotions touch the heart. Dialogues are lovely. Camerawork is of a good standard. Background score is very effective.

On the whole, Astitva will win a lot of critical acclaim but that’s about all. Business in major cities and good and small cinemas will be fair, but elsewhere, the film stands bleak chances.

Released on 6-10-2000 at Liberty and 4 other cinemas of Bombay by Friends India thru Shringar Films. Publicity: very good. Opening: average. …….Also released all over.

The Marathi version (tax-free) of the film has also been released this week at Plaza, Bombay. Its opening was better (only one cinema).

LATEST POSITION

Dhaai Akshar Prem Ke has not been appreciated. 1st week Bombay 53,48,272 (66.53%) from 14 cinemas (7 on F.H.); Ahmedabad 16,62,146 from 6 cinemas; Rajkot 1,72,785; Pune 10,62,341 from 4 cinemas, Solapur 2,57,813 from 2 cinemas; Delhi 53,69,513 (60.91%) from 12 cinemas (1 on F.H.); Lucknow 6,31,367 from 2 cinemas, Bareilly 1,73,172; Nagpur 4,75,832 from 3 cinemas, Jabalpur (6 days) 1,24,889, Raipur (6 days) 1,41,104, Bhilai (gross) 2,19,637, Jalgaon 1,69,170, Chandrapur 1,92,185; Indore 2,41,000 from 2 cinemas (2 on F.H.), Bhopal 1,99,428; Hyderabad (gross) 25,63,820 from 10 cinemas (3 on F.H.), share 14,87,779; Guntur (gross) 80,530.

………..

Mission: Impossible-2 (dubbed) is fair. 1st week Bombay 9,00,843 (40.67%) from 4 cinemas (3 unrecd., 3 on F.H.); Pune 3,75,847 from 2 cinemas; Delhi 10,97,234 (56.64%) from 3 cinemas; Lucknow 3,61,323, Varanasi 1,67,468; Raipur 1,81,038, Chandrapur 86,200; Bhopal 1,95,685; Hyderabad (gross) 10,49,912 from 4 cinemas.

………..

M:I-2 (English) 1st week Bombay 10,98,072 from 4 cinemas; Belgaum 2,22,184 from 2 cinemas; Delhi 21,15,301 (67.54%) from 3 cinemas; Nagpur 3,94,418 from 2 cinemas.

BABUBHAI MISTRY, SHIRKE HONOURED AT WIFPA AGM

The 32nd annual general meeting of the Western India Film Producers’ Association (WIFPA) was held on 20th September at Hotel City Point, Dadar, Bombay. A special function was held on the occasion, in which two eminent film personalities, late G.P. Shirke (posthumously) and Babubhai Mistry, were given the J.P. Tiwari award for their lifetime achievements. Pramod Navalkar, former cultural affairs minister of Maharashtra, gave away the awards.

WIFPA also launched the group insurance personal accident policy scheme for its members. Pahlaj Nihalani formally inaugurated the policy by presenting it to five WIFPA members.

In the latter part of the AGM, after the president’s address and presentation of the audited accounts, WIFPA vice president Sangram Shirke announced, on behalf of Shahir Dada Kondke Pratishthan, a 40 per cent discount to WIFPA members who would be shooting at Dada Kondke’s studio at Ingavali, Pune. Equipments and lights supplied by the studio would also be made available at 40% discount. Producer Suresh Bohra, who is a WIFPA member, also announced a 40% discount to producers who would be shooting their films or serials at Bohra International Studios, Gandhinagar.

PRINT OF ‘KHAJURAHO’ SEIZED IN HYDERABAD

The Hyderabad regional board of the CBFC seized a print of Love In Khajuraho from Odeon cinema, Hyderabad on the night of 3rd October. The film had been granted an ‘A’ certificate recently. The producer was warned by the censors to not interpolate any portions which were not shown to the censors, but he allegedly did not heed the censors’ warning. According to the Hyderabad board’s regional officer, Shyama Prasad, the producer had violated the Cinematograph Act due to interpolation.

FREE SHOWS OF ‘ASTITVA’ FOR LADIES

Free screenings of Mahesh Manjrekar’s Astitva were held for the ladies on the day of its release (6th October) at Liberty, Plaza, Gemini and Cinemax cinemas of Bombay. Two tickets were issued to each lady patron on a first-come-first-served basis. The cast and crew attended a Q & A session with the audience at Cinemax. The free screenings were held in the first shows at the four cinemas. All the free shows were house-full.

