JHOOTH BOLE KAUWA KAATE

Tristar International’s Jhooth Bole Kauwa Kaate is a light romantic film with a wafer-thin story-line. A boy and a girl fall in love with each other but cannot get married unless the girl’s father gives his consent. Rather than tell him of their love, the boy adopts the round-and-about method — he comes to the girl’s house as a paying guest and tries to win the approval of the strict father. There are goof-ups galore and the biggest hurdle comes when the girl’s marriage is fixed with her childhood friend. When the father, who had all along been suspecting of something fishy going on, comes to know of the truth, he is livid. Ultimately, he relents.

Although there are entertaining moments in the film, the main drawback, besides the thin story-line, is that problems are created on purpose, to be ultimately solved. The drama drags in the second half due to some repetitive scenes. Further, although it is a love story, romance is sought to be expressed through songs only. Even the songs pop up at situations that look contrived. Dialogues (Z.D. Lari) are witty at places.

Anil Kapoor does a fantastic job and endears himself to the viewer. He is natural to the core. Juhi Chawla looks pretty and she too acts very ably. Amrish Puri, as Juhi’s father, is wonderful. Anupam Kher does a fair job. Reema is effective. Sajid Khan, who is known for his comedy punches on television shows, has unfortunately not been given comic scenes in the film. He does an average job. Harish Patel, Harpal, Renuka Israni and Anang Desai lend adequate support. Satish Kaushik and Nilofer leave a mark in friendly appearances. Shiamak Davar’s appearance in the title song is an attraction.

Hrishikesh Mukherjee’s direction is good but these type of clean and slow-paced films have very limited market now. Anand Milind’s music score is inspiring. The title song, ‘Dil ye dil’, ‘Aatta hai chawal hai’ and ‘Aankhon mein’ are hummable numbers but their picturisations are too simple. Camerawork (Jal Mistry) is eye-filling.

On the whole, Jhooth Bole Kauwa Kaate is a film for the ‘class’ audience in a few cities only, that too mostly in Bombay and South. But in the rest of the country, the film will meet with disastrous results.

Released on 4-12-’98 at New Excelsior and 13 other cinemas of Bombay by UTV Motion Pictures thru Shringar Films. Publicity: excellent. Opening: fair. …….Also released all over. Opening was poor in most of the circuits.

LATEST POSITION

While last week’s CHINA GATE did not pick up after a dull start, DOLI SAJA KE RAKHNA fared miserably almost all over. This week’s JHOOTH BOLE… has also opened to rather poor houses in most of the circuits.

China Gate has done fair business in Bombay, Maharashtra and Nizam in the first week but is dull or at the most average in the rest of India. It is expected to entail losses to its distributors. 1st week Bombay 47,74,747 (85.60%) from 11 cinemas (9 on F.H.); Ahmedabad 13,31,876 from 8 cinemas, Vapi 2,78,508, Rajkot 1,49,640, Jamnagar 1,38,801 from 2 cinemas (1 in matinee), Adipur 1,25,567; Pune 11,23,567 from 5 cinemas, Kolhapur 1,60,000 (1 unrecd.), Solapur 2,65,990 (from 2 cinemas); Delhi 31,91,078 (72.38%) from 10 cinemas (1 on F.H.); Kanpur 3,73,196 from 2 cinemas, Lucknow 3,25,816, Varanasi 1,92,226, Allahabad 2,30,585, Meerut 1,98,964, Bareilly 1,42,157; Calcutta 16,15,149 from 12 cinemas (11 on F.H.); Nagpur 3,37,194 from 3 cinemas, Amravati 2,19,001, Raipur (6 days) 1,55,142, Gondia 98,846; Indore 2,40,000 (45.41%) from 2 cinemas (3 on F.H.), Bhopal (6 days) 2,79,186 from 3 cinemas; Jaipur 7,07,103 from 4 cinemas; Hyderabad 26,65,618 from 13 cinemas (1 in noon).

Doli Saja Ke Rakhna is a total loss all over except in Bombay and Maharashtra where it is very slightly better. 1st week Bombay 10,76,991 (63.05%) from 5 cinemas (4 on F.H.); Ahmedabad 86,324, Baroda 58,466, Jamnagar 47,566; Pune 2,82,736 from 2 cinemas (1 in matinee), Kolhapur 75,000, Solapur 1,07,406; Hubli 1,27,519, Belgaum 1,12,799 (100%); Delhi 6,84,293 (25.27%) from 5 cinemas; Kanpur 74,321, Lucknow 1,35,053, Varanasi 50,822, Allahabad 50,000, Meerut 50,252, Bareilly 42,250; Nagpur 1,30,406 from 2 cinemas, Amravati (6 days) 63,261, Raipur (6 days) 61,437; Bhopal (27 shows) 59,890; Jaipur 1,98,722 from 2 cinemas, Jodhpur 1,75,000; Hyderabad 8,30,059 from 6 cinemas.

……….

Soldier has maintained excellent in U.P., East Punjab and Rajasthan. 2nd week Bombay 36,11,823 (81.18%) from 12 cinemas (8 on F.H.); Ahmedabad 4,28,189 from 3 cinemas, Rajkot 1,54,280, Bhuj 75,217 (1st 1,23,000); Pune 8,66,574 from 4 cinemas, Kolhapur 1,39,184, Solapur 1,20,916; Delhi 31,81,029 from 10 cinemas (2 on F.H.); Kanpur 4,70,912 from 2 cinemas, Lucknow 3,78,155, Varanasi 2,67,133, Allahabad 1,78,164, Meerut (6 days) 1,99,716 (100%), Bareilly 1,68,389, Hardwar 50,175; Calcutta 17,02,016 from 14 cinemas; Jabalpur (6 days) 1,06,188, Amravati (6 days) 1,08,327, Raipur (6 days) 98,781, Durg 69,751, 1st week Yavatmal 1,20,634, Bilaspur 1,46,383 from 2 cinemas (1 cinema for 6 days & the other for 5 days); 2nd week Bhopal (6 days) 1,42,495; Jaipur 5,20,719 from 2 cinemas, Udaipur 1,95,480 (1st 2,67,315); Hyderabad 6,85,582 from 2 cinemas (3 on F.H.); 1st week Vijayawada 3,32,530.

Fire (dubbed) 3rd week Bombay (5 days) 7,22,675 (96.53%) from 2 cinemas, English version (5 days) 2,49,427 (100%) from 2 cinemas; Ahmedabad (7 shows) 32,502; Pune (6 days) 1,84,226; Delhi 2,74,646; 1st week Kanpur 83,000, 3rd Lucknow 57,800, Allahabad 19,600; 2nd week Calcutta 1,61,760; 3rd Nagpur 1,24,352, 1 week Jabalpur (6 days) 46,278, 1st week Raipur 53,300; 3rd week Hyderabad 63,410.

Kuch Kuch Hota Hai 7th week Bombay 45,59,892 (85.47%) from 11 cinemas (6 on F.H.), 6th week Vasai 1,66,172, 2nd week Panvel (gross) 2,92,781; Ahmedabad 7,76,986 from 3 cinemas, Baroda 1,92,353, Vapi 1,48,702, total 24,41,410, Jamnagar 56,000; Pune 9,82,431 from 4 cinemas (1 in matinee), Kolhapur 1,80,000, Solapur 1,08,380; Delhi 20,20,645 from 8 cinemas; Kanpur 2,05,768 from 2 cinemas, Lucknow 3,32,964, Allahabad 90,050, Bareilly (6 days) 40,146, Hardwar 18,211, total 5,96,136; Calcutta 8,90,507 from 3 cinemas; 6th Nagpur 2,70,629 from 2 cinemas, 2nd week Jabalpur 2,27,871, total 4,86,101, 7th week Amravati (6 days) 1,13,036, Dhule 68,590, total 9,52,903, Raipur (6 days) 86,700, Jalgaon 93,119, 3rd week Wardha 90,141, total 3,75,024, 2nd week Yavatmal 1,45,008; 7th week Indore 2,08,904 from 2 cinemas; Jaipur 4,65,458, Udaipur 1,10,000; Hyderabad 6,09,195 from 3 cinemas (2 in noon shows); 4 weeks’ Vijayawada total 10,96,908.

STOP PRESS
‘FIRE’ TO BE RE-EXAMINED

Deepa Mehta’s controversial film, Fire, has been referred to the Central Board of Film Certification for re-examination, by the I & B ministry in view of the protests against the film in different parts of the country. It may be mentioned here that the film’s screening was first stopped by Shiv Sena members in Bombay and thereafter in other parts of the country (read details elsewhere in this issue). Some people had even petitioned the Supreme Court to look into the matter.

SANJAY KAPOOR TO WED

Sanjay Kapoor will wed model and actress Maheep Sandhu on 9th December at The Leela Hotel. A party will also be held on 6th at The Club, Andheri, Bombay.

AKSHAYE KHANNA VISITS INDORE CINEMAS

Akshaye Khanna has gone to Indore where his Doli Saja Ke Rakhna opened this week. The actor is making stage appearances in one or two shows at Regal, Alka and Devshri cinemas.

NANDED GURUDWARA DEMANDS JAVED JAFFRI’S APOLOGY

Actor Javed Jaffri’s remarks against the Sikh religion, in a recent interview published in a film glossy, has hurt the sentiments of the Sikhs. Copies of the glossy were burnt in the main gurudwara complex at Nanded, and the chairman of the Sachkhand Gurudwara board demanded Javed’s apology before the Shahi Imam of Delhi, for having made the “derogatory” comments.

PRODUCTION NEWS

‘Hum Aapke Dil Mein Rehte Hain’ Complete

Suresh Productions’ Hum Aapke Dil Mein Rehte Hain is now complete after the picturisation of its last song at  Treasure Island in Hyderabad. Anil Kapoor, Mink and 30 models and dancers from Bombay participated. The film stars Kajol in the female lead and co-stars Parmeet Sethi, Sudha Chandran, Smita Jayakar, Gracy Singh, Adi Irani, Rajoo Shreshtha, Sadhu Meher, Rakesh Bedi, Satish Kaushik and Shakti Kapoor. Producer: D. Rama Naidu. Director: Satish Kaushik. Story-screenplay: Bhupati Raja. Dialogues: Jainendra Jain. Lyrics: Sameer. Music: Anu Malik. Cinematography: Kabir Laal. Dances: Saroj Khan and Chinni Prakash. Action: Raju Master. Editor: Chetan Tanna.

‘Kaho Naa…Pyaar Hai’ Unit Returns

The unit of Film Kraft’s Kaho Naa…Pyaar Hai returned from Thailand on Nov. 28 after picturising two songs and scenes on board a cruise and on Krabi island near Phuket. Newcomers Hrithik Roshan and Amisha Patel alongwith Rajesh Tandon, Vrajesh Hirjee, Payal Malhotra and 35 dancers participated. The film also stars Anupam Kher, Mohnish Bahl, Dalip Tahhil, Ashish Vidyarthi, Satish Shah, Farida Jalal and master Abhishek. It is being produced and directed by Rakesh Roshan. Story-screenplay: Ravi Kapoor and Honey Irani. Dialogues: Sagar Sarhadi. Lyrics: Saawan Kumar and Ibrahim Ashq. Music: Rajesh Roshan. Cinematography: Kabir Laal. Art: R. Verman. Action: Tinnu Verma. Sound: Navin Zaveri. Dances: Farah Khan. Editor: Sanjay Verma.

‘Kunwara’ In Hyderabad

Tips Films and Geeta Arts’ Kunwara is being shot from this week in a 12-day stint in Hyderabad. Govinda, Urmila Matondkar, Naghma, Om Puri, Mohan Joshi, Aasif Sheikh, Johny Lever and Kader Khan are participating. The film, being directed by David Dhawan, is based on a story by Mag Babu and screenplay by Yunus Sejawal and Ikram Akhtar. Dialogues: Rumi Jafri. Lyrics: Sameer. Music: Aadesh Shrivastava. Cinematography: Chhota Naidu. Art: R. Verman. Dances: Saroj Khan. Sound: Vinod Poddar. Editor: A. Muthu. Producers: Allu Arvind, Mukesh Udeshi, Kumar S. Taurani and Ramesh S. Taurani.

DO YOU KNOW?

* In a fine humanitarian gesture, Nana Patekar rushed fight master Sham Kaushal to Nanavati Hospital in Bombay immediately after the latter’s appendix burst on 22nd November. Kaushal was successfully operated upon and later discharged on 3rd December. The action director can’t stop singing the star’s praises ever since.

* SOLDIER has created a record in 2nd week at Anand, Lucknow by collecting 3,73,155/-.

* SOLDIER has created theatre records by collecting 2,71,000/- and 1,99,812/- in 2nd week at Kanpur’s Nigar and Natraj cinemas respectively.

* SOLDIER has created a theatre record by collecting 2,68,768/- in 2nd week at Sanjay, Agra.

Who called this ‘Fire’ brigade?

The Fire controversy, that started in Bombay on 2nd December, spread to Delhi on 3rd and is spreading like wild fire in other parts of the country. Shiv Sena activists on 2nd disrupted the screening of Deepa Mehta’s film at New Empire and Cinemax cinemas of Bombay as they felt, the topic of lesbianism dealt with in the film was against Indian culture. The activists, most of who were women, broke glass panes and showcases at New Empire and Cinemax and forced the managements to refund the money to cinegoers. Even the monies collected for other shows by way of sale of tickets in advance had to be refunded.

A Jain organisation had some days back raised its voice against the film starring Shabana Azmi and Nandita Das. The Maharashtra government has so far not done anything to restore the film’s screening in Bombay. Of course, about 29 persons were arrested by the Bombay police and those arrested included municipal corporators. In Pune, its screening was withdrawn voluntarily at West End cinema from 3rd, following a call to boycott the film, issued by the Patit Pawan Sanghatana, a militant Hindu organisation. The film has also been discontinued from Ahmedabad.

The Shiv Sainiks’ vandalism became a topic of heated discussion in the Rajya Sabha in Delhi on 3rd and even as allegations and counter-allegations were being freely traded in the Upper House, some Sena activists stormed Regal cinema in the capital city and stopped the screening of Fire. They smashed glass panes of the cinema and tore up posters and billboards of the film. Shabana Azmi and Vinod Khanna, both members of Parliament, condemned the agitation.

The Sena leader in Delhi was arrested on 4th. In the meanwhile, industry veterans like Dilip Kumar, Yash Chopra and Javed Akhtar have written to the Supreme Court about the incidents. According to the film’s Bombay distributor, Balkrishna Shroff, “This is a danger-signal for the film industry. Such a thing has no place in a democratic society like ours. Every satellite channel today shows much more objectionable stuff than what is shown in our films. The point is, once the CBFC has passed the film, it should be left to the audience to decide whether they want to see the film or not. Fire found appreciation in Bombay alone, while in many places all over India, it failed to draw crowds. The protest is unfortunate and unwarranted. We have approached the Film Federation of India to intervene as what has happened to us today could well happen to anybody else tomorrow. The issue must be taken up by the industry with the government in a very serious way.”

It may be mentioned here that the film was doing excellent business in Bombay city before the suspension of its screening. Following its suspension and the nationwide coverage given to the incidents, by television and print media, the collections in the rest of the country where Fire is being screened have shot up. For instance, it opened at Jaipur’s Premprakash cinema on 4th and collected 13,973/- in the morning show on the opening day, and 16,000/- in the noon show. In normal circumstances, the film may not even have collected 10% of the above! So, while the anti-film wave has adversely affected the business of Fire in Bombay, other parts of Maharashtra and in Delhi, it has definitely helped its business in the rest of the country. Why, the Nizam distributor is said to be seriously considering increasing the number of prints in his circuit substantially. Sena activists, in the meanwhile, are said to have given 24 hours’ time to cinemas in a couple of stations of U.P. screening the film on 4th December.

Questions For The Self-Appointed Censors

The anti-Fire activists have been saying that their anger against the film is because it projects lesbian relationship which is against Indian tradition and culture. To stop the screening of the film, these activists resorted to goondaism and vandalism. Is this goondaism a part of Indian culture and tradition?

English films imported from abroad show much more than what is shown in Deepa Mehta’s Fire. Don’t those films corrupt our culture if Deepa Mehta’s film does?

If the government can’t do anything about the anti-Fire agitation, it is a shame. Shouldn’t the central government then abolish the CBFC because now we have bodies that are above the CBFC?

YOU ASKED IT

With Doli Saja Ke Rakhna opening to poor houses last week, do you think, it is the first sign that the audience are now getting tired of the family-based formula films?

– No, it does not mean so. What it definitely means is that music of such family films must become popular before they (films) are released, to ensure a good opening.

How do directors complete films in 10 and 12 days? Are such films economically viable proposals? What are their budgets?

– Such films are generally new star-cast films shot in a single schedule. Their budgets range from 10 to 20 lakh and several of them are commercially viable.

Is Mukesh Bhatt compensating his all-India distributors of Ghulam for having allowed its telecast on a satellite channel so early?

– The IMPDA has already ruled that no film of Bhatt will be permitted to be released until the sub-distributors of GHULAM for Thane etc. are adequately compensated. Likewise, almost every distributors’ association must’ve banned Bhatt’s forthcoming films.

RHYME TIME

Freedom On Pyre

Shiv Sena has targeted its ire
On Deepa Mehta’s Fire
Its “Culture Corruption” claim
Seems to be an excuse lame
And more of a political game
Will Deepa next make a political satire?

Hair Raising!

With Doli…. refusing to pick up
Akshaye’s career is unable to look up
His hopes are now pinned on R.K.’s film and Taal
But the public is more bothered about his failing baal

Not A Golden Rule

Is old really gold?
Not any longer, Santoshi has been told
For, his film with ten men old
Has had the distributors clean-bowled!

Lessons To Learn

The lukewarm — at places, even dull — opening of China Gate last week should teach a lesson to producers, financiers and directors. Don’t over-burden a project with a price that doesn’t match its cast. Or, in other words, spend money on a project according to what its cast deserves.

Rajkumar Santoshi must have had the conviction to make a film with no saleable stars and not even a single young star. Good! But alongwith the conviction, he should have had the concern for the economics. Creativity and business acumen make strange bed-fellows. But if a director decides to turn a producer, he must give equal weightage to both, his creativity and the economics of filmmaking. This, because finally, he has to sell his film. His distributors who’ve bought China Gate were confident of Rajkumar Santoshi, the craftsman, the creative genius and the director. But they did not know that businessman Santoshi would go so wrong in the pricing of his film.They, perhaps, were in awe of his creative talent and thought, it would also translate into economic excellence. That is why, they paid Rs. 1.75 crore to Rs. 2 crore for a non-star cast film. They also assumed that Rajkumar Santoshi was the star, he would attract the audience to the cinema halls. But no, even successful Santoshi did not prove to be a crowd-puller.

If Santoshi did not fix the price, financier Bharat Shah may have. That would mean, Bharat Shah also erred like the distributors of China Gate. He too reposed too much confidence in Santoshi — in his creativity (rightly) and in his economic sense (wrongly). That creativity needs a free hand is true. But every film, after all, is a business proposal and if one were to only concentrate on the creative side, the business aspect would undoubtedly suffer. Santoshi should have made China Gate with the same conviction but with lesser expenses. He should have, at least in this non-star cast film, avoided re-shooting heavily. Anyway, he would do well to keep these lessons in mind for the future.

The makers of Doli Saja Ke Rakhna too must’ve learnt their lesson: a family film should not be released until its music gets time to grow. The songs of DSKR should have been given time to grow on the listeners. It would have definitely given the film a better opening. Secondly, proper/appropriate publicity is also very essential. Merely beaming songs of a film on television is not enough. The audience has to be given a feel of the film, which did not happen in the case of Doli…. Compare this with the publicity of Kuch Kuch Hota Hai, another film for the families. Although people had initially felt, the music of KKHH was weak, the makers publicised the music on a grand scale. So much so that the music began to be liked and even loved. This is not to say that the music had no merits and that only its extensive and intensive publicity helped. But the popularising of the film’s songs did go a long way in ensuring a bumper opening for the film despite the dull pre-Diwali days.

– Komal Nahta

Dream Merchant

News of Subhash Ghai and Salman Khan’s fight at Kailash Surendranath’s party last week had shocked me as it did many in the industry. In fact, the hatha-paai between the celebrated filmmaker and the successful actor was the topic of discussion in all filmi circles. And so, I naturally dreamt about the forgettable fight.

I dreamt last night that a producer-director and a star were arguing about the Ghai-Khan fight. The producer-director was taking sides with Subhash Ghai while the actor supported Salman.

The p-d said, “How come no FIR was lodged against Salman Khan for beating up Subhash Ghai? To which the star replied, “Oh, come on, it wasn’t such a crime to warrant an FIR. On several earlier occasions too, stars have resorted to using physical force on people they don’t like. Aditya Pancholi has beaten up several people. Dharmendra had also raised his hand on a journalist.”

“But,”  countered the producer-director, “shouldn’t such behaviour be condemned? Why can’t the police be allowed to act in the matter?”

The star wondered, “What do you mean? When Salman apologised the following day for his behaviour the previous night, where’s the question of the police coming in?”

“If an apology was enough,” said the p-d, “why did Salman have to be presented in court in Jodhpur in October this year when he killed black bucks? Why did the killing become a police case and then a court case?”

“Silly, that’s because the black bucks were killed while Ghai was only beaten,” replied the actor. “Besides, the black bucks are animals but Ghat is a human being.”

“Do you mean to say that one can beat humans without fear of the law?” queried the p-d.

“No, no, that’s not what I mean. But look, the black bucks are an endangered and a rare species and, therefore, protecting them is our duty,” shot back the by-now agitated star.

“Exactly, that’s what I also mean,” remarked the p-d coolly. “Protecting an endangered and a rare species is our bounden duty. And you must know, my dear, that successful directors like Subhash Ghai are also a rare species today. Their existence cannot be further endangered, right?”

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Premiere Show Of His Premiere Film

Rajkumar Santoshi may have made some brilliant films but he has not forgotten his early days when he was a newcomer in the industry and, what’s more, he doesn’t mind sharing his experiences of those days with anybody. In a recent chat with Information, the producer-director recalled how he had got ready on the day of the premiere of his first film, Ghayal. “I was at Metro cinema (Bombay) where the premiere was scheduled to take place, correcting a technical snag till the last moment. Tired and worn out, I finally left the cinema to get ready for the occasion even as guests had begun to flow in. I recognised the celebrities though nobody must’ve recognised me. I had carried my suit with me and I quickly went to the public bathroom near Metro, where I had a quick bath after paying Re. 1 or Rs. 2 to the attendant there. I changed into a formal suit and was back at Metro in 10 minutes.”

Dimaagwale Idea Le Jayenge

For a story-writer, anything can be an inspiration for a story or for a twist in the story. Fazil, who has written Doli Saja Ke Rakhna, got the idea for it from the last scene of Dilwale Dulhania Le Jayenge in which Shah Rukh Khan tells Kajol that he cannot marry her because her father does not approve of him as a son-in-law. That’s how Fazil got the idea of a love story in which the boy and the girl decide to sacrifice their love for the sake of their parents. Although this angle of the love story was novel, Doli… did not find acceptance among the public. Yet, its original Malayalam and remade Tamil versions were major hits!

Action Drama

The whole of Bombay film trade was discussing just three things on Saturday last — the dull opening of China Gate, the disastrous start of Doli Saja Ke Rakhna, and the action that took place between Subhash Ghai and Salman Khan on Friday (27th November) at ad filmmaker-turned-director Kailash Surendranath’s party. Following a wordy duel between Ghai and Salman, the latter beat up the former. But Salman, accompanied by dad Salim Khan, went over to Subhash Ghai’s home the following day and apologised to the filmmaker for his bad behaviour. Not only that, Salim Khan also invited Mr. & Mrs. Ghai over for dinner on Sunday at their (Khans’) residence, which Subhash Ghai accepted.

Sena Brigade As Fire Brigade

How intolerant are people getting? It is shocking the way members of Shiv Sena disrupted the screenings of Fire on 2nd December at New Empire and Cinemax cinemas of Bombay because they thought the film was against Indian culture. But then, these custodians of culture should have also known that when the government has appointed a body — the CBFC — to censor films, how can any other body/organisation/political party assume the role of super-censors? And why were the self-styled super-censors so late in extinguishing this Fire of lesbianism? The film was in its third week of screening when the Sena ‘fire brigade’ decided to douse the flames of passion projected in the film!

Culture Vulture

Maharashtra cultural affairs minister Pramod Navalkar must be as far removed from reality as anyone can get. For, the minister has proposed that Rs. 2 from every ticket sold in Maharashtra should be given to the state government. He proposes to use the money collected, for the cultural development of the state. Navalkar is either completely unaware of the dire straits in which the film industry is or he is feigning ignorance. Either way, it doesn’t help. If the minister takes a realistic view of the state of affairs in the industry, he may be forced to decide that the government should be contributing (to the industry) Rs. 2 per ticket sold. One hopes, Navalkar doesn’t prevail upon the government to make it compulsory for cinemas to donate Rs. 2 per ticket to the state treasury in the name of culture. If he does, the film industry would have to call the state government a culture vulture!

Used To Playing With Fire

While the blazing controversy over Deepa Mehta’s Fire refuses to simmer down, its Bombay distributors, Shringar Films, must not be losing too much sleep. After all, it is hardly a new thing for the concern to have one of its films run into hot weather. Here is a list of films, distributed by Shringar, which fired up controversy:

(i) Shahenshah (1987) — police protection had to be provided at cinema halls and Shringar office at the time of release; (ii) Bombay (’95) — police protection provided at cinema halls; (iii) Bandit Queen (’96) — got into censor imbroglio which was ultimately resolved by the Supreme Court; also witnessed strong protest against its screening; and (iv) Kama Sutra (’98) — ran into censor problems, court case before it was eventually released amidst strong protests. Apart from these, another of Shringar’s films, Kshatriya, also witnessed a little trouble though not of the same magnitude as the above four films and the current Fire.

Small Screen Versus Big Screen

While UTV may have carved out a niche for itself in the world of TV software production, its experience in filmland has been far from exciting. Its only production venture, Dil Ke Jharoke Main, bombed at the box-office. Its first distribution enterprise in Bombay — Prem Aggan — was also a damp squib. Jhooth Bole Kauwa Kaate, which is also being distributed in Bombay by UTV, has not started too well this week except in some good cinemas in a few major cities.

INFORMATION MEETS

“Planning is the key to everything connected with filmmaking. I have always relied on a detailed plan of action, readied much in advance, before beginning a schedule.”

– RAKESH ROSHAN

GAUTAM MUTHA & RAJ VAIDYA

In an industry where one is known (or forgotten) by one’s last work, producer-director Rakesh Roshan holds out on his own. His last film, Koyla, may not have been a success, but his reputation as a quality filmmaker remains intact. He has one of the most enviable records as a producer-director in recent times. Out of his six films as a producer-director, he has to his credit one blockbuster (Karan Arjun), one hit (Khudgarz) and two successes (Kishen Kanhaiya and Khoon Bhari Maang).

