DAAG THE FIRE

Inderjit Films Combine’s Daag The Fire (A) is the story of a criminal lawyer who uses his intelligence to shield and save criminals from the clutches of law and judiciary. He uses his legal prowess to support the evil designs of his father-in-law and his cronies. In one such case, he proves in court an honest municipal commissioner to be corrupt and has him imprisoned. His father-in-law then has the municipal commissioner killed in jail. This infuriates the son of the deceased and he sets out to kill the lawyer. But instead, it is the lawyer’s beloved wife who falls prey to his bullets. The lawyer loses his mental balance and it takes a nautch girl, who is a look-alike of his wife, to bring him back to normalcy. The lawyer takes her to be his wife but soon learns of his real wife’s death and he gets married to the look-alike to repay her for her sacrifices to cure him. What’s more, the lawyer, after treatment, becomes a noble soul and sets out to correct the wrongs done by him earlier. So while the municipal commissioner’s son is thirsting for the lawyer’s blood, the lawyer himself tries to prove, in the court of law, the late commissioner not guilty. Ultimately, the son and the lawyer join hands to eliminate the lawyer’s father-in-law and his evil friends.

The film has an unusual story coupled with incidents that’ve been seen earlier. But it must be said to director Raj Kanwar’s credit that his narration is fresh and the film’s tempo is so fast that it doesn’t give the audience a chance to think. It is because of this that several cinematic liberties are overlooked by the audience. The portion in which the lawyer loses his mental equilibrium is, however, a bit loose but the comedy scenes there save the film from falling too much.

The film has all the masala for every class of audience — there’s romance, sex, emotions, action, comedy and hit music. Further, all these ingredients are quite well balanced to make the film a truly enjoyable fare. Dialogues (Jainendra Jain) are very good at many places. Robin Bhatt and Akash Khurana’s screenplay is good.

Sanjay Dutt shines in action scenes and draws loud applause in several of them. His entry is superb. He acts quite well. Chandrachur Singh impresses a great deal in the first half and is fair after interval. Mahima Chaudhry is first-rate in a double role. She gets into the skin of both the characters and delivers a performance that’s remarkably brilliant. As the nautch girl, especially, she is superb, never once going overboard. Considering that this is only her second film, Mahima deserves to be applauded for such excellence. Her confrontation scene with Raj Babbar is clapworthy. Raj Babbar makes an effective villain. Mohan Joshi, Deepak Shirke and Harish Patel lend just  about average support as the other villains. Shakti Kapoor is so-so. Sushma Seth is lovable. Himani Shivpuri impresses in a brief role. Sachin Khedekar is very appealing. Shivaji Satam excels as the municipal commissioner. Neena Kulkarni is natural to the core. Vishwajeet Pradhan, Achyut Potdar and Arpita lend able support. Johny Lever and Kunika’s comedy is entertaining and provides wonderful relief.

Raj Kanwar’s direction is intelligent. Not only has he extracted excellent work from his main cast, he has also balanced the script ably and given plenty of masala to the audience. Rajesh Roshan’s music is hit. ‘Pyar humein pyar tum’, ‘Dil deewana’, ‘Dil dhadke’, ‘Pardesiya’ and ‘Lucky kabootar’ are all hit/above average numbers. Song picturisations are pretty lavish. Both, Chandrachur and Mahima, have danced gracefully. Editing is crisp. Sets (R. Verman) are eye-filling. Action (Bhiku Verma) is superb. Background score is very effective.

On the whole, Daag The Fire may have quite a few oft-repeated incidents but its music, performances, action and wonderful narration will see it fetch bountiful returns to its distributors and producers. Class A.

Released on 12-2-’99 at Eros and 17 other cinemas of Bombay by Inderjit Films Combine thru Shringar Films. Publicity: bumper (and very appropriate). Opening: very good. …….Also released all over. Opening outside Bombay was extraordinary.

BOMBAY BOYS
(Dubbed)

Film Works India’s Bombay Boys (A; dubbed from the English film of the same name) is the story of three guys who come to Bombay — one to become an actor, the second, to make it as a musician, and the third, to look for his lost brother. The film deals with their experiences in this crazy city. The drama is an exaggerated account of the happenings in the lives of the three guys. The story moves on three different tracks and skips between them at irregular intervals. The treatment is of the kind which would appeal to the class audience in big cities only. Obscenities are liberally thrown in and they could tickle the audience. The film is raw and that’s its biggest plus point. Comedy is subtle at times and hilarious at other times. The flavour of the film is totally ‘Bambaiya’.

Naveen Andrews is excellent. Rahul Bose, too, does a superb job. Alexander Gifford is quite nice. But Naseeruddin Shah takes the cake. As a film producer, he is splendid and immensely likeable. Tara Deshpande is natural to the core. Roshan Seth does fairly well. Other artistes lend good support.

Kaizad Gustad’s direction is excellent, given the theme he has selected. Music is appealing, again more for the Bombay audience. Camerawork is fantastic. Dubbing is very appropriate.

On the whole, Bombay Boys is good for Bombay, Maharashtra and Southwards mainly, but has dull chances in Northern and other parts of India.

Released on 12-2-’99 at Sundaram cinema of Bombay thru V.I.P. Enterprises. Publicity: so-so (for dubbed version). Opening: weak. …….Also released in Delhi-U.P. and Rajasthan.

LATEST POSITION

The bumper opening of DAAG THE FIRE this week has spread joy in the industry. Heavy rains in some parts of Maharashtra adversely affected the box-office.

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Aa Ab Laut Chalen picked up in Delhi after tax-exemption. It is good in Nizam. 3rd week Bombay 22,78,564 (64%) from 7 cinemas (5 on F.H.); Ahmedabad 2,46,691 from 4 cinemas, 1st week Patan 1,43,507, 3rd week Jamnagar 77,890, total 3,30,385; Pune 6,36,627 from 4 cinemas (1 in matinee), Solapur 93,908; Delhi (tax-free from 8th Feb.) 18,40,558 from 6 cinemas (1 on F.H.); Kanpur 1,11,681 from 2 cinemas, Lucknow 2,02,229, Agra 85,250, Varanasi 81,676, Allahabad 68,600, Meerut 1,04,947, Dehradun 1,28,000, Hardwar 25,218; Calcutta (6 days) 4,15,709 from 5 cinemas; Nagpur 1,30,182 from 2 cinemas, Jabalpur 82,280, total 2,04,446, Amravati 1,01,751, Raipur 89,049, Bhilai 36,063, Jalgaon 64,048, 1st week Chandrapur 1,50,170, 3rd Bilaspur 52,424; Indore 85,000 (1 on F.H.), 1st week Bhopal 1,21,000; 3rd week Jaipur 1,64,773, 2nd Bikaner 26,370; 3rd week Hyderabad (gross) 9,25,969 from 6 cinemas (2 in noon); 1st week Guntur (gross, 5 days) 95,866.

Hum Aapke Dil Mein Rehte Hain is class A1 in Bombay and ranges from BB to A in other circuits except in Rajasthan where it is losing. 3rd week Bombay 36,36,373 (78.05%) from 10 cinemas (6 on F.H.); 1st week Vasai (gross) 3,08,329; 3rd week Ahmedabad 5,71,074 from 3 cinemas (1 unrecd.), Jamnagar 84,721, total 3,08,864; Pune 8,23,093 from 4 cinemas (1 in matinee), Solapur 1,90,788; Belgaum 87,968; Delhi 19,25,519 from 7 cinemas; Kanpur 2,65,855 from 2 cinemas, Lucknow 3,25,080, 2nd week Agra 2,10,000, 3rd Varanasi 1,14,776, Allahabad 1,12,216, Meerut 1,47,040, Dehradun 1,46,002, Hardwar 44,104, total 1,96,667; Calcutta (6 days) 6,37,611 from 5 cinemas; Nagpur 4,02,733 from 3 cinemas, Jabalpur 90,401, total 3,67,665, Amravati 1,40,290, Akola 1,05,577, total 3,87,440, Dhule 76,151, total 2,98,017, Bhilai 1,11,826, 1st week Jalgaon 1,60,047, 3rd week Gondia (gross) 74,240, Chandrapur 1,09,193, total 4,37,501, Bilaspur 1,07,015; Jaipur 2,25,152, Ajmer (gross) 1,03,984, 2nd week Bikaner 93,914; 3rd Hyderabad (gross) 6,79,357 from 4 cinemas (1 in noon).

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Tej Raftaar (dubbed) ran for 1 week at Dombivli (Bombay), now opened in city; doing well in Gujarat and Saurashtra; 1st week Dharwad 41,957; Delhi 2,77,435 (59.78%); Kanpur 71,953, Agra 1,02,000; Nagpur 1,05,972, 2nd week Amravati 38,328, 1st week Akola 1,32,850; 2nd week Indore 94,000; 1st week Jaipur 1,90,831.

Kuch Kuch Hota Hai 17th week Bombay 13,41,995 (43.59%) from 5 cinemas (2 on F.H.); Ahmedabad 1,48,203 from 2 cinemas, Baroda 88,507, 3rd week Cambay 79,543, total 2,52,232, 1st week Deesa 82,602; 17th week Pune 5,57,508 from 4 cinemas (1 in matinee), Solapur 33,553; Delhi 1,97,296 (2 on F.H.); Kanpur 1,28,125 from 2 cinemas, Lucknow 2,25,455, Agra 38,872, Allahabad 34,800, Dehradun 45,436; Calcutta (6 days) 1,37,310; Nagpur 68,491, 4th week Kamptee 38,282, total 2,38,533, 12th week Jabalpur 97,137, total 21,17,289, 17th week Amravati (6 days) 49,355, Akola 49,105, total 17,14,827, 4th week Durg (5 days) 33,082, 5th week Balaghat 40,384, total 3,16,206; 17th week Indore (6 days) 55,000; Jaipur 4,02,677; Hyderabad (gross) 4,40,999 from 3 cinemas (1 in noon, 1 on F.H.).

‘AA AB LAUT CHALEN’ TAX-FREE IN DELHI

Rishi Kapoor’s Aa Ab Laut Chalen has been granted exemption from payment of entertainment tax in Delhi. The collections in the capital city have shown a marked improvement following the tax-free rates of admission.

NEW CINEMA OPENS AT ANAND

A new cinema, Shivalaya, opened at Anand (in Gujarat) on 12th February with Tej Raftaar (dubbed). Air-conditioned and equipped with Dolby Stereophonic sound system, the cinema has a seating capacity of 391.

YOU ASKED IT

What, according to you, contributed to the bumper opening of Daag The Fire this week?

– Excellent promotion, hit music and Sanjay Dutt. The last few films of Sanjay Dutt may not have worked but if you remember, even his DAUD had taken a very good start.

Will Kajol continue to act in films after becoming Mrs. Devgan?

– Kajol is definitely committed to doing Rahul Rawail’s film. It will start some time in April.

Will Sarfarosh definitely be released in April? Any under-production reports?

– SARFAROSH is being readied for April release. John Mathew Mathan, an ad filmmaker of Bombay (not Delhi, as mentioned in an item in the 3-E column in our issue last week) has made a very good film, insiders say.

DO YOU KNOW?

* This is a strange coincidence. The Tamil film, UNNIDATHIL YENNAI KODUTHTHEN, was directed by Vikraman. And now its Hindi remake will be directed by Vikram Bhatt.

* For the first time in the history of Punjabi films, as many as 14 prints of a film — Manjit Maan’s SHAHEED-E-MOHABBAT BOOTA SINGH — have been released this week in Overseas (by Jupiter Enterprises). The film is doing very well in Punjab.

* The Gujarat-Surashtra distributor of TEJ RAFTAAR has been adding a fresh print every week. He started out with 7 prints, had 8 in the second week, 9 in the third week, and 10 in the fourth week. A rise every week with tej raftaar!

* Chandan cinema, Juhu, Bombay, has become the first cinema in India to install a 3-way Dolby digital sound system. It has been fully renovated and now has plush cushioned seats.

3-E
Education-Entertainment-Enlightenment

‘Kachche Dhaage’, Pucca Record

Ajay Devgan’s distribution office in Bombay has plans to release Kachche Dhaage next week in a total of 101 cinemas simultaneously in the entire circuit. If the target is met — and it seems very likely that it will be — this would be the highest number of cinemas in which a film is released in the first week. Incidentally, Ajay Devgan has his hands full for 1999, as distributor. Besides Kachche Dhaage, he will be releasing Sanjay Leela Bhansali’s Hum Dil De Chuke Sanam, his own Dil Kya Kare, Nitin Manmohan’s Chal Mere Bhai and Aankh Micholee and J.P. Dutta’s Refugee.

Lucknow Exhibitors Trying Luck Now In Distribution

Two big-time exhibitors of U.P. have become distributors and have jointly acquired two big films for Delhi-U.P. The two exhibitors are Ajay Gupta of Novelty cinema, Lucknow, and Vijay Kumar Sahu of Sahu cinema, Lucknow. They’ve purchased the distribution rights of Venus’ Shah Rukh starrers, Badshah and Josh, in their partnership concern, A.V. Films Combine. Let’s hope, these two exhibitors of Lucknow prove lucky now in distribution too.

‘Daag’: A 100% Spotless Record

With Raj Kanwar’s Daag The Fire having opened to full and over-capacity houses this week and the reports also being extremely encouraging, the title Daag has proved to be lucky for the third time. The first time a film of this title was made was in 1952. Directed by Amiya Chakraborty, the B & W Daag starred Dilip Kumar, Usha Kiran and Nimmi. Like its music (Shankar Jaikishen), the film, too, was a runaway hit. The second Daag (in colour) was made in 1973 by Yash Chopra. It too proved to be a blockbuster. This one starred Rajesh Khanna, Sharmila Tagore and Raakhee, and had hit music by Laxmikant Pyarelal. While the earlier two Daags had two heroines each, the new Daag has one heroine (Mahima Chaudhry) but in a double role; heroes are two — Sanjay Dutt and Chandrachur Singh.

PRODUCTION NEWS

‘Kaho Naa…Pyaar Hai’ Marches Ahead

Producer-director Rakesh Roshan commenced a further 19-day shooting schedule of Film Kraft’s Kaho Naa…Pyaar Hai on Jan. 30 in and around Bombay locales. Climax and other scenes are being picturised featuring the entire cast comprising Hrithik Roshan, Amisha Patel, Anupam Kher, Ashish Vidyarthi, Dalip Tahhil, Mohnish Bahl, Rajesh Tandon, Payal Malhotra, Farida Jalal, Vrajesh Hirjee, Satish Shah and master Abhishek alongwith stuntmen. Based on a story and screenplay by Ravi Kapoor and Honey Irani, the film has dialogues by Sagar Sarhadi, music by Rajesh Roshan, lyrics by Saawan Kumar and Ibrahim Ashq, cinematography by Kabir Lal, action by Tinnu Verma, sound by Navin Zaveri, editing by Sanjay Verma and dances by Farah Khan.

LATEST POSITION

Cricket matches and extreme cold in various parts of the country took their toll on the box-office.

Khooni Aahat (dubbed) 1st week Hyderabad 3,61,884 (gross) from 3 cinemas.

Aa Ab Laut Chalen dropped at many places. Is good in Nizam. 2nd week Bombay 33,36,466 (71.79%) from 9 cinemas (6 on F.H.); Jamnagar 1,11,182; Pune 5,69,442 from 4 cinemas (1 in matinee), Kolhapur 96,961, Solapur 1,09,043; Hubli 1,46,387; Delhi 20,50,836 from 9 cinemas (1 on F.H.); Kanpur 1,46,423 from 2 cinemas, Lucknow 2,35,646 (1st 3,76,962), Agra 1,45,242, Varanasi 1,07,832, Allahabad 90,000, Meerut 1,51,479, Bareilly 83,774, Hardwar 35,412; Calcutta 7,45,097 from 8 cinemas; Nagpur 1,88,846 from 3 cinemas, 1st week Jabalpur 1,22,166, 2nd week Amravati 1,21,903, Raipur 1,07,326, Bhilai 43,014, Jalgaon 1,06,868; Indore 95,000 (1 on F.H.); Jaipur 1,99,700, Bikaner 85,153; Hyderabad 7,93,619 (gross) from 4 cinemas (1 in noon).

Hum Aapke Dil Mein Rehte Hain is excellent in Bombay and good in other places but has dropped in U.P. and continues to be dull in Rajasthan. 2nd week Bombay 44,62,979 (85.69%) from 11 cinemas (6 on F.H.); Rajkot 1,46,580, Jamnagar 98,200; Pune 10,06,710 from 4 cinemas (1 in matinee), Kolhapur 1,98,321, Solapur 2,05,067; Belgaum 1,09,347; Delhi 29,71,299 from 9 cinemas; Kanpur 3,32,875 from 2 cinemas, Lucknow 3,57,975 (1st 4,91,849), 1st week Agra 3,15,000, 2nd week Varanasi 1,66,729, Bhadohi 30,652, Allahabad 1,22,781, Meerut 1,92,714, Bareilly 81,619, Hardwar 55,030; Calcutta 10,59,906 from 8 cinemas (other cinemas on F.H.); Nagpur 5,19,975 from 3 cinemas, Jabalpur 1,10,829, total 2,77,264, Amravati 1,53,192, Akola 1,22,824 (1st 1,61,538), Dhule 91,267, Raipur 1,45,025, Bhilai 1,30,608, Gondia (gross) 96,738, Chandrapur 1,52,432 (1st 1,75,875), Yavatmal 72,504 (1st 1,00,066), Bilaspur 1,25,000; Bhopal 1,39,691 (1st 1,60,000); Jaipur 2,64,868, 1st week Bikaner 1,26,076; 2nd week Hyderabad 7,13,045 (gross) from 4 cinemas (1 in noon).

Hu Tu Tu is dull except in Bombay. 2nd week Bombay 15,96,935 (82%) from 4 cinemas (7 on F.H.); Pune 3,72,513 from 2 cinemas (1 in matinee); Delhi 9,18,241 from 5 cinemas; Kanpur 72,719, Lucknow 1,79,846 (1st 3,75,962), Varanasi 76,926, Allahabad 67,000, Bareilly 26,404; Calcutta 2,05,897; Nagpur 92,680 from 2 cinemas, Jabalpur 49,731, total 1,74,385, Amravati 54,278, Akola 58,200 (1st 1,55,000), Raipur 46,713, Bhilai 35,288, Jalgaon 70,000, Chandrapur 1,06,703; Indore 87,106 (1 on F.H.); Jaipur 1,16,868, Jodhpur 85,000; Hyderabad 1,66,808 (gross).

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EMBARGO ON RELEASE OF DUBBED HOLLYWOOD FILMS IN BOMBAY

Dubbed Hindi versions of Hollywood films have been boycotted by exhibitors of Bombay from this week as a result of a decision to this effect taken by the Cinematograph Exhibitors’ Association of India (CEAI) and the Theatre Owners’ Association (TOA). The Indian Motion Picture Distributors’ Association (IMPDA) has also reportedly seconded the decision of the exhibitors’ associations.

Following the boycott, the release of Khooni Aahat, the dubbed Hindi version of Urban Legend, in Bombay city on 5th February was cancelled. Tej Raftaar, released two weeks back in Maharashtra, was the last dubbed Hollywood film to have opened in Bombay prior to the boycott decision. Tej Raftaar opened at Dombivli, a distant Bombay suburb on 5th.

Excessive sex, violence and obscenity passed by the CBFC in dubbed Hollywood films is the main bone of contention, which has prompted exhibitors of Hindi films to support the boycott call. It is being increasingly felt that the audience of Hindi films was being corrupted by seeing dubbed foreign films replete with sex and violence, a trend that may prove dangerous for the Hindi film industry in the long run. Exhibitors and distributors of Hindi films also felt that business of repeat-run films was being severely and adversely affected because of so many dubbed foreign films in the market.

The foreign film companies, which usually release such films, will meet representatives of exhibitors and distributors on Monday, February 8, to discuss the matter which could have far-reaching consequences and implications.

ANIL, DAVID DHAWAN BEREAVED

Rani Dhawan, mother of actor Anil Dhawan and director David Dhawan, expired on 29th January in Delhi due to a heart attack. She was 75 and is survived by three sons. She had not been keeping gold health since some time.

YOU ASKED IT

What should actors like Akshay Kumar, Sunil Shetty and Akshaye Khanna do to give a boost to their careers?

– Take the help of a level-headed script consultant before signing a film. For, they need to look before they leap — hear the script and be convinced about its box-office potential before signing on the dotted line.

Among the forthcoming releases, which do you think will take a flying start?

– JAANAM SAMJHA KARO should take a bumper start on the strength of its music and Salman Khan. Its promotional trailers on television are being loved by youngsters. KACHCHE DHAAGE is also slowly but surely gaining heat.