RIFT BETWEEN VERMA BROTHERS

Veteran horse supplier Badri Prasad Verma and his son, Jitu Verma, have lodged a complaint with the Dindoshi (Bombay) police alleging severe assault on Jitu Verma on 29th September at his (Jitu’s) Malad (East) residence by his brothers, action masters Pappu Verma and Tinnu Verma. Jitu is the step-brother of Pappu and Tinnu. The Vermas have been on inimical terms over the ownership of property at Malad (East) where Jitu has been staying for the last 13 years. The matter related to this property is in court.

B.P. Verma (father) and Jitu Verma (son), at a hurriedly-called press conference on 4th October in Bombay, alleged that Pappu and Tinnu Verma had called on Jitu on 25th September and threatened him with dire consequences if he did not withdraw the property case from the court. The following day, Jitu and his lawyer went to the court and made a statement to this effect. This probably agitated Pappu and Tinnu so much that they reportedly went to Jitu’s residence at 00.30 a.m. on 29th September and forcibly entered the sitting room, abused him and even assaulted him. The two angry brothers are then alleged to have called their other brother, Bhiku, who is also an action director. Bhiku is alleged to have told Jitu not to go to the police.

Jitu is now taking treatment at a private nursing Home at Borivli.

Bhiku, Pappu, Tinnu and Narendra Verma (who is in politics) are children of the same mother while Manohar, Jitu and Mahendra are their step-brothers. Interestingly, Narendra Verma is said to be supporting his step-brothers as, earlier, Narendra had had a tiff with Pappu Verma over the ownership of the school which is in the name of the wife of B.P. Verma.

CHANDRASHEKHAR’S APPEAL TO VEERAPPAN

Veteran Hindi film actor and filmmaker Chandrashekhar has written a letter to forest bandit Veerappan to “rewrite the modern history of Valmiki”. Starting his letter with Dassera greetings, the veteran has appealed to Veerappan to make use of his “God-given qualities of daredevilry and guerrilla tactics to safeguard our great country”. In general, the letter appeals to Veerappan to give up his evil ways and turn over a new leaf by reforming himself enough to rewrite the modern history of Valmiki, the sage who wrote Ramayan.

Strangely, the letter does not appeal for Rajkumar’s release, in particular.

AMRISH PURI ELECTED CINTAA PRESIDENT

Amrish Puri was elected president of the Cine & TV Artistes’ Association (CINTAA) for the years 2000 and 2001 at the first meeting of the newly elected executive committee held on 4th October. Dara Singh was elected vice president, and Dharmesh Tiwari, general secretary. Satyen Kappu and Deep Dhillon were elected treasurer and assistant secretary respectively.

It was decided to co-opt S.S. Randhawa and Johny Lever on the executive committee.

Earlier, on 2nd October, the 42nd annual general meeting and election to elect the new executive committee for the years 2000 and 2001 were held at Holiday Inn.

A total of 39 artistes contested for 13 seats on the executive committee. Of the 265 votes cast, Amrish Puri polled the highest number (181), followed by Dara Singh (178) and Raza Murad (172). The others elected were Dharmesh Tiwari (164), Kiran Kumar (150), Satyen Kappu (145), Gajendra Chauhan (144), Chandrashekhar (141), Deep Dhillon (133), Javed Khan (Tingu) (124), Goga Kapoor (113), Avtar Gill (112) and Arun Bali (108).

The AGM was presided over by outgoing president Raza Murad. Raj Babbar was the chief guest. The guests of honour were Sunil Dutt, B.M. Vyas, Rakesh Roshan, Hema Malini, Kamini Kaushal, Dara Singh and Baldev Khosa. Sunil Dutt, who arrived a little late at the function due to previous engagements, was accorded a standing ovation.

A two-minute silence was observed as a mark of respect to the artistes who left for their heavenly abodes after the last AGM of the CINTAA.

There was thunderous applause when CINTAA hon. general secretary Dharmesh Tiwari announced the allotment of a 13,000 square feet plot by the Maharashtra government to Cine Artistes Welfare Fund. He acknowledged the efforts made by Amrish Puri in this regard. Talking of CINTAA’s achievements, Tiwari informed the house that the Association had helped recover as much as Rs. 49,43,420 which were due to the artistes from various producers. He also underlined the need for artistes to enlist themselves in the group insurance scheme of the Association. Only 400 members had so far opted for the group insurance and this despite the fact that it was the Association which paid the insurance money, he said.