Rakesh Roshan is currently in the middle of completing his most lavish project so far, Kaho Naa…Pyaar Hai, which also launches his son, Hrithik, with a new heroine, Amisha Patel. The film, 50% complete already, is slated for September ’99 release and, going by his formidable reputation as a filmmaker who works according to a well thought-out plan, one is sure of the film releasing at the precise time.

We caught up with Rakesh Roshan at his Bombay office, where he seemed to be sandwiched between his return from Thailand and his departure for Mauritius to attend the premiere of Mother ’98 for which he faced the camera after a long gap. During our chat, he narrated one of the most fascinating experiences of his career — shooting aboard a cruiser and on a deserted island in Thailand which involved aerial as well as underwater photography. Excerpts from our chat….

You went through a great deal of trouble in finalising the location for KAHO NAA…PYAAR HAI. You went travelling all over the world before deciding on  Thailand. What was the difficulty?
– Well, my story required an important portion to be shot aboard a cruise ship. It so happens in KN…PH that the heroine drags along the hero (who is a struggling singer) on a cruise where both fall in love with each other. Thus, it was vital that this part be shot aboard a cruise ship. I first went to Australia in search of one, but I could not find any that I could use. Then, I went to Singapore and almost finalised a famous cruiser called ‘Sun-Leo’. But I didn’t feel fully satisfied with my choice because ‘Sun-Leo’, even though being a cruiser, looked more like a 5-star hotel in the sea. The more I thought about it, the more I realised that the multi-storeyed structure right in the middle of the ship, marred it of its visual appeal. Some time around then, I happened to come across a photograph of this cruise ship called ‘Star Clipper’ and almost immediately knew that it would be ideal for my film. I traced the ship’s ownership to a company in Miami, USA and corresponded with it, seeking details about the ship and permission to shoot on board. The company replied in the affirmative on the latter and I jumped headlong into the planning of the shooting.

How much importance do you give to pre-production planning, especially considering the fact that you were to embark on the most ambitious shooting schedule of your career?
– Planning is the key to everything connected with filmmaking. I have always relied on a detailed plan of action, readied much in advance, before beginning a schedule. This became all the more important in the present case where we were to shoot for 22 days, including nine days on a ship in the middle of the ocean, and that too, with a unit consisting of 85 people! And this wasn’t all, the shooting required aerial as well as underwater photography, too. Given the logistics involved, only an insane person would embark on such a shooting without due planning. Hence I spent months working out the nitty gritties of the shooting schedule and only when I was certain that nothing could go wrong did I finally begin shooting.

And what were these preparations?
– Firstly, I found out the route of Star Clipper which plied from Miami to Athens, then Colombo, Phuket and onward. My obvious choice was to shoot during the nine-day voyage between Colombo and Phuket, Thailand. Once I had decided on this, I went to Bangkok to arrange equipment and the required permissions for aerial and underwater photography. Next, I went hunting for a suitable island nearby, where I needed to shoot immediately after the schedule on the ship. I decided on Krabi, an exotic island off the coast of Phuket. Having worked out all due formalities, I returned to Bombay.

The entire shooting spell must be an experience of a lifetime for you…
– ….It certainly was. It is the biggest schedule I have ever done, be it in terms of expense or logistics involved or any other. Again, I must emphasise on planning beforehand. And by panning, I do not mean just arranging your requirements for the shooting, but envisaging any trouble that might crop up during the shooting and devising a thorough plan of action to counter it, if the need arose. Let me narrate to you the entire experience, which will help you understand what I mean. After getting permission to shoot aboard Star Clipper between Colombo and Phuket, I felt, it would be nice if I could shoot a few scenes involving people boarding the ship at the Bombay port. I accordingly asked the shipping company if it were possible for the ship to stop by at Bombay port on course to Colombo. The shipping company wrote back to me saying, Star Clipper would stop at Bombay for a maximum of one day. So on 29th October, Star Clipper berthed at Bombay and I took all the shots I required. I also loaded all my equipment on the ship in Bombay itself though I was to begin my actual shooting only after it sailed from Colombo. Luckily for me, it helped solve a very serious problem before it could jeopardise the entire schedule. You see, all the power fixtures fitted on the ship were designed for an electrical supply of 110 volts (which is the standard in the USA) while all our equipment needed 220 volts power supply. Now, this posed a real problem for us because the only option out of it would be to install a generator set on the ship. The ship’s authorities insisted that we use a 50 KW silent generator as the 150 KW gensets — the only kind available in Bombay — were too bulky. Eventually, we had to get a genset custom-made to suit our requirements and instal it on the ship together with other equipment. The ship sailed from Bombay the next day.

A week later, on 6th November, my entire unit and I flew to Colombo and boarded Star Clipper from there. The entire contingent of 82 people, including 35 dancers, could cause quite a commotion, especially if they are shooting. The passengers on the ship began to get a little irritable and understandably so, as they were there on holiday and our activity was robbing some of their pleasure. I had envisaged that something like this might occur and hence had told my dancers to be ready to bail us out if need be. So, on day 2, I asked the ship’s captain to announce a special entertainment programme for the passengers. Our dancers and artistes put up such a wonderful show that our fellow-passengers just couldn’t help having a great time. I even told the captain to serve them liquor on my account. In my own small way, I was asking them to bear with us for a few days and most of the passengers appreciated the gesture. They loved Indian music and dance so much that they requested us for repeat performances on subsequent nights. We obliged and soon found most of the passengers beginning to get really excited about our shooting. They became so co-operative that when it rained a couple of days later and we were forced to shoot indoors in the bar area (one of the most popular spots on the ship), everyone cleared the place for us without even a grumble. Here, I would also like to add a word or two about the ship’s captain who extended all possible help to us during the shooting. At the very outset, he had told me, ‘Rakkkesh, do what you want, just don’t sink the ship!’ I can recall a particular incident when I needed to shoot the side profile of the ship sailing the ocean. These shots could only be taken from another ship sailing alongside Star Clipper. When we got into the sea in a zodiac boat (a small boat kept on ships for emergency), we found it impossible to shoot since the water was rough and kept splashing on to our little boat. Finally, the captain advised us to wait a couple of days till Star Clipper left the Bay of Bengal and entered Andaman Sea as the latter had calmer waters. He turned out to be right and we got our required shots a few days later. In between, we continued canning on-board scenes. While everything else was going smoothly, I still had to can aerial shots of the ship in mid-stream, which would bring out the grandeur of the ship’s beautiful appearance. The logical thing to do would have been to hire a helicopter from Phuket (termination point of our journey) and shoot the ship a little before it reached the port — except that there are no helicopter services available in Phuket! The nearest place which offered helicopters on hire was Bangkok, but it took 5 hours’ flying from there to Phuket. This meant that we would be spending 10 hours commuting in order to shoot for just about half an hour. So, I looked at other options. Now remember, here is where the advance planning came to my rescue once again. On my trip to Bangkok prior to the shooting, I had worked out the problem by locating the small island of Maiton which was situated nearer to Bangkok. I had also surveyed the island and found a suitable place where a helicopter could land in the absence of a helipad. The makeshift landing place was some sort of concretised strip which the islanders probably played baseball on. Having done this much, all that remained to be done was to inform the helicopter crew about the exact time Star Clipper would sail past Maiton, so they could make all preparations for the aerial shooting. I found out from the captain that our ship would pass Maiton at 6 a.m. on 13th November. Accordingly, I instructed the helicopter crew to reach Maiton by 12th evening and start preparing. On the other hand, since I was to be in the helicopter during the shooting, I left detailed instructions for the shots with choreographer Farah Khan who would be handling things during my temporary absence. Come 13th morning and we all had our fingers crossed. With no other communication with the helicopter crew since issuing instructions, we just prayed that everything would go as planned. And sure enough, we spotted our helicopter at the precise hour. Just as Star Clipper neared Maiton, Kabir Laal (cameraman) and I got onto a speed boat and left for the island. When he reached ashore, we found the helicopter crew waiting in all readiness. We quickly got into the helicopter and took off. After gaining the required height, I signalled to Farah Khan that we were ready to take the shot. She positioned everyone as per my prior instructions. One by one, we canned all the required shots in quick succession and landed back on Maiton. Now, we had to get back aboard Star Clipper which had sailed quite a distance past Maiton. We got onto the speed boat again and raced after the ship. It took us nearly four hours to locate Star Clipper and finally, we boarded it again. We reached Phuket the next day.

Next, we had to begin our schedule at the Krabi Island — a deserted place where the hero and the heroine in the film get marooned by a quirk of fate. The shooting here required crane shots — we used the giant Phoenix crane — and a few underwater shots apart from the regular ones. The underwater shots were very tricky in the sense that Hrithik had to remain 30 ft. under the sea for nearly 45 minutes. Before the shots, a trained diving instructor explained the basics on diving to Hrithik — things like how to use the oxygen mask and so on. Fortunately, Hrithik had undergone a scuba diving course in Miami, USA, just for a lark a few months ago. So, he caught on pretty fast. Yet, at the end of the entire underwater sequence, I felt proud of Hrithik. Remaining underwater for so long required a great deal of guts more than anything else as anything could have gone wrong at any time. Anyway, in the next few days, we completed all our work and left for Bombay with an upbeat mood. Our insistence on proper advance planning had paid off — and paid off well.

Phew! That must have been some experience. It must have surely been pretty expensive, too…..
– Let’s just say that it was very expensive. In fact, it was my most expensive schedule ever. But let me tell you that unlike some of our other directors, who claimed to have spent 15 crores on their film, even 50% of which didn’t show in it, in KN…PH, you will be able to see every single penny I have spent on the film. There is absolutely no wastage in my film…..

…Which may justify its high price on the one hand, but couldn’t this also be the very reason why your regular distributors like V.I.P. Enterprises in Bombay shied away from buying the film?
– It is true that Bharatbhai Shah of V.I.P. did not show a keen interest in the film when I first negotiated it with him. In any case, the film will now be released by Yashraj Film Distributors on commission-MG basis for Bombay and Overseas territories. In my opinion, the commission-MG system will soon become the norm of the day.

Coming to music of KN…PH, given your ear to spot hit tunes and the music being integral to the story (Hrithik plays a singer), what are the songs like?
– The music of KH…PH is the best of all my films so far and you can quote me on that. In fact, you can judge it for yourself….(Makes us listen to a brilliant composition rendered in Lucky Ali’s voice, and we must admit that there is a lot of truth in the above claim.) There are altogether seven songs in the film, five of which have already been recorded.

Finally, how would you describe KN…PH?
– Well…..it’s a romantic thriller with Hrithik in a double role. The first half is full or romance, but with an underlying thread of thrills, which takes precedence during the second half. All in all, it is a fresh film with a fresh look.

CHINA GATE

Santoshi Productions’ China Gate (UA) is the story of ten honest armymen who were dismissed for an error they had committed. They meet after 17 years of their dismissal and set out on a mission — to rid a village of the clutches of a sadistic dacoit who has made the life of the villagers hell. The story is heavily inspired from Sholay and the Japanese film, Seven Samurai. Yet, the novelty of ten old men on a mission is interesting and even enjoyable in the first half. The drama takes a serious turn after interval and that’s when the film loses grip. The incidents from the personal lives of the oldies don’t have the desired emotional effect. The Hindu-Muslim sentiments also look contrived. The interaction of some of the armymen with the little girl in the village also looks forced and has no impact on the viewer. In short, several portions of the second half look fake. The climax, abounding in action, is once again impressive. Even other than the climax, the film has plenty of action. But it moves on a single track with hardly any interesting diversions. As a result, ladies patronage will be limited. Devoid of star value and romance, the film relies on light moments and gags in the first half and drama in the second. Dialogues are good but only at places.

Performances of almost everybody are wonderful. Naseeruddin Shah does a marvellous job and shines as one of the most important members of the team. Om Puri is also fantastic as the leader of the group. Danny Denzongpa is superbly restrained. Amrish Puri is lovable and deserves kudos for a brilliant job done naturally. Jagdeep’s comedy is very good. Anjan Srivastava is effective. Viju Khote is quite good. Kulbhushan Kharbanda lives his role. Tinnu Anand acts ably. K.D. Chandran gets the least scope but is good. New villain Mukesh Tiwari does well but is definitely not brilliant enough to match the force of the ten-man army. His voice is not up to the mark for the character he plays. He is bound to be compared to Amjad Khan of Sholay and that won’t be good for him. Mamta Kulkarni does fairly well in a brief role. New hero Samir Soni impresses with a confident debut. Paresh Rawal infuses life in the second half with a performance that’s extraordinary. Ila Arun, Harish Patel, Jeetu Verma, Anupam Kher, Shivaji Satam and Girish Karnad (in a special appearance) lend the desired support. Urmila Matondkar’s dance is a highlight.

Rajkumar Santoshi’s shot takings are splendid and he has been able to keep the audience’s interest alive even without stars. His direction is excellent, but the same cannot be said of his choice of the subject. Although the screenplay (Rajkumar Santoshi, Anjum Rajabali and K.K. Raina) is well-written, the heavy inspiration from a classic like Sholay for a big canvas film as this is unpardonable and it will limit the prospects greatly. More so, because the film lacks star power. The expenditure incurred on the film warranted (i) a more promising subject with scope for romance, music etc. and (ii) star value. Besides, the writers have not been able to come up with a single novelty in the entire film!

The theme song is passable but ‘Chhamma Chhamma’ is very well-turned and has a lovely picturisation. The background score is effective. Tinnu Verma deserves high praise for his stunts; the action scenes are fantastic and those involving horses are mind-boggling. Camerawork (Piyush Shah) is fabulous. Production values are grand. Technically, brilliant. The titles in the film are not only novel but they are also beautifully done.

On the whole, China Gate is a well-made action film but suffers on account of its similarity to Sholay. Besides, there’s too heavy a price which doesn’t quite go well with the lack of star names and also a below-the-mark opening. Even if it picks up, its heavy price will spell danger for its distributors. It will prove to be a loser in most circuits, with some chances in Bombay and Maharashtra.

Released on 26-11-’98 at Metro and on 27-11-’98 at 19 other cinemas of Bombay thru V.I.P. Enterprises. Publicity & opening: good. …….Also released all over. Opening was dull in some circuits and poor in some others.

DOLI SAJA KE RAKHNA

Ram Creations’ Doli Saja Ke Rakhna is a love story with a difference. As in many previous love tales, in this film too, the girl and the boy in love elope because both their families are against the marriage. But, unlike in other romance dramas, the boy and the girl in this case decide (just when they are about to get married) that they would be cheating on their families if they got married against their wishes, and, consequently, they sacrifice their love for each other because of the love for their parents. The families of the two start searching for matches for their respective children, but in the end, they realise that the two lovers are the best match for each other. They then get the two of them married.

The concept of the families uniting the two lovers is novel in thought as well as execution. The whole unity drama has been executed with such aplomb and sensitiveness that it would make people cry. The first half is a bit slow but what makes up for the slow pace is the genuineness of the hero. His character is that of an honest and forthright young boy, something that endears him to the audience instantly. A few reels after interval (the portion involving the fisherfolk of Goa) are boring. But once that chapter of the drama comes to almost its end, the pace picks up and so does the emotional content. The story (Fazil) is new and par excellence, but the screenplay is weak and loose at places. The girl’s family opposing her relationship with the boy does not appeal because the reason for the opposition has not even been attempted to be explained. Further, the Malayalam film remake has too much of a South flavour. In the initial reels, the behaviour of two (Paresh Rawal and Tej Sapru) of the three brothers of the heroine is irritating because their deeds do not befit their social status. Dialogues are appropriate.

Akshaye Khanna endears himself to the audience not only because of his characterisation but also because of his brilliant performance. But the masses will miss his heroism because there is not much scope for heroism in the usual sense of the word. Jyotika Sadanah lacks glamour and considering that the film is a love story, this turns out to be a major drawback; she, however, performs naturally in her maiden venture. Moushumi Chatterjee and Aroona Irani are excellent. Their scene in the climax is fantastic. Anupam Kher also delivers a good performance. Paresh Rawal is impressive in emotional scenes. Tej Sapru also acts well. Mohnish Bahl makes a mark. Innocent’s comedy is ordinary. Amrish Puri is alright but his portion of the drama needs to be edited; the editing will help, and if the producer and director don’t reduce his scenes, distributors/exhibitors are bound to do so. Ninad Kamat and Umesh Shukla, as Akshaye’s friends, are lovable. Suresh Menon is average as the third friend. Mink’s dance is sexy. Viju Khote, Darshan Bagga and Nandu lend the desired support.

Priyadarshan’s direction is good but he does falter at places and has not been able to make the narration racy enough for a love story. In fact, the slow pace is the film’s undoing. A.R. Rahman’s music is a letdown as the love story needed a hit or super-hit score. ‘O kissa hum likhenge’, ‘Chal khewa re khewa’ and ‘Yeh khoya khoya rahta hai’ are fair numbers. The ‘Bol sajni mori sajni’ number needs to be deleted. Song picturisations are a treat for the eyes. Camerawork is masterly. Sabu Cyril’s art direction is terrific. Action scenes are lovely, especially the one in the campus.

On the whole, Doli Saja Ke Rakhna has a slow pace, an unglamorous heroine, ordinary music and a shockingly slow start as its biggest drawbacks, and emotions as the only strong plus point. It will, therefore, entail losses to its distributors. It will do somewhat better in Bombay and Maharashtra.

Released on 27-11-’98 at Central Plaza and 8 other cinemas of Bombay by Mark Films International thru Balaji Enterprises. Publicity: very good. Opening: fair. …….Also released all over. The opening was very poor everywhere (in the region of 15%-20%!) except Bombay.

LATEST POSITION

SOLDIER has done pretty well everywhere and is the best in Delhi-U.P., Punjab, Bihar, Rajasthan and Nizam.

Soldier 1st week Bombay 48,95,824 (88.55%) from 13 cinemas (10 on F.H.); Ahmedabad 11,44,114 from 5 cinemas, Padra 2,14,206, Rajkot 1,85,205; Pune 12,66,446 from 4 cinemas, Kolhapur  2,37,909, Solapur 3,41,501 from 2 cinemas; Belgaum 1,27,890 (100%); Delhi 61,00,133 (94.39%) from 13 cinemas (2 on F.H.); Kanpur 7,57,039 from 2 cinemas, Lucknow 4,59,368, Agra 3,91,889, Allahabad 2,04,932, Meerut 2,33,002 (100%), Bareilly 2,61,892, Hardwar 1,15,544; Amristar 55,270; Calcutta 27,15,055 from 15 cinemas (11 on F.H.); Nagpur 8,20,453 from 4 cinemas, Jabalpur 2,24,865, Amravati (6 days) 1,75,624, Raipur (6 days) 2,22,586, Bhilai 2,68,664 from 2 cinemas, Durg 1,53,299; Indore 2,09,623 (85.90%, 4 on F.H.), Bhopal 4,70,426 from 2 cinemas; Hyderabad 44,89,210 from 14 cinemas, highest ever.

……………

Mehndi is doing well in C.I. 2nd week Bombay 4,01,538 (65.91%) from 2 cinemas (3 on F.H.); Ahmedabad 79,129, Baroda 60,641, Rajkot (matinee) 7,070, Jamnagar 44,985 from 2 cinemas (1 in matinee); Pune 61,610, Solapur (matinee) 21,384; Delhi 2,81,260 from 3 cinemas; Kanpur 72,776, Lucknow 46,530, Allahabad 30,000, Meerut 44,996, Bareilly 23,495; Calcutta 4,42,713 from 4 cinemas; Nagpur 37,489, Jabalpur 41,447, total 1,00,345, Amravati 76,996, Dhule 22,195, Raipur 41,410, 1st week Bhilai 41,107, 2nd Bilaspur (6 days) 26,403; Bhopal 45,433; Jaipur 1,93,998 from 2 cinemas, Jodhpur 85,000; Hyderabad 1,37,910.

Fire (dubbed) is excellent in Bombay city. 2nd week Bombay 10,18,882 (97.25%) from 2 cinemas, English version 3,49,197 (100%) from 2 cinemas; Ahmedabad 1,11,245; Pune 2,60,055; Delhi 3,55,361, English version 2,62,624; Lucknow 93,249, Agra 55,000, Allahabad 34,132; Calcutta 1,15,382; Nagpur 1,36,146; Hyderabad 1,39,190 from 2 cinemas.

POOR OPENINGS OF ‘DOLI…’ & ‘CHINA GATE’ SEND SHOCK WAVES IN TRADE

The disastrous opening of this week’s Doli Saja Ke Rakhna has stunned the entire trade. One had expected it to open to ordinary houses but an initial of just 15% to 20% (except in Bombay) was unthinkable. What seem to have gone against the film (for initial) are its weak music, cold title and heroine who is not glamorous. Even hero Akshaye Khanna has yet to prove his mettle in a solo starrer and, therefore, does not, perhaps, have the initial pulling power although he is liked by youngsters.

The dull opening of China Gate has also saddened the trade people. Lack of star value (the film has 10 oldies, one new hero, Mamta Kulkarni, and Urmila Matondkar in a special appearance) is the biggest culprit. Besides, publicity was not up to the mark, in the sense that it was started too late. Just one Chhamma Chhamma cannot do the trick. Nor can 20 hoardings put up hurriedly on the streets of Bombay without matching back-up publicity in the rest of the country ensure a bumper opening to a film with a super-bumper price.

Moral of the story: Don’t under-estimate the power of music and marketing. In their absence, you need at least saleable stars!

JAINS DEMAND BAN ON ‘FIRE’

Members of the Jain Vahini Samiti, an organisation of the Jain community in Bombay, met Maharashtra’s minister of state for cultural affairs and education, Anil Deshmukh, on 25th November and demanded a ban of Deepa Mehta’s Fire, now running in the city. The minister promised to see the film and said that if he found it objectionable, he would recommend the central government to ban it. The Jain Samiti alleged that the film was a blot on traditional Indian values.

INDORE TO HAVE 7 NEW CINEMAS

Seven new cinemas are coming up in Indore and they all should be operational in the next two years. Of these, five will be deluxe cinemas — three in the Geeta Bhawan area and two in the mill area. Two more cinemas are under construction and nearing completion in the west side of the city.

DELEGATION CALLS ON ASHA PAREKH: CBFC GUIDELINES DISCUSSED

A film industry delegation, led by Film Federation of India president Santosh Singh Jain, called on CBFC chairperson Asha Parekh on 25th November and discussed a number of key issues pertaining to censorship of films in India. The delegation comprised producer-distributor N.N. Sippy, FFI vice president K.G. Dossani, FFI general secretary K.D. Shorey, producer Raj Tilak, Marathi film producer Satish Kulkarni, Uday Singh of Columbia Tristar, Blaise Fernandes of Warner Bros., and FFI secretary S. Sen. At the meeting, it was decided that a number of workshops, consisting of representatives of the film industry as well as CBFC members, would be organised to discuss CBFC guidelines with an aim to arrive at a more uniform and logical interpretation of the same. The first workshop would be held some time in late January after the conclusion of the IFFI.

MANOHAR SHETTY’S SONS TO WED

Mohit and Hemant, sons of Manohar Shetty of Quality Cine Labs, will wed Mona (daughter of dubbing co-ordinator Leela Ghosh) and Smita respectively on 13th December at Tutkuk’s Lilac Garden, near Chandan cinema, off Lokhandwala Circle and Juhu bus depot, Juhu, Bombay.

3-E
Education-Entertainment-Enlightenment

One Print, Two Cinemas, Three Intervals

How print shuttling can become a bane instead of a boon was brought out on Friday last week when Soldier opened at Satyam cinema alongwith others in Bombay and the rest of the country. The 6 p.m. show at Satyam started around 6.45 p.m. because the print, which was being shuttled between Satyam and Ganesh (Lalbaug), reached Satyam late. Instead of one, there were three intervals — one, the regular interval, another before it and the third, after it. While the regular interval was understandable, what agitated the audience were the other two breaks — one of about 10 minutes, and the other, of nearly 20 minutes. By the time the show got over, it was some minutes past 10 p.m. A couple of people, irritated by the triple intervals, even left before the film got over. One can well imagine when the last show would have started and when it must’ve got over, hopefully without extra intervals. A house-full capacity crowd had been waiting outside the cinema from 9.15 p.m. — waiting to be let in. The cinema management couldn’t let them in for no fault to theirs (cinema management’s) or the audience’s! Distributors need to take care that such lapses do not occur. For, the gain by way of saving on print cost could sometimes be less than the loss due to adverse public reaction and negative publicity.

Govinda, Gags & Gimmicks

As if one needed proof that Govinda’s films run more because of the star’s unique brand of humour than because of a sound story-line! Govinda’s track record in the last five years or so is evidence enough, for, it clearly reveals the fact that the only Govinda-starrers to succeed during the period are the ones which stressed on the typical Govinda gags and gimmicks rather than on a strong story. Each of Raja Babu, Coolie No. 1, Saajan Chale Sasural, Deewana Mastana, Hero No. 1, Aunty No. 1, Dulhe Raja and, more recently, Bade Miyan Chote Miyan were a success not because they had great stories, but because they were all made in — what may now be safely called — the true ‘Govinda mould’. On the other hand, during the same period, Govinda-starrers like Achanak, Do Ankhen Barah Haath, Maharaja, Pardesi Babu and some others, which were touted as having strong or, at least, reasonably good stories, fared badly. It seems, the audience wouldn’t care two hoots whether Govinda’s films have stories or not as long as they hold Govinda’s usual brand of comedy (even when dragged to a nonsensical extreme) as a primary ingredient.

It is pertinent to note here that out of the abovementioned eight Govinda successes, as many as six have been directed by David Dhawan! You may draw your own conclusions….

Suranas’ Modern Cinemas

The Suranas of Pushpa Pictures, Bhusawal have the largest chain of cinemas in the Khandesh region — 18, to be precise (6 owned by them and 12 controlled). And they’ve managed such an enviably large chain in a relatively short span of seven-eight years. Thy have cinemas in Dhule (3 cinemas), Amalner (3), Chopda (2), Bhusawal (2), Malkapur (2), Bodhwad (1), Edlabad (1), Khedjigar (1), among others. Of the 18 cinemas, three have been newly constructed while 12 have been fully renovated. Moreover, three more cinemas are already under construction, one each at Edlabad, Bodhwad and Faizpur. Several of these cinemas boast of modern urinals with an automatic handwash, Spartek flooring and cushioned chairs in the balcony class. A highlight of some of these cinemas is their unique music-light systems which enhance the viewing pleasure during song and dance sequences. A single-channel active DTS sound system has been installed at Prabhakar, Dhule (700 seats, minimum admission rate: Rs. 10), Tamboli, Amalner (160 seats, Rs. 6) and Shri Hanuman, Malkapur (700 seats, Rs. 6).