Is it true that Soldier is doing better than Kuch Kuch Hota Hai in small centres?

– Yes, it is 100% true. While SOLDIER is getting better terms in ‘B’ and ‘C’ class centres, KKHH is miles ahead in ‘A’ class centres in most of the circuits.

CENSOR NEWS

Inderjit Films Combine’s Daag – The Fire was given C.C. No. CIL/3/2/99 (A) dt. 1-2-’99; length 4416.93 metres in 18 reels (cuts: 37.80 metres).

Film Works India’s Bombay Boys (dubbed) was given C.C. No. CIL/3/4/99 (A); dt. 5-2-’99; length 2860.27 metres in 5 reels (few deletions in sound only).

Chaudhry Enterprises’ Zulmi has been offered A certificate, with cuts.

Tips Films P. Ltd.’s Kachche Dhaage (length 4370.22 metres in 18 reels), applied on 2nd and seen on 4th, has been okayed for UA certificate, with cuts.

Kshitij Production Combines’ Kaun (length 2798.06 metres in 10 reels), applied on 2nd, was seen on 3rd.

Pawan Putra Films’ Aadhi Raat (length 3018.30 metres in 14 reels), applied on 2nd, was seen on 3rd.

Lama Productions’ Laawaris (length 4602.08 metres in 17 reels) was applied on 5th.

DO YOU KNOW?

* Writer Neeraj Pathak may have co-written Subhash Ghai’s PARDES and written hundreds of episodes of various TV serials but what he is ultimately looking for is directing films. He already has a couple of completely bound scripts ready, with dialogues too. He is currently writing K.P. Singh’s HUM TO MOHABBAT KAREGA, directed by Kundan Shah.

* After being dubbed in Tamil, Telugu and Malayalam, B.R. Chopra’s TV serial, MAHABHARAT, is now being dubbed in Bhojpuri (for telecast on Lucknow Doordarshan), Marathi (Bombay DD) and Bengali (satellite channel). It has been dubbed in Persian language too, and the Persian version was telecast in Iran. The serial has been telecast in many countries including on BBC-London.

* Raj Kanwar picturised the additional song for his DAAG – THE FIRE in three nights last week. It was censored soon thereafter and is already on air on satellite channels. Theatrical trailers of the song are also being screened in cinemas all over India. The song — Mera lucky kabootar — is based on a Punjabi folk number and has been picturised on Sanjay Dutt, models and dancers.

3-E
Education-Entertainment-Enlightenment

Pakistan As Part Of Overseas Territory

With relations between India and Pakistan seemingly improving, it may be premature but, nevertheless, not incorrect to dream about a day in the near future when Indian films will be permitted entry in the neighbouring country. If that happens, it will be heavenly for producers and Overseas distributors. It is a well-known fact that Indian films are loved by Pakistanis, and the opening of cultural exchanges and trade between the two countries would see prices for Overseas rights of films shooting up. Pakistani prime minister Nawaz Sharif just recently told an Indian national daily that he would soon invite Lata Mangeshkar to visit his country and also perform there. He lamented the loss of great playback singers of India, like Mukesh, Mohd. Rafi and Talat Mahmood. It may be mentioned here that Indian prime minister Atal Bihari Vajpayee has made the first move towards burying the past and extending a hand of friendship by announcing that he would travel by bus to Pakistan next month. A bus service has for the first time commenced between the two countries.

Gujarat Beckons

The Gujarat government, after the recent shooting of Sanjay Leela Bhansali’s Hum Dil De Chuke Sanam in the Kutch region, is keen that more and more films are shot in the state. The obvious objective is to promote tourism in the state. J.P. Dutta, too, recently shot his Refugee extensively in Bhuj. The good news is that the Gujarat government is also offering attractive packages to lure producers to shoot in the state. Maybe, some producers would like to try it out.

Dubbed Versions

Santosh Sivan’s internationally acclaimed Tamil film, The Terrorist, has not yet been released theatrically in Tamilnadu, but the awards it has picked up abroad as well as in India have inspired Sivan to dub the film. And dub it not just in Hindi but in English too. The two dubbed versions have been acquired for all India by UTV Motion Pictures and Shringar Films jointly.

Unusual Indeed

John Mathew Mathan, an ad filmmaker of Delhi, whose first feature film as producer and director — Sarfarosh — is complete, has fixed its release date as 23rd/30th April. He has also told his distributors, they would be shown the film well in advance of the release date. Quite in contrast to the current trend among producers to not show the film to their distributors even a week before its release!

This Is Simply Not Done!

The telephonic threats by Pravin Shah and Pradeep Singh, producer and Thane sub-distributor respectively of HU TU TU, to Komal Nahta, editor of Film Information, earlier this week, sent shock waves in the Bombay film industry. Industry leaders and top producers, distributors, exhibitors, artistes and technicians of Bollywood have expressed disgust over the incident and have promised support to your editor.

Pradeep Singh telephoned Komal on 26th January at the latter’s residence and threatened him of dire consequences for having written an “unfavourable review” of HU TU TU in Film Information issue dated 23rd January, 1999. This was followed by telephone calls from Pravin Shah who threatened to eliminate Komal for the negative review.

Komal Nahta lodged an N.C. complaint (no. 234 dated 26-1-’99) with the Khar police station and also met the additional commissioner of police, Mr. Rakesh Maria, who promised to look into the matter and assured him of his safety. But in the meantime, Komal’s mother panicked so much that she had to be hospitalised (at Leelavati Hospital) for highly fluctuating blood pressure. She was in hospital for three days and was discharged on 29th.

It would be pertinent to point out here that HU TU TU has done well only in Bombay and parts of Maharashtra (as predicted by us in our review) but has failed miserably in the other circuits. It had to be discontinued from Ramachandra cinema of Hyderabad (an ‘A’ class centre of Nizam) after just 5 days due to lack of audience (5 days’ collection was a paltry 48,359/-). In Jodhpur (an ‘A’ class centre of Rajasthan), the collections of the film at Kohinoor dropped like mercury in a thermometre kept in a refrigerator. Collections of other centres (printed elsewhere in this issue) are proof of how the film has fared in the whole country. But that is not the issue here.

The question which arises in that even if the film had hit the bull’s eye, were such ghastly threats in order? Rightly has the shameful incident been condemned with indignation by one and all in the industry. The incident assumes even more significance because it landed a lady, completely unconnected with the episode, in hospital in a traumatised state.

Does anyone in a free country have the right to play with another’s life so callously? It’s really shameful — much more shameful than the box-office figures of HU TU TU.

LATEST POSITION

Extreme cold in various parts of the country has affected collections in the night shows. At places, the night shows record 10-15% collections only.

Aa Ab Laut Chalen could not pick up much and remained steady at medium collections at many centres; it, however, dropped at some places. Is dull in East Punjab and Rajasthan. 1st week Bombay 42,92,860 (86.22%) from 9 cinemas (5 on F.H.); Ahmedabad 10,60,166 from 6 cinemas, Padra 1,94,988, Rajkot 1,31,400, Jamnagar 1,41,713, Adipur 1,19,650 (73.73%); Pune 7,28,357 from 4 cinemas (1 in matinee), Kolhapur 1,47,633, Solapur 2,33,901 from 2 cinemas; Hubli 1,89,988 (100%), Belgaum 1,62,505 (100%); Delhi 33,95,177 (77.90%) from 9 cinemas (1 on F.H.); Kanpur 3,26,569 from 2 cinemas, Lucknow 3,76,520, Agra 2,97,282, Varanasi 4,14,410 from 2 cinemas, Allahabad 2,44,578, Meerut 2,64,900, Bareilly 1,71,597 (76.75%), Hardwar 44,622; Calcutta 12,55,314 from 10 cinemas; Nagpur 2,51,381 from 3 cinemas, Amravati 1,49,510, Raipur 1,49,951, Bhilai 1,41,570 from 2 cinemas, Jalgaon 1,40,049, Bilaspur 1,00,345; Indore 1,38,640 (3 on F.H.), Bhopal 2,76,608 from 2 cinemas; Jaipur 4,42,796 from 2 cinemas; Hyderabad 28,28,501 from 12 cinemas, share about 14,00,000.

Hum Aapke Dil Mein Rehte Hain picked up in several centres due to ladies’ patronage. It has done excellent in Bombay and is good in Delhi-U.P., West Bengal, C.P.C.I. and Nizam but dull in Rajasthan. 1st week Bombay 45,32,854 (94.77%) from 8 cinemas (9 on F.H.); Ahmedabad 8,30,821 from 3 cinemas (1 unrecd.), Valsad 2,10,332 (81.75%), Rajkot 1,89,960 from 2 cinemas (1 in matinee), Jamnagar 1,25,943; Pune 13,02,746 from 5 cinemas (1 in matinee), Kolhapur 2,99,203, Solapur 2,19,217 (98%); Belgaum 1,27,890; Delhi 36,20,660 (85.16%) from 8 cinemas; Kanpur 4,97,480 from 2 cinemas, Lucknow 4,91,849, Varanasi 2,26,939, Allahabad 1,83,430, Meerut 2,57,764, Bareilly 1,68,495 (55.60%), Hardwar 90,000; Calcutta 26,52,155 from 14 cinemas; Nagpur 5,83,275 from 3 cinemas, Jabalpur 1,70,435, Amravati 1,67,715, Dhule 1,30,609, Raipur 1,71,879, Bhilai 1,46,770, Gondia (gross) 1,20,631, Chandrapur 1,75,875, Yavatmal 1,00,065, Bilaspur 1,82,556; Bhopal 1,36,320 (1 on F.H.); Jaipur 7,09,544 from 4 cinemas; Hyderabad 14,95,762 from 7 cinemas (1 in noon).

Hu Tu Tu has done well in Bombay and parts of Maharashtra but dropped badly in the other places from 3rd/4th day onwards. It will entail heavy losses to almost all its distributors. 1st week Bombay 22,71,641 (93.82%) from 4 cinemas (8 on F.H.); Ahmedabad 3,30,975 from 2 cinemas, Rajkot 1,16,511, Jamnagar (matinee) 15,328; Pune 5,19,199 from 2 cinemas (1 in matinee), Solapur (matinee) 72,470; Delhi 15,65,422 (56.64%) from 4 cinemas (1 on F.H.); Kanpur 1,91,000, Lucknow 3,75,962, Allahabad 1,24,000, Bareilly 94,904 (33.45%); Calcutta 12,08,877 from 8 cinemas; Nagpur 5,32,818 from 3 cinemas, Jabalpur 1,24,654, Amravati 1,75,164, Raipur 1,31,010, Jalgaon 1,32,397; Indore 1,65,159 (1 on F.H.), Bhopal 1,30,629; Jaipur 2,13,880; Hyderabad 12,88,764 from 7 cinemas (1 in noon).

Bade Dilwala is poor. 1st week Bombay 22,12,618 (49.09%) from 11 cinemas (7 on F.H.); Ahmedabad 2,40,567 from 4 cinemas, Bhuj 45,000; Pune 4,45,770 from 6 cinemas (1 in matinee); Delhi 14,52,907 (27.82%) from 10 cinemas (3 on F.H.); Kanpur 1,64,759 from 2 cinemas, Lucknow 1,37,179, Varanasi 98,984, Allahabad 1,13,000, Meerut 1,17,513; Calcutta 3,05,552 from 3 cinemas; Nagpur 1,03,988 from 2 cinemas, Bhilai 24,084, Jalgaon 68,489; Indore 76,737 (1 on F.H.), Bhopal 73,591; Jodhpur 1,50,000.

Tej Raftaar (dubbed) has done well despite the opposition of so many new releases simultaneously. 1st week Ahmedabad 1,20,507 (70%), Surat 1,30,929 (69%), Baroda 1,13,627 (78%), Rajkot 1,38,848 (65%); Pune 47,854 (19%), Kolhapur 83,587 (45%), Solapur 1,18,741 (79%), Nasik 43,537 (20%), Sangli 88,987 (37%), Ichalkaranji 77,147 (46%), Malegaon 1,20,075 (45%); Belgaum 85,756 (81%); Hyderabad 2,38,893 (98%).

Kuch Kuch Hota Hai 15th week Bombay 23,25,892 (71.35%) from 8 cinemas  (5 on F.H.); Ahmedabad 3,80,835 from 4 cinemas, 2nd week Himmatnagar 1,24,210 (1st 1,27,325), 15th week Baroda 1,39,724; Pune 5,77,995 from 3 cinemas (1 in matinee), Solapur (matinee) 38,913; Delhi 4,72,397 from 2 cinemas (3 on F.H.); Kanpur 2,50,249 from 2 cinemas, Lucknow 3,80,146, Agra 1,03,000, Varanasi 1,65,411, Allahabad 72,339; Calcutta 5,71,169 from 3 cinemas; Nagpur 1,06,970, 2nd week Kamptee 75,804 (1st 71,315), 10th week Jabalpur 1,61,848 (9th 1,58,369), total 19,12,562, 13th week Amravati (6 days) 76,570, 2nd week (6 days) Durg (gross) 63,678, 15th week Bilaspur 25,000, 3rd week Balaghat 66,090, total 2,27,482; 15th week Indore 89,224; Jaipur 4,61,496, Ajmer 43,581; Hyderabad 4,67,217 from 2 cinemas (1 in noon); Vijayawada 6 weeks’ total 4,25,146.

…………..

YOU ASKED IT

What is the final tally of China Gate?

– It will fetch commission in a few circuits. In the rest, it will entail losses to distributors.

When so many English films are being dubbed in Hindi, why is Shekhar Kapur’s Elizabeth not being dubbed?

– You never know, someone just might dub it in Hind. But one wonders whether it will have the same appeal as in English.

How much would an ‘A’ grade project’s music rights fetch today?

– The audio rights may fetch the price of a major circuit.

MIX MASALA

UNIQUE WEDDING INVITATIONS

That a wedding in the family of leading film financier Bharat Shah would be an ultra-grand affair has now come to be accepted as a custom. The wedding cards are always as rich and tasteful as the string of functions preceding the wedding reception and the reception itself. And the invitation card for the marriage of Sweta, daughter of Vijay Shah and niece of Bharatbhai, with Bhavin, on 6th and 7th February in Bombay, is simply breathtaking. It is in the shape of a book which has been explained to be a Bhrigu Samhita — an ancient Indian text which is believed to contain the life histories of everybody. The pages of the heavily decorated book, printed on imported paper, contain the details of the marriage ceremony and other programmes. The invitation book, it may be added here, has been sent out in huge and stylish boxes.

HERE & THERE

Republic Day Honours For Ashok Kumar, Lata, Javed

Melody queen Lata Mangeshkar was among the 14 distinguished people of the country chosen for the Padma Vibhushan award on the occasion of Republic Day this year. This is the country’s second highest civilian award. Veteran Ashok Kumar has been honoured with Padma Bhushan. The two film personalities awarded Padma Shri are lyricist Javed Akhtar and character actress Sulochana. The awards were announced by president K.R. Narayanan.

All the winners, obviously, feel honoured. Lata expressed her gratitude to the government. Javed Akhtar said that the honour had reminded him of his social responsibilities as a writer and poet and he would try to fulfil them. Veteran actress Sulochana thanked her teachers, parents and all her fans whose blessings had given her the will power to achieve this success.

Mahajan Assures Immediate Action To Solve FTII Problems

I & B minister Pramod Mahajan, who is taking a keen interest in promoting the film industry and solving its problems, visited the Film and Television Institute of India, Pune, on 18th January to have first-hand information on its problems. The tussle between the students and the director of the institute, Dr. Mohan Agashe, has been on for a long time, as the new members of the governing council of the Institute have not yet been appointed by the government. The governing council is to take the final decision in the matter of the revised syllabus suggested by Dr. Agashe. At present, nothing seems to be moving on the FTII front. The government is giving a thought to privatising the Institute to make it a profit-making centre by opening its doors for producers to shoot their films there. Mahajan, after his visit to the Institute, assured the staff and students that he would take an immediate decision to chart out the future course of the FTII, which has 200 staffers working full-time.

Asha Bhosle Pained At Today’s Soulless Songs

Asha Bhosle, who is in Delhi to participate in a musical nite today (30th January), while talking to the press, opined that the passing away of the great music directors and poet-lyricists was one of the primary reasons behind the absence of melody in today’s film songs. She also found fault with the audience, saying that public demand compelled lyricists and musicians to churn out soulless songs. “Let the public reject it and melody would return,” she said. Asha, who has earned a place for herself in the world of pop music too, said that pop music was nothing but popular music, and she sang only those songs which had scope for melody and popular appeal. She said that the younger generation preferred fast music but their singing in various TV musical programmes provided ample proof of the timelessness of old film songs which were melodious.

3-E
Education-Entertainment-Enlightenment

Too Disturbing?

Many among the audience have found the scene of Hum Aapke Dil Mein Rehte Hain in which Kajol, in an advanced state of pregnancy, falls flat on her stomach, too disturbing to bear. But exhibitor Ravi Machhar has not just heard this complaint, he has had the staff of his Abhinay cinema in Aurangabad administer first aid to a couple of ladies who fainted in the auditorium while seeing the scene in different shows in the first week. While this is definitely not a good thing to have happened, it, nevertheless, speaks volumes for Kajol’s acting prowess.

The Showman And His Staff

The party which Subhash Ghai’s staff hosted at his Audeus studio on 23rd January to bring in his birthday on 24th was a well-organised and homely affair. It was a surprise party for Ghai who remarked, “Look, I’m not even dressed up for the occasion.” But the party also had surprises in store for the select invitees. For, Anand Bakshi rendered a lovely song which he has written for a film to be made by Zee and directed by Anil Sharma. Playback singer Sukhwinder also regaled the gathering with his songs. Anil Kapoor, Akshaye Khanna, Aishwarya Rai and Alok Nath were the four As who added glamour to the party which went on till the wee hours of the morning. And although there was a lot of merry-making, drinks and dinner, what was the best part of the party came towards the end when the amiable Ghai danced with his office boys, making each one feel so special that day. His wife was happy playing the hostess but when it came to speaking a few words on the mike, the elegant lady only blushed and was heard sweetly whispering into hubby’s ear, “Main kya boloon?” (“What do I say?”).

AA AB LAUT CHALEN

R.K. Films & Studios’ Aa Ab Laut Chalen is a love story of two Indians who meet in America. The film also seeks to tackle the problem of brain drain and gives a healthy message to the youth of today. There’s one more track — that of the hero and his father. The hero and his family in India are under the impression that the father was killed in an accident but the truth is that he had survived the accident and had seized the opportunity to flee to America where he got married again and became a multi-millionaire.

The story is about an ambitious boy who leaves India and comes to America to earn a lot of money. He meets an Indian girl there and she immediately falls in love with him. But the boy tries to hook a rich NRI girl so that he can settle there and fulfil his ambition of amassing wealth. After some time, he realises his folly and goes back to the Indian girl. By chance, he meets his father in America and, after an emotional drama, they all return to India.

The film is a visual delight and is almost like a trip to America. It offers breathtaking foreign locales captured beautifully. But its content, unfortunately, is not as exciting as the gloss. The reasons for this are several — one, the script has some inherent flaws/drawbacks (example: the hero hooks the NRI girl even though he is aware that she smokes, drinks and moves around with guys. Although she picks up no new vice, the hero, after some days, fires her for her behaviour and expresses shock over the same. The audience wonders why the hero got into the relationship in the first place if he had to be shocked a couple of reels later.); secondly, too much has been squeezed into a 3-hour drama; thirdly, the screenplay writer has taken recourse to convenience more than common sense to further the drama on occasions; fourthly, since the misery of the family sans the father is not shown, the impact of the emotional climax is diluted; fifthly, the hero’s character is not what it should be (he comes to America because his friend tells him so; he tries to hook an Indian settled in America because another friend tells him so — why doesn’t he use his brains?). Further, there is not much romance in the romantic story! This is not to say that the film has no plus points. It does have several of them. Besides the eye-pleasing locations, its other winning points are: some good comedy (of Jaspal Bhatti), a couple of heartwarming scenes, Rajesh Khanna’s entry and performance, liberal body exposure by Suman Ranganathan, and the mini-India shown in America.

Akshaye Khanna does a fair job. He has not been photographed well in some scenes. He dances extremely gracefully. Aishwarya Rai is plastic at times and wooden at other times. But she looks very pretty. The girl should stop behaving as if she were a kid and should open her mouth fully while talking. Rajesh Khanna acts very well and is restrained. But care should have been taken of his appearance; he looks red. Suman Ranganathan exudes oomph and sex appeal and impresses with a free performance. Kader Khan is quite good. Jaspal Bhatti is cute. Satish Kaushik is not very funny except in one scene. Himani Shipvpuri has been wasted. Viveck Vaswani is alright. Alok Nath leaves a mark in a brief role. Moushumi Chatterjee is restrained and very effective. Paresh Rawal is superb and goes through his role with aplomb. Newcomer Aditya Hitkari does reasonably well. Jatin Sial is okay. Navin Nischol, Sulbha Arya, Achyut Potdar and Vishwajeet Pradhan lend fair support.