The AGM was followed by a felicitation function. Among the living veteran celebrities honoured were Jeetendra, Ramesh Deo, Manoj Kumar, Prem Chopra, Sanjay Khan, Asrani, Dharmendra, Bindu, Aroona Irani, Kumkum, Arun Govil, Shekhar Suman, Satish Shah, Farouque Shaikh and Reema. Of these 15, only seven were present to receive their mementoes. Among those posthumously honoured were Sapru, Mohan Choti, O.P. Ralhan, Prem Adib, Chand Usmani, Smita Patil and Dilip Dhawan. Dilip Dhawan’s mother broke down as she collected her son’s memento. She was escorted to the stage and consoled by Amrish Puri, and later by Sunil Dutt while she was leaving the hall.

The non-actor veterans honoured with mementoes were Ramanand Sagar, Anand Bakshi, Mahendra Kapoor, late music director Roshan and late writer Dr. Rahi Masoom Reza. Among the dignitaries felicitated were B.R. Chopra for winning the Dadasaheb Phalke award; Hema Malini for being conferred the Padma Shri; Hrishikesh Mukherjee for being honoured with the Dadasaheb Phalke award; and Mohan Joshi for wining the National award for Gharabaher (Marathi).

The AGM concluded with short speeches by the guests. Raj Babbar, on his presence there as chief guest, dramatically wondered how he could be considered a guest or an outsider when he was a part of the fraternity! Hema Malini said that even though she had won many awards and honours in the past, she “would always cherish this honour”.

Raza Murad, the outgoing president, exhorted members to promptly demand their TDS certificates from producers, to mention in their vouchers the amounts received in words along with figures, and to pay their income-tax promptly. Raza Murad hailed the secular spirit among people in the industry. He cited the example of Sanjay Khan (Abbas Khan) successfully making a serial like Jai Hanuman! He exhorted members to vehemently refuse to do any vulgar or obscene scenes for any film, as they were illegally used as ‘bits’ in a number of sleazy films made these days. The Association would deal with such producers if any artiste was forced to do such filthy scenes, he added. Raza Murad then exhorted members to take advantage of the group insurance scheme and also suggested the setting up of a ‘care committee’ in order to take care of the needs of the aged artistes. A care committee was later constituted.

Sunil Dutt, while addressing the house, hailed the industry’s spirit of national integration and wished CINTAA a great going. The meeting was followed by lunch which was sponsored by Rakesh Roshan and Hrithik Roshan.

Dharmesh Tiwari, Chandrashekhar and Javed Khan will represent the CINTAA in the General Council of the FWICE. Javed Khan will be the CINTAA representative in the FWICE executive committee.

In the Co-ordination Committee of the CINTAA and the AIFPC, the following will be the representatives of the CINTAA: Chandrashekhar, Raza Murad, Deep Dhillon, Gajendra Chauhan and Goga Kapoor.

The following sub-committees were also formed at the first meeting of the newly elected executive committee:

Scrutiny Sub-Committee: S.S. Randhawa will chair the sub-committee which comprises Avtar Gill, Raza Murad, Arun Bali, Satyen Kappu and Deep Dhillon.

Disputes Settlement Committee: It consists of five persons viz. Chandrashekhar (chairman), Raza Murad, Deep Dhillon, Gajendra Chauhan and Goga Kapoor.

Public Relation Committee: Gajendra Chauhan and Deep Dhillon are its two members.

Vigilance Committee: Raza Murad, Goga Kapoor, Gajendra Chauhan, Avtar Gill, Arun Bali, Deep Dhillon and Kiran Kumar constitute this committee.

Care Committee: It comprises Raza Murad, Avtar Gill, Kiran Kumar and Deep Dhillon.

YOU ASKED IT

Why do our films fare differently in different territories these days?

– Because our makers are not putting in all the ingredients in their films, which are necessary to make a universally appealing hit.

What should the reasonable percentage of entertainment tax be?

– 25%. This, if there must be entertainment tax on films. Otherwise, I’d say, there should be no entertainment tax at all!

When the income-tax policy is the same in all the states of the country, why should there be different levels of entertainment tax in different states?

– Because income-tax is a Union subject whereas entertainment tax is a state subject. There is a need to bring entertainment tax in the concurrent list.