Sleeping His Blues Away

So depressed has the Delhi-U.P. distributor of a recent debacle become after burning his fingers in the disaster that he is seen sleeping most of the time, in his office. One has heard of success going to one’s head. But what do you say to this? Failure taking one to bed?!?

For Your Kind Information

Going by the recent utterances of the minister of state for information and broadcasting, Mukhtar Abbas Naqvi, the film industry must be regretting why it hosted a party in his honour a few months back in Bombay. Naqvi is so disturbed by the portrayal of politicians as vicious men in films that he has threatened to even review the Cinematograph Act in such a way that filmmakers are suitably persuaded to clean up their act and project politicians in a better light. Phew! Should film makers be cleaning up their act or should Naqvi be concerned about having politicians clean up their act? Every Indian knows that politics is the last resort of scoundrels, and the newspapers give enough evidence of what levels politicians these days have stooped down to. Then why does Mukhtar Abbas Naqvi want filmmakers to show politicians and netas as nayaks and not khal-nayaks? The industry has far too often been accused of influencing impressionable minds into doing wrong things. Shouldn’t the I & B minister have the courage to admit that it is real life that has influenced reel life this time? Come on, Naqvi, be a sport — and an honest one at that!

SOLDIER

Tips Films’ Soldier (UA) is a suspense thriller. A conscientious army officer is killed by his colleagues who are traitors in the garb of armymen. Not only that, the murdered officer is also declared a traitor, thanks to the machinations of those who killed him for their personal gains at the cost of the country’s security. How a young lad comes close to the killers, befriends them and finally kills them one by one forms the latter part of the drama. Besides the suspense of the identity of the young lad, there’s also the suspense of the identity of one of the killers. But the suspense, when revealed, is not exciting as suspenses should be. While the revelation of the suspense about the boy’s identity does come as a surprise, that of the killer’s identity is neither surprising nor exciting.

The first half, after the prologue, is light, with emphasis on romance. The freshness in this portion is lent by the picturesque foreign locales and heroine Preity Zinta. Otherwise, there’s no novelty in content. In fact, Shyam Goel’s story is devoid of any freshness and depends a lot on clichéd situations. The ordinary story has, to a great extent, been salvaged by the huge canvas, beautiful locations and popular music. The post-interval portion has some good action as well as sentiments but lacks the flavour of the first half. Dialogues (Javed Siddiqi) are nice.

Bobby Deol does a fair job. He is very good in action though. Preity Zinta looks cute and comes up with a refreshing and lively performance. She also dances well. Dalip Tahhil is pretty impressive. Suresh Oberoi enacts his part effectively. Sharat Saxena is credible and also entertaining. Salim Ghouse is fair. Ashish Vidyarthi is reasonably good. Raakhee and Farida Jalal perform ably and provide the emotions. Pankaj Dheer leaves a mark. Jeetu Verma is alright. Johny Lever’s comedy is entertaining; actually, the mere presence of Johny Lever evokes laughter because of his first scene which is really enjoyable.

Abbas-Mustan have tried to give the film a very slick look and succeed in that but the lack of a worthwhile script to warrant the heavy expenditure is felt all along. The director duo could have done well to concentrate more on the story and screenplay. Anu Malik’s music is of the popular variety. The title song is a hit. ‘Tera rang balle balle’, ‘Mere khwabon mein jo aaye’ and ‘Mehfil mein baar baar’ are also very well-tuned. In fact, the songs come as cute interruptions in the drama. Song picturisations appeal more for the scenic locations on which they’ve been shot. They’ve been choreographed reasonably well. A song or two can, however, be deleted. Action scenes and thrills are beautifully composed. Thomas Xavier’s camerawork is splendid. Technically, of a good standard. Sets are vibrant. Production values are grand and a major plus point of the film.

On the whole, Soldier has hype, style, beautiful locales, racy songs and a fantastic initial value to offset the dull story and ordinary content. This suspense thriller will, therefore, prove an earning fare although it has less sustaining power. Its chances in North India are better.

Released on 20-11-’98 at Maratha Mandir, Metro (matinee) and 21 other cinemas of Bombay by Tips Films P. Ltd. thru R.G. International. Publicity: bumper. Opening: excellent. …….Also released all over. Opening was superb everywhere.

LATEST POSITION

The all-India bumper opening of SOLDIER this week has pleasantly surprised the trade.

Pardesi Babu has not done well in most of the circuits. 1st week Bombay 38,57,459 (69.08%) from 13 cinemas (11 on F.H.); Ahmedabad 5,81,765 from 5 cinemas (1 unrecd.), Vapi 2,42,186 (1 unrecd.), Jamnagar (matinee) 22,200 (1 in regular unrecd.); Pune 9,65,995 from 6 cinemas, Solapur 2,37,616 from 3 cinemas (1 in matinee); Delhi 40,43,568 (54.12%) from 15 cinemas (1 on F.H.); Kanpur 2,81,757 from 2 cinemas, Lucknow (6 days) 2,55,947, Agra 2,56,350, Allahabad 1,58,500; Amritsar 46,400; Calcutta 10,21,927 from 12 cinemas; Nagpur 3,89,940 from 4 cinemas, Dhule 1,00,052, Raipur (5 days) 97,291, Bhilai (6 days) 1,09,231; Indore 68,783 (4 on F.H.), Bhopal (6 days) 2,56,114 from 3 cinemas; Jaipur 7,06,499 from 4 cinemas; Hyderabad 22,81,648 from 14 cinemas (1 in noon), share 11,00,000.

Mehndi remains on the low side. 1st week Bombay 17,06,749 (61.76%) from 6 cinemas (5 on F.H.); Ahmedabad 1,11,537, Baroda 80,372, Rajkot (matinee) 12,430 (1 in regular unrecd.), Jamnagar 64,473 from 2 cinemas (1 in matinee); Pune 1,21,550, Solapur 43,616 from 2 cinemas (1 in matinee); Belgaum 78,346; Delhi 6,29,091 (35.01%) from 5 cinemas; Kanpur 1,10,467, Lucknow 68,957, Varanasi 81,203, Allahabad 45,000, Meerut 87,771, Bareilly 41,476 (18.55%); Amritsar 18,370; Calcutta 7,96,273 from 7 cinemas (8 on F.H.); Nagpur 1,40,025 from 2 cinemas, Amravati 1,23,628, Akola 57,094, Dhule 36,550, Raipur 75,009; Bhopal 89,076 from 2 cinemas; Jaipur 2,87,963 from 2 cinemas, Jodhpur 1,35,000.

Main Phir Aaoongi 1st week Bombay 53,758 (32.31%; 1 unrecd.); Delhi 3,58,343 (28.55%) from 3 cinemas; Kanpur 40,240; Bikaner 67,093.

Fire (dubbed) has done well in pockets only, but is poor at most of the places. 1st week Bombay 10,04,986 (99.13%)  from 2 cinemas, English version 3,49,197 (100%) from 2 cinemas; Ahmedabad 1,93,506 from 2 cinemas, Baroda 60,241; Pune 3,03,698; Delhi 8,57,918 (62.43%) from 3 cinemas (1 on F.H.), English version 7,31,794 (64.19%) from 2 cinemas; Lucknow 1,23,047, Agra 78,431, Allahabad 70,202, Bareilly 36,830; Nagpur 1,39,698, Amravati 56,528, Akola 47,000; Hyderabad 2,51,496, English version 2,44,006.

Prem Aggan 3rd week Bombay 1,77,681 (20.95%); Pune 1,02,725 from 3 cinemas, Solapur 19,692; Delhi 1,20,697; Kanpur 75,436 from 2 cinemas, Lucknow 1,22,440, Agra 22,250, Allahabad 43,500, Bareilly (6 days) 11,860 (4.57%), Hardwar 9,719; Calcutta 79,505; Nagpur 33,517, Amravati 29,309; Hyderabad 2,00,865 from 2 cinemas (1 in noon).

Bade Miyan Chote Miyan 5th week Bombay 13,44,625 (76.95%) from 6 cinemas (7 on F.H.); Ahmedabad 2,12,046 from 2 cinemas (2 unrecd.), 1st week Padra 1,12,623, 5th week Jamnagar 56,623, total 4,72,516; Pune 5,63,123 from 5 cinemas, Kolhapur 1,06,086, Solapur 1,25,490, 1st week Barsi (gross) 90,000; Bijapur 1,70,000; 5th week Delhi 2,56,062 from 2 cinemas (2 on F.H.); Kanpur 2,01,259 from 2 cinemas, Lucknow 3,28,225, Varanasi 1,16,702, Allahabad 88,000, Meerut (6 days) 1,39,740, Bareilly (6 days) 29,241 (16.95%), 1st week Hardwar 1,27,649; 5th week Rohtak 13,212; Calcutta 1,45,917; Nagpur 1,47,605 from 2 cinemas, 4th week Amravati 1,39,503, Akola 1,06,422, Raipur 66,510, Bhilai 33,300, Durg 42,034, Jalgaon 88,598, Wardha 35,586, Chandrapur 94,407, total 6,73,778; 5th week Indore 1,66,000 from 2 cinemas, Bhopal (6 days) 83,985; Jaipur 1,48,953, 3rd week Bikaner 1,03,645; 5th week Hyderabad 4,36,642 from 3 cinemas (1 in noon).

Kuch Kuch Hota Hai is still drawing heavy crowds and it can now safely be expected to do in the region of 12 crore or even more. 5th week Bombay 62,12,222 (95.33%) from 12 cinemas (5 on F.H.), Vashi 1,99,937, 4th week Vasai (gross) 3,40,732; 5th week Ahmedabad 11,33,188 from 4 cinemas, Baroda 2,24,855 (100%), Vapi 2,83,732, total 20,73,870, Valsad 2,80,251, total 16,98,834, Jamnagar 87,875; Pune 11,56,746 from 4 cinemas, Solapur 1,61,451; Delhi 36,56,766 from 9 cinemas; Kanpur 3,67,697 from 2 cinemas, Lucknow (29 shows) 4,84,270, Agra 2,70,463, Varanasi 1,77,680, Allahabad 1,41,000, Bareilly (6 days) 89,014 (36.61%), Hardwar 52,152, total 5,51,925; Rohtak 20,565; Calcutta 13,17,572 from 6 cinemas; Nagpur 5,37,866 from 2 cinemas, Amravati 2,21,774, total 12,41,931, Dhule 1,06,425, total 8,07,021, Raipur (6 days) 1,34,696, Bhilai (6 days) 1,17,260, Jalgaon 1,35,335, 1st week Wardha 1,52,630; 5th week Indore 3,44,459 from 2 cinemas; Jaipur 7,73,665 from 2 cinemas, Ajmer 1,33,759, Bikaner 1,45,756; Hyderabad 7,91,842 from 4 cinemas (2 in noon); 2 weeks’ total from Vijayawada 6,23,018, 1st week Guntur 1,28,866.

CHANDRA BAROT RELEASED ON BAIL

Earlier this week, producer Chandra Barot was released on a bail of Rs. 10,000 alongwith a condition that he would appear before a Patna magistrate shortly. The order was passed by the Bombay city civil & sessions court judge, R.Y. Gahoo.

SALMAN IN ANOTHER POACHING CONTROVERSY

Salman Khan, who has been released on bail in the Jodhpur poaching case, is embroiled in yet another case of a similar nature. It is reported that Salman Khan and Aishwarya Rai may soon be summoned to appear before the court in Bhuj, Gujarat, following their alleged participation in illegal hunting of two chinkaras in September this year. Both were in the city then as members of the unit of Hum Dil De Chuke Sanam. An army officer and some local influential people are also alleged to have been party to the crime.

RAMAN MEHTA DEAD

Raman Mehta of M.K.D. Films, Guwahati, expired on 15th November in Calcutta due to kidney failure. He was 69 years old. He had been in distribution business since more than 35 years. He had also produced 5 Assamese films viz. Bowari, Ghar Sansar, Son Maina, Siraj and Priyajan. Son Maina had bagged the National Award.

His funeral at Guwahati was attended by top government functionaries. His business is now being looked after by his sons, Sunil and Sanjay. Ramanbhai is survived by his wife and the two sons.

Ramanbhai’s death was mourned by the EIMPA at a largely attended meeting. All cinemas and distribution offices of Guwahati remained closed on 16th.

HARIBHAI DAVE DEAD

Haribhai J. Dave, founder of Ganesh Talkies, Calcutta, as well as distributor for Bengal and Bombay, expired on 18th November in Calcutta. He was 93 and is survived by his wife, son, grandchildren and great-grandchildren.

YOU ASKED IT

To what do you attribute the bumper opening of Soldier all over India?

– To the extraordinary publicity, its music and a certain freshness about the film, thanks to Preity Zinta.

How much business do you think will Kuch Kuch Hota Hai do in Overseas?

– It could cross the 20-crore mark!

How is Bandhan doing in the various circuits, especially in smaller centres?

– The film is doing very well all over India. The ladies-appealing sentiments are drawing crowds to cinemas not only in cities but also in ‘B’ and ‘C’ class centres.

Sustained Publicity & Music Do The Trick

The Taurani brothers deserve kudos for the fabulous marketing of their Soldier which has resulted in its bumper opening this week all over India — from North to South and East to West. They hammered the songs by playing the promotional trailers on satellite channels. They also spent heavily on all other publicity media including street and press publicity. The results of the SUSTAINED publicity campaign are for all to see.

Like the Tauranis, there are some more producers who realise the worth of publicity. Among these market-savvy producers are relative newcomers like Vashu Bhagnani, Gordhan Tanwani, Sohail Khan and Bunty Walia. These people don’t cut corners in advertising their films and also reap the benefits therefrom. Boney Kapoor is another such producer who goes all out in publicising his films. Feroz Khan spent heavily on his recent release, Prem Aggan, but he was unfortunate to have not even got a respectable initial for his film. Compared to Prem Aggan, films of Vashu, Sohail, Bunty, Gordhan and Tauranis (Bade Miyan Chote Miyan, Pyaar Kiya To Darna Kya, Pyaar To Hona Hi Tha, Ishq and Soldier) recorded bumper collections on the opening day. Music of their films had an important contribution to make. In fact, the opening of Soldier yesterday is of the kind one would expect on Diwali! After his debut film, Barsaat, and Gupt, Bobby Deol has never had such an opening.

A Very Inconsiderate Act

Mukesh Bhatt’s action in selling the satellite rights of Ghulam is coming in for heavy criticism even by people who aren’t connected with the film. That the film’s distributors are crying tears of blood is understandable because even the film’s first run is not yet complete, and business will definitely be adversely affected after it is telecast today (21st November) on STAR Plus. But the entire distribution and exhibition trade has suddenly woken up to the fact that if Mukesh Bhatt can do it today, any other producer can do it tomorrow. Will Mukesh Bhatt’s inconsiderate action set off a trend? One wonders why no distributor of the film is taking the matter to court. Do the distribution agreements not specify any period during which satellite rights cannot be sold? Or is Mukesh Bhatt planning to compensate his distributors to avoid an ugly situation?

Think Overseas

Overseas has become a huge market today. Producers, especially those making big and A-grade films, would do well to study the foreign markets because sale of Overseas distribution rights in some cases could fetch more than a major circuit in India would. Again, if a film clicks abroad, its business could even be double its super-hit business in a major territory in India.

The Impossible Idd

Every producer, whose film is nearly ready, is claiming that his film will be released on Idd (January 20/22).  But the fact is that of the seven or eight Idd release announcements, only two films — or, at the most, three — will actually hit the screens on the coveted day. Distributors of the other films will find it impossible to get cinema chains — not only in India but also in the Overseas. Didn’t I say, Overseas is no mean territory these days. It can accommodate just two films in a week.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Bahut Kuch Hota Hai

In a way, Kuch Kuch Hota Hai has seen history repeat itself for producer Yash Johar. He had earlier scored a big box-office triumph with the release of his Dostana in 1980. Eighteen years later, his KKHH has multiplied the earlier triumph manifold as KKHH is slated to be one of the biggest blockbusters of India. The coincidence is that while Dostana had opened in 1980 on 17th October, KKHH opened on 16th October this year. Call it Providence or anything else, Yash Johar hasn’t really tasted a decent success ever since he released Dostana — that is till KKHH now.

While on KKHH, another interesting fact has come to light. At almost every screening of the film in London, audience are seen cheering and clapping when the logo of Yash Raj Films appears before the film’s credits. Yash Raj, as everyone knows, is distributing the film Overseas. This is the first time something like this has happened and it goes to show how much faith people there have in the Chopras.

Incidentally, KKHH has already become one of the biggest Indian blockbusters Overseas with its expected business to be in the region of Rs. 20 crore plus.

‘Grahan’ Comes Out Of The Eclipse

The first trial reports of Jackie Shroff’s Grahan have come as a pleasant surprise to the trade which had almost written off the film, largely because of the delay in its completion as well as the repair work that had to be carried out. But the repairing by Subhash Ghai seems to have helped if the ovation the film got at the end of the trial show recently is any indication. The show was seen by several industry people as well as their families. All were unanimous in their opinion that Manisha Koirala would walk away with the accolades once the film was released. Yes, the actress, it is heard, has done a fantastic job in a role that requires an actress to have tremendous range. In the meantime, Jackie is planning to release the film on 29th January or 5th February, ’99.

Cinema Saja Ke Rakhna

Central Plaza at Girgaum, Bombay has been all spruced up and is ready to reopen on 27th November with Doli Saja Ke Rakhna. It may be recalled that the cinema had been closed following a fire less than a year ago. Its reopening comes as a boon, for, the facilities in the cinema have been vastly improved, thereby making it one of the best cinemas in the Lamington Road area in the city. For the first time in India, a Sony Dynamic Digital sound system has been installed at Central Plaza. New luxurious seats and a bigger car-park are a few other attractions. The admission rates are Rs. 50 and Rs. 80 (for balcony, only 250 seats).

The Pen With The Midas Touch

Looks like every film that lyricist Sameer writes for turns into gold. How else can you describe the super-success of so many of his films this year? This talented son of late famous lyricist Anjaan already has the following hits/successes to his credit this year: Pyaar Kiya To Darna Kya, Ghulam, Pyaar To Hona Hi Tha, Bade Miyan Chote Miyan, Kuch Kuch Hota Hai and Soldier! Not only this, his foray into the Indi-pop world has also paid rich dividends with the success of Falguni Pathak’s album, ‘Yaad Piya Ki Aane Lagi’. With the release of another much-hyped film, China Gate, which also has his lyrics, just round the corner, Sameer may already be the most successful lyricist of 1998.

Ten Men And One …..

Quite interestingly, the posters and hoardings of China Gate show absolutely no sign of heroine Mamta Kulkarni. Instead, they depict all the ten heroes (if you may call them so) with Urmila Matondkar, who only features in a dance number in the film. A wag couldn’t help but remark, “The China Gate catchline should now be changed from ‘Ten men and one Mission’ to ‘Ten men and one Special Appearance’!”

In Passing

◘ Question: What happens when you remix Humma Humma with Chhaiyyan Chhaiyyan?
Answer: You get Chhamma Chamma!

◘ Heard one exhibitor telling another:
“Do week baad Doli Saja Ke Rakhna. Par tab tak Mehndi lagaye rakhna”!

INFORMATION MEETS

“In our industry, everyone seems to know what the audience wants and yet, they make flops.”

– VINAY SHUKLA

KOMAL NAHTA

His study is stocked with a number of books on different subjects. There’s also a huge photoframe of Albert Einstein, hanging on a wall of the study. What is the celebrated scientist’s picture doing in a writer’s study, you wonder, and get an answer yourself. For, at the foot of the picture are the words: ‘Imagination is more important than knowledge’. So, it is the scientist’s philosophy more than his science that has found a pride of place in the room of Vinay Shukla. One doesn’t need to dwell on how imaginative a script writer has to be to satiate the hunger of the masses spread all over, for entertainment through a film. As if that in itself were not demanding, Vinay Shukla has now also turned a director. His Godmother, which he has scripted and directed for Gramco Films, is ready for release. Actually, Godmother is the second directorial venture of Vinay Shukla, but the first, Sameera, made way back in 1983, was never released commercially due to problems beyond the control of Shukla.

That Godmother does not look like the work of a newcomer speaks for Vinay Shukla’s imaginative skills because he has entered the domain of directors armed with the knowledge of a writer. Didn’t Albert Einstein say, imagination was more important than knowledge? Over to the writer of such films as Virasat, Ram-Jaane, Hum Paanch, Mujrim, Pyari Behna, Thanedaar etc.

And how did Vinay Shukla learn script-writing?
– After Sameera, my sole concern was to learn how to write a film script in a popular format, one which would appeal to the people. Practically every time I used to see a film which did well, I used to come home and rewrite its screenplay. It was through this exercise that I began to understand how real issues are evaded in a film, how false ones can be created, how song situations are created etc. At the FTII, my understanding of cinema was of serious cinema. My entire concern there was to absorb elements of good cinema. There was no thought of my career or future then. When I came out of the FTII, I realised that what I had learnt there was of little practical help to me.

Do you mean to say that your education at the FTII was a waste of time?
– No, it wasn’t a waste of time at all. I’m absolutely indebted to my Alma Mater. I got exposed to the best in world cinema at the FTII. Thanks to that, today, I can analyse films, I can distinguish between good and bad cinema. So, what I learnt at the FTII is helping me a great deal.

How would you distinguish between popular cinema and offbeat cinema?
– Popular Hindi cinema deals with personal emotional issues largely and tries to weave a story around relationships. It does not take into account socio-economic context or the individual mental framework of characters. The structuring of the story is done within accepted parameters so that they become an integral part of your story. Whereas in serious or offbeat cinema, the exposition of whatever theme you take is dealt with in the most natural way. The theme of such a film itself becomes its own parameter. It does not necessarily have to fall in the parameters of popular cinema.

What kind of cinema — popular or offbeat — fascinates you more?
– I am extremely fascinated by popular cinema because it does not essentially deal with any particular time or place, it gives an omnipotent view. One can talk of great issues in a poetic way, one can take large issues and present them in an emotional way. For example, Mother India. Its vigour fascinates me too much. The energy it has is very seductive in nature, it seduces you to watch the film again and again.

What is your film, GODMOTHER — popular cinema or offbeat?
– The story of Godmother has been told in a popular format. It has been told in a real milieu and it has characters which are real. There is no apparent attempt to integrate the elements which are necessary for commercial cinema and yet those elements, like songs and high drama, are there. That is how my training at the FTII and my respect for popular cinema have been integrated.

Did you not think of casting saleable names in GODMOTHER?
– My concern was always with commercial cinema format. But my contention is that the audience wants to see good films whether or not you have saleable stars in them. A shining example is that of Satya which is running without any face value. People just want to see a good film, they want their money’s worth in that sense. Our audience are intelligent, they know what is good and what isn’t. Very often, they’ve not been given their money’s worth. If you give them good cinema, they will see it. But good cinema without a narrative will not involve them.

How did Gramco come into the project?
– I told of my subject to Mala Goenka of Gramco. She liked it and she immediately put me on to Rajat Sengupta. I narrated the story to Rajat who liked it immensely and then we got going. In fact, Gramco was the very first producer I approached with the story. I must add here that working with Gramco has been a wonderful experience. There was absolutely no interference from them on the creative side. I was able to make Godmother the way I had envisioned it. We completed the film in 59 days and I could’ve saved 4-5 days out of that. We had two schedules in Gujarat, one in December ’97 and the other in February ’98. There was a schedule each at Lonavala and in Hyderabad, the latter for a glamorous song picturisaton. And there was one stint in Bombay at Esel and Kamal Amrohi Studios.

How has the response of distributors to the film been?
– Very good. Despite the fact that there are no big names associated with the project or there is no face value, we’ve already struck deals for a couple of circuits while negotiations are on for several others.

Why was there a controversy about censorship of the film vis-à-vis its selection for the Panorama?
– Films entering the Panorama section of the IFFI ’99 had to be censored by 31st August, ’98. Our film was certified on 3rd September although the CBFC was aware of the urgency of the situation. The officers there knew that we were trying to enter the film in the Panorama section. I don’t deny that there are rules for the CBFC’s working and that the body was working within the rules, but the least the CBFC could have done was to appreciate that ours was an emergency case. They could’ve helped if they wanted to, it was not impossible. Government agencies ask film producers to make good films but a government agency like the CBFC does nothing to encourage it. Where’s the government’s commitment to promote good cinema then? Would the same thing have happened if the NFDC had produced Godmother? I don’t think so. It is the government itself which makes a distinction between government films and others, not anybody else.

Now that you’ve directed a film, does it mean that henceforth you would direct all films written by you?
– Although I’d like to make films as a writer-director, I will continue to only write films for friends or if the writing offer is good. I’m currently working on a couple of scripts and I’d like to direct them myself.

Is it because you are not happy with the handling of other directors, of your subjects?
– That would be a complaint of any writer. Obviously, when another person is to realise what you have visualised in imaginary terms, there’s bound to be a difference in interpretation and imagination. That is acceptable. But if a director completely changes what you’ve written, how can you bear it? I also realised that the kind of hours I was giving to writing, I was spending more or less the same time even if I was directing a film, but as a director, I was exercising more control and was more actively involved which meant, more creative satisfaction. Here, I’d like to mention that the kind of respect and money which a writer earns is not commensurate with his efforts. The industry keeps shouting that there are no writers, but what kind of respect and money is a writer getting? When a project starts, the writer is given the feeling that he is the most important in it, but at the end, the writer has to often wonder whether he is at all a part of the project. Luckily, in most of the cases, I’ve not faced humiliation as a writer, but there are many writers who’ve had to face insult. That is why, perhaps, no self-respecting person would want to become a film writer. Have you ever come across a writer who wants to become a film writer? Everyone associated with a project tries to become a writer, whether or not he knows the job. In our industry, everybody seems to be an expert at writing. Everyone seems to know what the audience wants and yet, they make flops. According to me, every director should attempt to write at least one script so that he knows what respect to give to writers.

The lack of respect could also be because our writers often write shoddy scripts.
– Don’t blame the writers alone. In almost every creative sitting, the producer and director also participate. So you can’t say that writers do a shoddy job…….

PARDESI BABU

K.B. Pictures’ Pardesi Babu is a love triangle with the tried and tested turns and twists. A simple and poor village boy falls in love with a rich girl, but the latter’s father asks him to earn a crore of rupees in one year if he wants his daughter’s hand in marriage. The boy takes up the challenge and also succeeds, but he has achieved his target because of an unintentional windfall which has made a girl and her father extremely poor. This girl silently loves the boy who, because of the windfall, feels obliged to marry her instead of the girl he loves. Several misunderstandings later, the boy and his rich girlfriend unite in matrimony.