In his maiden directorial venture, Rishi Kapoor shows that he has an excellent sense of visuals. But his script sense leaves something to be desired. His direction, though, is smooth. Music does not befit the canvas of the film. ‘Otashi Anata’, ‘Mera dil tera deewana’, the title song and ‘O yaaron maaf karna’ are well-tuned but the lack of super-hit songs is sorely felt. Song picturisations are colourful and eye-filling. Production values are grand. Editing could have been a bit more crisp.

On the whole, Aa Ab Laut Chalen will have to depend upon its visual beauty and the clear field ahead (few major releases in the forthcoming weeks) more than its content to lure the audience (mainly class audience and youth) to cinemas. Its business will vary from circuit to circuit. It may sail safe in some circuits (like Delhi-U.P.) on the strength of business in cities.

Released on 20-1-’99 at Minerva and 2 other cinemas and on 22-1-’99 at 11 more cinemas of Bombay thru V.I.P. Enterprises. Publicity: excellent. Opening: very good. …….Also released all over. Opening was fair in some circuits but poor in others. (1st day Jaipur 79,074/- (50.56%) from 2 cinemas.)

HUM AAPKE DIL MEIN REHTE HAIN

Suresh Productions’ Hum Aapke Dil Mein Rehte Hain is an unusual story about a boy entering into a one-year contract of marriage with a girl. At the end of the contract period, he decides to call it quits with the girl, although he likes her and finds her excelling in all household work. The reason for his separation is that she is not his idea of a wife. But once the separation comes around, the guy starts missing her and, slowly but surely, realises that she was, in fact, the perfect wife for him. He apologises to her but, having been humiliated by society, she is reluctant to forgive him and go back to him. Not the one to give up easily, he tries to woo her in every possible way. Ultimately, after a game of insults and counter-insults and also a good deal of melodrama, the girl realises her mistake in not overlooking her husband’s mistake. The two are then united.

The best part of the film is the novelty of its subject. Although the point of contract marriage may sound improbable (like the point of the wife selling her husband in Judaai), it is presented in a believable manner and so smoothy (again as in Judaai) that once the contract marriage is solemnised, the viewer doesn’t really mind its improbability. Yes, the reason for the hero agreeing to a contract marriage may be flimsy but that’s not the issue. Secondly, the reluctance of the wife to forgive her husband may look a bit too stretched in the post-interval portion but again, that may make the film seem a bit long but it cannot rob it of its intrinsic worth. The wife’s reluctance, however, could have been made more appealing had the director shown her humiliation in society not once but at least three or four times differently.

If the story is novel, the screenplay is quite consistently well-written. Dialogues (Jainendra Jain) are excellent at several places. Emotions touch the heart at times. Climax should have been more effective.

Anil Kapoor underplays his character beautifully and shines in a film that otherwise belongs to the heroine. His casual handling of the issue of contract marriage makes it pretty believable. He is excellent in the gode bharayee scene. Kajol is extraordinary and lives her role. Before marriage, as the sole bread-winner of a family of five, after marriage, as the caring wife and daughter-in-law, and after separation, as the unrelenting bold lady, she does it all with such sincerity that the viewer falls in love with her. Kajol is so natural that one’s heart goes out to her. Her emotional scene, in which she announces that the entire family would commit suicide together, shakes one to tears as much for its starkness as for the girl’s brilliant performance. Her fiery and emotional outburst against her family members in the second half is also excellent. She also looks pretty. Anupam Kher is good. Johny Lever, Satish Kaushik and Rakesh Bedi evoke laughter with their hilarious comedy. But it must be said here that their comedy track has no relation to the film’s subject. Besides, it gets repetitive after a while. Parmeet Sethi leaves a mark. Shakti Kapoor is wasted. Sudha Chandran, Smita Jayakar, Rajoo Shreshtha, Gracy Singh, Adi Irani, Mink, Sadhu Meher and Dinesh Hingoo lend admirable support.

Satish Kaushik’s direction deserves praise. His narration is smooth and the tense drama and comedy portions have been well-balanced. Anu Malik’s music is melodious but one misses the title song in the film (it comes in bits and parts and, therefore, loses in impact). Another good song, ‘Yehi mera dil hai’, will be added a couple of weeks later. ‘Chhup gaya badli mein chaand’ is appealing. The ‘Dil hai Hindustani’ number is weak. Song picturisations should have been better. Kabir Lal’s camerawork is marvellous. Other technical and production values are of standard.

On the whole, Hum Aapke Dil Mein Rehte Hain may be a slow starter (except in Bombay where it has opened to excellent houses) but it has the germs to pick up by word of mouth and on the strength of ladies and family audience. It has chances of proving class A.

Released on 22-1-’99 at Novelty, New Empire and 15 other cinemas of Bombay by Vimal Agarwal thru R.M. Ahuja & Co. Publicity & opening: excellent. …….Also released all over. Opening was ordinary in some circuits, dull in some and fairly good in others. (1st day Amravati 5 shows 23,800/-, 2nd day 4 shows 22,803/-; 1st day Jabalpur 5 shows 19,000/-, 2nd day 4 shows 18,200/-; 1st day Raipur 5 shows 22,000/-, 2nd day 4 shows 21,600/-; 1st day Bhilai 5 shows 14,306/-, 2nd day 4 shows 14,635/-; 1st day Chandrapur 5 shows 22,000/-, 2nd day 4 shows 20,700/-; 1st day Bilaspur 5 shows 30,500/-, 2nd day 4 shows 26,300/-; 2 days Indore 1,62,460/- from 4 cinemas; 1st day Jaipur 1,26,155/- (51.32%) from 4 cinemas.)

HU TU TU

Time Films International’s Hu Tu Tu (A) is a comment on political dramas being enacted today. It is about the power games played by politicians to further their personal interests which, almost always, are at variance with the interests of the nation. The daughter of a lady politician and the son of a super-rich industrialist fall in love with each other but before they can get married, are separated in a serious accident. Both of them, even when they are together, are disillusioned by the political games and disturbed by the plight of the common man. After the accident, the boy joins a terrorist group to seek justice from the evil politicians and, in one such attempt, has his ex-beloved kidnapped to settle scores with her mother. Ultimately, the two lovers get even with their mother (girl’s) and father (boy’s) who, in the meantime, have joined forces to take care of their personal gains. There is also a commoner Dalit leader who entertains his brethren with his witty and caustic comments while fighting for their rights too.

The subject is unusual but its treatment is so abstract that the narration bores the viewer no end. Continuity has not been cared for and the drama looks incomplete as the reasons for the behaviour of some characters at times are left to the intelligence of the viewer. A lot of the script is in the director’s mind but it never really comes out on the screen. The pace is so slow that viewing the film becomes a tedious and boring exercise. One actually wonders whether the director has made the film as an exercise in entertainment or in trying the audience’s patience. Frankly, not many among the audience would have the patience to see such a slow-moving film. Few among those who have the patience may have the inclination to go through the drama devoid of entertainment and full of tension.

Dialogues are very good at many places. But the Maharashtrian flavour and the Marathi language, used at several places in the film, further limits its appeal. Even the tunes of some songs have a predominantly Maharashtrian flavour. Climax, though predictable, is quite good.

Nana Patekar does well as the Dalit leader. Sunil Shetty is very effective and restrained in his performance that offers no scope for action which is his forte. Tabu is simply splendid. She lives the character she plays and comes up with a performance that’s heartwarmingly natural. In fact, Tabu’s award-winning performance is the best thing in the film. Suhasini Mulay is very natural as also effective. Dr. Mohan Agashe is fair. Kulbhushan Kharbanda does a capable job. Shivaji Satam leaves a mark. Raj Zutshi, Ajit Vachani and the others lend adequate support.

Director Gulzar seems to be under the mistaken impression that the public has plenty of patience and all the time in the world. Although his handling of the complex subject is very good, he adopts such an abstract style of narration that the film ultimately turns out to be a commentary for a very select elite audience. Its slow pace is unpardonable. Vishal’s music is good. ‘Chhai chhappa chhai’, ‘Gaphla hai’ and ‘Itna lamba kash lo yaaron’ are well-tuned. While the first-mentioned song has universal appeal, the second will be liked in Maharashtra. Lyrics are very meaningful. Action scenes are appropriate. Camerawork (Manmohan Singh and Rajen Kothari) is excellent. Other technical values are of a good standard. Art direction is superb.

On the whole, Hu Tu Tu is too slow, dry, dull and drab to appeal to the viewer. Except in Maharashtra and a couple of big cities, where it would fare a bit better, its box-office result would be disastrous.

Released on 20-1-’99 at New Excelsior and 10 other cinemas and on 22-1-’99 at 1 more cinema of Bombay by Time Films International thru Shringar Films. Publicity: excellent. Opening: very good. …….Also released all over. Opening was fair at some places but poor at many others.

LATEST POSITION

Despite Idd festival, none of the new releases could get the benefit all over India. The films did take good starts but that was not universal. However, films like KKHH, CHINA GATE and SOLDIER did record fantastic collections due to Idd.

……..

Soldier 9th week Bombay 8,48,434 (62.51%) from 4 cinemas (3 on F.H.); Ahmedabad 5,12,474 from 3 cinemas (1 unrecd.); Delhi 1,73,445; Kanpur 2,30,446 from 2 cinemas, Lucknow 1,80,984, Varanasi (27 shows) 1,45,613, Dehradun 87,555; Calcutta (6 days) 1,42,266; Nagpur 83,954 from 2 cinemas, 8th week Amravati (6 days) 46,627, 9th week Akola 75,601, Raipur (6 days) 39,362, 3rd week Jalgaon (6 days) 92,371, 9th Bilaspur (6 days) 32,300; Bhopal 1,20,000; Jaipur 2,50,434; Hyderabad 3,82,009.

Kuch Kuch Hota Hai 14th week Bombay 22,62,367 (64.04%) from 7 cinemas (4 on F.H.); Ahmedabad 5,21,682 from 3 cinemas, Baroda 1,61,068, Jamnagar (noon) 16,822; Solapur 1,23,396; Delhi 16,60,371 from 8 cinemas; Kanpur 2,21,673 from 2 cinemas, Lucknow 3,02,475, Dehradun 90,000; Calcutta 3,94,610 from 3 cinemas; Nagpur 1,04,210, 1st week Kamptee 71,316, 9th week Jabalpur 1,58,369, total 17,50,713, 14th week Amravati (6 days) 80,166, Akola 67,246, total 15,49,047, Raipur (6 days) 64,671, Bilaspur (6 days) 45,212, 2nd week Balaghat 80,696, total 1,61,392; 14th week Indore 1,09,490; Jaipur 4,70,492, Ajmer 60,026; Hyderabad 4,74,772 from 2 cinemas (1 in noon); Vijayawada 3 weeks’ total 3,54,052.

………

‘KKKH’ 100 DAYS

Yash Johar’s Kuch Kuch Hota Hai completed 100 days of its run today (23rd January) all over. Written and directed by debut-making Karan Johar, the film stars Shah Rukh Khan, Kajol, Ranee Mukerji, Johny Lever, Farida Jalal, Anupam Kher, Archna Pooran Singh, Reema, Himani Shivpuri, master Parzan Dastur, baby Sana Saeed and Salman Khan and Neelam in friendly appearances. Its music is scored by Jatin Lalit.

G.P. SHIRKE DEAD

Producer G.P. Shirke expired on 20th January in Bombay. He was president of the Chamber of Motion Picture Producers and the Western India Film Producers Association, chairman of the Film Makers’ Combine and also chief of the Shiv Sena Chitrapat Shakha.

A meeting to condole his death was held at IMPPA House on 21st January.

PRADEEP CHHABRA DEAD

Pradeep R. Chhabra, son of late Ramchandra Chhabra of Chhabra Film Exchange, Bombay, expired on 22nd January due to heart failure. He was rushed to Jaslok Hospital after he complained of uneasiness. He breathed his last soon thereafter at the hospital.

He was 42 and is survived by his wife, two sons and a daughter.

DO YOU KNOW?

* The Murad family seems to have a strong affinity for the title APRADHI KAUN. Actor Murad appeared in Bimal Roy’s film of that title in 1956. His son, Raza Murad, acted in Mohan Bhakri’s film of the same title in 1982. Mohan Bhakri is once again making APRADHI KAUN? and has singed up Raza Murad for a role in it. What’s more, Raza was also seen in a television serial of that name in 1985.

* KKHH is the 10th film to celebrate 100 days’ run at Vasant Talkies, Akola. The earlier nine films in the same league are GOPI, PREMNAGAR, KRANTI, DESH PREMEE, MUQADDAR KA SIKANDAR, NAGINA, HUM AAPKE HAIN KOUN..!, RAJA HINDUSTANI and DIL TO PAGAL HAI.

ANNOUNCEMENT & LAUNCHING

‘Har Dil Jo Pyar Karega’ To Roll

Nadiadwala Grandson’s Har Dil Jo Pyar Karega will be shot from Jan. 27 till Feb. 4 in Bombay. A team of experts from America will picturise thrilling scenes (with special effects to be done by CMM) on two Rajdhani trains between Bombay Central and New Delhi. Salman Khan, Karisma Kapoor and Ranee Mukerji will participate. Producer: Sajid Nadiadwala. Director: Raj Kanwar. Screenplay: Rumi Jafri. Dialogues: Javed Siddiqi. Scenario: Rakesh Malhotra. Lyrics: Sameer. Music: Anu Malik. Cinematography: W.B. Rao. Action: Abbas. Editor: A. Muthu.

3-E
Education-Entertainment-Enlightenment

Who’s The Winner? Nobody!

Four big films were released this week to take advantage of the Idd festival. But the funny part is that no film can claim to have reaped the benefit of the festival throughout India. If one film opened well in Bombay, its opening in C.I. and Rajasthan left a lot to be desired. If another had a decent opening in Maharashtra, its collections in some other circuits were pathetic. If a third opened to full houses in Patna, its opening day’s collections in Gujarat were 40%! Not only did Idd not prove bountiful for the films, the excess number of releases simultaneously also cut into one another’s collections. So there!

Varma’s Ventures

After completing Kaun, which has just one song, director Ramgopal Varma has now started shooting Mast which has — hold your breath — 11 songs! The music is scored by Sandeep Chowta, a well-known name in the South. Sandeep had recorded the background music in Ramgopal Varma’s Satya and has also composed the background score in his current Kaun. After Mast, which is supposed to be a ‘quickie’ (it is scheduled for a June ’99 release), Varma will soon start another film, starring Shah Rukh Khan.

No Difference

Producer Salim has shot a new climax for Mehndi. The new-look Mehndi was released yesterday but the response to the film is said to be not very different from what it was with the old climax.

INFORMATION MEETS

“I want to be the third consecutive generation of my family to bag the Dadasaheb Phalke award”

– RISHI KAPOOR

KOMAL NAHTA

Rishi Kapoor is a kid. And not just because his pet name is Chintu. But the way in which this 40-plus actor-turned-director runs away from any attempt to get him down to giving an interview, it is hardly any different from a 3-year old’s fear of holding a burning sparkler (phuljadi) in his hand. Not the one to let him get away with his “no”, you track him down to Empire Audio Centre on the last day of mixing of his first film as director, Aa Ab Laut Chalen. Amusingly, it is the film’s first reel that’s last to be mixed that morning after which recordist Anup Dev announces, “It’s over. We are through.” Chintu can’t believe it. “Really? Mera kaam khatm? Ab main kya karoonga? I’ve no work left! You mean, I can go home?” The child in Chintu has surfaced once again. Thanking Anup and the others in the room profusely for their unstinted support, he then moves out to thank everyone at Empire from owner Gaffarbhai Nadiadwala down to the office boys, shaking hands with every one of them, appreciating their efforts and support. He reveals later, “It was a very emotional moment, you know. Today is a very important day in my life. Now my job as director is over. Whatever I could do, I’ve done. Now let’s see what the public has to say about my labour of love.”

But before the people can say what they would have to say about Aa Ab Laut Chalen, you are there to know what Rishi has to say about the film and the filmmaking experience. “Nahin yaar, don’t be stupid,” he laughs. “Main kya boloon? I’m too embarrassed, chhod na! People know what kind of an actor I am — good, bad, ugly, whatever. As for the kind of director I am, what can I say? It’s my first film, let them see and decide for themselves. Forget it, yaar. I’m not too publicity-savvy, I can’t talk about myself, I’m…..” You don’t leave him, you pester him. Till he finally agrees to talk. You are happy. But your joy is short-lived. Because after every three or four sentences, Chintu tells you, “This is off-record” or “This is not for printing” or “Don’t write this” or, when he feels like being mischievous, “See, if you print this, I will hit you.”

Even though he won’t hit you, you don’t feel like letting down good old Chintu. You listen intently to what he has to say, on record as well as off record, and you realise that most of what is said off-record is about his supreme confidence in the film, its music, the performances of his cast etc. “I don’t want to sound haughty, let my film speak for itself,” he tells you while giving you the reason for speaking about so many things off-record. And so, if this interview reads disjointed, blame it on Chintu.

How does it feel to have directed a film? Is it as gratifying an experience as being an actor?
– More gratifying than that! As a director, I was totally in charge. I’ve thoroughly enjoyed myself, directing the film has been a great feeling. The whole experience is so creative. If you ask me, I’d say, every actor should become a director.

Do you mean to say that an actor is incomplete till he turns director?
– See, as a director, you’ve got so many roles to play. I’ve made Aa Ab Laut Chalen exactly the way I had wanted to. I’ve brought on screen what I had in mind. And for this, I have to thank my brothers, Randhir and Chimpu, without whom the film would not have been possible. About the film, I can say that it’s a very natural, real film. It’s a logical drama, it is what normal human beings would do in given situations. I’ve gone completely by the script. The film doesn’t have shots for the sake of shots, if they are there, they had to be there. That is why, you won’t find anything larger than life in my film. Of course, you don’t have background music in real life but my film has it. That’s because the medium of cinema requires it. Beyond these cinematic requirements, my film is as natural as can be. You may call it good, bad or ugly, but you can’t say, it’s unrealistic.

Since you are an actor yourself, did you enact the scenes to your artistes everytime?
– No, I never enacted scenes because, had I enacted them, everybody would have been Rishi Kapoor in the film! I used to only fine-tune the performances. I myself have never been a stylised actor. Like I am a spontaneous actor, I am also a spontaneous director. I never did any homework as an actor and, likewise, as a director. Of course, I had an absolutely bound script before I began shooting, but the daily shooting used to be spontaneous work.

Are you facing problems in respect of the price of your film because your hero, Akshaye Khanna’s past films have bombed?
– We’ve not sold our film on Akshaye’s name, so why blame him? Even when I signed Akshaye, he just had a Himalayputra behind him. I took him because he suited the role. In fact, all my artistes are going through professional lows but I take that as a challenge. I know one thing and that is, all of them have done tremendous work in my film, they’ve given me what I wanted and whatever was required of them. I couldn’t have asked for anything better. Irrespective of how the film fares at the box-office, I’ll say, I’m very very happy with my cast. And I may add here, the R.K. banner has always made films with conviction, not with stars. And you never know, like Soldier took a bumper opening despite Bobby Deol not being ‘hot’, Aa Ab Laut Chalen, too, may open well notwithstanding Akshaye’s past debacles. Miracles can happen.

Is there a move by distributors to seek a price reduction?
– We ourselves have voluntarily reduced the ratio from 2 to 1.75, looking to the present scenario. If one or two distributors do insist on a further price reduction, we will at least know that they are not worthy of being called our “permanent distributors”. We will not let there be any delivery tension but then we will know whom to deal with in the future. If I had the courage to show my film to all the distributors two months before release, there must be something in the film, right? I’m embarrassed to say this myself but just yesterday, my West Bengal and Bihar distributor, Sanjay Suchanti, and Rajasthan distributor, Sunderdas Sonkiya, saw the film and rushed from R.K. Studio to Empire (where I was mixing) well past midnight to compliment me. Sanjay Suchanti hugged me and started crying like a child — crying tears of joy.

Is your film a conscious attempt to target the Overseas audience in particular?
– Not at all. My story is based in a foreign land. Unlike other directors who go abroad to shoot only their songs, I had to go there because my story demanded it. The film will find identification everywhere. Everyone moves on in life for better prospects. A guy from Patna may come to Bombay to make a living, a man form Nanded may go to Pune. In my film, the hero goes from Delhi to New York. The film has an important lesson for the educated youth of India.