ANNOUNCEMENT & LAUNCHING

Ravi Dewan Turns Producer: Launches ‘Annarth’

Action master and director Ravi Dewan has turned a producer and announced Suryoday Productions’ Annarth (Disaster). Cast: Sunil Shetty, Raveena Tandon, Ashutosh Rana, Mukesh Rishi, Ashish Vidyarthi, Ishrat Ali and Vishwajeet Pradhan. The film, being written, produced and directed by Ravi Dewan, who will also compose the fights, was launched on his birthday, October 5. Screenplay & dialogues: Girish Dhamija. Cinematographer: Nirmal Jani. Music: Anand Raaj Anand. Dances: Saroj Khan and Ganesh Acharya. Art: Nitin Desai. Sound: Jitendra Chowdhary.

3-E
Education-Entertainment-Enlightenment

Low Rates, High Attendance

What magic low admission rates can do is borne out by the following:

Since producer D. Rama Naidu calculated 8.41 a.m. as the auspicious time for release of his Aaghaaz on Friday, October 6, Bombay distributor Balkrishna Shroff decided barely two days before Friday, to hold a special public show at the appointed time on 6th October at Bombay’s main cinema, Maratha Mandir. Since the show-timing was too odd and too early in the day, the admission rates were reduced to barely 25-35% of the usual rates. As against the normal ticket rates of Rs. 40, 50 and 60, the rates for the 8.30 a.m. show were kept at the extremely cheap Rs. 10, 15 and 20. Thanks to the heavy discount, this show became full in advance (collection: Rs. 9,069). As against this, tickets for the 3 p.m. show on Friday at Maratha Mandir — at the normal (high) rates — were available in current booking!

Yet another pointer to our distributors and exhibitors to price admission tickets at more reasonable levels!

One Cinema Too Many

Ginni Arts, the Delhi-U.P. distributors of Aaghaaz, must’ve either had too much faith in the film or must’ve simply decided to act irrationally. For, no other reason can explain their release of the Sunil Shetty starrer this week in not one or two but three cinemas of Kanpur, viz. Manjushri, Vivek and Deoki. The film was earlier booked at two cinemas but the third cinema, perhaps, offered an MG to the distributor who get tempted by it. It doesn’t need to be added that while the opening of the film was quite poor everywhere, the initial in Kanpur was even worse!

A Record Of Sorts

For the first time ever in the history of Hindi films, as many as four films of a heroine have been released simultaneously. Yes, Tabu achieved the feat yesterday (6th October) when her Shikari, Dil Pe Mat Le Yaar and the Hindi and Marathi versions of Mahesh Manjrekar’s Astitva began to be screened all over. Surely, a record! In Bombay, as many as 38 cinemas are screening her 4 films! The break-up reads: Shikari on 17 screens, Dil Pe Mat Le Yaar on 15 screens, Astitva on 5 screens, and its Marathi version on a solitary screen.

An Ad-ditional Role For Rakesh Roshan

Rakesh Roshan is in a state of boundless elation once again this year. Yes, once again. The first time Roshan was on Cloud Nine was when KN…PH was declared a super-hit and, with it, his debut-making son, Hrithik Roshan, achieved superstardom. This was in January 2000. Now, nine months later, Roshan is inundated with congratulatory phone calls for his second baby. The baby in question is the one-and-a-half minute ad film that Roshan made for Coke last month. It was the first time that Roshan had tried his hand at making an ad short. There is such a strong and good buzz on the ad film in corporate circles that Roshan has already been approached by four companies to make ad shorts for their products. And if you’re thinking, Roshan got these offers only because Hrithik comes as a package deal, perish the thought. Each of the offers comes without strings attached. Roshan is free to shoot these ads with or without sonny Hrithik.

So, here’s to Rakesh Roshan, the ad filmmaker….. Jo chahe banaaye and enjoy!

Tabu’s Hat Ke Roles

Looks like no role is taboo for Tabu!

In each of her this week’s releases, Tabu plays a woman quite different from stereotypical Hindi film heroines.

In Hansal Mehta’s Dil Pe Mat Le Yaar, she plays a liberated young woman who doesn’t mind having sexual relations with her boss (played by Harsh Chhaya) although she is not married.

In Mahesh Manjrekar’s Astitva, she plays a woman who has extra-marital sex with a man (Mohnish Bahl) and bears his child while still married to her husband (Sachin Khedekar).

Only Shikari comes close to the stereotype. In the film, she has an affair with Govinda, but ultimately gets married to Nirmal Pandey.

Curiously, in each of Astitva and Shikari, Tabu is shown as yearning for physical relationship with her husband! Thus, in both the films, her characters pine for intimacy within marriage.