The story has no novelty and reminds one of a number of love stories like Maine Pyar Kiya. But what is more shocking is the screenplay which is one of utmost convenience and which resorts to too many cinematic liberties. For instance, there is a thief who comes as an important link in the story in the pre-climax. This thief is first seen in Bombay, and in the pre-climax, in Darjeeling. This cinematic liberty is sought to be covered up by showing the thief to be an “all-India chor”! Similarly, the Darjeeling girl, whose father has lost lakhs of rupees he was carrying in a suitcase, has not even bothered to open the suitcase she gets in exchange for their own suitcase, for one full year — not even to try and locate the owner of the exchanged suitcase for a possible clue. Besides the main story, even the incidents are of the kind seen in earlier films.

The romance between the village simpleton and the rich city girl has not been developed properly. Emotions touch the heart only at one place. Comedy is a bit too loud. Dialogues (Aadesh K. Arjun) are good at several places but the sermonising by the hero in the end is a bit boring.

Govinda does a good job but one misses his crazy comedy. Raveena Tandon is fair but looks extra weak. Shilpa Shetty is reasonably good. Satish Kaushik is too loud at many places, but entertains when not loud. Shashikala is ordinary. Rajeev Verma, Mohnish Bahl and Avtar Gill lend fair support. Virendra Saxena is irritating, more because his character is not very convincing if only because what he is doing doesn’t appeal. Asif Sheikh, Deepak Qazir, Gavin, Aroon Bakshi, Charlie and the rest fill the bill.

Debut-making director Manoj Agrawal has faltered in the selection of the story and has not really worked on the script but he seems to be good at the technique of direction. Music (Anand Raaj Anand) is quite entertaining. ‘It happens only in India’, ‘Chingari’ and a couple of other songs are well-tuned. Action scenes are effective. Camerawork is good. Production and other technical values are fair.

On the whole, Pardesi Babu is an ordinary fare.

Released on 13-11-’98 at Minerva and 23 other cinemas of Bombay thru Mahalakshmi Film Distributors. Publicity: very good. Opening: quite good (affected due to Sharjah cricket final). …….Also released all over.

MEHNDI

Aftab Pictures (P.) Ltd.’s Mehndi (UA) is a film on dowry and about a woman’s fight against the curse of dowry. A law graduate gets married only to be ill-treated by her in-laws and husband, for dowry. She bears a lot of humiliation but finally resolves to seek revenge when she is called a prostitute by her in-laws and when her husband files a divorce petition in the court. It is then that she dons the advocate’s robe and pleads her own case. She wins the support of the villagers too.

The first half is ordinary. It shows the bride being tortured for dowry and does not impress very much. The drama becomes lively after interval when she decides to pay back her in-laws for all their torture. Once she sets out on her revenge mission, there are some scenes which entertain and a few which win audience sympathy. Dialogues are good and even clapworthy at places.

Rani Mukerji does a good job as the wronged daughter-in-law. Faraz Khan is wooden and, therefore, does not impress. Shakti Kapoor is fair. Arjun acts ably. Himani Shivpuri is convincing as the wicked mother-in-law. Pramod Moutho is so-so. Joginder entertains a bit. Ushma Rathod, Shashi Sharma, Mahavir Shah, Shagufta Ali, Ashish Nagpal and Mukta provide ordinary support. Shahbaaz Khan leaves a mark in a guest appearance. Other guest artistes — Gulshan Grover, Asrani, Raza Murad and Yunus Perwaiz — pass muster.

Direction is fair. Music should have been much better. Two songs are alright but what was needed was one or two hit tunes. Even the songs which appeal do so more for their lyrical value. Song picturisations are ordinary. Camerawork is okay. Other technical aspects are alright.

On the whole, Mehndi has some appeal for womenfolk and can do well in small centres only.

Released on 13-11-’98 at Dreamland and 10 other cinemas of Bombay thru Friends Movies. Publicity: good. Opening: dull. …….Also released all over.

TELUGU FILM INDUSTRY FEELS IGNORED IN FORTHCOMING IFFI

The Telugu film industry lodged a strong protest with the organising committee of the International Film Festival of India against their ignoring the contribution of versatile actress Bhanumati Ramakrishna and woman director Vijayanirmala.

The 30th IFFI will commence in Hyderabad from 10th January, 1999. The first meeting of the 30th IFFI, held on 11th November with Andhra Pradesh chief minister N. Chandrababu Naidu in the chair, evoked angry protests from personalities of the Telugu film industry such as Akkineni Nageswara Rao, D.V.S. Raju, U. Visweshwar Rao, Dasari Narayana Rao and T. Subbirami Reddy, who took exception to the organising committee for ignoring the Telugu film actress and director. The issue cropped up when festival director Malati Sahai informed that in honour of the contribution made by women to the film industry, the IFFI had decided to screen five films of Hindi film actress Shabana Azmi to commemorate her completion of 25 years in cinema. It was pointed out that Bhanumati had completed 50 years in Telugu cinema, and Vijayanirmala was the only woman director to have directed over 100 films.

The meeting also expressed displeasure with the organising committee for not providing representation to the Telugu film industry in the various sub-committees constituted by the Directorate of Film Festivals and the I & B ministry to oversee and organise the festival.

Malati Sahai informed that about 75 films from 33 countries, produced in the last two years, would be screened at the festival. Santosh and Sapna cinemas would screen mainstream cinema films.

CENSOR NEWS

Santoshi Productions’ China Gate, seen on 9th, has been passed with UA certificate, with 14 minor cuts.

Ram Creations’ Doli Saja Ke Rakhna (length 4833.24 metres in 17 reels), applied on 9th and seen on 10th, has been passed with U certificate, with minor cuts.

Pali Films’ Bhoot has been refused certificate.

NFDC Ltd.’s Hanste Hasaate (revised) has been passed with U certificate, with cuts.

Bhalla Productions’ Tune Mera Dil Le Liya has been passed for adults, with cuts by the revising committee.

Tension Marks ‘Pardesi Babu’ Deliveries
Release Plans Disturbed

The release of Pardesi Babu on Thursday (12th November) in U.P., Orissa, C.P. Berar, C.I. and Nizam (Aurangabad) had to be cancelled following delivery problems. The film opened all over only on Friday. In some centres, even the first shows of Friday had to be cancelled as the prints could not be reached there on time.

The hassles in the delivery of Pardesi Babu were one of the worst in recent times. The Bihar territory was in dispute since a long time due to double-sale by producer Kulbhushan Gupta. While that matter was resolved in the court in favour of the first distributor (Pawan Dhanuka) and did not result in delay in effecting deliveries, what did cause delays were some developments during the week. Even before that, financier Madan Kapoor of Jalandhar obtained an injunction order from the Jalandhar court, staying the all-India release of Pardesi Babu. The stay order was vacated when Kapoor was paid interest on monies lent by him to Gupta and he agreed to the refund of principal amount at the time of release of Vidroh.

The negative of Pardesi Babu had during its making been transferred in the name of Jumani who had financed the film. It was the recovery of his monies and those of some other financiers alongwith him that was creating a problem. The recoveries from the various distributors fell short of the claims of the financiers and this was brought to light too late in the day. The Overseas delivery was effected as late as on Tuesday (10th November) evening, only after a legal notice was served on the producer by Overseas distributor Mohan Chhabria.

The distributors of Bombay, C.P. Berar, C.I., Rajasthan and Nizam even decided to go to court to get deliveries at the contracted prices. Even while the matter was about to be moved in court, frantic efforts were being made for an out-of-court settlement. Distributors of the various circuits were being prevailed upon by both, Jumani and Kulbhushan Gupta, to agree to price hikes, but most of them were in no mood for it. The West Bengal distributors are said to have even threatened to cancel their release if the producer/financier insisted on a price hike.

Ultimately, it took the intervention of CCCA president Santosh Singh Jain to make the producer, financiers and various distributors as also the laboratory arrive at a settlement. Santosh Singh Jain was in Jaipur and following an SOS message sent to him, he flew to Bombay on Wednesday night. He drove straight from the airport at 9 p.m. on Wednesday to Dharamsi Savla’s (one of the financiers) office where the warring parties had assembled. By the time Jain Sahab stepped in, the concerned parties had spent several sleepless nights and undergone hours and hours of tension and uncertainty. An amicable — if one may use the word — settlement was first arrived at at 5 a.m. on Thursday! Prices were hiked.

Prakash Advani of Shree Bableshwar Films, Indore, sighed after the settlement, “This has been my worst experience ever. The producer was simply not bothered about us and our commitments. On Wednesday night, a day before the film was to have opened in C.I., Mr. Kulbhushan Gupta, instead of being bothered about our deliveries, told me, ‘Why are you so tense? Sab thheek ho jaayega.’ But time was running out. We had already lost Thursday, did he want us to lose Friday too?” According to Advani, had Gupta told the distributors in advance about the price hike, they would’ve come prepared to take delivery. “Mr. Gupta did not even tell us of the price hike, it was Jumani who conveyed the news to us. When we distributors told Jumani that we had dealt with Kulbhushan Gupta and not him, he told us, he was the negative rights holder. We were shocked.”

Kulbhushan Gupta told Information, “We went over-budget because of the many outdoor shooting schedules and the delay in completing the film. We also suffered a loss of about Rs. 50 lakh in just the music rights sale when they were transferred from Big B Music to Super Cassettes.” But couldn’t the last-moment tension have been averted? Replied Gupta, “The accounts revealed a heavy deficit only this week.” He denied rumours that he had burdened Pardesi Babu with the liabilities of his other two under-production films, Vidroh and Shivam.

Many Questions!
Any Answers?

Some pertinent questions arise out of the entire delivery tamasha of Pardesi Babu.

(1) How did Adlabs transfer the film’s negative in Jumani’s name when it had already issued lien letters on various territories to various financiers? If it did so, wasn’t the transfer subject to clearance of the liens?

(2) When negative rights are transferred in a person’s name after liens on various territories have been created, doesn’t the negative rights holder step into the producer’s shoes and become responsible together with the laboratory to clear the liens?

(3) Why were distributors asked to get clearance from the new negative rights holder, Jumani, when they had dealt with producer Kulbhushan Gupta and had not even interacted with Jumani before the time of delivery?

(4) Reportedly, Manmohan Shetty tried to dilly-dally the effecting of deliveries till Jumani’s money was received in full. Can a laboratory owner insist that all distributors take deliveries together? Why couldn’t one distributor take delivery on one day and another on another day?

(5) Why were the distributors asked — or rather, forced — to pay Rs. 10,000 extra per print? This is nothing short of cheating!

(6) There was one financier who had a first-release claim but even his money was not sought to be returned before Jumani’s money. Is this legally correct?

(7) When the Bombay, C.P., C.I., Rajasthan and Nizam distributors had almost knocked the doors of the court to have their deliveries effected as per agreements, why did they retract at the last moment? Why did they opt for out-of-court settlement and thereby agree for hiked prices when the chances of their victory in court were bright?

“This is extortion – my distributors have paid 70 lakh as extortion money,”
Cries SANTOSH SINGH JAIN

Santosh Singh Jain may have succeeded in making the parties to the Pardesi Babu dispute arrive at a settlement, but he is very unhappy with what happened in the case. Information spoke to him and obtained his version.

“It is very sad, the way things are going. We cry about extortion but this arm-twisting at the last moment is nothing short of extortion. The Pardesi Babu distributors have been forced to pay Rs. 70 lakh by way of ‘extortion money’.

“I blame the producer first for not managing his affairs properly. Next to be blamed are the various financiers like Jumani, Pramod Rai (of Hyderabad) etc. who were not prepared to see that the film had simply no strength to bear the burden of their unreasonable interest. They should not have lent money on the project if they were so concerned about its safety. Perhaps, at the time of lending, they were lured only by the high interest rate. I am also very disillusioned by the behaviour of Manmohan Shetty of Adlabs. In the first place, he should have been careful when he realised that the negative was being transferred in another name. Shetty also brought the claim of Kulbhushan Gupta’s earlier film, God And Gun, on Pardesi Babu. My question to him is, ‘Why should the distributors always bear the burden of everything — past, present and future? Why are they made the bakras always?’ I was so agitated at one point during the settlement talks that I told Manmohan Shetty, ‘I have a good mind to complain to the police commissioner about this extortion racket.’ I’ve known Shetty for many years but I’ve never seen him so uncooperative and stubborn.”

MANMOHAN SHETTY:
“It is only when things reach a boiling point that negotiations start.”

Adlabs boss Manmohan Shetty, when contacted, told Information, “Well, the film has released and I’m happy for that.” Explaining why such delivery dramas take place, Shetty said, “Normally, the producer, financier and distributors play the wait-and-watch game to see who will increase/reduce the price/interest. Things reach a boiling point and then they become too hot to handle. Then, negotiations start but it is invariably too late.” When asked to comment on why Santosh Singh Jain was so agitated by his role in the dispute and settlement, Manmohan Shetty replied, “Santosh Singh Jain is not important. He is nobody in the Pardesi Babu case. I had to go by what the film’s financiers, producer and distributors wanted, not by what Jain wanted me to do. If what settlement was arrived at by Santosh Singh Jain was not implemented and remained merely on paper, how am I expected to effect deliveries?”

3-E
Education-Entertainment-Enlightenment

A Fitting Reply

Apropos our survey of distributors a few weeks ago, in which Dreamland was cited as one of the worst-maintained cinemas in Bombay, here comes the clarification from the cinema owner himself. Says Yunusbhai Sopariwala, “Actually, over the past 3-4 months, we have brought in a number of improvements at Dreamland at a cost of over Rs. 35 lakh. We have installed Dobly DTS sound system. Besides, two additional air-conditioning plants have been added to the existing one. Moreover, the entire balcony area has been renovated with new seats and granite flooring while the stalls area is currently under renovation. All these improvements have certainly been appreciated by the family audience. Otherwise, Dulhe Raja, a family film, couldn’t have fetched a share of Rs. 11.35 lakh in its 9-week run at Dreamland.” Distributors may please take note.

Lovely Chhamma Chhamma

Rajkumar Santoshi should thank Bharat Shah and Anu Malik. For, while it was financier Bharatbhai who insisted that there be at least two songs in China Gate, it was Anu Malik who composed those songs. The result is the racy Chhamma Chhamma song which is fast becoming popular and, by the looks of it, seems, it will be the relief-providing item in the action drama. Urmila Matondkar has danced beautifully to the beats of the foot-tapping number. Maybe, now even Rajkumar Santoshi must be thanking his stars for having heeded the request of Bharat Shah. For, had it not been for Bharatbhai, China Gate would have remained a songless film. Incidentally, the film’s promotional trailer screened at the China Gate party held on 12th November at Hotel Centaur, Bombay, gave enough indication of the film’s grandeur. And the excitement of those distributors of the film who’ve seen its trial gives an indication how well it must’ve shaped up. In the meantime, the public is waiting for the China gate to open — on 26th/27th November.

Me Badshah, You Ghulam

As if the telecast of new films on cable TV channels is not bad enough, producers have started selling satellite TV rights of their successful films a bit too soon. Distributors of Mukesh Bhatt’s Ghulam are pretty agitated with Bhatt for having sold the telecasting rights of Ghulam to Star TV, that too when the film was released less than just six months back. The film will be aired on the satellite channel very shortly. This, when even its first run in the various circuits is not as yet complete. It is truly a selfish move on the part of Mukesh Bhatt to be ignoring the interests of his distributors like that. It’s not done, Mr. Bhatt.

FLAVOUR OF THE WEEK

TENSION OF THE WEEK

Deliveries of producer Kulbhushan Gupta’s Pardesi Babu for all-India circuits.

HERO OF THE WEEK

CCCA president Santosh Singh Jain who intervened in the dispute between the producers, financiers and distributors of Pardesi Babu just in time to ensure its release this week.

JOY OF THE WEEK

Excellent trial reports of Xavier Marquis’ Doli Saja Ke Rakhna.

WEBSITE OF THE WEEK

The Rajshri website (www.rajshri.com). Rajat Barjatya, with the assistance of Ravi Database, has done a very good job of the site. Net surfers, visit it.

KUDOS OF THE WEEK

To Deepa Mehta, Shabana Azmi and Nandita Das for making/working in a bold film, Fire, with unimaginable conviction.

HOARDING OF THE WEEK

Of Chine Gate, put up at Heera Panna shopping centre, Haji Ali, Bombay. It stands out beautifully.

Not A Bad Bargain

The joy that came along with the runaway success of Karan Johar’s Kuch Kuch Hota Hai has been short-lived. Although KKHH continues to do roaring business, what has cast a pall of gloom in the industry is the unfortunate failure of Feroz Khan’s dream project, Prem Aggan.

Since Prem Aggan was the launching pad of Khan’s son, Fardeen, distributors put a lot of confidence in the project and the maker. An exceptionally high price of 1.6 to 1.75 crore was paid per major circuit for the film even though both, Fardeen Khan and Meghna Kothari, were newcomers. Nor did the film boast of a formidable supporting cast. But yet, speculation was the name of the game. And speculate the distributors did. In the process, they’ve burnt their fingers rather badly. On an average, every distributor will lose about 75% of his investment in the film.

Couldn’t this catastrophe have been avoided? Although there’s no readymade acid test to prove so, the fact is that it could truly have been averted. If there were script doctors in India, as there are in Hollywood, chances are, there wouldn’t have been such a major bomb. That is not to say that script doctors, who offer expert and objective opinion on a filmmaker’s script, are infallible or can never go wrong, but they at least give the filmmaker a second opinion. More often than not, the producer, director and writer of a film get so involved in the film during its making that, after a point of time, they may lose all objectivity as far as judging the film is concerned. This is what seems to have happened to Feroz Khan because the film has innumerable mistakes. It is not as if Feroz Khan has forgotten filmmaking, it is just that his judgement failed this time. And failed rather badly in several departments.

A salvage operation could have been carried out by a script doctor, but will Bollywood wake up to the need for such an entity? Such experts are necessary, more so today when the stakes in film production and distribution are so high. If fees of a few lakh of rupees to script doctors can save many crores of the producer, is it a bad bargain?

Here, a word of caution to distributors too. It has become the wont of distributors to cry over losses and yet never act with caution. While on the one hand, they keep cribbing about unrealistic and high prices, on the other, it is these very distributors who do not bat an eyelid before paying fancy prices to producers. It is the fear that ‘if I don’t buy the film, someone else will’, which prompts distributors to pay unrealistically heavy prices. As it seems to have happened in the case of Prem Aggan.

Although this wouldn’t have saved the situation, another related comment would not be out of place here. Feroz Khan, too, like Mani Ratnam (Dil Se..), did not show his film to his distributors. It is strange how producers, whose partners-in-business distributors actually are, work in a style which does not take the partners into confidence. This is not a healthy sign at all.

– Komal Nahta

LATEST POSITION

KUCH KUCH HOTA HAI continues to mesmerise the public from North to South and East to West.

Prem Aggan has been totally rejected. It will entail heavy losses to all its distributors. 1st week Bombay 24,31,295 (60.55%) from 8 cinemas (7 on F.H.); Ahmedabad 4,54,600 from 4 cinemas, Rajkot 1,18,680, Jamnagar (matinee) 12,600; Pune 6,22,972 from 5 cinemas, Solapur 1,46,334 from 2 cinemas (1 in matinee); Delhi 17,24,930 (45.29%) from 8 cinemas; Kanpur 2,25,726 from 2 cinemas, Lucknow 3,04,949, Agra 1,32,000, Varanasi 1,23,211, Hardwar 36,496; Amritsar 51,500; Calcutta 12,32,145 from 15 cinemas; Nagpur 2,07,815 from 3 cinemas, Jabalpur 66,712, Amravati 80,366, Raipur 78,190, Bhilai 38,489, Yavatmal 52,740; poor in Indore, Bhopal 1,51,167 from 2 cinemas; Jaipur 4,34,182 from 3 cinemas; Hyderabad 26,33,918 from 15 cinemas (1 in noon); Vijayawada 1,92,890, Visakhapatnam 1,45,860.

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Hero Hindustani 2nd week Bombay 7,28,422 (41.46%) from 6 cinemas (4 on F.H.); Ahmedabad 1,77,750 from 3 cinemas, Rajkot (matinee) 12,986, Jamnagar (matinee) 8,897; Pune 1,48,878 from 3 cinemas (1 in matinee), Solapur 30,664; Delhi 65,978; Kanpur 45,805, Agra 82,000, Varanasi 59,888, 1st week Hardwar 32,886; 2nd week Nagpur 44,471 from 2 cinemas, Jabalpur 36,955, total 1,27,713, Amravati 64,375, Akola 47,019, total 1,23,775, Raipur 59,923, Bhilai 30,186, total 85,736, 1st week Jalgaon 87,231; 2nd week Bhopal 42,782; Hyderabad 1,91,893 from 3 cinemas (2 in noon).

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Bade Miyan Chote Miyan will fetch commission (part or full) in most of the circuits. 3rd week Bombay 28,19,377 (83.56%) from 9 cinemas (9 on F.H.); Ahmedabad 8,16,643 from 5 cinemas, Rajkot 1,52,715, Jamnagar 86,971; Pune 9,13,384 from 4 cinemas, Kolhapur 2,11,448, Solapur 2,05,902; Delhi 24,70,400 from 8 cinemas (2 on F.H.); Kanpur 3,93,984 from 2 cinemas, Lucknow 4,61,808, Varanasi 1,93,644, Meerut (6 days) 2,02,380, Bareilly (6 days) 78,224 (45.34%); Calcutta 9,56,097 from 13 cinemas; Nagpur 4,35,461 from 4 cinemas, 2nd week Jabalpur 2,25,027, total 6,13,574, Amravati 2,40,514, Akola 2,03,879, total 5,05,961, 3rd week 3 days 70,043, 2nd week Raipur 1,13,960, Bhilai 71,377, total 2,44,120, Jalgaon 1,52,054, Wardha 86,728, Chandrapur 1,85,314, total 4,31,398, Yavatmal 1,08,106, 3rd week 3 days 40,920; 3rd week Indore 2,61,000 (63.74%), Bhopal 1,58,378; Jaipur 3,32,642 from 2 cinemas, 1st Bikaner 2,45,181; 3rd week Hyderabad 7,39,864 from 4 cinemas (1 in noon); 1st week Vijayawada 1,15,706.

Kuch Kuch Hota Hai is par excellence. 3rd week Bombay 55,04,562 (99.70%) from 11 cinemas (5 on F.H.); Ahmedabad 13,45,597 from 4 cinemas, Valsad 3,68,140, Baroda 2,24,855 (100%), Padra 2,26,260, Jamnagar 1,40,735, total 4,42,537, Adipur 1,28,726; Pune 12,61,686 from 4 cinemas, Kolhapur 2,34,115 (100%), Solapur 2,25,595 (100%), Malegaon 100%; Delhi 53,22,316 from 11 cinemas; Kanpur 5,35,369 from 2 cinemas, Lucknow 5,09,135, Agra 3,88,075, Varanasi 2,55,963, Meerut 2,29,289, Bareilly 1,67,466 (59.03%), Muzaffarnagar 95,012, Saharanpur 1,34,712, Hardwar 1,20,906, total 4,13,980; Calcutta 15,91,627 from 8 cinemas; Nagpur 7,56,079 from 3 cinemas, Amravati 2,46,652, Akola 1,73,963, total 5,45,482, Raipur (6 days) 1,58,267, Bhilai (6 days) 1,91,019, total 6,79,554, Jalgaon 1,60,164, Gondia 1,22,185, total 3,88,888; Indore 4,81,524 (79.32%) from 2 cinemas; Jaipur 8,94,506 from 2 cinemas, Ajmer (29 shows) 1,66,380, Bikaner 1,94,425; Hyderabad 11,35,327 from 5 cinemas (2 in noon, 1 on F.H.).

Bandhan 5th week Bombay 3,44,179 (50.73%); Ahmedabad 1,07,045 from 2 cinemas, Rajkot 49,087, Jamnagar (matinee) 11,476; Pune 4,80,093 from 5 cinemas (1 in matinee), Kolhapur 1,04,000, Solapur (matinee) 57,679, 3rd week Barsi 30,538, 1st week Miraj 1,09,004; 5th week Delhi 4,01,134 from 3 cinemas (3 on F.H.); Kanpur 2,19,559 from 2 cinemas, Lucknow 2,00,528, Varanasi 1,14,296, Bareilly 45,435 (21.02%); Calcutta 1,32,739; Nagpur 1,67,855 from 2 cinemas, Jabalpur 1,35,471, total 9,22,662, Amravati 92,397, Akola 91,212, total 5,24,100, Raipur 82,951, Bhilai 60,186, Jalgaon 86,809 (4th 90,096), 2nd week Yavatmal 85,466; 5th week Indore 55,000 (1 on F.H.), Bhopal 94,418; Jaipur 1,72,384, 3rd week Jodhpur 90,000, 5th week Bikaner 35,977; Hyderabad 3,22,842 from 3 cinemas (1 in noon).

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MAJESTIC CINEMA OF CALCUTTA GUTTED IN FIRE

Majestic cinema in Calcutta was gutted in a fire on the night of 3rd November. Although the exact cause of the fire is not known, it reportedly started in the ceiling of the cinema, presumably due to a short circuit. Fortunately, no casualties were reported as the fire broke out after the last show ended on 3rd. The entire building was reduced to ashes.

The cinema had recently been purchased by Bengal distributor Nesar Ahmed.

FFI EXECUTIVE COMMITTEE TO MEET ON 18TH

The seventh meeting of the executive committee of the Film Federation of India (FFI) will be held on 18th November at the IMPPA House, Bombay.

A number of key issues will be addressed and discussed by the committee members. Chief among the items on the agenda are:

(i) consideration of the membership application received from the South Indian Dubbing Film Producers Association, Madras;

(ii) further discussion on the restrictions imposed by the Karnataka Film Chamber of Commerce on the release of non-Kannada films in Karnataka (it may be recalled here that the FFI president and a few other members had discussed the issue with the president and the executive committee members of the KFCC on October 6 and 7 in Bangalore);

(iii) discussion of key issues pertaining to the 30th International Film Festival of India, to be held between January 10 and 20, 1999 in Hyderabad; and

(iv) to initiate the procedure for the adoption of alterations in the Articles of Association of the FFI.

Apart from these main issues, the executive committee will also express its opinion on various items to be considered by the Film Industry Co-ordination Committee, which is likely to meet immediately after the executive committee meeting is over. During the Co-ordination Committee meeting, the selection of the chief guest and films to be included in the mainstream section of the IFFI ’99 will be finalised.

HYDERABAD CINEMA RAIDED FOR SCREENING ‘BITS’

Acting swiftly on a tip-off, the Hyderabad police commissioner’s task force (East zone) raided the Light House cinema at Abids on 2nd November and seized the prints of an English film, Play Nice, and two trailers.The police also arrested manager D. Venkat Rao and projector operator Sardar Khan on the charges of screening obscene films. ‘Bits’ of nude scenes from the film were being screened at the end of every reel, it is reported.