Do you think, the formidable R.K. banner has been a boon for you or a disadvantage?
– Definitely a boon. There is something called banner-loyalty. Aa Ab Laut Chalen is our third film after my dad’s demise. Although Prem Granth did not do well, our distributors haven’t deserted us. This is what is called banner loyalty or brand loyalty. As we brothers always tell our distributors, “We won’t leave you, may leave us if you so desire.”

What you are speaking about is banner-loyalty of distributors. Is there also banner-loyalty of the public?
– Yes, of course.

Then where was that loyalty at the time of PREM GRANTH? It took a bad start everywhere.
– Maybe Rishi Kapoor in Prem Granth was not the right choice. I was at the end of the road. The public is very smart, it can smell a film. It is likely that the public did not want to see me in Prem Granth.

Coming back to AA AB LAUT CHALEN, how many shifts have you shot it in? Has it been made in the scheduled budget?
– This is R.K. banner’s first film to have been completed so fast. I shot for just 150 days and that includes travelling and cancellations due to bad weather etc. Considering, it’s my first attempt at direction, it is creditable, I think, that I’ve not done a single day’s reshooting or even a single day’s patchwork shooting. And I might add here, my film has 18 important characters. I’ve not exposed more than 1,75,000 feet of raw stock. As for the expenditure involved, we have spent a fortune but that’s because it was the demand of the script. On the day of delivery, we will be in a deficit of over 2 crore but we are confident of our product. Besides, the film is being released in the Overseas in our account. I’m happy, there has been no wastage.

Why aren’t you having a premiere? Raj Kapoor Sahab was the showman. Doesn’t his son believe in showmanship?
– Where’s the time for the premiere? I’m mixing till today. Besides, I’m not very comfortable with premieres of my films. Maybe, I haven’t inherited this trait from my father. I can’t stand with folded hands at the exit of the cinema after the premiere show, waiting for bouquets and hoping, there’ll be no brickbats. I’m like that only, what to do? Besides, even if I had wanted to have a premiere, I’d not hold one unless it was absolutely well-planned. But yes, there will be a premiere in the USA and another one in London. And there’s one in Delhi too, but that’s a charity premiere.

Before we split, tell me, do you subscribe to the view that a film is made or marred on the editing table?
– That’s a good quotable quote, but the truth is not that. Your writing is what makes or mars your film. The script has got to be very good. I feel, my film has a lot of story material. Once you have a good script, you must make your film with confidence and conviction.

Any parting shot?
– I am working towards one goal — to win the Dadasaheb Phalke award. Both, my grandfather, Prithviraj Kapoor, and my father, Raj Kapoor, were honoured with the prestigious award, and I want to be the third consecutive generation of my family to some day bag the Dadasaheb Phalke award. My close friend and C.I. distributor, J.P. Chowksey, told me to make the Phalke award my goal, and I’ve done that…..

BABY BOY FOR GUDDU DHANOA

Santosh, wife of producer-director Guddu Dhanoa, gave birth to a baby boy on 9th January in Bombay. This is the couple’s first child and he has been christened Jeet. Incidentally, 9th January was also the wedding anniversary of Guddu and Santosh.

ZEE TO AIR EIGHT NEW CHANNELS

Zee Telefilms has announced its plans to launch eight new pay channels, including six regional channels, in the near future. The channels will be uplinked from India and will be transmitted digitally. The overall investment will be in the region of Rs. 110 crore. In the meantime, the Zee management has decided not to pursue its proposed merger with Star Network till a fair valuation of Zee Group’s business was arrived at.

The company has also announced its unaudited financial results for the third quarter ending 31st Dec., 1998, according to which the company has recorded a net profit of Rs. 14.36 crore (up 41% from the same period last year) against an income of Rs. 63.81 crore (up 21%).

M.B. SAMANT ELECTED CAA PRESIDENT

M.B. Samant was elected president of the Cine Advertisers’ Association for 1999-2000 at a meeting of its council of management held on 9th January. Ochhavlal was elected vice president, Brij Mittle, hon. secretary, and Kalgutkar, hon. treasurer. The other members of the executive committee are Satish Agarwal, Arvind Jhaveri, Chandrakant, Achal Agarwal, Garg, Balkrishna Vaidya and Mukesh Vasani.

ANJAN SHRIVASTAVA’S INTEGRATION MEET ’99

Actor and ex-MP Sunil Dutt was the chief guest at the Integration Meet ’99 on 9th January at Rang Sharda, Bandra, Bombay. Organised by actor Anjan Shrivastava and Allahabad Bank (where the actor has served for 30 years), the event was attended by many notable film personalities and other socialites. January 9 was the last day of Anjan Shrivastava’s service with Allahabad Bank.

J.P. Dutta, Amrish Puri, Danny Denzongpa, Mukesh Tiwari, Anjan Shrivastava, Kundan Shah, Bharati Achrekar, Sultan Ahmed, Ramesh Talwar, Siddharth Kak, Sanjay Chhel, Ram Mohan, K.K. Raina, Avtar Gill, Madhav Moghe, Rajeshwari, Neha Sharad, Udit Narayan and Ila Arun were felicitated. Shatrughan Sinha, MP, was also honoured at the meet. Playback singer Mubarak Begum was presented a purse of Rs. 5,000. Veteran film journalist R.M. Mishra (Cine Advance) was also felicitated. Rich tributes were paid to late lyricist Pradeep who had penned many popular songs on nationalism and national integration.

Anjan Shrivastava announced in his farewell speech that he was instituting an annual award for the best candidate of the CAIID, in memory of his late father, M.P. Shrivastava, who also served Allahabad Bank.

FIRST CONVICTION FOR VIDEO PIRACY

The Delhi metropolitan magistrate’s court has convicted a local video library owner for video piracy. Dinesh Chhabra was sentenced to a year’s imprisonment and charged a fine of Rs. 5,000 under sections 63 and 68-A of the Copyright Act. This is the first time that anyone has been convicted under the Act.

Chhabra had been found in possession of 403 unauthorised video cassettes of Hindi and Punjabi feature films, when the police had raided his video library in November ’86. The police had acted on a complaint filed by Neelakanth Shetgiri, director, Neha Films Pvt. Ltd.

The counsel for Chhabra said, the accused was a juvenile when he committed the crime, so the trial should be declared null and void. But the magistrate over-ruled the plea, stating that the accused had not produced anything on record to substantiate it.

The metropolitan magistrate remarked, “Such offences are to be taken seriously and should be considered economic offences.”

Citing a previous judgement, State of Gujarat vs. Mohan Lal and others, it was held that an economic offence is committed with cool calculation and deliberate design, with an eye on personal profit regardless of the consequences. A disregard for the interest of the community can be manifested only at the cost of forfeiting the trust and faith of the community in the system to administer justice, in an even handled manner, without fear of criticism from the quarters which view white collar crimes with a permissive eye, unmindful of the damage done to the national economy and national interest.

The judgement also quoted the Amendment Act 1965 of 1984. “There is three types of piracy — printed word, sound recording and cinematograph films. In all cases, the object is to make quick money and avoid payment of legitimate taxes and royalties.”

‘ZAKHM’ TAX-FREE IN MADHYA PRADESH

Mahesh Bhatt’s Zakhm has been granted exemption from payment of entertainment tax in Madhya Pradesh for 6 months with a maximum of two weeks per centre.

SURESH ISSAR, PUNIT ISSAR BEREAVED

Sarojini Devi, wife of director Sudesh Issar and mother of actor-director Punit Issar, expired on 13th January in Bombay. Chautha ceremony will be held today (Jan. 16) between 4.30 p.m. and 5.30 p.m. at Arya Samaj, Santacruz, Bombay.

YOU ASKED IT

Now that the Overseas market has grown so huge, will it result in Indian territorial prices of films coming down?

– The Overseas market has grown for barely 10% of the films — those starring heroes who are ‘hot’ there. So where’s the question of Indian territorial prices coming down because of that? Secondly, have you heard of anything coming down in this industry?

Is it a fact that producers are now allowed to shoot on second Sundays too?

– Yes, the Federation of Western India Cine Employees, in a meeting of its general council held on 25th November, 1998, unanimously decided to do away with the compulsory holiday on second Sundays. Producers are, therefore, now free to shoot on second Sundays.

After Mithun Chakraborty, who is the busiest actor with the maximum number of under-production films?

– Govinda and Jackie Shroff. Each of them has about 10 to 15 films under production.

DO YOU KNOW?

* Raveena Tondon is playing the female lead in top South film director Upendra’s Tamil-Telugu bilingual, titled UPENDRA. Besides producing and directing the film, Upendra will also cinematograph it, score its music and play the hero in it. Upendra’s last film, titled simply A, was a runaway hit.

* Tips, the producers of KACHCHE DHAAGE, are leaving no stone unturned to woo the Muslim population on the occasion of Idd. They have had special posters of the film (printed in Hyderabad), wishing ‘Idd Mubarak’ to all Muslims. The first batch of 5,000 attractive 30″ x 40″ posters has already arrived in Bombay for display in the circuit. Moreover, Tips have also released a special audio cassette of just the qawwali number from the film. The number is composed and rendered by late Nusrat Fateh Ali Khan. These cassettes will be distributed free of cost among Muslims mainly.

CENSOR NEWS

R.K. Films & Studios’ Aa Ab Laut Chalen, seen on 12th, has been issued C.C. No. CIL/1/4/99 (U) dt. 15-1-’99; length 4848.07 metres in 19 reels (cuts: 26.67 metres and replacement: 26.67 metres).

Warner Brothers’ (USA) Tej Raftar (dubbed), applied on 12th and seen the same day, has been issued C.C. No. CFL/2/2/99 (UA) dt. 14-1-’99; length 2679.50 metres in 5 reels (no cut). Applicant: Warner Brothers (F.E.) Inc.

Aabha Films’ Shera has been passed for adults, with cuts.

5000 Films’ Murda Ghar has been refused certificate.

Ishwar Films’ Khooni Ilaaka (re-revised) has been passed with UA certificate, with cuts.

Karishma International’s Kaala Samrajya was seen by the revising committee on 11th.

Columbia Tristar Films’ Khooni Aahat (dubbed) was seen on 13th.

Bhooshan Films’ Dracula (length 2322.30 metres in 12 reels), applied on 11th, was seen on 15th.

Film Works India’s Bombay Boys (dubbed; length 2860.29 metres in 5 reels), applied on 12th and seen on 14th, has been offered some cuts in sound.

3-E
Education-Entertainment-Enlightenment

Star Tallies

That 1999 will see the release of films of almost all the top directors is common knowledge now. Subhash Ghai, Rakesh Roshan, Sooraj Barjatya, Rajkumar Santoshi, Indra Kumar, Raj Kanwar, Dharmesh Darshan, Abbas-Mustan and David Dhawan will all have a film of theirs hitting the screens. David Dhawan, of course, may have three or even more releases this year.

And what about the heroes? Amitabh Bachchan could have four or five releases. Lal Baadshah, Kohram, Hindustan Ki Kasam, Sooryavansham and S. Raamanathan’s untitled film are all racing towards completion.

Shah Rukh Khan has Badshah, Aap Mere Hain Sanam, Josh and K. Sashilal Nair’s film (is it called One Two Ka Four?) to look forward to.

Mann, Mela, Sarfarosh and 1947 (Earth) will be Aamir’s list for this year.

Salman Khan will be seen in plenty of films. Take a look at his list: Jaanam Samjha Karo, Biwi No. 1, Hum Dil De Chuke Sanam, Hum Saath Saath Hain, Aap Mere Hain Sanam, Chal Mere Bhai and Hello Brother.

Govinda, the busiest hero after Mithun Chakraborty, may have six to right releases in 1999. Among his under-production films at various stages are Anari No. 1, Rajaji, Kunwara, Albela, Dil Ki Dhadkan, Dil Ke Aas Paas, Hadh Kardi Aapne, Hum Tum Pe Marte Hain, Shikari and Chalo Ishq Ladayen.

Anil Kapoor, who will begin his account in the new year with Hum Aapke Dil Mein Rehte Hain next week, will also be seen in Pukaar, Biwi No. 1, Taal and Bulundi for sure. His Aankh Micholi has just started but you never know, that too just might make it.

Akshaye Khanna, too, is set to start his account next week with Aa Ab Laut Chalen, to be followed by Laawaris, Dahek and Taal.

Sunny Deol will have his own directorial venture, Dillagi, releasing in 1999. His other under-production films are  Arjun Pandit, Farz, Champion, Pyar Koi Khel Nahin and some more.

Bobby Deol is the other hero in Sunny’s Dillagi. Deol Jr. also has Hum To Mohabbat Karega and Salim’s untitled film due this year, besides a couple of other films, maybe.

Ajay Devgan may well have six to seven releases beginning with Kachche Dhaage. Among the seven, there will be dad Veeru Devgan’s Hindustan Ki Kasam. Then there’s Takshak, Hogi Pyar Ki Jeet, Chhalia, Aankh Micholi, Dil Kya Kare and a couple of others.

Akshay Kumar and Sunil Shetty may have five/six and seven/eight releases respectively. Mithun Chakraborty may have almost 20 in 1999! Sanjay Dutt, too, may be seen in seven or eight films this year. His first release will be Daag – The Fire.

Odd Release Due To Idd

With Idd due on 20th, almost all the releases of next week will come on Wednesday (20th) instead of the customary Thursday/Friday. With the Idd holiday on 20th and another public holiday on 26th January (Republic Day), the week may well prove to be bountiful for all the new releases. Perhaps, the dull Ramzan period that concludes on 20th and the Republic Day holiday are the two main reasons for there being four star-cast films — Aa Ab Laut Chalen, Hum Aapke Dil Mein Rehte Hain, Hu Tu Tu and Bade Dilwala — due for release next week.

Censorship And R.K. Banner

Whoever thought that the CBFC bowing down to public outcry against films after their release is a recent phenomenon must read the following:

As far back as in 1949, the certificate of Raj Kapoor’s Barsaat was changed to ‘A’ — six months after the film’s release with a ‘U’ certificate! Apparently, a lot of people objected to — believe it or not! — a scene in the film where the heroine was shown clad in a salwar-kameez but without the duppatta! Another of the showman’s many films, Awara (1951), also witnessed the changing of its certificate from ‘U’ to ‘A’ months after its release. His Jaagte Raho (1956) invited the wrath of the Sikh community which protested vehemently against a character playing with a Sikh character’s turban in the song Main jhooth bole na in the film. Jis Desh Mein Ganga Behti Hai (1960) had to be reshot, in parts, after its release because people found Padmini’s costumes and dance in the song O maine pyaar kiya too objectionable. Sangam (1964) had a similar problem — this time with Vyjayanthimala. The song, Main ka karoon Ram / mujhe buddha mil gaya, but of course! Simi’s steamy scenes were also too hard for the masses to handle in Mera Naam Joker (1970). Net result: Raj Kapoor had trouble once again after his film’s release. Even Ram Teri Ganga Maili, released with ‘U’ certificate in 1985, was reviewed on public demand, six months after its release. Subsequently, its certificate was changed to ‘UA’.

No Khandala Invitations, Please

The censors have reportedly objected to the patent dialogue of Shakti Kapoor in Zameen Ke Neeche, which goes thus: “Aati kya Khandala?”. Obviously inspired by the hit song from Ghulam, the producers must’ve never imagined that this seemingly innocuous dialogue would upset the censors, especially because the song from Ghulam was cleared without any hitch. But like one man’s food can be another man’s poison, one actor’s popular dialogue/song can be taboo for another actor. Shakti Kapoor plays a policeman in Zameen Ke Neeche and he is shown asking the question to every girl he encounters. This, perhaps, in the opinion of the CBFC, would lower the respectability of policemen in the eyes of the public. That is why, the CBFC wants this dialogue in every scene that it appears, chopped off and, perhaps, buried zameen ke neeche!

1948 Humour

A scene in Raj Kapoor’s Aag (1948) was heavily objected to by an esteemed member of the censor board, much to the filmmaker’s dismay. The showman was asked to change the dialogue where a father rebukes his son, “Tu iss gaddi par baithega?” Great confusion and a lot of explanations later, Raj Kapoor was able to finally convince the objecting member, who came from a non-Hindi-speaking community, that gaddi is not the same word as the Hindi word for a female donkey!

DILIP KUMAR RECOVERING

Dilip Kumar, who underwent bypass surgery of the heart on 1st January at Lilavati Hospital, Bandra, Bombay, is recuperating.

‘PYAAR TO HONA HI THA’ SILVER JUBILEE

Baba Films’ Pyaar To Hona Hi Tha entered combined silver jubilee week on 8th January at Alankar, Bombay (in matinee shows). The film stars Ajay Devgan, Kajol, Om Puri, Bijay Anand and Kashmira Shah. Producer: Gordhan Tanwani. Director: Anees Bazmee. Music: Jatin Lalit. Lyrics: Sameer.

KARISMA KAPOOR INJURED

Karisma Kapoor was injured recently while shooting for Hum Saath Saath Hain. She, however, participated in the shooting of Biwi No. 1 in Hyderabad last week and this, for scenes not requiring much movement. Since she is not completely alright, she has been advised rest. Following her injury, the foreign shooting schedule of Haseena Maan Jayegi, starring her, has had to be postponed. The schedule was to have begun this week.

TWO AHMEDABAD CINEMAS RAIDED FOR SCREENING ‘BITS’

Two Ahmedabad cinemas viz. Hanjer and Sheetal, Gomtipur, were raided by the city police last week, following a tip-off that the cinemas were screening uncensored portions from foreign erotic films. During the raid, it was discovered that uncensored ‘bits’, added to Jail House Girl (at Hanjer) and Chained Girls (at Sheetal), were being screened regularly in the late night shows. Nine persons, including the manager and staff of Sheetal cinema, were arrested, while action was initiated against Harish Popat, the manager of Hanjer cinema.

GIRISH SHAH’S DAUGHTER TO WED

Marriage of Kunti, daughter of Gujarat distributor-exhibitor Girish Shah, with Anand will be solemnised on 24th January in Ahmedabad. A reception will be held the same evening.

PRODUCTION NEWS

Salim’s Film In Full Swing

The unit of Aftab Music Industries’ Prod. No. 7 left on Jan. 6 for a 7-day shooting stint at Khandala. The film is being produced by Salim and stars Bobby Deol, Rani Mukerji, Kulbhushan Kharbanda, Ashish Vidyarthi, Ashutosh Rana, Vishwajeet Pradhan, Razzak Khan, Mushtaq Khan and Amrish Puri. Story writer & director: Raj Kanwar. Screenplay: Robin Bhatt and Sutanu Gupta. Dialogues: Santosh Saroj. Music director Anu Malik recorded the first song of the film at Sahara India on Jan. 5. It was penned by Sameer.

‘Arjun Pandit’ In Dehradun, Hardwar

Ratan International’s Arjun Pandit is being shot in Dehradun, Hardwar and Rishikesh. Sunny Deol, Juhi Chawla, Shahbaaz Khan and others are participating in the month-long schedule. The film is being directed by Rahul Rawail for producer Babloo (N.R.) Pachisia.

‘Pukaar’ Complete

Boney Kapoor and S.K. Films Enterprises’ Pukaar is complete following the 4-day shooting spell at Surve Farm in Panvel near Bombay. Only a few days’ patchwork shooting now remains to be done. Directed by Rajkumar Santoshi for producer Surinder Kapoor, the film stars Anil Kapoor, Madhuri Dixit, Namrata Shirodkar, Mukesh Rishi, Girish Karnad, Mohan Agashe, Om Puri, Govind Namdeo and Danny Denzongpa. Majrooh Sultanpuri’s lyrics are set to tune by A.R. Rahman. Action: Tinnu Verma. Bharat Shah is the associate producer.

‘Aa Ab Laut Chalen’ On January 22

The first copy of R.K. Films & Studios P. Ltd.’s Aa Ab Laut Chalen will come out today (Jan. 9). It will be seen by the CBFC on Jan. 11/12. The film, directed by Rishi Kapoor and produced by him jointly with Randhir Kapoor and Rajiv Kapoor, stars Rajesh Khanna, Akshaye Khanna, Aishwarya Rai, Suman Ranganathan, Moushumi Chatterjee, Paresh Rawal, Jaspal Bhatti, Satish Kaushik and Kader Khan. Music is scored by Nadeem Shravan and lyrics are penned by Sameer. The film will be released positively on January 22.

Shah Rukh, Juhi Starrer Progresses

Director Shashilal K. Nair began a 13-day shooting spell of Glamour Films’ Prod. No. 2 on different locales of Bombay on Jan. 4. Shah Rukh Khan and Juhi Chawla are participating alongwith Nirmal Pandey, Bharat Dabholkar, Dilip Joshi, Rehman Naushad and child artistes. Jackie Shroff also plays a stellar role in the film being produced by Nazir Ahmed. It has music by A.R. Rahman and lyrics by Mehboob. Dialogues: Sanjay Chhel. Cinematography: S. Kumar. Art: Nitin Desai.

‘Haseena Maan Jayegi’ 8-Day Spell

An 8-day shooting stint of Rahul Productions’ Haseena Maan Jayegi will begin in Bombay on various locations from Jan. 13. Sanjay Dutt, Govinda, Kader Khan, Anupam Kher, Satish Kaushik, Aroona Irani, Razzak Khan and Ashish Vidyarthi will participate. The film, being directed by David Dhawan for producer Smita Thackeray, stars Karisma Kapoor and Pooja Batra in the female leads. Other cast: Paresh Rawal, Mohan Joshi, Aasif Sheikh, Pushpa Verma, Asrani and Bindu (in a guest appearance). Story-screenplay: Yunus Sejawal and Imtiaz Patel. Dialogues: Rumi Jafri. Music: Anu Malik. Lyrics: Sameer. Cinematographer: K.S. Prakash Rao. Art: R. Verman. Bharat Shah presents the film.

Chandrachur Starts Dubbing For ‘Silsila Hai Pyar Ka’

Chandrachur Singh commenced his dubbing for N.N. Sippy Productions’ Silsila Hai Pyar Ka yesterday (Jan. 8) at B.R. The film, shooting of which is almost complete, co-stars Karisma Kapoor, Shakti Kapoor, Mishka Khanna, Aroona Irani, Saeed Jaffrey, Nilam Singh, Alok Nath and Danny Denzongpa. It is directed by Shrabani Deodhar for producer N.N. Sippy. Cameraman: Debu Deodhar. Music: Jatin Lalit. Lyrics: Sameer.

SIGNED

Dev Anand Signs New Girl For ‘Censor’

Dev Anand will introduce Mohini Sharma in his new film, Censor. She will play the romantic lead opposite Vinay Anand.

YOU ASKED IT

What, according to you, should have been the correct price of China Gate for a major circuit, taking into consideration its cast and director but not bearing in mind its cost and business?

– The appropriate price would have been Rs. 1 to 1.25 crore per major circuit.

How many releases will Aamir Khan have in 1999?

– Four — SARFAROSH, 1947 (EARTH), MANN and MELA. In all probability, all the four will be released before August.

What price would an ‘A’ grade producer’s Shah Rukh Khan starrer fetch for the Overseas circuit?

– More than 6 crore! Maybe, even 7 to 8 crore.

CENSOR NEWS

Suresh Productions’ Hum Aapke Dil Mein Rehte Hain, seen on 8th in Hyderabad, has been passed with U certificate, without cut.

R.K. Films & Studios’ Aa Ab Laut Chalen (length 4848.05 metres in 19 reels) was applied on 8th.

Jackie Shroff Entertainment Ltd.’s Grahan (length 4276.04 metres in 16 reels), applied on 5th and seen on 6th, has been passed for adults, with cuts.

IMPORTED FILMS

Pam Coats & Buena Vista International’s Mulan was given C.C. No. CFL/1/1/99 (U) dt. 4-1-’99; length 2406.45 metres in 5 reels (no cut). Applicant: Columbia Tristar Films of India Ltd.

D.R.M. Combines’ Mata Hari was seen on 5th.

Columbia Tristar Films of India Ltd.’s Jane Austin’s Mafia was applied on 6th, and I Still Know What You Did Last Summer was applied on 7th.

Warner Brothers (F.E.) Inc.’s Blade (revised) was applied on 5th.

Virgo Films’ Snake Lady was applied on 6th.

20th Century Fox India Inc.’s The Siege was applied on 7th.

Koneru Films’ Save Me was applied on 8th.

DO YOU KNOW?

* The video cassettes of Rajshri’s blockbuster, HUM AAPKE HAIN KOUN..!, were released on 30th December ’98 — that is, more than four years after the film’s theatrical release. Ultra has released the video cassettes with beautiful packaging. Ultra had also released Rajshri’s earlier hit, MAINE PYAR KIYA, on video on the same date nine years earlier — that is, on 30th December, 1989.

* The Bombay distributors of PYAAR TO HONA HI THA have released 25 prints of the film this week in Bombay city and suburbs and Maharashtra to coincide with the film’s silver jubilee. The same distributors (Devgan’s Entertainment) had revived their ISHQ with 50 prints in its golden jubilee week last year.

* A Tamil film — RAJASTHAN — will be released on 14th January in the Overseas circuit with as many as 150 prints! No film, not even a Hindi one, has so far been released in Overseas with such a large number of prints. The film, directed by R.K. Selvamani, stars Sarath Kumar and Vijayashanti and has cost about Rs. 20 crore to make!

* V.N. Films, the Miraj district sub-distributor of KKHH, has sent expensive vinyl boards of the film for display at ‘B’ and ‘C’ class centres of Miraj region. This is, perhaps, the first time that such expensive publicity is being displayed in ‘B’ and ‘C’ class centres like Wadgaon, Shirol, Wai and Gadhinglaj.

* FIRE, which was released in Hardwar at Payal Palace last week without prior publicity, collected only 4,602/- on the opening day but the week closed at 78,565/-. Two shows on the second day were cancelled due to agitation against the film by Bajrang Dal activists, and it collected 1,883/- in the remaining two shows. But collections shot up from third day (due to publicity by cinema management as also the controversy). The collections were: 3rd day 11,870/-, 4th day 12,964/-, 5th day 13,612/-, 6th day 20,926/-, and 7th day 12,708/-.

3-E
Education-Entertainment-Enlightenment

Bhatti Springs One More

Trust Jaspal Bhatti to come up with something like this. The master satirist thought up a clever gimmick for the premiere release of his Mahaul Theek Hai (Punjabi) at Batra cinema, Chandigarh, a couple of weeks back. On the occasion, Bhatti invited the director general of police of Punjab & Haryana and in his presence, he felicitated three top black marketeers of cinema tickets in Chandigarh. He offered them shawls and coconuts and reasoned, among peals of laughter, that he was doing so simply because it is the black marketeer who has the power to make or break a film.

Line Inspectors Aapke Office Mein Rehte Hain?

Producer D. Rama Naidu has appointed 25 line inspectors to supervise the business transacted by the distributors of his forthcoming, Hum Aapke Dil Mein Rehte Hain. The line inspectors will visit distributors of the various territories and oversee the film’s business in the different circuits. Last heard, the distributors were humming something to the effect of Hum aapke sar pe baith-te hain…!

The Birthday That Never Was

“Happy birthday” and “Many happy returns of the day” read the messages on the numerous bouquets of flowers top financier Bharat Shah received on 2nd January. But it wasn’t his birthday that day. Obviously, some florist, who had sent out a list of birthdays, had goofed up and the result was that Shah had his house full of flowers sent by friends. Incidentally, Bharat Shah is a Leo and his birthday falls on 5th August.

A Hit Film: Reason To Rejoice Or Repent?

It would shock trade people to know that although Bandhan has done and is still doing wonderful business all over India, its producers have not received a single naya paisa as their share of overflow from distributors of most of the circuits. And this when the successful film is celebrating 100 glorious days of its run everywhere today. Glorious? Yes, of course, for the distributors who paid reasonable MG royalties (at places, the ratio was less than a crore) for the film. But there’s nothing glorious about its success for the producers, Shyam Bajaj and Narendra Bajaj. Except, perhaps, the good feeling that they have at long last delivered a hit. Some distributors have not even bothered to send the business statements to the producers, leave alone overflow.

The case of Bandhan is not a lone one. It has often been seen that a producer never gets to share overflow from his film if that film happens to be his first hit, after a line of flops. This could be true even if the hit is distributed by distributors who had nothing to do with his earlier flops. Of course, this is not to say that if the distributor of the hit and the earlier flop/s is the same, he has a right to not submit true accounts of the overflow. When a producer’s film flops, it is a painful experience for him. But if he gets no share from his hit film, the pain is even greater.

Many distributors have this mistaken impression that they are well within their rights to offset their losses of some films against profits of the other films released by them. So what if the producers of the flops and the hits are in no way related or connected! Even a child would say, this practice is unethical, but our distributors have been following it since years. The MG royalty agreements of distribution, under which the distributors are to share overflow with the producer, lose their sanctity in cases like these.

The reasons for the producers of Bandhan not being able to share in its success are a combination of the above. One has heard of aate mein namak jitni (chori) but the case of Bandhan looks like namak mein aata! Why just Bandhan, a distributor of a 25% circuit has just sent about Rs. 20 lakh overflow to the producers of a blockbuster like Raja Hindustani. And about 50% of this has come one whole year after it became due. The actual share of the producers in the overflow would be at least Rs. 50 lakh!

If distributors crib and cry about high film prices and the practice of producers to not show trials of their films to them before their release, why don’t they do something about their dishonest brothers too? Shocked that I refer to them as “dishonest”? Actually, I too am shocked at my usage of the word. Can somebody help me with a more appropriate word which would be at least 10 times harsher than the word “dishonest”? Because that would be the honest description of such…… you know what I mean.

– Komal Nahta

SHAHEED-E-MOHABBAT BOOTA SINGH
(Punjabi)

NFDC’s Shaheed-E-Mohabbat Boota Singh (Punjabi) is a true story of a young Sikh armyman, Boota Singh. The film depicts events that took place around 1947 when the Hindu-Muslim riots were at their peak. Boota Singh fell in love with a Muslim girl, Zainub. He married her and a girl-child was born to them. Thereafter, India and Pakistan arrived at an agreement under which Muslim and Sikh girls, who were to be evicted, could be repatriated. As a result, Zainub had to return to Pakistan, leaving behind her husband and daughter. Boota Singh had to run from pillar to post to get Zainub back but he failed. He even reached Pakistan and met Zainub’s father to convince him about their marriage. But he beat him up. Boota Singh was then falsely implicated in an immigration case. Upon hearing Boota Singh’s tale, the judge assured him that if Zainub corroborated his story, she would be restored to him. However, Zainub, when brought before the court, refused to recognise him because she had been threatened that her nod in agreement would cost her husband his life. The judge then asked Boota Singh to return to India. Heartbroken, Boota Singh jumped before a running train with his daughter. He died but the daughter had a miraculous escape. Zainub, too, died immediately thereafter. Later, a letter addressed to Zainub revealed Boota Singh’s last wish that he be cremated in Zainub’s village. Overnight, Boota Singh became a martyr in the eyes of the Pakistanis and they decided to fulfil his last wish. They also made a trust in his name to take care of his daughter.

The film, which reminds of Train To Pakistan, is excellent in all respects. The screenplay (Suraj Sanim) is brilliant and the narration, smooth. The first half is gripping and the second half abounds in emotions.

Gurdas Maan is very good as Boota Singh. Divya Dutta lives the role of Zainub and gives an award-winning performance. Her emotional scenes move the viewer to tears. Raghuvir Yadav, as the lunatic, is extraordinary and his last scene when he is killed by the Muslims is both, chilling and shocking. Aroon Bakshi is good as the faquir in the mosque. The rest of the cast is mostly new and performs ably.

Directorially, Manoj Punj deserves all the praise for handling a sensitive love story with aplomb. Cinematography (Pramod Mittal) is par excellence. Technically, it is so good that it does not look like a Punjabi film at all. Amar Haldipur gives a super-hit music score with at least two songs, especially ‘Ishq da Rabba’, being excellent. Late Nusrat Fateh Ali Khan’s renditions will be a big draw. Production and technical values are excellent.

On the whole, Shaheed-E-Mohabbat Boota Singh will prove to be a hit.

P.N. LAKHANI DEAD

P.N. Lakhani of Lokendra Talkies, Ratlam, and brother of Ramesh and Haresh of Sagar Talkies, Baroda, expired on 27th December in Baroda. The funeral was held in Ratlam. It was attended by many distributors of Indore as well as local trade people of Ratlam.

Both, Lokendra (Ratlam) and Sagar (Baroda), remained closed for four days.

PUNJAB GOVT. HONOURS FOR GURDAS MAAN, PREETI SAPRU

Gurdas Mann and Preeti Sapru will be honoured with the Punjab Ratna by the Punjab government today (2nd January). Ex-prime minister of India, I.K. Gujral will hand over the awards to the Punjabi film actor and actress. Other recipients include Punjab chief minister Parkash Singh Badal, ex-finance minister Manmohan Singh and athlete Milkha Singh.

‘FIRE’ SCREENING: CONTEMPT PETITION BEFORE SC

The Supreme Court will hear the contempt petition of Dilip Kumar and others in the matter of Fire screening, on 4th January. The group of persons who had filed a petition in the apex court last month to ensure the screening of Fire in cinemas under secure conditions, has now filed a contempt of court petition. The group has sought to launch contempt proceedings against the Maharashtra government for failing to ensure the film’s release, in violation of the apex court’s order in their earlier petition. A division bench of the Supreme Court headed by Chief Justice A.S. Anand will hear the petition.

It may be mentioned here that despite the Court’s order, cinemas in Bombay are unwilling to screen the film for fear of violence by Shiv Sena which had objected to the film’s screening in a violent manner.

‘SATYA’ SILVER JUBILEE CELEBRATED

Ramgopal Varma and the team of Satya celebrated the silver jubilee of the film on 26th December, 1998 at the Taj Mahal Hotel, Bombay. The celebratory party was attended by Rekha, Raveena Tandon and the entire cast of Satya including Urmila Matondkar and Chakravarthy who flew from Hyderabad specially for the occasion.

The party, which commenced with a song from Varma’s forthcoming project, Mast, was compered in colloquial Bambaiyya Hindi. Varma thanked his entire team for their efforts while addressing them at the party.

YOU ASKED IT

What is your new year resolution?

– To see at least fifteen hit and super-hit Hindi films in 1999. The best part of my resolution is that the industry has to try hard to make me fulfil my resolution!

When will Rakesh Roshan’s Kaho Naa…Pyaar Hai be released?

– In August this year, the month which will also see the release of Subhash Ghai’s TAAL.

Why has the C.P. Berar distributor (Narsingdas Laddha) relinquished the distribution rights of Aa Ab Laut Chalen?

– Because he is planning to close down his distribution office. He keeps very busy with his other business interests.

DO YOU KNOW?

* Even as the Ghapla hai song of Gulzar’s HU TU TU is gaining in popularity day by day, a controversy over its lyrics has arisen. When translated in English, the song amounts to saying that there is a scam in everything these days. One line of the song goes as Bank mein ghapla, LIC mein ghapla. The Life Insurance Corporation (LIC) has expressed its displeasure over the lyrics and objected to the song.

* Madanlal Chowdhury, the producer of SOMAWATI AMAVAS, died recently in Bombay. His film has been incomplete since 10 years and during this time, its director, K. Bharti, hero, Sheel Kumar, and music director, Hansraj Bahl, have died. The film’s heroine, Jaya Kaushalya, has since shifted to Switzerland. Another hero of the film, Shahi Kapoor (look-alike of Shashi Kapoor), is into hotel business.

Film Weather: 1998

♦ A total of 138 films were released during the year. Of them, less then 24 proved to be earners for their distributors.

♦ Kuch Kuch Hota Hai proved the most memorable hit of the year and one of the biggest blockbusters to-date. The other universal hits were Pyaar To Hona Hi Tha, Pyaar Kiya To Darna Kya and Soldier. Ghulam and Satya proved runaway hits in Bombay and Maharashtra.

♦ Disasters of the year included Qila, Jeans (dubbed; the original Tamil version was a success), Prem Aggan, Doli Saja Ke Rakhna and Dil Se...

♦ Four songs — Chhaiyyan Chhaiyyan, Aati kya Khandala, Kuch kuch hota hai and O O jaane jaana became veritable anthems of the country due to their hit music and catchy lyrics.

♦ Announcements and launchings of films were few due to the tight money market. A shortage of releases is likely to be felt in 1999.

♦ Many big producers refrained from showing their films to their distributors before release. Distributors were agitated but helpless.

♦ Shah Rukh Khan continued to be the topmost hero despite two flops he had. His Kuch Kuch Hota Hai proved to be a runaway hit. In the Overseas too, Shah Rukh is a phenomenon. A perfume of his name was launched in India to cash in on his popularity. Zeenat Aman is the only other star who had a perfume in her name. Among heroines, Kajol was the undisputed queen and was acclaimed for her memorable performances during the year. Salman Khan was the actor who delivered only hits during the year.

♦ The film industry was granted industry status in May by the BJP government at a national conference on ‘Challenges Before India Cinema’ held in Bombay on 10th May. But beyond the granting of the status, no advantages therefrom have accrued to the industry.

♦ Asha Parekh was appointed chairperson of the Central Board of Film Certification for three years. She succeeded Shakti Samanta and is the first lady to occupy the chair. Many in the industry felt that censorship had become difficult under her tenure.

♦ A print of Raghunath Singh’s Gunda was seized by the police on 15th September from a Bombay cinema. The film was allegedly being screened with uncensored portions. The police case is still on.

♦ For the film industry, 1998 was a year of controversies. And most of the controversies centred around censorship. To begin with, Mira Nair’s Kama Sutra – A Tale Of Love was held up at the CBFC last year (1997) and was finally cleared by the Bombay high court in December, ’97 but the CBFC issued a certificate to the film only on 21st January, ’98. The high court held that as per guidelines of the central government, the CBFC cannot censor visuals in dubbed versions of an already censored film. Since the original (English) version of Kama Sutra was censored on 9th October, 1997, the dubbed Hindi, Tamil and Telugu versions too had to be cleared without effecting any cut in visuals, but the CBFC offered more cuts in the dubbed versions than in the English version. The Bombay high court clarified that the CBFC action was wrong. Deepa Mehta’s Fire was in the thick of a controversy after its release when Shiv Sena members attacked cinemas screening the film in Bombay and Delhi, claiming that the scenes of lesbianism shown in the film were against Indian culture. The I & B ministry then referred the film to the CBFC for re-examination. The film, however, continued to be screened in other parts of the country. In the meantime, Dilip Kumar, Javed Akhtar, Mahesh Bhatt and a few others petitioned the Supreme Court to order the film’s safe screening. Mahesh Bhatt’s Zakhm was cleared after a long censor battle as it dealt with Hindu-Muslim riots. The CBFC chairperson, Asha Parekh, referred the film to the home ministry. Amitabh Bachchan’s Major Saab, which had an army background, got into trouble of a different kind. The chief of the army staff refused to give the film clearance as it was felt, the Indian army had been shown in poor light in the film, and Bachchan had to make changes to suit the army’s demands.

♦ The Bombay film industry downed shutters for a day on 18th August to protest against the state government’s inaction in controlling cable piracy of Hindi films. A procession was taken out from Mehboob Studios to Azad Maidan and the trade-wallahs protested outside the offices of Siticable and In Cable, the two cable TV channels which show new films illegally. The Maharashtra government promised action against wrong-doers but the promises have remained just that.

♦ The Madhya Pradesh film industry also observed a day’s bandh on 1st September and took out a rally in Bhopal to protest against the state government’s apathy towards the film industry. An indefinite closure was planned from 17th September but was ultimately put off.

♦ For producers, satellite rights became such a lucrative territory that some of them minted money by selling the rights for telecasting before the stipulated period of five years from the date of theatrical release of a film. Ghulam, Satya, Gupt and Pardes were among the films which were telecast within months or a couple of years of their premiere release. Distributors of all the circuits raised their voice against this practice which is threatening to become a trend. Several distributors’ associations have proposed levying severe penalties on erring producers.

♦ Musically speaking, the year belonged to Jatin Lalit. Several hits and successful films had their names in the credit titles. Not only did the music director duo compose hit tunes in the biggest blockbuster of the year — Kuch Kuch Hota Hai — but their compositions also contributed in no small measure to the success of such films as Pyaar Kiya To Darna Kya, Pyaar To Hona Hi Tha and Ghulam. Undoubtedly, they were the music directors of the year.

♦ Salman Khan was arrested in Jodhpur for alleged hunting and killing of endangered black bucks in October. He was granted bail after eight days. While the other artistes viz. Saif Ali Khan, Tabu, Neelam, Sonali Bendre and Satish Shah, who were with him when he went hunting, were not put behind bars, a case under the Wildlife Act of 1972 is on against all of them. All the stars were in Jodhpur for the shooting of Rajshri’s Hum Saath Saath Hain.

♦ A cinema reopened in Srinagar on 7th August after almost 10 years. No cinema had been functioning in the Kashmir valley since 10 years due to terrorist activities.

♦ Majestic cinema in Calcutta was gutted in a fire on 3rd November. Fortunately, there were no casualties or else  it would have been as gruesome as Delhi’s Uphaar cinema fire tragedy of 1997.