COLUMBIA TO DISTRIBUTE HINDI FILMS

Columbia Tristar has made an application to the Foreign Investment Promotion Board (FIPB) seeking permission to distribute Hindi films in the country. The Board’s approval is awaited. Presumably, distribution of Hindi films is the first step, and the next may well be production of Hindi films.

KUMAR VASUDEV DEAD

P. Kumar Vasudev, the director of India’s first mega TV serial, Humlog, passed away in Pune on 31st October after a protracted illness. He was 60 and is survived by his wife and three daughters.

An alumni of the FTII, Vasudev’s name figured in the Guinness Book of World Records as the maker of the longest TV serial, Humlog (156 episodes). He had assisted Krishna Shah in Shalimar and had directed Ajubey and Kunwari Bahu.

MADANLAL SHAH DEAD

Prominent Gujarat distributor and exhibitor Madanlal T. Shah died on 1st November at Bhuj following a prolonged illness. He was 80.

Madanlal Shah had been a member of the executive committee of the IMPDA for many years. A resolution to condole his death was adopted in the meeting of the executive committee of IMPDA on 5th November.

TARACHAND BHATIA DEAD

Veteran Rajasthan distributor and exhibitor Tarachand Bhatia of Green Light Pictures, Sriganganagar, expired on 1st November at Sriganganagar. He was 83 and had been associated with the film industry for 64 years. He used to mostly distribute Punjabi films and was known for his fair dealings. Tarachand Bhatia was the elder brother of our Sriganganagar representative, R.P. Bhatia.

‘JAB PYAAR KISISE…’ SILVER JUBILEE

Tips Films’ Jab Pyaar Kisise Hota Hai entered 25th week at Dreamland (matinee), Bombay on 6th November.

YOU ASKED IT

Is it true that Hrithik Roshan has been finalised for another film, besides his dad’s Kaho Naa…Pyaar Hai?

– Producer Mohan Kumar has signed Satish Kaushik to direct a film starring Hrithik.

Why are so many horror-sex films being made?

– Distributors consider them safer than other films in the ‘small films’ category. Besides, there’s also scope to add ‘bits’ in such films.

Why has no new film been released this week?

– No reason in particular. It just happened, perhaps. The India-Sri Lanka cricket match played in Sharjah on Friday (6th November) was not the reason for there being no release this week.

DO YOU KNOW?

* It makes news when Mithun Chakraborty gives 16 retakes for a single scene because the actor is known to be averse to giving even three or four retakes. But he did give 16 retakes for a scene for director Jayant Gilatar’s HIMMATWALA. Incidentally, Jayant is directing producer A. Krishnamurthi’s next film also, after HIMMATWALA. It is titled MAWAALI. A heroine, who is turning to production, has also signed Jayant Gilatar to direct her maiden venture.

* Ajay Devgan’s distribution manager, Pinky Badlani, has released ISHQ this week (golden jubilee week) all over Bombay circuit. To match with its golden jubilee, he has released it in 50 cinemas!

* KKHH has created a city record by collecting 1,51,055/- in 1st week, 1,50,747/- in 2nd week, and 1,40,735/- in 3rd week at Galaxy, Jamnagar. Total for 3 weeks: 4,42,537/-.

* KKHH has created theatre records in 3rd week at the following cinemas of Delhi: Chanakya by collecting 9,76,164/-, Batra (5,37,787/-), Vishal (8,26,367/-), Eros (3,49,199/-) and Anupam PVR (5,43,129/-, full).

* KKHH has created a city record by collecting 5,09,136/- in 3rd week at Novelty, Lucknow.

* KKHH has created a city record by collecting 3,51,458/- in 3rd week at Heer Palace, Kanpur. It has also created a theatre record by collecting 1,83,911/- in 3rd week at Anupam, Kanpur.

* KKHH has created a city record by collecting 2,29,289/- in 3rd week at Nandan, Meerut.

* KKHH has created a city record by collecting 1,67,486/- in 3rd week at Kamal, Bareilly.

* KKHH has created a city record by collecting 2,16,224/- in 3rd week at Pawan, Ghaziabad.

* KKHH has created a city record by collecting 2,55,964/- in 3rd week at Taksal, Varanasi.

* KKHH has created a city record by collecting 2,05,203/- in 3rd week at Gautam, Allahabad.

* KKHH has created a city record by collecting 2,43,040/- in 3rd week at Natraj, Dehradun.

* KKHH has created a city record by collecting 1,34,713/ in 3rd week at Kalpana, Saharanpur.

* KKHH has created a city record by collecting 1,64,042/- in 3rd week at Apsara, Aligarh.

* KKHH has created a city record by collecting 1,20,906/- in 3rd week at Shivji Palace, Hardwar.

* KKHH has created theatre records in 3rd week at the following cinemas of Calcutta: Metro by collecting 4,80,218/-, Priya (3,91,923/-, full), Radha (2,21,922/-), Sonali (1,59,141/-), Puspasree-Behala (97,858/-) and Puspasree-Kadamtalla (1,03,897/-).

* KKHH has created a city record by collecting 1,60,164/- in 3rd week at Rajkamal, Jalgaon. It had also created a Jalgaon district record by drawing all 32 shows full in 1st week, and all 28 shows full in the 2nd week. 1st week’s collection: 2,00,323/-. 2nd week: 1,70,271/-.

* KKHH has created a city record by collecting 2,46,652/- in 3rd week at Chitra, Amravati.

* KKHH has created a theatre record by collecting 1,73,963/- in 3rd week at Vasant, Akola. Total 5,45,482/-.

* KKHH has created a district record by collecting 1,22,185/- in 3rd week at Prabhat, Gondia. Total: 3,88,888/-.

* KKHH has created a city record by collecting 1,66,380/- in 3rd week (29 shows) at Plaza, Ajmer.

COMMENTS

GAFFARBHAI NADIADWALA

It is advisable to keep a 15% margin to cover the cost of the film going up due to unforeseen factors, while preparing the budget of a big film.

VASHU BHAGNANI

I don’t think it matters so much if the film goes over-budget or not. It all depends on how the film eventually fares at the box-office. If a film, which has gone way over-budget, turns out to be a hit, then all is forgotten. But if another, made within the budget, flops at the box-office, you will find its producer crying about how much money he spent on it.

ABDUL MAJEED (Controller of Kalpataru cinema, Jodhpur)

Thanks to cable TV, the business of repeat-run films in cinemas has been wiped out completely. We can’t dream of getting shares from repeat-run films released.

3-E
Education-Entertainment-Enlightenment

In All Indian Languages

Looks like the Southern film industry will always be a step ahead of its counterpart here. Over the past many years, the Southern film industry, according to many, has managed to steal a march over our industry simply by showing an exemplary degree of commitment towards work (which should inspire our people) and consistently coming up with bright, new ideas in their films (which actually inspires our people!). Keeping this perspective in mind, it should come as a further proof of the above contention that two of the foremost producers from the South have expressed their individual desires to make at least one film in every single language spoken in India. D. Rama Naidu and Ramesh Prasad (son of the legendary L.V. Prasad) are the two people who are currently (and independent of each other) engaged in making films in various Indian languages. Both, Rama Naidu and Ramesh Prasad — or rather, Prasad Productions set up by his late father — have been veterans with an impressive record in all South Indian languages as well as Hindi films. Moreover, Ramesh Prasad has already completed films in Oriya and Bengali as of present and will soon launch films in Marathi, Gujarati and other languages. For Ramesh Prasad, it is his late father’s unfulfilled desire that is driving him to embark on this untrodden path. D. Rama Naidu, on the other hand, has already made a film in Bengali and is currently making an Oriya film. Once that is completed, he will proceed to make films in other languages including Marathi, Gujarati etc. Whether or not they both succeed in their noble desire, is something only time can tell. On our part, we can only say, hats off and good luck!

Some Good News, Some Bad

Quick on the heels of Dil Se.., Karan Johar’s Kuch Kuch Hota Hai has also found its way into the Weekly Top 10 films showing in the UK. That the blockbuster achieved this in the very first week of its release there, makes it a no mean feat.

A certain news back home about Kuch Kuch Hota Hai is not very encouraging, however. Following stiff protests from several Sikh organisations, the Delhi and Punjab distributors have had to delete references to the Sikh community in the film. It may be recalled that cute little Parzan Dastur plays a lovable Sikh child in the film and there is no denying that a lot of humour involving him comes from the Sardar stereotype. However, what must be said in Karan Johar’s favour is that all references have been kept at a very subtle level. There is absolutely no overt attempt at creating comedy out of hurting the community. Perhaps, this is also the reason why the censors did not object to the scenes. But then, in India, it is fast becoming evident that the CBFC is not the only body that deals with censorship of films. In fact, each and every community — however small it may be — is fast coming up with its own form of censorship. And if this continues in the future too, making a film would very soon be tougher than walking a tightrope.

Of Ajay — Accident And Accolades

Ajay Devgan recently injured himself while shooting for a pre-climax action sequence for Hindustan Ki Kasam, being produced and directed by his father, Veeru Devgan. The accident, which occurred when a dare-devil stunt was being picturised at a village, resulted in Ajay fracturing his leg. The doctors have advised him bed rest for three weeks.

While his bed-ridden status is the bad news, the good news is that Ajay Devgan is winning accolades for his performance in Mahesh Bhatt’s Zakhm. His portrayal of Mahesh Bhatt himself in this latter’s autobiographical film has been marked by brilliance, say all those who have been lucky enough to see the film. Lucky, because the last anyone has heard of Zakhm is that it has been referred to the home ministry by the CBFC and it will be a while before it would be passed.

Another ‘Prem’ Bites The Dust

We don’t know whether this may comfort Feroz Khan who is currently recovering from the dismal failure of his Prem Aggan, but there is a definite precedence set by the flopping of 83% of all Hindi films starting with ‘Prem’. As many as 19 out of the total of 23 films made, titles of which began with ‘Prem’, have flopped in the past 36 years. These films are: Prem Patra (1962), Prem Pujari (1970), Prem Ki Ganga (1971), Prem Parbat (1974), Prem Shastra (1974), Prem Kahani (1975), Prem Bandhan (1978), Prem Vivah (1979), Prem Geet (1981), Prem Rahasya (1982), Prem Tapasya (1983), Prem Jyoti (1985), Prem Yudh (1985), Prem Jung (1991), Prem Deewane (1992), Prem Shakti (1994), Premyog (1994), Prem (1995) and Prem Granth (1996). The only exceptions are: Prem Nagar (1974), Prem Rog (1982), Prem Pratigyaa (1989) and Prem Qaidi (1991).

Well, at least Feroz Khan could take solace in the fact that he is not alone — though one is sure, he wouldn’t like to be in such ‘elite’ company either! Incidentally, trade-wallahs are referring to Prem Aggan as Prem Again — that is to say, Boney Kapoor’s Prem again!

Shame Shame!

While the industry should feel sorry about the lakhs and crores of rupees it loses every year due to black-marketing in tickets at cinemas, it is a fact that several cinema managements themselves openly indulge in black-marketing. But Sachinam cinema in Bombay, perhaps, takes the cake — rather, the entire bakery. A letter from the distributor of the film running at the cinema, to deliver some tickets at cost to the holder of the letter, is meaningless if the film is drawing full houses, because the letter adversely affects the revenue (in black, of course!) of the management. Recently, an avid cinegoer, holding such  a letter of the distributor, was in for a rude shock when the management of Sachinam told him that the letter was a worthless piece of paper. Then, changing his mind, the guy told the letter holder: “Since you’ve come with the letter, we will give you a rebate of Rs. 5 per ticket on the black rate which is Rs. 120 per ticket. Please pay at the rate of Rs. 115 per ticket for the 12 tickets you want.” Shame! Incidentally, the cinema keeps its phone off the hook and its fax machine off so that they are not forced to commit tickets to anybody — because that would mean selling the tickets at face value and not in black.

PREM AGGAN

F.K. International’s Prem Aggan (UA) is a love story which doesn’t look like an F.K. banner film. Except for Feroz Khan’s unfailing eye for visuals, there’s no F.K. stamp whatsoever. The romantic tale has the oft-repeated rich versus poor angle, and the incidents in the drama are devoid of excitement. Even the screenplay has flaws. For instance, the heroine promises her father that she will never go back to her beloved, but she breaks her promise without any new development which would warrant a heroine to go back on her word. There is too much of verbosity and the lengthy dialogues between the girl and the guy and between their fathers are terribly boring. Yet another drawback — and a major one at that — is that there’s not a single comedy scene which can make one laugh or even smile (the comedy between Dinesh Hingoo and Rakesh Bedi is so poor, it’s a tragedy!) and not even one tear-jerking scene. Music, which is generally a highlight of Feroz Khan’s films, is not up to his standard this time. The film’s ending is abrupt and it almost appears as if there’s no climax.

Debut-making Fardeen Khan looks good and impresses in action scenes but needs to improve in acting and a great deal in dialogue delivery. Meghna Kothari makes a confident debut but lacks glamour and is very short. Sameer Malhotra, as Meghna’s brother, is okay. Shama Gesawant is fair. Sanjay Bhatia fails to create any mark. Anupam Kher is effective. Raj Babbar’s track (of military) has no relevance to the film; he performs ably. Beena and Smita Jaykar lend reasonable support. Kamal Chopra is average. Satish Shah is okay. Rakesh Bedi and Dinesh Hingoo are irritating. The rest of the cast pass muster.

Feroz Khan’s direction is limited by the poor script. But his penchant for shooting on breathtaking locations is evident in the film. Locales of Australia are fantastic and they’ve been captured marvellously by cameraman Kabir Lal. Anu Malik’s music, though good, does not befit a teenage love story starring newcomers and definitely not a Feroz Khan film. ‘Hardam dam bedam’, ‘Hum tumse mohabbat’, ‘Dekh ke tujhko’, ‘Khaate hain kasam’ and ‘Tere pyar’ are well-tuned. Song picturisations impress for the visual beauty (locations) more than the choreography. Dialogues (Sudarshan Faakir) are very good but only at a handful of places. Action scenes (S. Kammo and Javed Khan) are well composed. Production values are nice and so are the technical aspects.

On the whole, Prem Aggan will spell pain & agony — pain for the audience who’ve seen Feroz Khan’s hits earlier, and agony for the film’s distributors because it will prove to be a non-starter all over except in Bombay and South, where it will drop after taking a fair start. Considering its unduly high price, it will entail heavy losses to all its distributors.

Released on 30-10-’98 at New Excelsior and 14 other cinemas of Bombay by UTV Motion Pictures thru Shringar Films. Publicity: excellent. Opening: fair. …….Also released all over. Opening was very dull everywhere except in Bombay and South.

VISHRAM BEDEKAR DEAD

Director and story-writer Vishram Bedekar passed away on the morning of 30th October in Pune. He was 93.

He had written the story for Prabhat’s runaway bilingual hit, Padosi (Hindi) and Shejari (Marathi), both directed by V. Shantaram.

Vishram Bedekar had directed three Hindi and six Marathi films viz. Thakiche Lagna Aani Satyache Prayog, Krishna Arjun Yudh, Narad-Naradi, Vasudev Balwant, Chul Ani Mul and Pahila Palna. The Hindi films directed by him were Rustom Sohrab, Ek Nanhi Munni Ladki Thi and Lakha Rani. In the last named film, Guru Dutt assisted Bedekar.

Vishram Bedekar was born on 13th August, 1906 and rose to become a towering personality in the literary and film circles. He is survived by his wife and son.

He was cremated the same day.

‘JEANS’ TO BE SENT FOR OSCARS

Shankar’s Jeans (Tamil) will be India’s entry to the Oscar Awards this year. The film, incidentally, has completed 200 days in Tamil Nadu and is the first Tamil film to run for more than 100 days in Malaysia and Singapore.

Jeans is produced by Ashok Amritraj and Dr. J. Murali Manohar and stars Aishwarya Rai and Prashant. Its music is scored by A.R. Rahman.

SUBHASH GHAI CELEBRATES 20TH ANNIVERSARY OF MUKTA ARTS

Subhash Ghai celebrated the completion of 20 years of his Mukta Arts on 24th October at the plush Audeus Studio in Bombay. The well-attended function, which began in the morning with a pooja, was followed by a sumptuous lunch.

The function also marked the wedding anniversary of Mukta and Subhash Ghai.

Among the celebrities who attended the function were Shah Rukh Khan, Sanjay Dutt, Bobby Deol, Aishwarya Rai, Mahima Chaudhry, Amrish Puri, Javed Akhtar, Mita Vashishth, Ramesh Taurani, Ashok Mehta, Ayesha Shroff, Alok Nath, Ila Arun, Naghma, Bharat Shah, Yash Chopra, Manmohan Shetty and Anees Bazmee.

As is his custom, Subhash Ghai announced his next film at the function and said, it would be a multi-starrer. The name of the film and its cast will be announced in January 1999.

‘PYAAR TO HONA HI THA’ 100 DAYS

Baba Films’ Pyaar To Hona Hi Tha completed 100 days on 30th/31st October at Bombay’s Metro and Cinemax cinemas. Written and directed by Anees Bazmee for producer Gordhan Tanwani, the film stars Ajay Devgan and Kajol. Music is scored by Jatin Lalit.

A.P. HIGH COURT FROWNS ON SOUND LEVELS IN CINEMAS

The Andhra Pradesh high court has issued directions which may force cinema owners in the state to tone down, or even turn off, their digital and Dolby sound systems as the decibel levels in the cinemas is affecting the hearing of audience, according to a report filed in by the state Pollution Control Board. The PCB had earlier set up a task force to study the sound intensity levels in selected cinemas in the twin cities of Hyderabad and Secunderabad following the HC directive during a public litigation filed by one Gopala Krishna Kalanidhi in 1996. The task force, after conducting studies at Devi 70mm, Sudershan 35mm, Odeon Deluxe, Odeon 70mm, Sandhya 70mm, Sandhya 35mm, Maheshwari 70mm, Parmeshwari 35mm and Shanti, observed that in all the cinemas, the noise frequency levels varied between 74.5 and 96 decibels — far in excess of the standard level of 45 decibels set by the Central Pollution Control Board. The PCB also observed that the cinemas opting for sound systems like Dolby, DTS and Surround are creating the highest sound pollution. Following the PCB  report, a division bench of the high court ruled that cinemas be made to adhere to the norms set by the PCB. The court has also directed the PCB to send copies of the report to the Director General of Police as well as to all district collectors. The court has also directed the concerned authorities to ensure that the maximum permissible frequency of sound is incorporated as one of the essential conditions to be followed by exhibitors.

Hum Aapse Hit Chaahte Hain, Naidu Saab

KOMAL NAHTA

Papa, main papa ban gaya/Papa, main papa ban gaya blared the loudspeaker as we entered Rama Naidu Cine Village in Hyderabad last Saturday. On the set, Anil Kapoor was sitting on Anupam Kher’s lap, mouthing the lines playing on the loudspeaker. The set — interior of a house — was decorated with colourful balloons and the party mood was very much in evidence. The lines of the song being picturised said it all. Anil Kapoor was dancing with joy with his dad Anupam Kher. Occasion: Anil’s wife, Kajol, had delivered a child. Or so we thought. Only to be corrected. Kajol had not delivered a child as yet. News had come in that Kajol was expecting Anil’s child. Obviously, we thought, since Kajol was busy delivering hit after hit, where was the time for her to deliver kids?

Jokes and festivities apart, where on earth was Kajol? Why was the mother-to-be not partaking in the celebrations? Producer Suresh Naidu explained that Anil and Kajol are divorced. He continued, “Hum Aapke Dil Mein Rehte Hain is a love story in which the romance begins after the divorce.” A novel concept, don’t you think? It is for a Hindi film, but the story has been seen in Telugu and Tamil. In fact, Hum Aapke Dil Mein Rehte Hain is a remake of the Telugu super-hit Pavitra Bandham which was also earlier remade in Tamil. Venkatesh had played the hero in the Telugu version. Its heroine, Soundarya, won the National Award for the best actress for her role in this film.

And if Soundarya won it for the Telugu version, Kajol will surely pick up the National Award for the Hindi version, feels D. Rama Naidu. In fact, so impressed is Rama Naidu with Kajol’s performance that he says, “If Kajol doesn’t win the National Award for the best actress next year for this film, it will mean that the Awards are not impartial.” Saying this, Naidu gets down to relating scenes from the film, almost enacting them one by one. It shows how charged he is about the film. He reveals how he has been moved to tears in every trial show of the film’s rushes. Why, we see Naidu’s eyes moistening even while he is narrating scenes from the film. We’ve covered shootings of Rama Naidu’s earlier films too but we’ve never seen him so excited about any project as he is about Hum Aapke Dil…. And Naidu himself admits to this.

Coming to the long title of the film, Suresh Naidu chuckles, “Dad (Rama Naidu) was against this title. He could barely remember the title and so was adamant that we finalise an alternative title. But Satish Kaushik kept persisting for Hum Aapke Dil Mein Rehte Hain till dad finally relented.” Papa Naidu smiles, “Today, I think, the title is better than the others we had thought of. It gives a feel of the film.”

Satish Kaushik bagged the film as director, thanks largely to Anil Kapoor. Besides, as Suresh Naidu explained, “It’s our policy at Suresh Productions, to give a chance to unsuccessful directors more than to successful ones.” In that case, Satish should thank Boney Kapoor for having given him a chance to make two disasters! Jokes apart, Anil Kapoor put in a good word and that’s how Naidu was prompted to make Satish Kaushik the captain of the ship. Satish revealed how Anil had broken the news to him at 3 o’clock in the night. “I was abroad for shooting, and one night, I was alarmed when my telephone rang in the middle of the night,” recalled Satish, adding, “It was Anil from India who telephoned me to give me the good news that I would be directing Naidu Sahab’s film.” Satish then revealed how he had felt demoralised after his Roop Ki Rani Choron Ka Raja and Prem had bombed but said that he never gave up hope. He felt, this film would be his ticket to fame as a director. Satish also plays a comic role in the film. The name of his character is German (!) because his father, while returning from Germany, had forgotten to get anything for him and so “he tells me to rename my self ‘German’!”

Whatever the comedy in the film, its mainstay will be emotions. Rakesh Bedi, who also plays an important role in the film, recalled how he had tears in his eyes when he was narrated the story by Satish Kaushik. With such brilliant actors as Anil Kapoor, Kajol and Anupam Kher in its cast, the emotions will be something to wait for, we’re sure!

The Naidus have taken care to not let the remake have any South touch whatsoever. Satish Kaushik, in fact, has given the film a very North Indian flavour. Why, even while this piece is being written, the film is being shot in Delhi. Rama Naidu explained that even the actor, who plays a beggar in the film and appears in just one scene, was brought to Hyderabad (for the shooting) from Bombay, such was the care they had taken to ensure that the film did not have a South Indian flavour.

Contrary to the general belief that Kajol is a difficult actress, the Naidus can only be heard singing the heroine’s praises. Why, Rama Naidu rates Kajol as the best among the 80-odd heroines he has worked with in the 90-plus films produced by him so far in South Indian languages and Hindi! No mean compliment, this. Suresh Naidu revealed how Kajol, at the time of signing the film, had requested them to complete the film fast and not go on with shooting endlessly as she loses interest in projects that take very long. Suresh explained, “This suited us fabulously because we believe in making films fast. Kajol allotted us 62 days and, believe it or not, her work has been completed in exactly 62 days!”

Although the Naidus are known to complete their films fast, this remake has taken “the longest time” — 10 months of shooting, according to Rama Naidu. But with shooting almost complete now and dubbing having begun already, Rama Naidu has plenty of time on hand to be ready for the release date — 22nd January ’99. Earlier, Rama Naidu had decided to release the film on 29th January but the release date has been advanced by a week to take advantage of the Idd festival.

POINT NOTED

* Anil Kapoor’s character in HADMRH has negative shades. As Suresh Naidu puts it, “At interval point, the audience will hate Anil.”

* Kajol wears only sarees and, at times, Punjabi suits in the film.

* Rama Naidu has four more subjects ready to be launched in Hindi. He has recently completed a Bengali film with an eye only on awards. His aim is to make at least one film in every language of India. Soon, he will start an Oriya film, to be followed by a film each in Gujarati, Marathi etc.

* Kajol is not quitting films, as is generally believed. When D. Rama Naidu asked her whether she was quitting acting, she is reported to have told him: “Do you also believe these rumours?” The industry should rejoice that such a talented actress is not bidding goodbye to films.

* If you thought, Rama Naidu is just into film production (soon reaching the 100-film mark), you’re wrong. He devotes a lot of his time now to social work and philanthropic activities. “I want to be remembered as a good human being after I’m dead and gone,” says Naidu, the noble soul. He has built a home for the aged and is ready to donate 5 acres of land each for an orphanage and for a home for the handicapped, and another 10 acres for an educational institution for poor people.

* Anil Kapoor believes in destiny. “I tried my level best to see that Pukaar was released this year. But I couldn’t compete with destiny. It was destined to come next year,” says Anil philosophically. Another thing Anil is convinced about is: “If you’re honest, you are bound to succeed.”

HERO HINDUSTANI

R.G. Films (India)’s Hero Hindustani is a comedy fare with some emotions thrown in too. A millionaire Indian, settled in London, compels his grand-daughter to go to India and get married to the (Indian) boy selected by him. The grand-daughter loves somebody else in London and, with the aim of fooling her grandfather, agrees to follow his instructions but on the condition that she will go to India unannounced and marry the selected boy only if found suitable. In India, she meets a tourist guide who is young, smart, talkative and intelligent. She takes him along to London and bluffs to her grandfather that he is her Indian husband. The guide is least interested in marriage, but he slowly and surely wins the heart of the old man. Not only that, he also wins over the girl herself who used to hitherto hate him.

The film has several light moments but while some of them are enjoyable, others are oft-repeated and, therefore, lack freshness and novelty. The story, which reminds of Manchali, looks somewhat farcical but is not completely hilarious to offset its farcical character. There are some emotions but, except in one scene, they don’t really touch the heart. Dialogues are quite nice.

Arshad Warsi does well. Namrata Shirodkar is fair and makes a real impact in a dramatic scene towards the end. Paresh Rawal performs ably. Kader Khan, Shakti Kapoor and Asrani lend a few enjoyable moments. Parmeet Sethi, Reena Kapoor, Sanam Patel, Bharat Kapoor, Shehzaad Khan and the rest of the artistes are alright.

Aziz Sajawal’s direction is reasonably good but he could have added more punch to the drama and made it into a hilarious entertainer. Music is appealing although the absence of a hit number is sorely felt, more so because the film has no popular lead stars. All the same, the title song, ‘Deewana deewana’, ‘Aisi waisi baat nahin’ and ‘Chand nazar aa gaya’ are hummable. Song picturisations are eye-pleasing. Action is functional. Camerawork (Najeeb Khan) is of a good standard. Editing should have been better. Production and other technical values are nice.