♦ Three new cinemas — Cinestar, Movie Time and Cine Magic — opened in Bombay. A new cinema, Nupur, opened in Aurangabad.

♦ Entertainment tax in Uttar Pradesh was reduced from 125% to 100% from 14th September. Some other concessions were also granted. Similarly, entertainment tax in Rajasthan was reduced from 100% to 50% on low admission rates only.

♦ Tamil Nadu chief minister agreed to crack down on video pirates and to offer entertainment tax concessions to the tune of Rs. 40 crore.

♦ All production activities in West Bengal were suspended in September on a call given by the EIMPA due to non-cooperation and misbehaviour by a few artistes with some producers. The producers’ bandh lasted for about five weeks.

♦ Vinod Khanna won the Lok Sabha elections from Gurdaspur constituency in Punjab. Rajasthani film producer Prabha Thakur won a seat in the Lok Sabha from Ajmer.

♦ Satyajit Ray was posthumously honoured with the Bharat Ratna on 1st March. G.P. Sippy was awarded the National Citizen’s award by president of India K.R. Narayanan. Leading Malayalam film actor Mammootty and veteran actress Zohra Sehgal received the Padma Shri awards. Dilip Kumar received the highest civilian award of the Pakistan government, the Nishan-i-Imtiaz, on 23rd March in Islamabad.

♦ 1998 will go down in box-office history as the year of English films in India. Hollywood blockbuster Titanic did titanic business in the country despite not being dubbed in Hindi. Two more English film made on a small scale — Hyderabad Blues and Bombay Boys — are doing wonderful business in India.

♦ Desh Re Joya Dada Pardesh Joya became the Hum Aapke Hain Koun..! of Gujarati cinema. The business of Govindbhai Patel’s maiden directorial venture has crossed 10 crore in Gujarat and Saurashtra and the film is expected to do 3 to 4 crore more. It proved a blockbuster in Overseas too. If Karan Johar was the Hindi film director of the year, Govindbhai was the Gujarati film director of 1998.

♦ Rajshri group entered the music world by starting a music company, Rajshri Music. Its first non-film album, ‘Yeh Hai Prem’, became a hit.

♦ Film Information completed 25 years on 6th October, 1998.

♦ Film Information organised a seminar on ‘Film Insurance — Trends & Prospects’ on 1st July in Bombay. It was attended by all the leading producers. Subhash Ghai, who was already negotiating with an insurance company for insuring his under-production Taal, finally took insurance policies for the film, its cast etc. Taal thereby became the first commercial Hindi film of Bollywood, to be insured.

♦ Pramod Mahajan took charge as the new Union minister for information & broadcasting in December. He succeeded Sushma Swaraj who gave up charge of the ministry when she was appointed chief minister of Delhi.

♦ The 29th International Film Festival of India was inaugurated on 10th January in New Delhi. Spanish director Carlos Saura’s Pajarico was the opening film. There was a competition section in the fete, for Asian directors. Director Wu Tianming’s The King Of Masks (China-Hong Kong) won the Golden Peacock while Morteza Mehranfar’s Paper Airplanes (Iran) bagged the Silver Peacock. Subhash Ghai’s Pardes was the opening film of the mainstream section of the IFFI and it won the jury’s special award.

♦ Yash Chopra’s Dil To Pagal Hai won the National Award for the best film providing wholesome entertainment, and J.P. Dutta’s Border picked up the award for the best film on national integration. Karisma Kapoor bagged the best supporting actress award for the former film and Javed Akhtar, the best lyricist’s award for the latter film. Govind Nihalani’s Hazaar Chaurasi Ki Maa was adjudged the best Hindi film. Girish Kasaravalli’s Kannada film, Thai Saheb, won the Golden Lotus for the best film. Lyricist Pradeep was given the Dadasaheb Phalke award.

♦ Shekhar Kapur hit the jackpot once again after Bandit Queen, with his second international film, Elizabeth.

♦ Asha Bhosle’s hand prints were embossed in clay for display on the walls of Planet Hollywood, the prestigious theme restaurant run by Hollywood stars.

♦ Rajshri’s Hum Aapke Hain Koun..! had the distinction of being adapted for a stage-play by a foreign producer. The play opened in a London theatre on 11th November.

♦ As if the bad times through which the industry was passing all through the year weren’t enough, the year also snatched away several leading lights of the industry. Among those who expired in 1998 were actors Om Prakash, Lalita Pawar, Ajit, Mazhar Khan, Chaman Puri, Vishnukumar Vyas, Persis Khambatta, Shahid Bijnori, Ruhi Berde, music directors Laxmikant, Shambhu Sen, Raju Naik, music director and playback singer Aparesh Lahiri, lyricist Pradeep, writer-lyricist P.N. Sharma, playback singer Talat Mahmood, writer Agajani Kashmiri, directors Raghunath Jhalani, Ramesh Ahuja, Rajesh Vakil, Shaukat Hussein Rizvi, actor-producer-director Dada Kondke, producer-directors Ram Pahwa, Amarjeet, producers Prem Sethi, Vijay Sippy, writer-director Vishram Bedekar, writer-producer-director Tejnath Zar, action master Akbar Bakshi, cameramen Jaywant Pathare, Ramchandra Das, art director R.K. Handa, sound recordist H.D. Mistry, exhibitors Ram B.C., Sahadev Shah, Madhubhai Patel, Mamasaheb Pimple, distributor-exhibitor Chinubhai Shroff, distributor Ajay Goel and film agent P.D. Shroff.

Film Business In Nepal

Madhuri Dixit’s recent statement that Nepal was a part of India once upon a time, may have had the Nepalis protesting but as far as film circuits go, Nepal is not considered a part of the Overseas circuit; rather, a film is sold for Bihar-Nepal together. The Bihar distributor, in turn, sells the rights for Nepal to local distributors there. Of late, however, several Nepal distributors are keen on dealing directly with producers although the latter still have reservations about selling the Nepal distribution rights before the rights for Bihar are parted with.

OUTRIGHT SALE

The sale for Nepal is generally outright — that is to say, there’s no question of sharing of overflow with the producer if a film clicks in the territory of Nepal.

HINDI LANGUAGE

The country is small with a population of about 20 million only. On three sides, Nepal is surrounded by India and in the north, it has China as its neighbour. Culturally, it resembles Bihar (in India) a lot. The Himalayan snow-capped region constitutes 25% of Nepal, while 35% is covered by mountain ranges. The balance 40% is the terrain region. Except in the Himalayan and interior mountainous regions, Hindi language is not only well understood but it is also spoken by the people. About 70% of cinemas are located in the terrain region.

CINEMAS & CENTRES

Nepal has about 176 cinemas — 119 in towns and cities, and about 57 in villages. These 176 cinemas are spread over about 103 centres. There are 2 ‘AA’ class centres from where business of a hit film can be more than Nepali Rs. 3 lakh. There are about 26 cinemas in these 2 centres in Kathmandu valley. Centres like Birganj, Pokhara, Janakpur and Biratnagar yield shares of over 1 lakh each but less than 3 lakh and can be called ‘A’ class centres. There are in all 7 ‘A’ class centres. ‘B’, ‘C’ and ‘D’ class class centres are 17, 31 and 46 respectively and yield shares between Nepali Rs. 30,000 and 1 lakh (‘B’ class), between Nepali Rs. 5,000 and 25,000 (‘C’ class) and less than Nepali Rs. 5,000 (‘D’ class).

SUNDAY RELEASE

It is mainly Nepali and Hindi films which are released in Nepal. On an average, 20 Nepali films are made every year and the business of a hit could cross Nepali Rs. 50 lakh. Bhojpuri films are usually screened in small centres close to the Indian borders. Every year, about 75 to 80 Hindi films are imported into Nepal. Almost all big commercial Hindi films are released in Nepal simultaneously with their all-India release. Except for a handful of releases on Friday, Hindi films generally open there on Sundays which are working days in the country. The weekly off is on Saturday.

THREE SHOWS

Three shows are conducted daily — 12 noon, 3 p.m. and 6 p.m. There are no night shows held. On Saturdays, one extra show is conducted, in which students are charged at concessional rates.

POOR TECHNOLOGY

Surprisingly, technology hasn’t reached the theatres of Nepal. No cinema of the kingdom is equipped with modern sound systems. Why, there are very few cinemas which are even air-cooled!

RATIO

The ratio of Nepal is generally 5 to 6% of the price for Eastern circuit or 12 to 15% of Bihar (which includes one centre of Bihar viz. Raxaul).

A super-hit film can do a business of Nepali Rs. 30 lakh in Nepal. Three to four prints are generally taken out in the case of big films whereas one print suffices in the case of a small film.

HOT FAVOURITES

Ajay Devgan, Akshay Kumar and Sunil Shetty are the most popular artistes in Nepal. No, the Khans are not as ‘hot’ in the kingdom whose people like simple but fast-paced love stories and action-oriented films.

NO CENTRAL PLACE

Although there are 118 listed distributors of Nepal, the prominent and regular ones number about 15. All the regular distributors are exhibitors too. Hence, exhibitors dominate the trade. There is no distribution centre like Naaz in Bombay, and the various deals are concluded on telephone. Some Indians also distribute films, working under the licence of Nepalese citizenship but of late, even they prefer selling Nepal rights than distributing films themselves.

NO COPYRIGHT LAW

The funny party is that no copyright laws exists in the kingdom to protect the rights of distributors of Hindi films. Any person can distribute the film after paying the customs fees. The government has nothing to do with the legal rights. Of course, there is an association — the Nepal Motion Picture Association — which regulates business more on ethical and moral grounds. The problem of screening of unauthorised prints is rampant there, too. Prints are smuggled from U.P., Delhi or other border areas after a week or two of a film’s theatrical release. The NMPA has three wings — production (Nepali films), distribution and exhibition.

REGISTRATION A MUST

For registration of a film with the NMPA, one has to submit the producer or world rights controller’s registration certificate/letter, the money receipt and the agreement. A film is not allowed to be released in the kingdom unless it is registered. Of course, unregistered films are released unauthorisedly.

DISTRIBUTORS KEEN TO DEAL WITH PRODUCERS

Actually, till two years back, distributors of Nepal used to acquire films from Bihar distributors, but with more and more cases of double-dealing, delayed deliveries and last-minute price hikes by Bihar distributors, Nepal distributors turned to Bombay producers and they prefer buying films directly from them. The current status is one of confusion. While Nepal distributors are keen to deal directly with Bombay producers, the latter feel safer to sell Bihar-Nepal together or, at least, Bihar before Nepal. The NMPA has been requesting producers to deal with Nepal distributors directly and has assured producers that in the case of any problems, it (NMPA) would mediate.

VIDEO & CABLE PIRACY

Because of the absence of copyright laws, illegal videos flood the Nepal market soon after a film’s theatrical release, and the latest films are also shown on cable TV almost immediately. But as in India, distributors watch this misuse of rights helplessly. The only difference is that in India, there are laws which are not implemented to protect one’s rights, while in Nepal, even laws do not exist.

FILM INFORMATION’S BESTS OF 1998

Best Film
KUCH KUCH HOTA HAI

Best Producer
YASH JOHAR
(Kuch Kuch Hota Hai)

Best Director
KARAN JOHAR
(Kuch Kuch Hota Hai)

Best Actor
SHAH RUKH KHAN
(Kuch Kuch Hota Hai)

Best Actress
KAJOL
(Kuch Kuch Hota Hai)

Best Supporting Actor
MANOJ BAJPAI
(Satya)

Best Supporting Actress
RANEE MUKERJI
(Kuch Kuch Hota Hai)

Best Villain
ASHUTOSH RANA
(Dushman)

Best Comedian
JOHNY LEVER
(Jab Pyaar Kisise…)

Best Story
KARAN JOHAR
(Kuch Kuch Hota Hai)

Best Screenplay
KARAN JOHAR
(Kuch Kuch Hota Hai)

Best Dialogue
KAMLESH PANDEY & N. CHANDRA
(Wajood)

Best Music Director
A.R. RAHMAN
(Dil Se..)

Best Lyricist
ANAND BAKSHI
(Jab Pyaar Kisise Hota Hai)

Best Song
CHHAIYYAN CHHAIYYAN
(Dil Se..)
AATI KYA KHANDALA
(Ghulam)

Best Playback Singer (Male)
SUKHWINDER SINGH
(Chhaiyyan Chhaiyyan – Dil Se..)

Best Playback Singer (Female)
LATA MANGESHKAR
(Jiya Jale – Dil Se..)

Best Background Score
SANDEEP CHOWTA
(Satya)

Best Action Director
TINNU VERMA
(Salaakhen)

Best Sound
SONA CHOUDHARY
(Satya)

Best Publicity
PYAAR TO HONA HI THA & JAB PYAAR…

Best Cinematographer
ASHOK KUMAR
(Jeans)

Best Choreographer
FARAH KHAN
(Chhaiyyan Chhaiyyan – Dil Se..)

Best Editor
APOORVA BHANU
(Satya)

Best Female Newcomer
PREITY ZINTA
(Dil Se.. & Soldier)

Best Child Actor
Master PARZAN DASTUR
(Kuch Kuch Hota Hai)

Best Climax
DOLI SAJA KE RAKHNA
(Priyadarshan)

Best Scene
Shah Rukh & Kajo’s meeting after 8 years,
at the summer camp in Simla in
Kuch Kuch Hota Hai

Distributor of the year
G.D. MEHTA
(Bobby Art International, Delhi – Films released:
Kama Sutra, PKTDK, Major Saab, Bandhan, Soldier, Fire)

CLASSIFICATION
(Total 138 films, including 30 dubbed films)

AAA (Super-Duper Hit)

KUCH KUCH HOTA HAI

AA (Hit)

–

A1 (Hit)

PYAAR TO HONA HI THA (‘AA‘ in Bombay)
PYAAR KIYA TO DARNA KYA (‘AA‘ in Bombay)
SOLDIER (‘AA’ in East Punjab)

A (Semi-Hit)

BANDHAN (‘A1’ in several circuits)
DULHE RAJA (‘AA‘ in Bihar)

BB (Overflow)

JAB PYAAR KISISE HOTA HAI
GHULAM (‘AA‘ in Bombay)
BADE MIYAN CHOTE MIYAN
FIRE (dubbed)
MAUT
MURDA
MIYAN BIVI AUR WOH (dubbed)

B1 to BB (Commission-Earner to Overflow)

MAJOR SAAB (‘A’ in Delhi-U.P.)
KAMA SUTRA – A TALE OF LOVE (dubbed)
AUNTY NO. 1
RATREE MILAN (dubbed)

B1 (Commission-Earner)

SATYA (‘AA‘ in Bombay and C.P. Berar and losing in several circuits)
SPEED 2 (Ab Samandar Pe; dubbed)
DO NUMRI

B to B1 (Coverage to Commission-Earner)

TOMORROW NEVER DIES (dubbed)
CHANDAAL

B (Coverage)

GHARWALI BAHARWALI (losing in some circuits)
MARD
SHAITANI AATMA
SHER-E-HINDUSTAN
GUNDA
ARMAGEDDON (dubbed)

THE REST

………..

3-E
Education-Entertainment-Enlightenment

Bolder Or Tougher?

For all the CBFC’s claims of becoming more liberal and all that, the facts speak otherwise. A cursory look at the films released last year reveals that 1998 saw an awfully high number of films certified in the ‘A’ and the ‘UA’ categories. Out of the 138 films released in 1998, as many as 64 films (46.38% of the total) were given ‘A’ certificates while 44 (31.88%) were given ‘UA’ certificates. Only 30 films (21.74%) were shown to unrestricted audience. The question that arises is whether our filmmakers are getting bolder or the CBFC is getting tougher?

All For The Item’s Sake

In our industry, the moment someone succeeds in something different, others follow suit. Take the case of Aamir Khan lending his voice to the Aati kya Khandala song in Ghulam. Ever since the song became a rage among the masses, we hve been hearing of several producers and directors trying to ape its success by having their stars to render songs in their voices for their films. So, it doesn’t really come as a surprise that producer-director Vimal Kumar is also planning to have a song recorded in the voices of the artistes of his Rajaji. Govinda, Raveena Tandon and Satish Kaushik will sing for Rajaji a song, penned by Gufi Paintal. The item song has lyrics like Apun ka item (!!) and it will be set to tune by Surya Kamal, who, incidentally, is the son of veteran composer Raj Kamal.

Aa Ab Dub Karen!

While Suman Ranganathan’s dialogues in Rishi Kapoor’s Aa Ab Laut Chalen have finally been dubbed — by TV actress Simone Singh — it would interest readers to know that television VJ Ruby Bhatia (who has an accent as was required for Suman’s character) demanded a few lakhs of rupees to dub for Suman! Actress Neelam, who also has a phoren accent, politely declined to try out her voice, saying that she found dubbing too tiresome.

Andar Baahar

It was a scene straight out of a Hindi film. Four men, armed with revolvers, barged into an office on the 3rd floor of Naaz Building in Bombay on 28th December. The driver of a distributor-exhibitor, who was standing in the lobby, was slapped by one of the group of four gangsters. A lady in the office was pushed and manhandled. A couple of other trade people sitting in the nearby office, were also pushed. The gangsters demanded to know where a particular person, who they identified with a name, was. But the fact is that nobody by that name works in the office into which they entered. As fast as they had come into the office, the foursome went out without any plausible rhyme or reason. Maybe, they realised, they were at the wrong place. Or maybe, they feared, someone may have alerted the police. Or maybe….. well, it could be anything. But the fact is that nothing seriously untoward happened.

Making A Mountain Out Of A Mole-Hill

It is really strange that the Nepali nationals should have taken so much offence at an innocuous mistake committed by Madhuri Dixit. The actress, at a recent press conference in Kathmandu, said that Nepal was a part of India earlier. This statement irked the Nepalis and some of them even took out a procession in protest! Perhaps, what must have prompted Madhuri, a student of science, to err in her history is the fact that Bihar territory in filmi parlance includes Nepal too. Or maybe, it was a plain misconception. Whatever the reason for the mistake, the reaction of the Nepalis seems to be more outrageous than the action of the actress.

Bhaago Bhoot Aaya

Bhoot, Bhootni, Bhoot Raaj, Bhoot Bhootni Aur Shaitan, Bhoot Ki Shaadi, Kunwara Bhoot, Ichhadhari Bhoot… These are only a few of the — hold your breath! — forty-odd Hindi horror films that are being made at present. Even if half of these films manage to find a release this year, we may well have a bonanza of ghost-stories. Quite a ‘horror’scope for the new year, eh? Consider yourself warned…..

Truly Speaking

The perfect way to celebrate the silver jubilee of Satya last Saturday (26th December) at Taj Mahal Hotel would have been to make an underworld don the chief guest. Invitees should not have been greeted with handshakes but rather with swear-words, slaps and fisticuffs. The dinner menu should have had items like Ghoosa (instead of Ghost), Mukka (instead of Makkai), Jhaapat (instead of Jhinga Kadi), Laafa (in place of Lobster), Thappad (in place of Papad) etc. And dessert should have been only Supari. So that Ramgopal Varma could have said: “Maine guests ko supari di hai.”

ZAKHM

Pooja Bhatt Productions’ Zakhm (A) is a sensitive film about one’s love for his mother and motherland. It talks of communal tension in the country and weaves a drama around a Hindu man and his Muslim mistress. The Hindu man is not allowed to marry his beloved because she is a Muslim. She, however, bears two of his children. The elder son loves his mother a great deal and knows her pains. The younger one, unaware of his mother’s unmarried status, is also ignorant about the fact that she is a Muslim. In fact, in the communal battle being fought in the country, the younger son is in the forefront of the anti-Muslim group as he is under the impression that he is a complete Hindu. The elder brother tries to make his younger brother see reason at the time of performing the last rites of their dead mother according to Muslim customs but the latter is blinded by his political affiliation. Ultimately, love for the mother and motherland triumphs over pretty communal differences.

The story is rather unusual and also interesting but the screenplay is slow and is also, at places, dictated by the convenience of the characters. While the portion of the Hindu man, his mother, his Muslim mistress and her rebellious elder son is absorbing and has several emotional scenes, the communal riots etc. don’t go completely with that part of the story. As a result, the film has some brilliant moments but gets boring at some other places. The scene after the man’s death looks over-dramatic and contrived. Songs are so slow that they reduce the pace even further. The drama has a lot of tension and no light scenes at all. Dialogues (Girish Dhamija) are excellent at places but should have been more patriotic and hard-hitting in the climax. Emotions draw tears on more occasions than one.