On the whole, Hero Hindustani is a fair entertainer but will suffer mainly because of its lead artistes who don’t have any star-status. Its chances in circuits like East Punjab, Bengal, Bihar and Rajasthan are bleak, and in Maharashtra, fair.

Released on 20-10-’98 at Metro (matinee) and 3 other cinemas and on 23-10-’98 at 11 more cinemas of Bombay by Shreeji Enterprises thru Shringar Films. Publicity: very good. Opening: quite good. …….Also released all over. 1st 3 days Ahmedabad 84,266/-, Rajkot (matinee) 18,758/-, Solapur 63,062/-, Varanasi 24,925/-, Allahabad 51,500/-, Lucknow (2 days) 90,218/-, Nagpur (3 days) 91,639/- from 4 cinemas, Akola 48,200/-, Raipur (2 days) 43,365, Jabalpur (2 days) 48,688/-, Amravati (2 days) 55,728/-, Jodhpur 77,000/-, Bikaner 66,057/-, Hyderabad 4,21,235/- from 4 cinemas.

LATEST POSITION

Diwali this year has been joyous for the film industry as both the major releases of last week, BADE MIYAN CHOTE MIYAN and KUCH KUCH HOTA HAI, have done extraordinary business in the holiday week. In Bombay city-suburbs, it is after ages that two films have recorded 100% collections in the first week.

Bade Miyan Chote Miyan has recorded mind-boggling collections amidst mixed reports. Quite a heavy drop was noticed mid-week onwards in West Bengal and Rajasthan. Also dropped on 8th day in C.I. It is super-strong in Bombay. 1st week Bombay 61,08,012 (100%) from 14 cinemas (9 on F.H.), Amar-Chembur 4,15,425; Ahmedabad 14,40,826 from 6 cinemas, Baroda 100%, Rajkot 3,15,700 from 2 cinemas, Jamnagar 1,79,231 from 2 cinemas (1 in matinee, 1 unrecd.), Bhuj 1,46,848; Sangli 100%, Kolhapur 2,61,909, Solapur 4,16,958 from 2 cinemas; Hubli 1,84,599 from 2 cinemas (1 in noon), Belgaum 1,12,799 (100%); Delhi 66,39,906 (88.46%) from 15 cinemas (3 on F.H.); Kanpur 2,96,415 (1 unrecd.), Lucknow (26 shows) 4,43,547 (1 unrecd.), Varanasi 2,16,775, Allahabad 2,74,000, Meerut 2,63,760 (100%), Bareilly (6 days) 1,83,461 (73.77%); Rohtak 70,821; Calcutta 34,59,904 from 24 cinemas; Nagpur 10,63,969 from 6 cinemas, Jabalpur (3 days) 1,97,214, Amravati (3 days) 1,36,032, Akola (3 days) 1,44,873, Raipur (3 days) 2,77,497 from 2 cinemas, Durg (3 days) 1,16,451, Jalgaon (3 days) 1,57,444 from 2 cinemas, Bhusawal (2 days) 100%, Wardha (3 days) 53,029, Chandrapur (4 days) 1,44,900, Yavatmal (3 days) 91,200, Khandwa (3 days) 1,06,438 from 2 cinemas; Indore 4,73,970 (60.82%) from 3 cinemas (3 on F.H.), Bhopal 6,42,700 from 3 cinemas; Jaipur 15,09,871 from 6 cinemas; Hyderabad 41,86,713 from 16 cinemas (3 in noon); Bangalore share about 15,00,000 from 8 cinemas; Vijayawada 2,95,330.

Kuch Kuch Hota Hai has collected outstanding and the appreciation is outstanding. 1st week Bombay 60,60,084 (100%) from 12 cinemas (5 on F.H.); Ahmedabad 15,60,208 from 5 cinemas, Baroda 2,24,855 (100%), Valsad 3,49,644 (94.40%), Padra 3,01,176, Rajkot 1,70,680 (1 unrecd.), Jamnagar 1,91,768 from 2 cinemas (1 in matinee), Adipur 1,49,830, Anjar 92,500; Kolhapur 100%, Solapur 2,25,595 (100%); Hubli 3,43,403 (100%), Belgaum 1,27,890 (100%); Delhi 49,64,896 (93.10%) from 9 cinemas, Ghaziabad 2,78,249, total 57,81,757 from 11 cinemas; Kanpur 6,80,591 from 2 cinemas, Lucknow (30 shows) 5,58,120 (100%), Varanasi 3,69,908, Allahabad 2,28,100, Bareilly (6 days) 1,82,612 (75.10%), Hardwar 1,52,000; Rohtak 47,941; Calcutta  27,02,771 from 12 cinemas (others were on F.H.); Nagpur 8,19,640 from 3 cinemas, Amravati 2,80,036, Akola 1,95,000 (100%), Raipur (6 days) 1,71,512, Jalgaon (6 days) 1,76,045, Gondia (30 shows) 1,26,475, Chandrapur (29 shows) 2,15,930; Indore 6,29,498 (75.96%) from 3 cinemas (1 on F.H.), Bhopal (3 days) 1,95,701; Jaipur 11,93,358 from 3 cinemas, Ajmer (29 shows) 1,58,766, Bikaner 2,42,938, did wonderful in Kota; Hyderabad 41,91,493 from 15 cinemas (2 in noon), share 23,64,572; Bangalore 1st week share about 18 lakh (excellent); fantastic in Overseas — 1st week’s figures are all-time records in London and USA.

……….

AJIT BIDS ADIEU

One of the most popular villains of Hindi cinema, Ajit, passed away on 21st October at a private nursing home in Hyderabad. He was 76. Earlier last week, he had been admitted to the nursing home following a heart attack. He was buried on the morning of 22nd at the Jamali Kunta burial ground near Golkonda Fort in the city.

Ajit’s real name was Hamid Ali Khan. Born in 1922 in Hyderabad, he ran away from home in the early forties to try his luck in Hindi films. After a long struggle, he received a big break when he starred as a hero in Dholak in 1951. The film’s flopping at the box-office only lengthened Ajit’s struggling period until K. Asif’s Mughal-E-Azam released in 1960. His portrayal of Durjan Sinh, the loyal Rajput ally of Prince Salim, in the film won him instant recognition. Ajit began getting roles regularly thereafter.

In the mid-sixties, Ajit switched to another area of acting which, in no time, became his speciality. He played his first role as a villain in Suraj in 1966 and soon, developed a style of his own through successive films. His trademark dialogue delivery together with his natty sense of dressing and polished performances almost immediately catapulted him to the numero uno position among the villains in Hindi films. Together with his favourite sidekicks, ‘Mona Darling’ and ‘Raabert’, Ajit made a permanent place in the hearts of millions by proclaiming ‘Saari duniya mujhe Loin ke naam se jaanti hai!’ in Kalicharan. In fact, Mona Darrrling, Raabert (Robert) and Loin (Lion) continue to spawn off many a joke even today.

In a career spanning over four decades, Ajit acted in more than 200 films. Among his best remembered films are Shikari, Maa Ke Ansoo, Naya Daur (where he played a parallel lead with Dilip Kumar), Raja Aur Rank, Heer Ranjha, Jeevan Mrityu, Dharma, Jugnu, Kahani Kismat Ki, Yaadon Ki Baaraat, Zanjeer, Kalicharan, Mr. Natwarlal, Ram Balram and Razia Sultan.

Ajit quit acting in the early eighties following a by-pass surgery in the US. He later made a comeback with Police Officer in 1992 and subsequently, he acted in Jigar too. Later, he played some insignificant roles in a few other films. His last film was Dev Anand’s Gangster.

PRODUCTION NEWS

Raj Kanwar’s Film In Mauritius

An 11-day shooting spell of Inderjit Films Combine’s Prod. No. 2 will commence in Mauritius from Oct. 28. Two songs will be picturised featuring Mahima Chaudhry and Chandrachur Singh. The film also stars Sanjay Dutt, Shakti Kapoor and Raj Babbar. It is being produced and directed by Raj Kanwar from a screenplay by Robin Bhatt and Akash Khurana. Dialogues: Jainendra Jain. Choreographer: B.H. Tharun Kumar. Music director Rajesh Roshan has recorded all the seven songs penned by Sameer.

DO YOU KNOW?

* DDLJ has collected 55.72 lakh in 100 weeks’ run in matinee shows at Maratha Mandir, Bombay. The average collection of the 100 weeks is 74.48% of the capacity. It is now running in 101st week (154th combined week).

* Naaz cinema of Bombay, which had been boycotted by Hindi film distributors, has restarted screening Hindi films now. It ran GAMBLER (r.r.) last week and is currently screening DUSHMAN (r.r.).

* To cash in on the success of PYAAR TO HONA HI THA, Bombay distributors Mahalakshmi Film Distributors, will revive the Ajay Devgan starrer, HAQEEQAT, from 30th October in Bombay city & suburbs, with 15 prints. The concern has decided to use the chain of cinemas which it had booked for its PARDESI BABU (now postponed).

* Three hundred ladies were allowed free in every show on the opening day of SOON LADKI SASARCHI (Marathi; TF) at Shree Natwar, Jalgaon.

* TITANIC will be the first Hollywood film to celebrate silver jubilee (next week) at Rajshree, Baroda.

3-E
Education-Entertainment-Enlightenment

The Worst Maintained Cinemas

In the Film Information opinion poll  conducted by us last week (results printed in our Silver jubilee-cum-Diwali bumper issue), distributors reacted differently to our poser about the worst maintained cinemas in Bombay. While some refused to comment, there were a few who said, the list was long, very long. A couple of them opined that 75% of the cinemas were badly maintained. A summary of the replies of the various distributors confirmed that the worst maintained cinemas of Bombay are: Naaz, Dreamland, Shalimar, Super, Imperial, Hindmata, Star, Nandi, Sangam, Sangeeta, Uday, Odeon, Mehul, Pratap, Moti, Alankar, Royal, Nishat, New Roshan, Gulshan, Alfred…..

Quotable Quotes on CENSORSHIP….

“Censorship should be totally abolished. Cricketer Mohinder Amarnath once said that the Indian Cricket Board selectors were a pack of jokers. I would like to say that the censor board consists of a pack of jokers. They have given my Jaihind a ‘UA’ certificate while giving the trailer an ‘A’. Now, what could be a bigger joke than this?”

– Manoj Kumar

“Khatam kar do censors ko! Sab katke haath mein de dete hain aur maal khaate hain industry ka!”

– Farooq Sayed

“In my opinion, no cuts should be ordered in a film certified for adults. The audience today are mature enough to appreciate bold scenes.”

– Mukesh Bhatt

ON THE CURRENT STATE OF FILMS….

“Producers and directors have lost their status. When I entered the film industry, people used to say ‘Yeh Mehboob Khan ki film hai, yeh Raj Kapoor ki film hai, yeh K. Asif ki film hai’. Today, the audiences say, ‘Yeh Shah Rukh ki film hai, yeh Salman ki film hai’. It is not a healthy sign.”

– Manoj Kumar

“Today, stars lack basic morals. They have no business ethics or commitment towards their producers. This is one of the most serious problems with our industry.”

– Devendra T. Shah
(Bombay distributor)

“All steps are futile in a country like India.”

– Manoj Khivasara (Bombay distributor)
(When asked what could be done to tackle the menace of cable piracy in India.)

“Hire mafia or Shiv Sena to tackle the problem.”

– Ramesh Sippy (Bombay distributor)
(When asked what would be the most effective step against cable menace.)

“Stink!”

– Shyam Shroff (Bombay distributor & financier)
(When asked what his main complaint against cinemas was.)

“The one in which we all distributors are situated.”

– Ashok Ahuja (Bombay distributor)
(When asked to name the worst cinema in Bombay.)

Kajol Charisma

Kajol has undoubtedly emerged as the queen of the box-office in the past year or so. As many as four out of her five films released since Diwali ’97 have proven trumps at the turnstiles. Her tremendous rise to the top-notch spot in the past year began with Indra Kumar’s Ishq, followed by Pyaar Kiya To Darna Kya, Pyaar To Hona Hi Tha and now, Karan Johar’s Kuch Kuch Hota Hai. Only one of her films, Dushman, didn’t do well in this period, and even then, she walked away with a lot of critical acclaim for her performance in that film. No wonder then that the Film Information Opinion Poll ’98 showed as many as 66% of Bombay distributors voting in her favour when asked who the best heroine vis-à-vis her price was today. Considering the fact that KKHH hadn’t even released when we conducted the poll, the number should be much higher now, since KKHH seems all set to break many existing records at the box-office.

Incidentally, the Shah Rukh – Kajol combination is fast becoming one of the most successful star-pairs of Indian cinema. They have so far appeared together in four films, each of which has been a super-success. The films, as we all know, are Baazigar, Karan Arjun, Dilwale Dulhaniya Le Jayenge and now, Kuch Kuch Hota Hai.

KUCH KUCH HOTA HAI

Dharma Productions’ Kuch Kuch Hota Hai is a love story with a difference. It is about a guy whom two girls love. He gets married to one but the other girl is not able to forget him. Destiny brings the guy and the other girl together again but by that time, she is engaged to get married to another boy. How the old flames are rekindled forms the latter part of the film.

The story may not be novel but the presentation by debut-making director Karan Johar is definitely very novel and extremely fresh. That the young director is intelligent is borne out not just by his deft handling of a difficult and sensitive subject but also by his mixture of fares for the young audience and the ladies.

The first half is youthful and very modern in thought. The second half is also youthful but it is here that Indian and ladies sentiments have been pumped in in a large measure so that ultimately, it is the post-interval portion which moves the viewer emotionally. What’s more, the drama looks so believable that the viewer is more likely to get carried away by the entire play. There are loose moments at a few places but the overall impact is so wonderful, so brilliant that one wouldn’t even want to think of the few dull moments.

A lovely screenplay is complemented by natural dialogues. Several comedy punches are true-to-life, making the film still more believable. Another intelligent departure which Karan makes from several other seasoned directors is that at least at two or three places, he gives reason to the audience to cry and then, immediately thereafter, to smile and even laugh. So one laughs while one is still crying!

Shah Rukh Khan does an excellent job, first as the fun-loving college boy and then as a mature father with the heart of a child. Kajol proves yet again that she is the best actress we have on the scene today. Her expressions are absolutely marvellous, her acting is almost flawless. The girl should pick up several awards for a performance which will be widely discussed. Ranee Mukerji does well in a brief role. Salman Khan is fantastic in a special appearance. His entry will bring the house down, such is the build-up of the drama at that point. His dance is terrific. Johny Lever is very good. Archna Pooran Singh is really effective in a brief role. Anupam Kher does a good job in his distinctive style. Reema and Himani Shivpuri are effective. Sana Saeed acts with a rare confidence. But the guy who deserves kudos is the little Sardar (in the film), Parzan Dastur. He is, in two words, unbelievably superb. Neelam makes a cute special appearance, playing herself.

Karan Johar is a fabulous addition to the list of brainy writer-directors. In his very first film, he proves that clarity of thought and Indianness in content of one’s venture are two pre-requisites to make it to the top bracket. Karan has made it! Look, for instance, the seasoned handling of difficult scenes like the one in which Shah Rukh Khan and Kajol meet after years, the one where her saree is blown by the wind, revealing her anatomy, the one in which news of postponement of Kajol and Salman’s marriage is broken… the list is long.

Jatini Lalit’s music may not have that quality of being an instant hit but it has melody which will see the music grow day by day. Besides the title song, which is already popular, ‘Saajanji ghar aaye’, ‘Ladki badi anjaani hai’ and ‘Tujhe yaad na meri aaye’ are very appealing. Song picturisations (Farah Khan) enhance the impact a great deal. The picturisations are colourful, lively and fresh. Camerawork is extraordinary. Art direction (Sharmishtha Roy) is wonderful. Technical aspects are of a high order. Production values are lavish. Editing is crisp.

On the whole, Kuch Kuch Hota Hai is not a hit, not a super-hit but a super-duper hit, a blockbuster which, besides fetching box-office rewards, will also bring in many awards.

Released on 16-10-’98 at Liberty and 16 other cinemas of Bombay thru Yashraj Film Distributors. Publicity: bumper. Opening: extraordinary. …….Also released all over. Opening was bumper everywhere.

SALIM AKHTAR APOLOGISES TO CBFC

Producer Salim Akhtar has apologised to CBFC chief Asha Parekh, regional officer Sanjeevani Kutty, other CBFC officials and members of the CBFC board. In a letter addressed to Asha Parekh, Salim has stated that he was not satisfied with the decisions of the Examining and Revising Committees of the CBFC and had, therefore, staged a protest and also given interviews to the press, which were critical of the CBFC. He has also mentioned in the said letter that he and his unit members never meant to hurt the feelings of anybody at the CBFC, and if anybody had felt hurt, he apologised for the same. He has assured Asha Parekh that such things would not happen in future.

It may be recalled that the unit of producer Salim Akhtar had on 20th September sported black ribbons on their arms, against the CBFC’s attitude towards Mehndi.

BAIL FOR SALMAN KHAN

Salman Khan was granted bail by the sessions court in Jodhpur on 17th October (today). The judge has asked him to deposit his passport with the court within a week and to furnish a surety of Rs. 2 lakh.

Earlier, Salman Khan, who was on 12th October arrested following his alleged involvement in a poaching case near Jodhpur, was remanded to judicial custody till 26th October by the additional chief judicial magistrate in Jodhpur on 16th. After the judge passed the order for remand, the actor was taken to the central jail in Jodhpur.

Saif Ali Khan, Neelam, Tabu and Sonali Bendre, who were with Salman during the time he is alleged to have killed some black bucks and chinkaras, were granted bail earlier. Salman faces three cases of poaching of the wild animals. A case under the Arms Act was also registered against him for possession of arms, but another court in Jodhpur granted him bail in that case after he surrendered the arms allegedly used in killing two chinkaras.

Saif, Neelam, Tabu and Sonali earlier returned from Jodhpur where the unit was shooting for Rajshri’s Hum Saath Saath Hain.

In a shocking incident close on the heels of Salman’s arrest, the Maharashtra forest department seized two spotted deer, a peacock and a black buck during a raid on the Panvel (near Bombay) farmhouse of Salman’s father, Salim Khan. The police claim that the endangered animals have been held captive at the farmhouse for the last 6 months. Writer Salim Khan applied for anticipatory bail on 16th following the raid.

YOU ASKED IT

Is this week’s release, Bade Miyan Chote Miyan, the costliest film as far as distribution rights are concerned?

– Yes, it is the costliest film so far. It has generally been sold at 2.25 to 2.35 crore per major circuit but the smaller circuits have gone for as much as 2.75 to 3 crore.

You keep writing that film prices should come down but they seem to be going up. Comment.

– Distributors keep cribbing that they are finished because of high prices but they seem to be buying new films at high prices all the same. Comment.

With a sudden rush of big forthcoming releases, don’t you think, there’ll be a shortage of cinemas for further releases?

– Yes, the cinema shortage will be felt from now onwards. On an average, there’ll be one major release every week for a couple of months at least.

FILM INDUSTRY & CENSORSHIP

Censorship has always had the film industry on tenterhooks. Given below are important developments/policies/appointments relating to censorship of films in the last 25 years.

* Censors have been extremely strict since the seventies and even before that. In 1975, exhibition of Aandhi was suspended by the government. The ban was finally lifted after the film was revised. The negative of Kissa Kursee Ka was confiscated by the government in the same year.

* A new censor policy was formulated in 1976, which adversely affected the industry. Many releases were postponed as reshooting and drastic cutting became necessary to conform to the new policy.

* In 1977, the then I & B minister, L.K. Advani, announced that censorship would be rationalised. Censors became liberal to an extent in 1977 after two harsh years.

* A 10-point censor guideline was published by the government in January ’78. This brought some relief to harassed producers. But as the year progressed, censors became strict again.

* The Central Board of Film Censors conducted a public survey on the prevailing standard of censorship in 1978. Satyam Shivam Sundaram was taken as a test case.

* In 1979 , it was decided to censor all Hindi films (even if produced in Madras or Calcutta) in Bombay only.

* The collector of Bombay in 1980 prohibited trials of censored films in preview theatres without obtaining prior permission.

* Hrishikesh Mukherjee took over as Censor chairman in 1981, and producers heaved a sigh of relief.

* 1982 was a terrible year vis-à-vis censors. About 50% of the films faced either censor trouble or delay at the censor office. Meri Awaaz Suno was banned by the Central government in 1982, after its release. The ban was lifted when the producer agreed to a few cuts. But before that, several high courts stayed the government ban. The matter reached the Supreme Court.

* Censor problems were minimal in 1983. Bikram Singh was appointed censor chairman in that year. The new name for the censor board, Central Board of Film Certification (CBFC), was given in 1983. The new gradings — ‘UA’ and ‘S’ — in film certification were also introduced in 1983.

* In 1984, film re-certification was discontinued. Earlier, films were required to be re-certified after 10 years. But from ’84, certificates issued once were valid forever. But censor problems continued to haunt producers.

* A Film Certification Appellate Tribunal (FCAT) was set up in 1984 with Vyas Dev Mishra, retired chief justice of Himachal Pradesh, as its head. But produces continued to face problems at the censors’ hands.

* Censors were strict as usual in 1985 too. Censorship was put under the ministry of human resource development in that year. In the same year, the censor certificate of Teri Meherbaniyan was changed from ‘A’ to ‘U’ and that of Ram Teri Ganga Maili, from ‘U’ to ‘UA’. However, a long kiss was passed in Saagar in the same year. It was, perhaps, the beginning of a liberal attitude towards sex in films.

* 1986 had many films being referred to the CBFC’s revising committee. Some films were ultimately cleared by the Tribunal. A Marathi film, Maficha Sakshidar (Hindi version: Phansi Ka Phanda) got the certificate through court.

* In 1987 also, the Film Certification Appellate Tribunal was quite busy. It cleared more than half-a-dozen films.

* Pati Parmeshwar was in censor hot waters for a year-and-a-half and was finally okayed by the Supreme Court in 1989. The CBFC had appealed in the Supreme Court against the Bombay high court order.

* New and stricter censor guidelines were issued in 1989.

* B.P. Singhal, a retired police officer, was appointed CBFC chairman in 1990, after which censorship became very strict. It was like a virtual police raj at the CBFC.

* Shakti Samanta replaced B.P. Singhal as CBFC chairman in 1991.

* Sadak was called by the I & B ministry after it was cleared by the CBFC in 1991. The ministry refused a certificate to the film. Finally, an out-of-court settlement was arrived at after the producer moved the high court.

* Justice M.P. Verma became the Film Certification Appellate Tribunal chairman in 1991.

* The Bandit Queen was banned by the court in 1994 on a plea made by dacoit Phoolan Devi on whose life the film was based. After being cleared and released in Jan. ’96, it was again banned by the Delhi high court. The film was finally cleared by the Supreme Court. The film contained a lot of swear words.

* Mira Nair’s Kama Sutra – A Tale Of Love faced terrible censor trouble in 1996. Ultimately, the Bombay high court ordered the Hindi dubbed version of the film to be censored without any extra cuts in visuals over and above the cuts in the original version.

* Asha Parekh was appointed chairperson of the CBFC in 1998.

BLOCKBUSTERS OF 25 YEARS
(1973-1997)

1973
Bobby, Zanjeer, Jugnu, Daag, Anuraag

1974
Roti Kapada Aur Makaan, Bidaai, Roti, Chor Machaye Shor, Prem Nagar

1975
Sholay, Jai Santoshi Maa, Deewaar

1976
Kabhi Kabhie, Laila Majnu, Dus Numbri, Fakira, Hera Pheri, Kalicharan,
Udhar Ka Sindur

1977
Amar Akbar Anthony, Dharam Veer, Parvarish, Dulhan Wohi Jo Piya Man
Bhaaye, Hum Kisise Kum Nahin

1978
Muqaddar Ka Sikandar, Don, Trishul, Main Tulsi Tere Aangan Ki, Swarag Narak, Kasme Vaade

1979
Noorie, Jaani Dushman, Dada, Sargam

1980
Aasha, Qurbani, Insaf Ka Tarazu

1981
Ek Duuje Ke Liye, Love Story, Kranti, Laawaris, Meri Awaaz Suno

1982
Namak Halaal, Nikaah, Vidhaata, Prem Rog

1983
Coolie, Himmatwala, Avtaar, Hero, Andhaa Kaanoon, Betaab

1984
Sharaabi, Tohfa

1985
Pyar Jhukta Nahin, Ram Teri Ganga Maili, Mard

1986
Nagina, Swarag Se Sunder

1987
Pratighaat

1988
Tezaab, Qayamat Se Qayamat Tak

1989
Maine Pyar Kiya, Ram Lakhan, Chandni, Tridev

1990
Dil, Ghayal

1991
Phool Aur Kaante, Saajan, Sanam Bewafa

1992
Beta, Deewana

1993
Aankhen, Baazigar, Anari, Tirangaa, Khal-nayak, Darr

1994
Hum Aapke Hain Koun..!, Jurassic Park (dubbed), Dilwale, Mohra, Krantiveer

1995
Dilwale Dulhaniya Le Jayenge, Karan Arjun, Raja, Bombay (dubbed),
Rangeela, Coolie No. 1

1996
Raja Hindustani, Agni Sakshi, Bandit Queen, Saajan Chale Sasural

1997
Border, Dil To Pagal Hai, Ishq

FILM INDUSTRY & GOVERNMENT:
A TUMULTUOUS RELATIONSHIP

♠ The central government in 1974 threatened to nationalise distribution trade, to begin with, of Delhi-U.P. This created a nationwide stir which soon subsided.

♠ The Union government put a blanket ban on construction of new cinemas in 1974 due to shortage of cement!

♠ The government heavily increased excise levy on release prints in 1975.

♠ Film people contributed Rs. 31 lakh to the Prime Minister’s National Relief Fund and also collected about Rs. 4 lakh by taking out a mammoth rally on the streets of Bombay in 1975. Distributors and exhibitors all over India contributed a day’s collections. In 1997 again (on 11th December), stars raised funds (Rs. 1.18 lakh, clothes etc.) for cyclone victims.

♠ Foreign shootings were banned by the central government in 1976. Permission to shoot abroad was granted only to a couple of producers to complete their unfinished work.

♠ I & B minister L.K. Advani in 1977 called a conference of state information ministers (on 4th November) in New Delhi to evolve a new film policy.

♠ Excise levy on release prints, which was calculated on the basis of length of a film prior to 1977, began to be calculated print-wise from 1977 onwards. There were just 2 slabs as per length — above 4,000 metres and below 4,000 metres. For a while in 1977, ad valorem excise duty replaced the excise levy on prints. The industry fought tooth and nail against the ad valorem duty and in June-July, there were no new releases for four weeks!