Ajay Devgan does a wonderful job as the elder son of the mistress. He underplays his role splendidly. Pooja Bhatt is simply fantastic as the Muslim mistress and deserves accolades for her performance. Nagarjuna is fair. Sonali Bendre looks pretty and comes up with a sensitive performance. Even her dubbing is not flat as it tends to be usually. Kunal Khemmu is par excellence, living his role just too brilliantly. Akshay Anand is impressive as Ajay Devgan’s brother. Sharat Saxena gets scope in the climax and shines there. Avtar Gill is beautifully restrained. Ashutosh Rana does an effective job. Saurabh Shukla leaves a mark in the role of the Sikh. Madan Jain is natural. Vishwajeet Pradhan acts effectively. Namrata Dhamija is outstanding. Master Dhananjay is also wonderful. The rest of the artistes support splendidly.

Mahesh Bhatt’s direction is very good but he has narrated the subject in a way which will appeal more to the elite audience. Some abstract scenes will not be appreciated by the masses. Music matches the film’s mood but the songs do bore. Action scenes are alright. Cinematography is first-rate.

On the whole, Zakhm is a film for selected cinemas in cities. Thanks to its Muslim flavour, it should not have been released during Ramzan. The subject of communal harmony, dealt with in the film, deserves to be supported by tax-exemption. Its business in Bombay and South should be better than in the rest of the country.

Released on 25-12-’98 at Novelty and 14 other cinemas of Bombay thru Devgan’s Entertainment. Publicity & opening: very good. …….Also released all over. Opening was not up to the mark (despite Christmas holiday) in several circuits.

HIMMATWALA

Tina Films International’s Himmatwala (UA) is the story of a married man who, unable to bear the shock of his sister’s murder on her wedding day, becomes mentally retarded and starts behaving like a child. He comes back to his true senses by quirk of fate and is surprised to see that the girl who he has given shelter to alongwith her beloved, in his house, totally resembles his dead sister. The girl and her lover have run away from their homes as the girl’s rich and influential father is against the alliance. To fulfil his desire of getting his sister married off, he takes it upon himself to get her look-alike married to her beloved, notwithstanding the opposition from the girl’s family.

The film’s first half is fairly good but the post-interval portion looks contrived. The climax, when the girl announces that she has turned 18 and is, therefore, entitled to select her life partner, comes as a dull revelation. For, if she had turned 18 on that very day, didn’t her parents know it? Why, a reference to her age is made by her parents themselves in the previous reel itself! So, if they did know her age, what was the need of the legal drama? In fact, so poor is the climax twist that it even spoils, to a large extent, the impact of the first half. The faulty screenplay is, however, complemented by some really good lines of dialogues (Tanveer Khan).

Mithun Chakraborty does quite well but age has started showing on his face. Ayesha Julka is impressive. Rajesh Sharma looks ordinary but acts fairly well. Radhika is reasonably good. Rajiv Verma and Beena create an impact. Dina Pathak also acts ably. Tinnu Anand is okay. Tiku Talsania’s comedy is average. Shakti Kapoor leaves a mark. Reema is effective.

Jayant Gilatar has faltered in the story-writing but he makes a fairly good debut as director. Music (Tabun Sutradhar) is nice. ‘Dil ka raja’ is a mass-appealing song. ‘Main to tere pyar mein’ and ‘Rab jaane’ are also entertaining numbers. Song picturisations, however, are average. Action scenes are okay. Background score is dull. Camerawork is alright.

On the whole, Himmatwala is a loser.

Released on 25-12-’98 at Alankar and 14 other cinemas of Bombay thru V.V. Films. Publicity: fair. Opening: so-so (despite Christmas holiday). …….Also released all over.

LONDON PAYS TRIBUTE TO SHABANA, CONDEMNS ATTACK ON ‘FIRE’ IN INDIA

The Institute of Contemporary Arts in London paid tributes to celebrated actress Shabana Azmi by holding a festival of her films on December 5 and 6. Shabana’s Arth, Khandhar, Mandi and In Custody were screened as a tribute to Shabana who is currently celebrating 25 years of her international career. A short film — The Way I See It — based on an interview with Shabana Azmi, was screened before each film. The event was a joint effort of the ICA and In Focus.

The Londoners at the screenings of the four films signed petitions condemning the Shiv Sena attacks on Deepa Mehta’s Fire, starring Shabana, in Bombay and Delhi.

Shabana Azmi was also present on the occasion for an in-conversation with Dr. Reina Lewis, professor of cultural studies, university of East London. She also took questions from a hugely responsive audience after every screening. On 6th, Dr. Sangeeta Datta gave a talk on Shabana’s iconic career as actor and social activist. In fact, the film festival was entitled ‘From Actor To Activist’.

‘KKHH’ TO INAUGURATE IFFI ’99

Karan Johar’s Kuch Kuch Hota Hai will be the inaugural film of the mainstream section of the International Film Festival of India, scheduled to be held in Hyderabad from January 10 to 20, 1999. Besides KKHH, the Film Federation of India has selected the following 11 films for screening in the mainstream section: Unnidathil Ennai Koduthen (Tamil), Choodalani Vundhi (Telugu), Tholi Prema (Telugu), Aaraam Thampuran (Malayalam) , A (Kannada), Dahan (Bengali), Sedin Chaitra Mash (Bengali), Joubane Amani Kare (Assamese), Ishq (Hindi), Tu Tithe Mee (Marathi) and Desh Re Joya Dada Pardesh Joya (Gujarati).

‘SATYA’ SILVER JUBILEE CELEBRATIONS

The silver jubilee celebrations of Ramgopal Varma’s Satya will be held today (26th December) at Hotel Taj Mahal, Bombay.

YOU ASKED IT

Does it make sense to keep on submitting memorandum after memorandum of demands to ministers?

– Going by what the central and state governments have done for the film industry, it hardly makes sense. But as the saying goes: Keep trying and trying till you succeed.

How many Mithun starrers were released in 1998, and how many do you expect will be released next year?

– 15 Mithun starrers were released in 1998, and more than 20 may hit the screens in 1999.

Who, according to you, was the star of 1998?

– Undoubtedly, Kajol.

DO YOU KNOW?

* Nadeem Shravan, whose first Hindi film was Mohan Bhakri’s APRADHI KAUN?, made in 1982, have been signed to score the music in Mohan Bhakri’s new film of the same name 18 years later.

* KACHCHE DHAAGE is the first and the last film in which legendary Lata Mangeshkar and the late Nusrat Fateh Ali Khan have worked together!

* SOLDIER has created a city record by collecting a total of 11 lakh in 5 weeks at Hari, Jammu. It has also created a city record in Panipat in 5 weeks.

3-E
Education-Entertainment-Enlightenment

Success Contagious?

Success begets success. After the spectacular success of Tips’ Soldier, it is the next Tips film, Kachche Dhaage, that is becoming ‘hot’ in exhibition circles of Delhi-U.P. Distributor Ajit Singh is demanding and getting handsome MGs for Kachche Dhaage due for release in February. Is it the clicking of Tips’ Soldier or the growing popularity of the film’s music (heard and seen in promotional trailers on television) or the presence of Ajay Devgan (whose second release this will be after the success of Pyaar To Hona Hi Tha) or a combination of all the three factors?

Idd Release? “No Chance!”

While at least seven or eight producers have announced that their films will be released in the Idd week (22nd January, 1999), rumours surround almost every film scheduled for release in that week. Of course, most of the rumours about the “real release position” of these Idd releases seem to be baseless. May be, they are being circulated by vested interests. These rumours have it that Aa Ab Laut Chalen will not be able to come on Idd as its dubbing is not yet complete. But the fact is that except for Suman Ranganathan’s dubbing, everybody else has finished his/her dubbing work. Rishi Kapoor is on the lookout for a suitable voice to dub for Suman who plays an Indian settled in America. Despite Time’s Hu Tu Tu already having been seen by the CBFC, rumour mills have it that the film will not win the release race of 22nd January. Why? No reasons are given by the gossip-mongers. D. Rama Naidu’s Hum Aapke Dil Mein Rehte Hain is, perhaps, the only Idd release which is not in the midst of nasty rumours about supposed postponements.

Subsidy Is My Birthright And I Shall Have It?

The Gujarat government has reportedly discontinued its policy of granting subsidy to producers of Gujarati films. It is learnt that a group of Gujarati film producers recently demanded subsidy from the state government and threatened it of dire consequences if their subsidy amounts were not released soon. This behaviour is said to have antagonised the government so much that it forthwith cancelled its subsidy policy. A government official is reported to have told a top Gujarati film producer, “Subsidy is a favour, you can’t demand it. Beggars cannot threaten punitive action if people decide not to give alms.” Point, this!

Raaz Ki Baat? Not Really! Raj Ki Baat? Really!

It’s a really strange coincidence which can have no explanation. Dimple Kapadia made her debut in Bobby which was directed by Raj Kapoor, and her daughter, Twinkle Khanna, entered the industry with Barsaat which was directed by another Raj — Rajkumar Santoshi. Twinkle’s co-star in her debut film had the name of her mother’s first film — Bobby (Deol). Now, Rinke (Twinkle’s younger sister) is also making her debut in acting with a third Raj-directed film. Raj Kaushal is directing Rinke in Pyar Mein Kabhi Kabhi. Although dad Rajesh Khanna did not come into films under the direction of any Raj, his first film was called… not Raj, but Raaz.

NASEEB

Vinay Pictures’ Nasseb (UA) is about a man who is not able to marry the girl he loves. He hits the bottle but cannot forget his beloved who has, in the meantime, married another guy. The beloved’s husband is framed for a crime he hasn’t committed and is even jailed. It is the alcoholic who, after a lot of turns and twists in the drama, gets the husband freed from prison. But no sooner does the husband come out of jail than he starts suspecting his wife of infidelity and throws her out of his house on the assumption that she has had physical relations with her ex-lover. Finally, the alcoholic ex-lover proves to the husband that his wife is not unfaithful.

The drama is unconvincing and moves at a slow pace. Two major drawbacks of the film are that the hero (Govinda) is shown in an inebriated state (drunken) almost in the entire film, and secondly, the angle of the husband suspecting his wife looks too contrived. If the story is weak, the screenplay is hardly any better. Dialogues are good at several places, but to no avail.

Thanks to the shoddy script, even the ever-dependable Govinda fails to impress except in some light scenes in the early reels. Mamta Kulkarni is miscast and does an average job. Rahul Roy is poor. Kader Khan is good for the front-benchers. Shakti Kapoor is loud. Sudha Chandran, Saeed Jaffrey, Dinesh Hingoo, Ajit Vachani, Beena, Vikas Anand and the rest lend ordinary support.

Kirti Kumar’s direction is a shade better than the dull script but that isn’t saying much. Music is weak. Even the song picturisations are ordinary. Camerawork is okay. Action scenes are functional.

On the whole, Naseeb is a dull show.

Released on 18-12-’98 at Minerva and 11 other cinemas of Bombay by Pushpa Movies thru Nobel Films Distributors. Publicity: dull. Opening: good. …….Also released all over except in East Punjab and the Eastern circuit. Opening was good in parts of U.P. and Rajasthan but dull in C.P.C.I. 1st day Jaipur 1,07,700/- from 3 cinemas, fair, Jodhpur 59,960/-, good.

SAAWAN KUMAR’S ELECTION TO IMPPA HELD ILLEGAL

The Bombay city civil court on 15th December held Saawan Kumar’s election to the executive committee of the Indian Motion Picture Producers’ Association illegal. Sultan Ahmed had taken the matter of Saawan Kumar’s election to court, alleging that since he had not attended the required number of meetings (40%) in the previous year, he was not entitled to stand for re-election this year. All the same, Saawan Kumar did contest the elections to the executive committee in September this year, from Shakti Samanta’s group and he was elected to power.

The court’s decision makes Saawan Kumar’s election to the committee null and void. Saawan Kumar may appeal to a higher court within a month.

ARBAAZ KHAN WEDS

Actor Arbaaz Khan got married to model and actress Malaika Arora on 12th December in Bombay.

PATERNITY SUIT AGAINST TAMIL FILM ACTOR

The Kodambakkam police (Madras) earlier this week requested the Hyderabad-based Centre for DNA Fingerprinting and Diagnostics (CDFD) to perform DNA testing on samples provided by Tamil film actor Mansoor Ali Khan in connection with a paternity suit. The actor has been sued by his former employee, Sneha Sharma, who has alleged that the actor had taken her to a five-star hotel where he had sexually exploited her after giving her a drink mixed with intoxicants. She later gave birth to a male child and named him Mehboob Ali Khan after his alleged father, Mansoor Ali Khan. The actor, on his part, has denied any wrong-doing and has contested the claim of the woman. He has also promised full co-operation to the police in carrying out the DNA testing which will ascertain whether he has fathered the child or not.

Earlier, on 11th December, the actor was arrested as he and his fans were attempting to play cricket before the Raj Bhawan in Madras, ostensibly to show their support to a countrywide general strike held that day. He was later ordered to be arrested by the Madras high court in connection with the paternity suit.

3-E
Education-Entertainment-Enlightenment

Desh Mein Super-Hit, Dada Pardesh Mein Bhi Super-Hit

When it rains, it pours. Govindbhai Patel’s Gujarati film, Desh Re Joya Dada Pardesh Joya, has already done a business of 10 crore in Gujarat and Saurashtra. And there are almost 100 centres (including touring centres) where the film has not yet been released! In the meantime, it is bringing in handsome shares even where released in repeat-run. From a city like Surat alone, its share is more than 1.3 crore! From Viramgan, where Govindbhai’s earlier hit, Oonchi Medi Na Ooncha Mol had yielded a share of Rs. 25,000, DRJDPJ has fetched a share of — hold your breath — Rs. 14 lakh. For the USA, Canada and the UK, the film was sold for 36 lakh and has already crossed business of 1 crore. Reportedly, foreigners come to cinemas screening the Gujarati film in Overseas countries, alongwith their Gujarati friends who translate the dialogues in English for them while the screening is on. It is learnt, the foreigners also cry in the emotional songs in the film. Suresh Patel, the Overseas distributor (for USA-Canada-UK) is now contemplating buying rights for other parts of Overseas. D. Rama Naidu, in the meanwhile, has not only bought the Tamil and Telugu remaking rights but also remade the film in Telugu with Nagarjuna and Rambha in the lead. Mukesh Khanna and Ved Khanna had planned to buy its Rajasthani and Punjabi remaking rights but the deal could not be struck as a mutually agreeable price wasn’t finalised. So now, Govindbhai is himself remaking the film — in Rajasthani and Marathi languages.

Sharing The Credit

More often than not, stars love to hog the limelight for a success while blaming the producer or director or anybody else for the failure of their film. But Bobby Deol can be seen giving full credit for the success of his Soldier to the Taurani brothers and the director duo of Abbas-Mustan. Soldier has come like a shot in the arm for Bobby whose career was going almost nowhere, what with Gupt proving to be a partial success (hit in some circuits, commission-earner in a couple of other circuits and losing in some) and …Aur Pyar Ho Gaya and Kareeb bombing at the box-office. With the success of Soldier, Bobby is once again in the reckoning and will surely bag a handful of enviable assignments.

No ‘Shaktimaan’ Came To Their Rescue

In a bizarre incident in Hubli last week, two girls set themselves afire while trying to imitate a scene from the popular TV serial, Shaktimaan. Varsha Kulkarni and Asma Lattepanavar, both 10 years old, were at play in an open field near their houses in Sattur village near Hubli on 13th December. Both were ardent fans of Shaktimaan, the television super-hero, who appears out of thin air to rescue people in distress. In a sudden bout of fancy, both the girls decided to recreate a scene from one of the episodes of the serial, where the super-hero rescues two persons from being burnt and heals them with his magic powers. What transpired later is both, gruesome and tragic. It is reported that Asma ran into her house, brought kerosene, poured it on Varsha and set her on fire. A while later, as Varsha went up in flames, Asma repeated the act on herself. Their cries were heard by people in the vicinity, who quickly reached the spot and doused the fire. While Asma was fortunate to have escaped with minor burns, Varsha was admitted to a Hubli hospital with over 90% burns. The doctors have reportedly termed her condition as critical and fear that her chances of survival are slim.

Goes to show, how powerful the medium of television has become, especially in regard to impressionable minds.

A Fabulous Offer

Randhir and Rishi Kapoor have been offered a fabulous price of Rs. 4.5 crore for the Overseas rights of their Aa Ab Laut Chalen. And did they jump at the offer to clinch the deal? No sir! The Kapoor brothers expect and desire a still higher price. Aa ab wait karen….!

OBITUARY
KAVI PRADEEP (1915-1998)

Chal akela, chal akela, chal akela,
Tera mela peechhe chhoota
Raahi chal akela

Kavi Pradeep, the poet who penned these deeply meaningful yet simple lyrics, passed away in Bombay on December 11, 1998. He was 83. The above lyrics may have been an anachronism when looked at in the light of the fact that Pradeep had seen almost all of his contemporaries, barring Ashok Kumar and Anil Biswas, pass away one by one over the years before his unfortunate death last week.

Born Ramchandra Dwivedi on 6th February, 1915, Kavi Pradeep had already achieved popularity in the Hindi poetry circles by the time he completed his B.A. from Lucknow. He later migrated to Bombay (in 1935) and earned himself a job in Bombay Talkies as a writer and lyricist. From here began his life-long quest to achieve a permanent place for himself in the history of Indian cinema. That he was able to fulfil this quest in a short span of time speaks highly of the greatness of his lyrics and their popularity among the listeners. However, a wide section of his fans still believes that Pradeep never received due recognition for his work. Even the Dadasaheb Phalke award that he received last year came too late for him, they feel — and perhaps, rightly so. Nevertheless, the poet himself was never heard complaining and instead, went on composing one nugget after another, thereby leaving an immensely rich poetic heritage behind for the world to savour.

Having received reasonable success as a singer in Bandhan (1940) early in his film career, Pradeep went on to pen lyrics for some of the immortal songs in films like Jhoola, Kismat, Nastik, Harishchandra Taramati, Bandhan, Jagruti and Jai Santoshi Maa, among others. The first film for which he penned songs, albeit a bit reluctantly, was Kangan.

It is said that Pradeep was forced to add ‘Kavi’ before his name in the ’50s as a lot of his mail used to land up at the then superstar Pradeep Kumar’s doorstep! That aside, Pradeep’s poetic oeuvre ranged from the sentimental Upar gagan vishal (Mashal, 1950) to the nostalgic Ek karz maangta hoon / Bachpan udhaar dey do to the philosophical Dekh tere sansaar ki haalat (Nastik, 1954) to an inspiring Chal chal re naujawan. However, Kavi Pradeep will forever be remembered for the fierce nationalistic fervour expressed in Aao bachchon tumhein dikhayein jhanki Hindustan ki (Jagruti, 1954), Hum laayein hain toofan se (Jagruti), Aaj Himalay ki choti se phir humne lalkara hai and scores of other songs that remain popular till date. Much before the Indo-Pak wars broke out, Pradeep had written Kehni hai ek baat humein iss desh ke peheredaron se / Sambhal ke rehna apne ghar mein chhipe huey gaddaron se (Talaq, 1958), sounding the government of the separatist and partisan forces at play in India. Yet, his crowning achievement was to come a few years later.

Written in the aftermath of the Indo-China war as a tribute to our jawans who laid down their lives for the country, Pradeep’s Ae mere watan ke logon touchingly echoed the feelings of an entire nation grieving in the wake of their sacrifice. Its earthy lyrics, written straight from the heart, continue to strike a chord among listeners even today. History has it that the song had moved the then prime minister, Jawaharlal Nehru, to tears when it was rendered by Lata Mangeshkar under the baton of music composer C. Ramchandra at a function in Delhi, held soon after the Chinese aggression had ended. History also has it that Kavi Pradeep himself was not invited at what could have easily been the most cherishable occasion of his life. It was only when Pt. Nehru enquired of the lyricist of the song, towards the end of the function, that the organisers realised the grave injustice they had done to the poet. Eventually, Pradeep received an opportunity to recite the song in person to Pt. Nehru, on the latter’s Bombay visit afterwards. He also presented a copy of the song to a sobbing Pt. Nehru on the occasion. This, for a man vowed to a simple life, remained the greatest compensation for his work. It may be apt to remember here that Kavi Pradeep, having dedicated the song to the nation, did not accept any royalty from HMV which released it in an album. Even later, when the song became hugely popular and its royalty ran into lakhs of rupees, Pradeep steadfastly held on to his earlier decision.

Kavi Pradeep had also written a song which was recorded in the voice of Asha Bhosle and composed by C. Ramchandra in the early ’70s. The song, written as a tribute to the widows of jawans who brought India victory in wars while losing their lives, had impressed the then prime minister, Lal Bahadur Shastri, tremendously. However, for some unknown reason, the song was never presented to the public. Had it been released, the song could have scaled the same heights of popularity that Ae mere watan ke logon did, felt Pradeep. The song goes thus –

Kar lo pranaam ae logon
Vey vandaneeya hain behenein
Iss desh ke liye jinhone
Vidhwa ke kapde pehne…..
Ek din samay badal jaayega
Mulk mein aayegi khush-haali
Par sarhad pe bhatakti rahengi
Inki aankhen khaali khaali
Sab kuchh lootakar in behenon ne
Hum sab ka Kashmir bachaaya
Watan yeh zinda rahe iss liye
Apna suhaag sindoor lootaaya

Long live, Kavi Pradeep.

– Raj Vaidya
(with inputs from O.L. Sharma, chief protocol officer,
Konkan Rly. Corpn.)

WAJOOD

N. Chandra Productions’ Wajood (UA) is the story of a guy in search of his own identity in the world of dramatics. He is madly in love with one of his co-artistes who is also his student. His love assumes obsessive proportions while the girl who he is in love with is completely unaware of this. She falls in love with another man but their marriage cannot take place due to circumstances. The obsessed lover, constantly criticised by his father for not earning anything, takes the short-cut to success and becomes a dreaded criminal who loots and even murders. He keeps informing his lady love (who is a journalist) of his future moves in the world of crime and she prints stories based on information supplied by him. When the police still can’t get their hands on him, they seek the journalist-cum-stage actress’ help to nab him.

The thought and story idea of the film, which has shades of Agni Sakshi, is good but its handling is abstract at several places, class-appealing in nature and even dull in parts. But alongside all this, there are moments that are brilliant — some because of the dialogues, some others due to the performances of the artistes and some more because of the originality of thought or all of the above together. Yet, the drama gets so boring and repetitive a few reels after interval that it even becomes irritating. Besides, there’s hardly any comedy or light scenes (except two or three small scenes of Johny Lever) to break the monotony of the tension. The character of the heroine — she becomes a journalist — looks contrived and, therefore, doesn’t go too well with the drama. Besides, the heroine not recognising her secret lover’s voice and even him when he comes in front of her, in disguise, looks unconvincing.

Nana Patekar excels as a performer and essays different roles — of an obsessive lover, of an unsuccessful son, of a mentally retarded man, of a thug etc. — with equal ease. But his style, it must be mentioned, is getting to become quite predictable. His dialogue delivery is splendid, especially the ‘Kaise bataaoon main tumhe’ monologue which is so lengthy, yet so beautifully delivered. Madhuri Dixit is generally good and excels in a couple of dramatic scenes like the one in which she wins the trophy for the best actress, confrontation with her father and showdown with her boss. Her dances are a delight to watch, as usual. Mukul Dev acts freely and naturally but is not too convincing in scenes of high-voltage drama. Ramya Krishnan is likeably subdued. Hemu Adhikari, as Nana’s father, is first-rate. His performance, dialogue delivery and expressions are just too fabulous. Shivaji Satam does an able job. Johny Lever is superb but has a brief role. Rajiv Verma leaves a mark. Jagdeep is quite nice. Tej Sapru is impressive. Gick Grewal, as Jagdeep’s wife, is effective. Kunika, Suhas Joshi, Parikshat Sahni (special appearance), Sanjay Mishra and Rajdutt provide fair support.

N. Chandra’s direction is good but his narration seems to be targetted more at the elite/city audience. Dialogues (Kamlesh Pandey and N. Chandra) are masterly at many places. Of the songs, ‘Ki toot gayee’ is mass-appealing. ‘Sanam tum hum pe marte ho’ is quite good but its lyrics are not easy to understand. Camerawork (W.B. Rao) is effective. Action scenes are well-composed. The film can do with plenty of chopping because of a loose script.

On the whole, Wajood is a city film, mainly for Maharashtra. It will be appreciated by the balcony-class audience. It needs to be heavily edited, though. A loser.

Released on 11-12-’98 at Eros and 18 other cinemas of Bombay thru V.I.P. Enterprises. Publicity: fair. Opening: very good. …….Also released all over. Opening was good in Maharashtra but ordinary elsewhere.

KUDRAT

Film Enterprises’ Kudrat (UA) is a love story. At first, the heroine, a rich spoilt girl, looks down upon the hero but the latter ultimately wins her heart. Even the girl’s father agrees to the alliance and, in fact, it is he who asks his daughter to choose the hero as her life partner. But on the day of the engagement, the father insults the hero and his family members, calls off the engagement and cites old enmity as the cause for his action. He makes it clear that he had been playing a wicked game all along. The suspense about the enmity between the two families and what transpired thereafter is revealed later although references to the suspense are made earlier too. Ultimately, the father is made to realise his folly, and the lovers unite.

The love between the hero and heroine looks unreal and even the suspense angle has no shock value whatsoever. The change of face of the hero’s father, by plastic surgery leaves the viewer as uninvolved in the drama as he is throughout the rest of the film because of two reasons — one, the concept is not so common as to be easily appreciated and secondly, such a surgery has been seen in Vishwa Vidhaata earlier. Screenplay is dull and the lesson the heroine’s father is made to learn in the end (about outraging the modesty of a girl) looks fake. Emotions are absent except, maybe, in one scene.

Akshaye Khanna does a fairly good job but doesn’t look very dashing. Urmila Matondkar acts ably and looks pretty but the actress should change her mannerisms and facial expressions as they are tending to become repetitive. Aroona Irani does a fine job. Kader Khan is alright and so is Paresh Rawal. Ravi Kishan, Shalini Kapoor and Ashish Nagpal lend average support. Anant Mahadevan, Maya Alagh, Kiran Kumar, Achyut Potdar, Ghanshyam, Gavin and the rest of the cast fit the bill.

Direction is ordinary. The director has not been able to infuse feelings into the subject. On the music front (Rajesh Roshan), the ‘Chidi ki dukki’, ‘Aaj hoke rahe apna milan’, ‘Deewane do dil mile’, ‘Main hoon akeli’ and ‘Tujhe dene ko mere paas kuchh nahin’ are well-tuned numbers but the only mass-appealing one is the first-mentioned song. Song picturisations are fair. Action scenes are alright. Camerawork is good. Other technical values are okay.

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

Released on 11-12-’98 at Dreamland and 10 other cinemas of Bombay by Raj Enterprises thru Shringar Films. Publicity: good. Opening: dull. …….Also released all over. Opening was poor almost everywhere.

LATEST POSITION

Except for SOLDIER, none of the new releases has been able to make a mark at the box-office.

Jhooth Bole Kauwa Kaate has not found acceptance. It is good only in parts of Bombay city, and disastrous elsewhere. 1st week Bombay 29,81,165 (73.11%) from 10 cinemas (4 on F.H.); Ahmedabad 4,22,461 from 3 cinemas; Pune 6,56,618 from 3 cinemas (1 in matinee), Solapur (matinee) 47,818; Belgaum 1,05,267; Delhi 19,13,854 (38.84%) from 10 cinemas (2 on F.H.); Kanpur 1,75,963 from 3 cinemas, Lucknow (6 days) 1,40,712, Agra 1,32,000, Allahabad 78,000, Bareilly (6 days) 57,818 (30.17%); Calcutta (6 days) 5,59,248 from 4 cinemas; Nagpur 4,26,555 from 3 cinemas, Jabalpur 70,856, Amravati (6 days) 54,074, Akola 83,768, Raipur (6 days) 89,173; Indore 1,62,184 (3 on F.H.), Bhopal 1,63,044 from 2 cinemas; Jaipur  3,60,629 from 2 cinemas; Hyderabad 8,55,728 from 4 cinemas.

………

China Gate is steady at some centres. 2nd week Bombay 37,00,420 (75%) from 10 cinemas (8 on F.H.); Ahmedabad 8,42,539 from 7 cinemas, 1st week Padra 1,38,188, 2nd week Rajkot 1,33,730, Jamnagar 1,06,109 from 2 cinemas (1 in matinee); Pune 9,34,205 from 4 cinemas (1 in matinee), Kolhapur 1,67,278, Solapur 1,31,265; Delhi 24,93,436 from 9 cinemas (1 on F.H.); Kanpur 2,52,863 from 2 cinemas, Lucknow 2,64,025, Agra 2,25,000, Varanasi 1,46,281, Allahabad 1,67,411, Bareilly 78,811 (26%); Nagpur 2,89,053 from 2 cinemas, 1st week Jabalpur 1,71,576, 2nd week Amravati (6 days) 1,66,007, Akola 1,15,632, total 3,06,303, Raipur (6 days) 1,09,809, Bhilai 91,956, Gondia (gross) 68,216; Indore 65,275 (1 on F.H.), Bhopal 1,98,733 from 2 cinemas; Jaipur 2,60,234, 1st week Bikaner 2,17,686, Udaipur 2,27,428; 2nd week Hyderabad 8,38,991 from 5 cinemas.

Doli Saja Ke Rakhna 2nd week Bombay 8,28,084 (48.48%) from 5 cinemas (1 on F.H.); Baroda 54,067; Pune 2,14,535 from 2 cinemas (1 in matinee), Solapur 90,365; Delhi 2,47,471 from 2 cinemas; Kanpur 54,922, Lucknow 1,07,952, Varanasi 47,252, Allahabad 37,000; Nagpur 52,500, Raipur (6 days) 47,123, Bhilai 44,075, 1st week Chandrapur 1,06,721; Indore 1,29,500 from 2 cinemas (1 on F.H.), 2nd week Bhopal 54,407; Hyderabad 3,68,081 from 2 cinemas (1 cinema for 4 days).

Soldier proves class A in some circuits and BB in others. In East Punjab, it is AA, equal to KKHH! 3rd week Bombay 22,75,545 (79.46%) from 7 cinemas (8 on F.H.); Ahmedabad 3,15,967 from 3 cinemas (1 unrecd.), 1st week Patan 1,48,142; 3rd week Pune 5,00,354 from 3 cinemas, Kolhapur (16 shows) 55,194, Solapur 98,990; Delhi 16,69,286 from 7 cinemas (1 on F.H.); Kanpur 4,00,416 from 2 cinemas, Lucknow 3,44,757, Varanasi 2,59,546, Bareilly (6 days) 1,27,021 (53.94%), Hardwar 48,887; Calcutta (6 days) 2,57,226; Nagpur 2,01,378 from 2 cinemas, Jabalpur 1,01,233, total 4,43,516, Amravati (6 days) 77,004, Raipur (6 days) 83,224, Bhilai 39,344, 2nd week Durg (6 days) 54,671, 1st week Chandrapur 2,02,800, 2nd week Yavatmal 73,834; 3rd week Jaipur 4,39,150 from 2 cinemas, 2nd week Bikaner 1,61,123, 3rd week Udaipur 1,27,735; Hyderabad 6,37,883 from 2 cinemas, excellent.

Fire (dubbed) has done remarkably well at several places due to the widespread publicity its discontinuance in Bombay and Delhi has got. Collections have shot up remarkably in Kanpur, Lucknow, Allahabad and Calcutta. 4th week Baroda (matinee) 20,328; Solapur 98,044; 2nd week Kanpur 1,62,743, 4th week Lucknow 1,68,324, Allahabad 58,750; 3rd week Calcutta (6 days) 1,56,961; 4th week Nagpur (17 shows) 78,462; 1st week Jaipur 4,17,719, excellent.

Armageddon (dubbed) 1st week Akola 1,35,893, excellent.

KAVI PRADEEP NO MORE

Noted poet and lyricist Kavi Pradeep died at his residence in Bombay on 11th December due to old age. He was 84 and is survived by his wife and two daughters.

Pradeep had penned several immortal songs for Hindi films, mostly in the ‘forties and ‘fifties. His most famous song was undoubtedly Aye mere watan ke logon sung by Lata Mangeshkar. This song had brought tears to the eyes of Jawaharlal Nehru. Another hit song of his, Chal chal re naujawan from Bandhan, had become the youth march for the army in the 1940s. Aao bachchon tumhe dikhaayen from Jagruti was yet another super-hit penned by the super-genius. The first film for which he wrote songs was Kangan and when he was asked to pen its lyrics, he was hesitant and said, he was a poet and had never written a film song. Pradeep was also a singer and music director, and several of his songs used to have tunes composed by himself. Among the other films for which he wrote songs are Punarmilan, Anjaan, Jhoola, Kismat (Door hathon ae duniya walon, Hindustan hamara hai), Girls School, Baap Beti, Vaman Avtar, Chakradhari etc. The last film for which he penned songs was Aankh Ka Tara. He had written about 1,700 film and non-film songs in six decades.

Kavi Pradeep just this year had been awarded the Dadasaheb Phalke award.

N.C. SIPPY BEREAVED

Mohini Sippy, wife of producer N.C. Sippy and mother of producer Romu Sippy and director Raj N. Sippy, expired on 6th December in Bombay. Marka ceremony was held on 8th at Nij Thanw, Khar, Bombay.

PRAMOD MAHAJAN NEW I & B MINISTER

Pramod Mahajan has been appointed the new Union minister for information and broadcasting. The I & B ministry was being handled by prime minister Atal Behari Vajpayee after the earlier I & B minister, Sushma Swaraj, was appointed chief minister of Delhi.

CASE AGAINST MAMTA KULKARNI IN BANGLADESH

Mamta Kulkarni and seven others face a case in a Dhaka court under the sections 500, 501, 502 and 109 of the Bangladesh Penal Code for allegedly speaking for reunification of Bangladesh and West Bengal. An advocate filed the case on 7th December, alleging that the eight offenders, including the editor of a newspaper, had violated the sections by their remarks published in the newspaper.

Mamta was in Dhaka last week for the shooting of a Bengali film, Sesh Bangsadhar, an Indo-Bangladesh co-production.

JOHNY LEVER SENTENCED TO JAIL

The 19th metropolitan magistrate’s court at Esplanade in Bombay on 8th December sentenced comedian Johny Lever to seven days’ imprisonment and imposed a fine of Rs. 1,000 on him under section 2 of the Prevention of Insult to National Honour and Constitution of India Act, 1971.

Actor Johny Lever was arrested by the police immediately after the court order was passed. But since he has already served three days in jail for the offence, he will now be jailed for only four more days.

It may be recalled that the Bombay police had booked Johny Lever soon after receiving video tapes of a party held in Dubai in 1989, which depicted the famed comedian parodying the Indian national anthem in an objectionable manner.

PREMATURE TELECAST OF FILMS ON SATELLITE CHANNELS: CCCA PROPOSES SEVERE FINES

In a meeting to be held on 21st December in Indore, the executive committee of the Central Circuit Cine Association will discuss a proposal to impose severe penalties on producers in the event of premature telecast of their films on satellite and cable television. The CCCA has already initiated action deciding on imposition of a penalty of Rs. 2,50,000 on a producer if his film is prematurely telecast, but the new proposal will impose much higher penalties to duly compensate the distributors for their losses arising out of the telecast. The proposal states:

i) A producer selling the rights for telecast within one year of the film’s release in the circuit shall be made to pay a compensation of Rs. 10,00,000, out of which Rs. 7,50,000 shall be proportionately distributed among the film’s distributors in C.P. Berar, C.I. and Rajasthan, the balance going to the CCCA’s coffers;

ii) A producer selling the rights for telecast between one and two years of the film’s release shall pay Rs. 7,50,000, out of which Rs. 5,50,000 shall go to the distributors;

iii) A producer selling the rights for telecast between two and three years of its release shall be made to pay Rs. 6,00,000, out of which Rs. 4,00,000 shall go to the distributors; and

iv) A producer selling the rights for telecast between three and five years of its release shall pay Rs. 4,00,000, out of which Rs. 2,50,000 shall go to the distributors.

Apart from the above, the distributors shall be entitled to get their claims against business losses registered with the CCCA, irrespective of the forced undertaking given by them to the producers at the time of the agreement or at the time of delivery of prints, the proposal states.

It is also proposed that a dialogue be initiated with the production sector in order to resolve the issue permanently.

Supreme Court To Hear ‘Fire’ Plea On 15th December

The raging Fire controversy refuses to die down. Industry people, including Dilip Kumar, Mahesh Bhatt and the film’s director, Deepa Mehta, as also some lawyers have petitioned the Supreme Court, seeking a direction for restoration of “rule of law and the Constitution before the situation slips into a complete threatened anarchy”. While declining to issue notice on a limited plea for providing security to Deepa Mehta, the director of Fire, the Court fixed 15th December as the date to hear the petition along with an intervention application filed by a Delhi resident. The application seeks an apology from Deepa Mehta for hurting the religious sentiments of the Hindus by portraying lesbianism in the film.

The Supreme Court bench comprising Chief Justice A.S. Anand, Justice M. Srinivasan and Justice M.B. Shah told the counsel for the petitioners to stop talking to the press as the matter was sub judice. The petition has sought a direction to Maharashtra chief minister Manohar Joshi, the Maharashtra government, Shiv Sena and Bal Thackeray to take all steps to provide a sense of security, apart from mere protection so that the film can be exhibited. The petitioners have also requested the Court to issue suitable directions, including the direction by way of continuing mandamus, that those guilty for the acts perpetrated are brought to book and tried in accordance with law.

The film, it may be mentioned here, has been referred by the I & B ministry to the CBFC for re-examination.

Meanwhile, the arguments for and against the film’s screening continue. The Bombay police on 9th December arrested about 30 demonstrators after they assembled outside the city’s New Empire cinema to protest against the Shiv Sena’s call for a ban on the film. Even some lady journalists, who had gone to cover the demonstration for their newspapers, were arrested by the police. It may be mentioned here that the police had not taken any action against Shiv Sena members last week when they disrupted the screening of Fire at New Empire and Cinemax. In the meantime, the Indian Film Directors’ Association has condemned the violent protest against the film. The Film Federation of India has also made formal protests in this regard to Maharashtra chief minister Manohar Joshi as well as to I & B minister of state, M.A. Naqvi.

YOU ASKED IT

Is it true that the Rajshri group has joined hands with some NRI to start an exhibition chain all over India?

– Several NRIs have been contacting the Rajshri people with different proposals but nothing concrete has shaped up so far.

What are the Associations doing to protect distributors’ interests in the event of producers selling satellite rights for telecast soon after theatrical release of films?

– Distributors’ associations all over India have taken a serious note of the new trend, and a policy decision is like to be taken by them on the lines of the decision of the Central Circuit Cine Association. The CCCA is in the process of finalising the steps to be taken by its distributor-members in such an event.

Is it advisable to remake a hit in the same language?

– It is advisable to do so only if the maker is sure, he can better it or if the hit had been released many years ago and it has not been seen by many of today’s audience.

DO YOU KNOW?

* Majrooh Sultanpuri, who had penned the hit Hum to mohabbat karega song of DILLI KA THUG in 1958, will once again be writing the title song of K.P. Singh’s HUM TO MOHABBAT KAREGA. While that song of 40 years ago was picturised on Kishore Kumar and Nutan, the new song will be picturised on Bobby Deol and Karisma Kapoor.

* Bombay distributor Ramesh Sippy is offering a special discount of 40% at Bombay’s Central Plaza cinema in the 3 p.m. show from Mondays through Fridays for DOLI SAJA KE RAKHNA. The discount is available only in the stalls and that too for ladies audience.

RHYME TIME

Truth About ‘Jhooth…’

It was touted as a comedy
But for distributors, it has proved a tragedy
This Jhooth Bole Kauwa Kaate
‘Coz it has caused bade bade ghaate

Playing With Fire

The case of Deepa Mehta’s Fire
Shows how the Sena state-managed public ire
Shouldn’t the Centre in its whimsical fashion
Having sent Fire for re-examination
Now make CBFC, an abbreviation
For Central Board of Farcical Certification?

3-E
Education-Entertainment-Enlightenment

Record Of Sorts

With Kunwara to be released in Bombay by Shringar Films, this would be the fifth David Dhawan film starring Govinda to be released by Shringar. The association of Shringar Films with David Dhawan-directed Govinda-starrers began with Swarg. David’s next film to be released by Shringar was Coolie No. 1, followed quickly by Saajan Chale Sasural. Both starred Govinda. Recently, Shringar released David’s fourth film, Bade Miyan Chote Miyan, starring Amitabh Bachchan and Govinda. Kunwara also stars Govinda.

Akshaye Khanna’s Producers Panic

The poor opening response to Kudrat this week comes close on the heels of the disastrous initial of Doli Saja Ke Rakhna two weeks back. Besides the fact that both the films have been such poor starters, what is causing concern to producers of Akshaye Khanna starrers is that both, Kudrat and Doli…, are solo Akshaye starrers. Like the producers of his films, distributors of Akshaye’s films are also panicking although everyone is trying hard to hide his panic. After all, people associated with a star’s films should be the last ones to show, they are scared. Or else, how will they inspire the confidence of exhibitors for giving them (distributors) the much-awaited advances?