♠ The Maharashtra film industry downed shutters for a day in August ’85 to protest against the proposed levy of sales tax on film transactions. The proposed levy was put off later.

♠ It was Black Diwali for the film industry in 1986. The entire Maharashtra film industry unitedly launched an agitation against imposition of new taxes and high entertainment and other taxes, by downing shutters. The industry closure lasted 31 days and during that period, two big morchas were organised and a public meeting was held at Chowpatty in Bombay. The agitation bore fruits, and the Godbole Committee recommendations were accepted by the state government. As a result, entertainment tax was reduced from 177% to 100%.

♠ Parliament in 1986 passed a bill to curb denigration of women in the media, including films.

♠ The Central government reduced excise duty on release prints by 10% in 1987.

♠ The Uttar Pradesh exhibitors closed down in 1987 for 55 days for demanding relief in entertainment tax.

♠ The Karnataka film industry also downed shutters for 19 days in 1987.

♠ The Kerala film industry went on a strike in 1987 and called it off on 31st December without getting any relief.

♠ The Union government (National Front government of V.P. Singh) abolished excise duty on release prints in the Union Budget of 1990. Excise duty had been first imposed in 1960.

♠ 1990 was a year of strikes in film industries of various states, against the state governments. Gujarat exhibitors went on strike for 2 weeks in 1990, demanding, among other things, reduction in entertainment tax. The government permitted exhibitors to levy a tax-free service charge of 50 paise per ticket. There was a  partial strike in West Bengal. The Karnataka film producers’ bandh of production activities ended after a month. It was organised to bring down charges of studios, recording studios and laboratories and also to reduce rentals in cinemas and workers’ wages. In Bombay, some craft associations went on a strike for a few days in September, demanding higher wages. A strike was averted in Madhya Pradesh because the government relented and introduced a bill in the Assembly to reduce entertainment tax in the state from 150% to 100% and to give other reliefs to the industry.

♠ The Maharashtra government towards the end of 1992 permitted cinemas to levy 50 paise tax-free service charge per ticket.

♠ The U.P. government hiked the tax-free service charge from 25 paise to Re. 1 per ticket in 1994.

♠ The Tamil Nadu government built a huge Film City in Madras in 1994.

♠ Cinemas in Maharashtra downed shutters for a month from 1st January ’97 to protest against the state government’s movie to hike entertainment tax in the state from 50% to 100%. The tax was ultimately fixed at 60%.

♠ The Maharashtra film industry observed a day’s closure in August ’98 to protest against the government’s apathy in the matter of cable piracy. The M.P. film industry, too, observed a day’s bandh in September to demand several reliefs and government action, but both the protests (in Maharashtra and Madhya Pradesh) have not so far made any practical difference in the prevailing position.

Diwali To Diwali
(1-11-’97 to 16-10-’98)

* In the 50 weeks between last Diwali and this Diwali, a total of 130 Hindi films have been released. Of these, 26 are dubbed films. The number of releases are more compared to last year when 111 films hit the screen in 55 weeks. Of the 111, there were 23 which were dubbed.

* Of the 130 films, three have been released this week. Of the balance 127, just about 20 were plus fares — ranging from commission-earners to blockbusters. Which means, the percentage of successes was just about 17.

* Dil To Pagal Hai, released on Diwali last year, and Ishq, a few weeks thereafter, proved to be the two blockbusters of the period.

* Pyaar Kiya To Darna Kya and Pyaar To Hona Hi Tha were the two universal hits of the period. Dulhe Raja (super-hit in Bihar), Ghulam (super-hit in Bombay), Bandhan, Chachi 420 and Godzilla (dubbed) were the other notable successes. Satya (blockbuster in Bombay and Maharashtra), Major Saab, Jab Pyaar Kisise Hota Hai, Shapath, Aunty No. 1, Kama Sutra – A Tale Of Love, Maut were some other earning propositions. The English film, Titanic, did outstanding business in India as in the rest of the world. Why, it even celebrated silver jubilee in Bombay and cities of South India. It has so far done a business of over 25 crore in the country.

* The list of debacles during the period under reference was very long. Dil Se.., Jeans (dubed; its original Tamil version was a good success in Tamil Nadu), Qila, Saat Rang Ke Sapne, Yugpurush, Main Solah Baras Ki, Kareeb, Mere Do Anmol Ratan, Sham Ghansham, Achanak, Vishwa Vidhaata, Banarasi Babu, Zor and Salaakhen were among the major disappointments.

* Mithun Chakraborty created a record of sorts with the maximum number of releases in 50 weeks. Of the 104 films (130 releases minus 26 dubbed films), Mithun starred in 14 — that is in 13.46% of the total releases!

* Hollywood film Titanic, though an English film, did business matching that of a Hindi blockbuster in Bombay, South and major cities elsewhere. The 11-Oscar awards-winning film was one of the biggest hits of the period in India.

* Govindbhai Patel’s Desh Re Joya Dada Pardesh Joya was the Gujarati Titanic of the period. Tipped to do a business of 10 crore in Gujarat and Saurashtra, it created new records wherever released. It fared very well even outside Gujarat and was hailed by Gujaratis abroad too. Its music cassettes fetched a fortune.

* Vinod Khanna for the first time contested, and won, the Lok Sabha elections from the Gurdaspur constituency in Punjab. Gujarati film hero Upendra Trivedi was elected MP from the Bhiloda constituency in Sabarkantha district of Gujarat. Producer and financier T. Subbirami Reddy was elected member of Parliament from Visakhapatnam.

* Rakesh Roshan introduced son Hrithik Roshan and Kareena Kapoor (sister of Karisma) in Kaho Naa…Pyaar Hai. But before the film could make much progress, Kareena was replaced by another newcomer, Amisha Patel. Kareena will now be launched by J.P. Dutta opposite debut-making Abhishek Bachchan in Refugee which, too, was launched during the period.

* Perhaps, the most exciting and talked-about development after Diwali was the Central government’s recognition of film business as an industry, on 10th May. Although the newly conferred industry status is yet to translate into tangible benefits, it is felt that easy bank finance will, in time to come, become available for construction of new cinemas, film production etc.

* The nation was in the grip of Aati kya Kandala, Chhaiyyan Chhaiyyan and O O jaane jaana wave as the three songs became veritable anthems.

* Melody queen Lata Mangeshkar faced the camera for a film. She shot for Boney Kapoor and Rajkumar Santoshi’s Pukaar, in which she plays a cameo role.

* The Bombay high court passed a landmark judgement in the case of Mira Nair’s Kama Sutra – A Tale Of Love when it held that there can be no additional cuts ordered in visuals of a dubbed film if its original has been certified by the CBFC.

The Showmen also commend……

Dear Komal,

It gives me great pleasure to congratulate you on the distinctive Silver Jubilee (25 years) of Film Information. It is indeed a great tribute to the devotion and hard work of Mr. Ramraj Nahta. It is also a tribute to your love for your father for keeping the tradition alive and carrying the trade weekly with credit and grace.

That you have great respect for your heritage is also a pleasurable light on the loving son of the author of Film Information. You have really kept alive the glory and popularity of the trade journal. Some of the new features you have added, like Editorial notes and Comments and Graffiti are other embellishments for which you deserve all praise.

On this memorable day of the Silver Jubilee of the Journal, let us all remember our old and lovable friend, Mr. Ramraj Nahta, who was not only a journalist but also a Producer where he rose to the position of President of IMPPA and contributed a lot to the benefit of the trade. I am sure, you will also follow in his footsteps and leave your footprints on the sands of time. May God bless you and help you to go ahead and achieve a place of honour for yourself.

You have my love.

Yours sincerely,
Dr. B.R. CHOPRA

Information will only speak about the truth and that is our Ramraj. God bless Ramraj’s soul and all of you at Information.

– MANOJ KUMAR

Film Information is a good magazine and gives a lot of information. Komal Nahta has been doing a very good job. He must continue the good work and see to it that what Ramraj Nahta started off, goes on for many more years to come. The flag should fly high.

– ASHA PAREKH
Chairperson, CBFC

Be neutral like a true journalist and keep up the ethics of journalism. You have already kept the flag of Film Information flying very high. It would have been a dream come true for Ramraj-ji who had started the magazine 25 years ago!!

– PRAKASH MEHRA

My dear Komal,

As is customary, I send you my heartiest congratulations on the completion of 25 distinguished years of publication of Film Information, one of the most popular and successful periodicals of the fraternity. I wish to reproduce a quotation.

“The press is not only free, it is powerful. That power is ours. It is the proudest that man can enjoy. It was not granted by monarchs; it was not gained for us by aristocracies; but it sprang from the people, and, with an immortal instinct, it has always worked for the people.” – Disraeli

The concluding words of the above quotation prompted me to reproduce the saying of the great thinker. Undoubtedly, you have rendered glorious service to the people of the film industry all these years and I am personally overwhelmed that after the untimely and sudden death of our dear Ramraj-ji, you carried on the journey with courage and determination. Journalism is a torch-light for the society and I am sure, you will go on marching ahead with the shining torch of Film Information lighting the path for the film fraternity on the road to prosperity and stability. Keep up your present policy of constructive and purposeful reporting and keep Film Information free from scandalous writing in which most of the film magazines are indulging.

Once again, all my best wishes and may you have bigger glory and success when you celebrate the golden jubilee of your esteemed publication.

With love,
Yours sincerely,
J. OM PRAKASH

Komal Nahta had his illustrious father at the helm of affairs before him. He is doing a great job and I think, he is brilliant and forthright. He also has a great style of writing. I often read his interesting essays which hit straight at the industry for its shortcomings. At the same time, he understands the industry’s problems. I wish Film Information tremendous success under the leadership of Komal and I am sure that it is going to continue serving the industry for many many years to come.

– FEROZ KHAN

When I was in the 7th standard, Saturdays for me meant Film Information. I used to love reading the percentages and figures of collections. It became a game for me to read which film is doing well. I used to also love reading trade reviews. Film Information, to me, is a childhood memory. Every Saturday, my father would be working half a day and would unfailingly bring back the latest issue with him. That was the most exciting thing for me then. Fridays would be Screen and Saturdays would be Film Information. So, all I can say is that I’m dying to read my one-line review and my interview in it because that is something I have done over the years.

– KARAN JOHAR

DIWALI SPECIAL

“KUCH KUCH HOTA HAI has a certain ’90s’ feel to it. It doesn’t advocate any backward values. It’s a modern film with Indian values.”

– KARAN JOHAR

RAJ VAIDYA

Karan Johar many not even be one film old, but he is already being hailed as a bright new light in Hindi films. His debut venture, Kuch Kuch Hota Hai, has probably been one of the most awaited films in recent times. Unfazed — and somewhat nervous — by the kind of publicity his first film has generated, Karan Johar spoke to us on the eve of release of KKHH. In his first-ever interview with a trade paper, he revealed his reasons for taking up direction, along with his cinematic influences as well as what films mean to him.

Firstly, why films? What prompted you to become a director?
– I never really though I’d get into films. Given my educational background and our family being town-based, I was never really linked to the film industry till a very late phase in my life. All through my growing-up period, I did all sorts of things that were not related to films. I thought, I would probably get into marketing or export management or advertising. Even though I was obsessed by Hindi films (I used to love watching Hindi films and listening to Hindi film music), the thought of becoming a director never crossed my mind. It was only when Adi (Aditya Chopra) and I got really friendly while in college together, I realised that my life was changing completely. He, for whatever reason, felt that I had some kind of potential and asked me to assist him on DDLJ. This one decision ended up changing my life completely. If I am a director today, I attribute it to him. He is the only reason why I stood behind the camera. But for him, I’d still be doing something altogether different in my life. He made me tap my potential — the one I never thought I had.

Obviously, you are being modest, for, there must have been something in you that Aditya happened to spot…
– ….I really don’t know about that. I keep asking him, but all he says is that he felt, there was something in me. You see, we used to chat a lot about films. And when you are an avid movie buff, you have an opinion about everything. More importantly, you exercise that opinion among friends. You also speak about your interests. I used to be mad about Raj Kapoor, Yash Chopra and Sooraj Barjatya, and films like Maine Pyar Kiya and Hum Aapke Hain Koun..!. Probably my raving about films made him realise — more than it did me — that I had an aptitude for filmmaking. He just thought that I had a flair, may be because of my tastes, my aesthetics or probably because of the way I thought. And the fact that he realised it more than I did, is the reason why I think he deserves more credit than me if KKHH works.

How much of an influence has the Yash Chopra kind of cinema had on you?
– You must understand that Adi has a lot to do with my decision to become a director. Moreover, I’ve always loved the Yash Chopra kind of films. He always follows a story and then, gives it his class. Be it Deewaar, Trishul or his earlier Waqt, they were all basically good stories which were given a Yash Chopra stamp. I just love that about him. Likewise, in Kuch Kuch Hota Hai, I followed a story and gave it my style. At the same time, I’m completely influenced by Yash Chopra’s sense of aesthetics, the sense of detailing, the finer points in costumes, sets, etc. Another influence, I must say, I have is of Raj Kapoor. There was always a certain amount of class to his films. Every frame looked grand and was mounted to perfection. Moreover, every film of his related to its times. Similarly, KKHH has a certain ’90s’ feel to it. It is definitely not, like how everyone believes, a family film. It doesn’t advocate any backward values. It’s a modern film with  Indian values. It is modern not only in its look, but also in content. Probably, Hum Aapke Hain Houn..! has more traditional Indian values, but KKHH has more modern characters. I guess, that is my little bit that comes into the film. But, otherwise, I am completely influenced by what I have seen. In fact, my influences are the very reason why my film exists, simply because I’ve had such a limited experience before KKHH. I didn’t assist my father on any of his films, nor did I assist Mahesh Bhatt or Mukul Anand or such. I just assisted Adi during DDLJ for a maximum of 2 years and that’s all the experience I have. Given the limited experience I had before KKHH, it was only natural for me to include all that I had observed and bring my own bit into it.

…And what is your own bit?
– When you see the film, you’ll know what I mean! There is something completely different about the film. There is not one scene in the film that looks like another. The feel of the film may be inspired, but the thought behind the film, the emotion, everything else is new. There are new characters doing the same things, but you will think that they are doing different things. Yet, the inspiration is all from the Yash Chopra and Raj Kapoor schools of thought. I added my own bit to it because I think, that’s how you make a film. You have to have your own stamp, otherwise why are we making films?

Were you, at any point during the making of KKHH, concerned about Shah Rukh’s last two films, DUPLICATE and DIL SE.., flopping at the box-office?
– I never really bothered about it. I think, Shah Rukh is a superstar. I don’t think, Duplicate and Dil Se..‘s flopping makes any difference because his films get a huge opening. Even KKHH will get a good opening because of him and not because of me. In my opinion, Shah Rukh is the biggest star we have right now — and I’m not saying this because he is my friend, but because I know the kind of appeal he has with any age group, be it with kids or with mothers and mothers-in law or with teenage girls.

Secondly, if you notice carefully, Shah Rukh follows this graph. Even before DDLJ, he gave flops like Guddu and Oh Darling…. It is something everyone goes through. Basically, I feel, the film is above the film star. A star can only bring people into the theatres, but after that, the film must survive on its merits. Again, Duplicate is my own film, but I am not upset with the audience for not liking the film. I’d rather be upset with some faults in the film itself. You must realise that Shah Rukh is the best thing that happened to Duplicate. He tried his level best and if the film has been released at all, it is because of him. He is the reason why the film was made in the first place. My father and Shah Rukh released the film completely on their own. Absolutely no other input has gone into the film. But, there must be something with the film, which was picked up by the audience and so, the film flopped. I personally believe that the audience is always right. The audience never fails.

Given how you feel about Shah Rukh, did you have him in mind all along….
–…To the contrary, it was Shah Rukh who had me in mind! Some time around the making of DDLJ, Shah Rukh had told me that if I ever made a film, he would work in it. He is the one who approached me and he is the reason why I went ahead with the project. As I have said, I have two people to thank — Adi, for being the reason why I became a director, and Shah Rukh, for being interested in the project. I wrote it with him in mind and didn’t imagine working with anybody else. However, that in no way means that I will always have him in mind for all my films in future.

….And what about Kajol?
– Kajol has been a childhood friend. But more importantly, I feel fortunate that two people who I am comfortable working with, also happen to be the best actor and best actress around. I rate Kajol as the finest actress we’ve seen, at least in the nineties.

KKHH being your home production, was there any occasion when the producer in you had a difference of opinion with the director in you?
– Contrary to how when a father and son work together, there is a generation gap and all that, we faced no such problems. My father is the sort of producer who never questions anyone. He has been like that with every director he has worked with and not just with me. At times, I feel, it was wrong on his part for not questioning some things. He should have. But that’s the way he is. He had never questioned any of his directors and he was certainly not going to question his son. For him, the fact that I was doing something was more precious than what I was doing. Simply put, I wanted to make a film and he wanted me to make it the best way I could. So, I must say that I was thoroughly spoilt during the making of KKHH. So much so that at times, I feel, I have spent money at places where I could have saved. I was lavish and flamboyant all through the making of the film. I don’t think, that’s a luxury every debutant director gets. I don’t think, I’d ever be able to work for anyone else.

Given the fact that Sony Music is not such a big player in Hindi film music distribution, how did you decide upon them to sell your music to?
– Look, I believe, everything has changed and we must face this fact. I believe, people’s attitude towards Hindi films has changed. Even marketing of films has become a different ball game altogether. My reasons to opt for Sony are — (a) because they have a new kind of appeal in their packaging, and (b) because Sony is an international and upward moving company. They operate in a very modern way and have done a brilliant job of marketing the music of KKHH. I agree that HMV and others are senior companies, have great records and are fantastic in their own ways, but I feel, it is nice to try out newer things. Otherwise, how would you know if Sony is a good company until you try them? Again, going to Sony wasn’t like going to a raw, new company, I was going to an international company. I don’t know about their penetration in the interiors, but they’ll probably get there, too. I had all along been confident that my music would pick up after the film’s release as it is more situational. I am lucky that it has even reached this position without people having seen the film. So, all in all, I feel, it is nice to build a relationship at ‘A’ level and then, move on to ‘B’ level, where they will also get better and we’ll also get better.

What is filmmaking to you?
– I always believe that going to cinemas is all about going to see somebody else’s life, somebody else’s story. I think, it is the most important thing for a film to have a strong story. Moreover, it should be told in a such a lucid manner that even a child can understand. I feel, KKHH has that quality. Similarly, my next film will also have a strong story. It may not be a boy-girl love story, but something completely different. This is because you exhaust all your ideas in your first him. To me, the second film is always more diffcult to make than the first one. There is a certain rawness in your first film. Certain memories, certain reflections, sub-conscious elements, which all get exhausted in your first film. So, it is actually your second film that decides whether you’re a good director. Sooraj Barjatya was a damn good director when he made Maine Pyar Kiya, but he became the world’s best after he made HAHK..!, because he did a better job and made it a bigger commercial success. So, hats off to him! I don’t know what I’ll make next, but I hope that I will enjoy the process of making it as much as I enjoyed making KKHH.

What, according to you, constitutes cinematic liberty?
– To me, cinematic liberty is actually taking the audience for granted at times…. just skipping things while presuming that the audience will understand. I certainly didn’t take too many liberties when I wrote KKHH. That was because I don’t think that people are ready to be taken for granted anymore. If you really look at the films that have worked, you’ll notice that most of them have taken very few cinematic liberties. There are, however, a number of films being made, that take a great deal of liberties — to the point of absurdity in some cases — but they are not working anymore. Unless the film is entertaining to the hilt and if that entertainment overrides the cinematic liberties taken in the film, I don’t see it working. Otherwise, you are just taking liberties at the risk of being caught because the audience catches flaws very fast.

1998 has been a terrible year for the film industry. To what do you attribute the failure of so many films in the year so far?
– It is not just 1998. According to the trade, every year is a bad year. I believe, we’ve never had a good year! But, jokes apart, I have always maintained that if we make bad films, then we will always have a bad year. On the other hand, which flop film have you seen this year, that deserved to be a hit? Every film that I have liked, has done really well. So, if you make good films, they will always run.

You had announced your release date right when you had started KKHH. How did you manage to finish the film on the dot?
– I would say that it is 50% planning and 50% luck… and there’s also a little bit of God somewhere. But really, I don’t know. I mean, one can’t foresee the future simply because anything can go wrong at any time. The fact that it didn’t happen with KKHH, I suppose, I’m lucky. This is the first film of my father, which has been completed so fast. It has taken only nine months and is ready for release within a year. So, I suppose, it is his goodness over the years that I am reaping the benefits of.

What are your plans in the near future?
– I don’t think, I am in a position to decide anything at the moment. Right now, it is only Kuch Kuch Hota Hai on my mind. Agar kuch kuch nahin hota hai, that is something I’ll have to see.

Finally, what are your feelings on the eve of KKHH’s release?
– I am completely scared and anxious. I am also surprised that I am here today.

LATEST POSITION

The Dassera and Gandhi Jayanti holidays last week proved bountiful for the box-office everywhere.

Bandhan has done very well on the strength of family audience. Where it was released on Thursday (Dassera), it got the added benefit of the holiday. It is fantastic in U.P., Bengal, Bihar, C.P. Berar and Nizam, and fair in Bombay city (affected due to BEST bus strike), Delhi city, C.I. and Rajasthan. 1st week Bombay 48,00,516 (82%) from 13 cinemas (9 on F.H.); Ahmedabad 7,25,900 from 7 cinemas (1 unrecd.), Padra 1,21,215, Rajkot 1,51,615 from 2 cinemas (1 in matinee), Jamnagar 1,04,627; Pune 10,32,156 from 5 cinemas (1 in matinee), Kolhapur 1,90,000, Solapur 2,77,230 from 2 cinemas; Hubli 2,50,770 (100%), Belgaum 1,62,204 (100%); Delhi 42,96,493 (84.32%) from 10 cinemas (1 on F.H.); Kanpur 4,82,874 from 2 cinemas, Lucknow 3,48,049 (100%), Varanasi 2,57,855, Allahabad 2,47,353, Bareilly 1,66,332 (76.92%), Dehradun 2,65,303 (83.83%), Hardwar 1,06,027 from 2 cinemas; Rohtak 21,761; Calcutta 33,56,229 from 13 cinemas; Nagpur 7,19,178 from 4 cinemas, Jabalpur 2,53,363 (100%), Amravati 1,46,095, Akola 1,46,093, Raipur 1,91,902, Bhilai 1,75,549, Jalgaon 1,65,000, Chandrapur 1,70,006; Indore 2,21,000 (5 on F.H.), Bhopal 4,32,274 from 2 cinemas; Jaipur 8,95,440 from 4 cinemas, Ajmer (29 shows) 2,15,702, Bikaner 1,07,786; Hyderabad 39,71,083 from 14 cinemas, share 19,85,000, Aurangabad share about 3 lakh.

……….

SMOOTH SAILING FOR BOTH

Both the big releases of Diwali had a relatively smooth sailing at the hands of the censors. In Kuch Kuch Hota Hai, there was an objection to just one word — ‘rag’ (as in ragging) — which director Karan Johar agreed to change. Shah Rukh Khan, talking of ragging in his college, says, “Hum naye students ko rag karte hain, pareshaan karte hain.” Since a girl, staying in a  Bombay hostel, recently committed suicide, allegedly because she was ragged by her seniors, the censors felt, it wouldn’t be proper to allow the word in the film. Karan agreed that the hero of the masses, Shah Rukh, could be construed as sending wrong signals if he was allowed to mouth the word ‘rag’ even if that was in a lighter vein. And so, the sentence was changed to ‘Hum naye students ko gaana gaane ko kehte hain.’

In Bade Miyan Chote Miyan, the word Khaini in the Khaini song has been replaced with Beeda. A couple of other words in two scenes, too, have been changed, besides some other cuts effected in visuals.

‘DTPH’ SILVER JUBILEE

Yash Chopra’s Dil To Pagal Hai (TF in Maharashtra) entered combined 50th week at Novelty (matinee), Bombay, on 9th October.

SALMAN, SAIF, TABU, SONALI, NEELAM CHARGED FOR HUNTING WILD ANIMALS

Salman Khan, Saif Ali Khan, Tabu, Neelam and Sonali have been charged under sections 9, 13 and 51 of the Wildlife Act of 1972, for hunting deer near a forest in Jodhpur. While the two heroes were granted anticipatory interim bail by the district judge on 9th October, the three heroines were presented before the munsif magistrate the same evening and were released on bail. The hearing has been fixed for 12th October. In the meantime, Salman has denied that they were hunting in the forest.

The artistes, who are in Jodhpur for the shooting of Rajshri’s Hum Saath Saath Hain, were arrested by the forest department. Salman and Saif have been ordered to not leave the premises of Hotel Umaid Bhawan Palace where they are staying, before and after the film’s shooting.

JAYWANT PATHARE NO MORE

Well-known veteran cinematographer Jaywant Pathare expired in Bombay on 9th October. He was 77 and is survived by his wife, two sons and a daughter.

Jaywant Pathare had started his career with Raj Kapoor’s Aah. His last film was Jhanjhawat (Marathi). He had won a couple of awards for his films Anupama (B & W) and Bemisal.

‘SATYA’ 100 DAYS AT 2 BOMBAY CINEMAS

Ramgopal Varma’s Satya (tax-free in Maharashtra) is celebrating 100 days of its run today (10th October) in Bombay at two cinemas, Eros and Plaza. Incidentally, Satya has been granted tax exemption for a further period of 3 months, that is, up to 10th January, 1999.

RAMCHANDRA DAS DEAD

Cameraman Ramchandra Das passed away on 8th October in Bombay. He was 58 and is survived by his wife, a son and two daughters. Das was the honorary treasurer of the Western India Cinematographers’ Association (WICA) and the honorary general secretary of the FWICE.

ACTOR RODDY MCDOWALL NO MORE

British film and TV actor Roddy McDowall, who made Hollywood his home and is remembered for his performance of an apeman in The Planet Of The Apes, died on 3rd October in Los Angeles. He was 70 and was suffering from cancer. Some of his best films are John Ford’s How Green Was My Valley, Cleopatra and The Greatest Story Ever Told.

SHROFFS’ DIWALI LUNCHEON PARTY

Bombay distributors Shyam Shroff and Balkrishna Shroff will host a luncheon party in their office on 14th October. The Shroffs have been throwing such Diwali parties in their office since 1993.

PRODUCERS’ BANDH IN CALCUTTA ENTERS 20TH DAY

The suspension of all production activities by producers in West Bengal entered the 20th day today (10th October). The suspension call was given by the Eastern India Motion Pictures Association (EIMPA) on 21st September due to non-cooperation and misbehaviour by a few artistes with some producers.

Following the EIMPA call, there have been no shootings, editing, recordings and dubbings in Calcutta or elsewhere in the state for 20 days now.

PANCHSHEEL, BHOPAL TO REOPEN ON 20TH

Panchsheel cinema of Bhopal, which has been closed for renovation since seven months, will reopen on 20th October with Kuch Kuch Hota Hai. 8-track DTS sound system has been installed at the cinema. Owner Azizuddin has spent heavily on the renovation.

The air-cooled cinema has a capacity of 1,427 seats divided as: Box 11, Balcony 589, and Family 827. Capacity nett per show is Rs. 16,773, and for 28 shows, it is Rs. 4,69,644.

BABY BOY FOR ATUL AGNIHOTRI

Atul Agnihotri’s wife, Alvira, delivered a baby boy on 7th October at Breach Candy Hospital in Bombay.

MATTER OF RELEASE OF NON-KANNADA FILMS IN KARNATAKA SETTLED

The matter regarding the release of non-Kannada films in Karnataka has been amicably settled due to the good offices of K.C.N. Chandrasekhar, president of the Karnataka Film Chamber of Commerce (KFCC), Bangalore.

A delegation of the Film Federation of India (FFI) comprising its president, Santosh Singh Jain, Sv. Rm. Ramanathan, K.D. Shorey, N.N. Sippy, Shakti Samanta and L. Suresh had a meeting with the KFCC president and other members of its executive committee in Bangalore on October 6 and 7.

YOU ASKED IT

Which of the two Diwali releases is expected to take a better start?

– Can’t both, BADE MIYAN CHOTE MIYAN and KUCH KUCH HOTA HAI, take flying starts? The initial craze among masses is greater for BMCM, while among youngsters, it is for KKHH.

Is it true that Salman Khan has replaced Chandrachur Singh in Tips’ Friends?

– Yes, it is true, but then, such changes in cast are not new. There have been so many films in which either the hero or heroine or important character artiste has been replaced by another, for whatever reasons.

What is the ratio of success in the field of non-film music albums?

– The same as in films.

DO YOU KNOW?

* Ramanand Sagar’s mega TV serial, SHRI KRISHNA, has achieved the unique distinction of earning the highest ever advertising revenue for DD, by a weekly serial. It has earned more than Rs. 70 crore. In its first year run on DD1, the serial earned more than Rs. 31 crore as advertisement revenue, by selling a total of 45,045 seconds of advertisement time — another record. …Producer Subhash Sagar’s ALIF LAILA has completed a run of 100 weeks on East Net — a division of M. Net of South Africa. The serial has been granted a further extension to air all its episodes.

* The latest Chiranjeevi starrer in Telugu, CHUDALANI VUNDI, is a jackpot. In Nizam, it has done a business of 2.3 crore in just 4 weeks. It is directed by Guna Shekhar and produced by Ashwini Dutt.

* Character actor Anjan Srivastava has bought two new cars — an Audi 80 and a Honda Accord. He comes for shooting in one car and returns home after pack-up in the other!

* That Madhuri Dixit is a thorough professional is common knowledge. The actress proved it once again when she wore a thin chiffon saree in snow-laden Alaska for a song picturisation of PUKAAR. And this, while all the other unit members were dressed in kilos of woollens!

* B. Subhash’s DULHAN BANOO MAIN TERI is inspired from a real-life incident. Once when B. Subhash was waiting at Sahar International airport, Bombay, to board a flight to the USA, a young girl approached him and asked him whether he was going to London. When he replied in the negative and asked her what her problem was, the girl broke down and said, she was in love with an NRI from London, who had promised to marry her, before leaving for London. She added that thereafter, she never heard from him and, therefore, she wanted to go to London to find him. Well, this is the inspiration for DULHAN… too.

* Joharilal Jhanjharia of Alka and Premsukh cinemas, Indore, has created a record of sorts. He has been the chairman of the scrutiny committee of the CCCA elections for more than 25 years now! Jhanjharia, incidentally, is known for his honesty.

CENSOR NEWS

Epic Enterprises’ Bade Miyan Chote Miyan was given C.C. No. CIL/1/59/98 (U) dt. 16-10-’98; length 4043.87 metres in 16 reels (cuts: 47.41 metres).

Dharma Productions’ Kuch Kuch Hota Hai was given C.C. No. CIL/1/58/98 (U) dt. 30-9-’98; length 5071.49 metres in 18 reels (minor deletion in sound only).

3-E
Education-Entertainment-Enlightenment

Tension Hota Hai

Finally, the much awaited trial of debut-making director Karan Johar’s Kuch Kuch Hota Hai was held on 6th October at Film City’s preview theatre. The first trial of the film’s first print was for the unit members and a few very close friends. It must have been Karan Johar’s proudest moment — showing his first creation to all those who were close to him. But, it was also the most scary moment of his life, we learn. For, as against the normal practice of people frequenting toilets during film shows either out of boredom or on a genuine call, it was the director himself who was running to the toilet more times than anyone else during the KKHH trial! “What could I do?”, explains Karan, “I was so nervous. I must have visited the toilet 12 times. It was even worse than appearing for my ICSE exams. some years ago!” We guess, his anxiety should be over, now that everyone — without a single exception — who has seen his film, is raving about it at length.

Odds Favour Amitabh?

On the eve of the Diwali release of Amitabh-starrer Bade Miyan Chote Miyan, here’s some interesting data of the Amitabh-starrers which were released on Diwali in the last 25 years, together with how they fared at the box-office: Saudagar (Diwali ’73): Flop; Parvarish (’77): Hit; Muqaddar Ka Sikander (’78): Blockbuster; Yaarana (’81): Hit; Mard (’85): Hit; and Akayla (’91): Flop. As you can see, out of the six Amitabh-starrers that have been released on Diwali, as many as four have been hits. Going by this, the odds seem to be quite in favour of BMCM. Let’s wait and watch.

Fax On Demand

As his Amitabh-Govinda starrer, Bade Miyan Chote Miyan, gears up for a Diwali release, more compliments are coming producer Vashu Bhagnani’s way. This time from his C.P. Berar distributor, Laloo Kabra. Laloo, who is himself known for his speed and efficiency, praises Vashu Bhagnani for his efficiency. It so happened that as soon as Vashu got the censor certificate of BMCM, he telephoned all his distributors to give them the good news. Like he must have done with his other distributors, Vashu volunteered to fax a copy of the censor certificate to Laloo too. And guess what? He did it within the next 40 seconds! For Laloo, it must have surely been a big surprise as the very moment after he hung up the phone with Vashu, he got the copy of the certificate on his fax machine. Quite a Tez Miyan, this Vashu.

Ramoji Rao Strikes Deal For Film City

While the Indian film industry continues to ignore Ramoji Rao’s ultra-modern and self-sufficient Film City in Hyderabad, news comes in that a Hollywood venture is slated to be entirely filmed at the same Film City. The film, titled Night Fall, will be jointly produced by Ramoji Rao and Hollywood producer-director Roger Corman of New Horizons. The deal was struck after Corman visited the Film City on Ramoji Roa’s invitation. He was reported to be so impressed with the facilities available that he immediately finalised the plans for the film with Rao. Corman also mentioned that the Film City could be rated as one of the best in the world and added that it offered the same facilities that studios in Hollywood did. The budget of Night Fall is estimated to be in the region of US $20 to 30 million.

“Revise Ratios, Abolish MG Royalty”: Pramod Munot

Leading C.P. distributor-exhibitor Pramod Munot is not the one who minces words when he talks about the incongruities that exist in the film trade today. According to him, it is high time that all-India ratios were revised. He argues that while the admission rates in all the major cities have increased vastly, those in the smaller centres have not risen proportionately. Munot suggests that in order to determine the new ratios, the collections of a universal hit be taken into account. The new ratios can be easily worked out on this basis, he adds.

Munot also proposes that the MG royalty system should be abolished completely. It is not at all fair as the distributors pay crores of rupees to the producers who ignore them, he alleges. According to him, there is absolutely no business ethics among producers who refuse to show their films to the very people who have bought them. The business is reduced to gambling in such cases, he laments. And if the producers are so secretive about their films, let them give them to distributors on advance basis, suggests Munot.

Finally, he draws attention to a statement by a top industry leader, published a few weeks back in a national daily, in which the leader has expressed his cynicism at the government’s decision to grant industry status to films. The leader is quoted as saying that the new status has not benefitted the film industry at all. How irresponsible can the man be, asks Munot. He adds that the leader, perhaps, does not realise what benefits the government’s move will yield to the exhibition sector, for example. Bank loans would be made available for building new cinemas, power tariffs would be lower, and these would be only a few of the benefits that would come into the exhibition sector, he concludes. As it is, Munot feels, there should be 50,000 cinemas today rather than the existing 13,000.

Tailpiece

Q: Why were Salman Khan, Saif Ali Khan, Sonali Bendre, Neelam, Tabu arrested together, by the forest officers in Jodhpur (where they have gone for the shooting of Rajshri’s film) earlier this week? (Read details elsewhere in this issue).
A: Because they told the forest officers: “Hum Saath Saath Hain!”

Q: What if the five artistes are proved guilty of hunting wild animals in the forest?
A: They’ll individually admit: “Maine Shikaar Kiya.”

FILM INFORMATION SILVER JUBILEE

The congratulatory messages and good wishes we’ve been receiving all through the week on FILM INFORMATION completing 25 years on Dassera this year have overwhelmed us. We at INFORMATION humbly acknowledge the messages and resolve to keep the flag flying high.

The congratulatory advertisements and messages will be published in our issue next week, which will be a SILVER JUBILEE-cum-DIWALI BUMPER issue.

– Editor

BANDHAN

Siddhivinayak Creation’s Bandhan (UA) is a family drama about the bond of love between a brother and sister, which gets extended to cover the boy’s brother-in-law too. The boy, brought up by his sister and her husband, treats the latter as his be-all and cannot even dream of disobeying him. The brother-in-law, by the seductive designs of a girl of loose character, falls into the trap laid by her and from that point begins the confrontation between the brother and his brother-in-law who till then was like God to him. The brother-in-law throws him out of his house and even does not permit his wife to meet her brother and parents. A further misunderstanding between the brothers-in-law aggravates matters and the brother feels guilty of having brought misery to his sister. In the end, all misunderstandings are cleared and the brothers-in-law once again unite.

The story is of the kind one saw in films of the seventies and eighties. Its treatment, though, is more contemporary and there are four or five truly heart-touching scenes which have immense ladies appeal. The biggest drawback of the film, however, is the poor characterisation of the sister’s husband (Jackie Shroff). His shift from being a hero to becoming a villain looks less convincing and should have been much more well explained. Romance also takes a backseat, maybe due to censor cuts.

Jackie Shroff, despite a faulty characterisation, does a good job. Salman Khan is the life of the film and acts ably. Ashwini Bhave, as his sister, appeals in dramatic scenes. Rambha is passable as Salman’s girlfriend, and the film could have done with a better heroine, given Salman’s ‘A’ class image today. Shakti Kapoor and Ashok Saraf provide some light moments. Ashok Saraf, especially, is effective in the climax. Mukesh Rishi passes muster. Shweta Menon is alright. Himani Shivpuri lends admirable support. Anjan Shrivastava is good. Aasif Sheikh does a fair job. The horse has been made good use of.

K. Murali Mohan Rao’s handling of an old subject is nice. Some of his directorial punches make a straight entry into the heart for their emotional content. Of the songs, ‘Tere naina mere nainon ki’ is very appealing. The title song and ‘Balle Balle’ too are good but a couple of other songs are ordinary. Song picturisations are colourful but lack novelty. Action scenes are quite okay. Photography and other technical values are of a good standard.

On the whole, reasonably-priced Bandhan has Indian values and sentiments for ladies and family audience and will, therefore, keep everyone happy. It has better chances in Maharashtra, U.P., M.P., Bengal and Bihar, where it may yield overflow.

Released on 1-10-’98 at Minerva and 11 other cinemas and on 2-10-’98 at 10 more cinemas of Bombay thru V.I.P. Enterprises. Publicity: good. Opening: very good. …….Also released all over. It opened in Bengal on 29-9-’98 due to Puja holidays.

GAURI PICTURES DECLARED ‘DEFAULTER’ BY IMPDA, TOA, CEAI

Distributors Gauri Pictures of Bombay and Nagpur have been declared ‘defaulter’ by the joint tribunal of the Indian Motion Pictures Distributors’ Association (IMPDA) and the Theatre Owners’ Association (TOA). The decision was taken after a complaint over non-settlement of dues of Usha Talkies, Kolhapur, came up before the tribunal. The complaint stated that Usha Talkies had exhibited Soon Ladki Sasarchi (a Marathi film distributed by Gauri Pictures) which incurred deficits for a period of six weeks. When a number of reminders, issued by Usha Talkies to Gauri Pictures, asking the latter to settle dues amounting to more than Rs. 38,000, failed to evoke any response, Usha Talkies lodged a complaint with the TOA. The Cinematograph Exhibitors’ Association of India (CEAI) has also since declared Gauri Pictures a ‘defaulter’.

SANJAY KHAN FINED RS. 54 LAKH

Sanjay Khan has been fined Rs. 54 lakh by the Karnataka Electricity Board for allegedly drawing more power than allotted for a resort being constructed by him and his relatives on the outskirts of Bangalore.

NEW CINEMA HALL

A new cinema, Eshwari Chitra Mandir, opened recently on Stadium Road at Chitradurga in Karnataka. It has 818 seats and a capacity of Rs. 6,826.45 (nett) per show. Nett capacity for 28 shows is Rs. 1,91,140.60.

LANGUAGE FILMS IN KARNATAKA: FFI DELEGATION TO BANGALORE

A delegation of the Film Federation of India (FFI) comprising Santosh Singh Jain, K.D. Shorey, Shakti Samanta, N.N. Sippy, L. Suresh and R.M. Ramanathan will leave for Bangalore on 6th October, to impress upon the Karnataka Film Chamber of Commerce (an affiliate of the FFI) of the need to do away with the imposed 7-week delay in the release of language films other than Kannada in the state of Karnataka. The KFCC had recently announced and implemented its decision that films made in any language other than Kannada will not be released in the state for at least seven weeks from its premiere release elsewhere. As a result of this stricture, Hindi as well as Tamil, Telugu and other language films are suffering.

The delegation will also meet Ramakrishna Hegde and Karnataka chief minister J.H. Patel.

PAHLAJ NIHALANI ELECTED AMPTPP PRESIDENT

Pahlaj Nihalani was elected president of the Association of Motion Pictures & TV Programme Producers (AMPTPP) at its annual general meeting held on 28th September at Citizen Hotel, Juhu, Bombay. Amit Khanna, Shyam Benegal, Shabnam Kapoor and Satish Kulkarni were elected vice presidents, and Kamal Kumar Barjatya and Yash Johar, hon. treasurers. Jimmy Nirula was elected hon. secretary.

Others elected to the governing council for 1998-99 were: G.P. Sippy, Subhash Ghai, Gulshan Rai, Ramesh Taurani, Ratan Jain, Bhappi Sonie, Manmohan Shetty, Hrishikesh Mukherjee, Salim Akhtar, N. Chandra, Harmesh Malhotra, Vashu Bhagnani, Mahesh Kothare, N.D. Kothari, Subroto Bose and Jagdish Sharma.

Ramesh Sippy, Gordhan Tanwani and Nalin Kumar Gupta were co-opted to the council.

GULSHAN RAI RE-ELECTED IFEA CHIEF

Gulshan Rai was unanimously re-elected president of the Indian Film Exporters Association at the first meeting of the newly elected council of management held on 30th September. Sunder F. Rai was elected vice president, and Manohar Bhatia, hon.secretary. Chandrakant Mehta was elected hon. treasurer. Earlier, at the 34th annual general meeting of the IFEA held on 26th September, the following, besides the abovenamed, were declared elected to the council of management: Rajinder Singh Hora, S.C. Mittal, J.K. Mittal, Shiv Laungani, Hirachand Dand, Amar Asrani, Mohan Chhabria and Prassanan Kumar Sajnani.

Subhash Ghai, Arjan Lulla, S. Narayanan, Malati Tambay-Vaidya and Sanjay Chhabria were co-opted to the council.

VISHNUKUMAR VYAS NO MORE

Notel Gujarati stage and film actor Vishnukumar Vyas died in Bombay on the morning of 29th September after a massive heart attack at a private nursing home. He was 78 and is survived by his wife, three sons, daughters-in-law and grandchildren.

Popularly known as Guruji, Vishnukumar Vyas was an accomplished actor and had done a lot of stage, besides acting in a number of Gujarati films. Some of his well-known films are Visamo, Daku Rani Ganga, Mhari Laaj Rakhje Veera etc.

The actor had been admitted to the nursing home four days before the end came, when he complained of uneasiness and suffocation. Vyas, besides acting, had also directed a number of dramas and written some of them. Many of his dramas were popular even abroad.

He was cremated at the Hindu crematorium at Ghatkopar. Many Gujarati film and theatre personalities attended the funeral.

MOHD. SHAFI NIYAZI DEAD

Mohammed Shafi Niyazi, pupular composer and noted qawwal, expired on 25th September in Bombay. He was 67 and is survived by his wife and three children.

Shafi had an impressive command over the Urdu language, and the Urdu repertoire that he was building for Venus was one of the most comprehensive. His most recent claim to fame were his compositions for Venus’ hit musical album, ‘Tum To Thehre Pardesi’. Born on June 8, 1931, Shafi hailed from a non-musical family, but soon learnt to play the dholak and started attending mehfils and mushairas. His family’s opposition made him run away to Nagpur in 1949, to pursue his dream of becoming a musician. That trip proved short-lived and he had to soon return home. He then migrated to Bombay where he met famous qawwal Bandey Hassan Aagreywalley. After a period of apprenticeship, Shafi got a chance to prove his mettle — at a qawwali contest with the popular qawwal, Abdur Rab Chaoos. He made his recording debut with the devotional song, Yun jo jahan mein lakhon nabi aaye hai, tumsa nahi aaya, in 1953, on the HMV label. He joined Venus in 1988. Soon, he was in charge of the Urdu repertoire and he, almost single-handedly, built the vast Urdu repertoire of Venus. The current singing sensation, Altaf Raja, is also his disciple.

HEMA MALINI’S DANCE IN KOTA

Hema Malini will give a Durga dance performance on 11th October in Kota at the Nagar Nigam stage on the occasion of the Dassera fair.

DEV ANAND’S BIRTHDAY

Dev Anand’s birthday was celebrated on 26th September at Ketnav when the seventh song of Vijay Anand Productions’ Jaana Na Dil Se Door was recorded. Internationally renowned qawwal Fareed Sayeed Sabri of Jaipur sang qawwalis on the occasion, besides singing the seventh number for the film, which was tuned by Dilip Sen Sameer Sen. It was penned by Neeraj.

YOU ASKED IT

What do you think of the new IMPPA executive committee? Will it do something to improve the lot of the producers?

– The new committee can do something if it decides to be bold. For several years now, it has been seen that the IMPPA, as a body, has not been able to assert its position in its interaction with other associations.

Will this Diwali be lucky for the film industry?

– Be optimistic! Diwali will definitely bring cheer and joy in the industry. The festival of lights will brighten up the face of the film industry.

Is it right for a producer to not show his film to his distributors before release?

– It is not right but what can you or I do about it? It is the concerned distributors who can object, but the question is, will they?

CCCA ELECTIONS
Clean Sweep For Santosh Singh Jain

Santosh Singh Jain was unanimously re-elected president of the Central Circuit Cine Association (CCCA) at the first meeting of the newly elected executive committee held on 27th September in Nagpur. This is Jain’s 34th term as president. Vijay Rathi was re-elected vice president, and S.K. Surana, hon. secretary. Ramesh Sureka was re-elected hon. treasurer.

Earlier, at the elections to the executive committee, it was a clear sweep for Santosh Singh Jain’s panel. All 16 candidates of his panel were voted to power, with no seats for the opposition panel or the independent candidates. Since Jain’s panel comprised all sitting members except B.N. (Laloo) Kabra, the same executive committee of last year has come to power this year too, with just one new face — G.E. Naik who has replaced Laloo Kabra.

There was no election in the C.I. Distribution section as there were only two members in the fray for two seats. Santosh Singh Jain and Vinod Malhotra were, therefore, declared elected unopposed.

There were elections for the remaining 14 seats of the executive committee. A total of 691 votes were polled, less than the expected 750 to 800. Of these, 80 were declared invalid, leaving 611 valid votes. Uttam Nahar (C.I. Exhibition) polled the highest number of votes — 550. Last year also, Uttam Nahar had bagged the maximum votes in Jaipur.

The list of the winning candidates in the different sections is as under:

C.P. Berar Distribution: Bharat Khajanchi (polled 508 votes), Dilip Mudliar (406), Ramkisan Kasat (374) and G.E. Naik (329).

C.P. Berar Exhibition: S.K. Surana (488), Vijay Rathi (433), Azad Laddha (408) and Mahendra Jain (382).

C.I. Distributioni: Santosh Singh Jain and Vinod Malhotra, both declared elected unopposed.

C.I. Exhibition: Uttam Nahar (550) and Ramesh Sureka (547).

Rajasthan Distribution: Mohan Godha (453) and Nandu Jalani (296).

Rajasthan Exhibition: Kishanchand Jain (376) and Trilok Singh (327).

The vanquished candidates were:- C.P. Berar Distribution: B.N. (Laloo) Kabra (306 votes), Brijmohanlal Dewan (209), Sharang Chandak (208), Rajkumar Mansukhani (52), Tarachand Kanuga (52). C.P. Berar Exhibition: Munshiram Upaveja (224), Narendra Agarwal (188), Vishnu Prasad Agrawal (170) and Vinod Trivedi (151). C.I. Exhibition: Shivkumar Jaiswal (125). Rajasthan Distribution: O.P. Goyal (267) and Baba Ramdeo (206). Rajasthan Exhibition: Kishinchand Janiani (232), Rajendra Mamoria (188), Narendra Sharma (50) and Rameshchand Jain (49).

The voting started at 8 a.m. at the Dr. Vasantrao Deshpande Sabhagriha in Nagpur on 27th. It got over by 1.30 p.m. and counting of votes commenced at the art gallery annexed to the Sabhagriha at 3 p.m. The results were declared at 7.45 p.m.

The annual general meeting on 26th had its share of heat and fury. But while opposition members criticising the ruling group is understandable, what was surprising was that an opposition member openly criticised the candidature of another member of his (opposition) panel. Baba Ramdeo decried O.P. Goyal’s candidature from Rajasthan and felt that since Goyal belonged to the C.I. region, he should have contested the elections from C.I. Baba Ramdeo also announced in the open session that Rajasthan distributors and exhibitors would not support Goyal for this reason. To make matters worse, another candidate from Rajasthan, Kishinchand Janiani, announced that O.P. Goyal was not on their (opposition) panel. And all this even as Goyal had become a self-styled opposition leader! Reportedly, Santosh Singh Jain had incited Baba Ramdeo and Kishinchand Janiani against Goyal. Mohan Godha of the Santosh Singh Jain panel was at the last minute taken by the opposition panel as their member too.

On 26th, at the 45th annual meeting, legal advisor B.G. Dave was felicitated. Dave, who has been associated with the legal work of the CCCA and is also the legal advisor to The Kalyan Pictures Pvt. Ltd., Amravati, will soon shift to Jodhpur to lead a retired life there.

A demonstration show of the English film Species II was held for the CCCA delegates on 26th at Smruti cinema, Nagpur. To drive home the effect of Dolby digital sound, some scenes were shown alternately in mono and Dolby sound.

The arrangements for the annual general meeting and the elections, supervised by the CCCA’s reception committee, were very good. The venue of the meeting was well-decorated.

Following Landslide Victory At IMPPA Elections
Shakti Samanta Elected IMPPA President
Sultan Ahmed Faces Defeat

It was a near-clean sweep for Shakti Samanta and his Dynamic group in the IMPPA elections on 28th September at ISKCON, Juhu, Bombay. The group bagged 13 of the 16 seats in the Ordinary Class and all but one of the five seats in the Associate Class I. Sultan Ahmed’s United group faced a miserable defeat with only two of their candidates (Sandeep Sethi and Preeti Sapru) making it in the Ordinary Class and one (Anand Girdhar) in the Associate Class I. Sultan Ahmed himself lost the elections. He was the sitting IMPPA president. Dara Singh, the independent candidate who was being backed by both the groups, made it in the Ordinary Class.

Actually, the well-attended annual general meeting that preceded the election, gave an indication that the voters wanted a change this year and had come to vote the group led by Shakti Samanta. The annual meeting itself was a stormy affair with firebrand speeches made by Rajeev Kumar, N.N. Sippy and Vinod Chhabra. Although the speeches of Sippy and Rajeev Kumar were not really aimed at any individual, they did go to expose the ineffectiveness of the IMPPA. Obviously, therefore, the voters interpreted that as the ineffectiveness of Sultan  Ahmed as IMPPA president. Vinod Chhabra made an emotion-charged speech and lamented that he was never treated with respect by IMPPA president Sultan Ahmed and even by some of the employees of IMPPA. He recalled how effective Shree Ram Bohra and Ramraj Nahta had been as past presidents of the august body and said, they would come to the rescue of their members no sooner they sensed trouble. All the three speakers were lustily cheered and, in fact, their speeches cleared the decks even more for the change which members were looking for and had come for.

The elections started soon after the conclusion of the 59th annual general meeting around 7.30 p.m. A total of 123 votes were cast in the Ordinary Class, of which three were declared invalid. In the Associate Class I, all 56 votes cast were valid.

Pappu Verma and Suresh  Malhotra, the two returning officers, began the counting of votes soon after elections were over and it was clear from the word ‘go’ that it was the day of the Dynamic group. K.D. Shorey bagged the maximum number of votes — 81. In the Associate Class I, it was Darshan Sabarwal who polled the highest number of votes — 41.

Those elected in the Ordinary Class were: K.D. Shorey (81 votes), Shakti Samanta (79), Vinay Kumar Sinha (73), Pranlal Mehta (70), Satish Khanna (68), Sushama Shiromanee (68), Rajeev Kumar (67), Saawan Kumar Tak (67), Dara Singh (64), Preeti Sapru (64), N.R. (Babloo) Pachisia (62), Pawan Kumar (61), Madan Mohla (60), Sandeep Sethi (57), Mukesh Bhatt (56) and Surendra Bohra (56).

In the Associate Class I, the winners were: Darshan Sabarwal (41), S.K. Kapur (40), Surjit Aujla (33), Dimppy Ramdayal (31) and Anand Girdhar (25).

The losers in the Ordinary Class from the the Dynamic group were B. Subhash (who polled 45 votes), Satyendra Pal Chaudhry (54 votes) and Vinod Talwar (50 votes). The other losers in the Ordinary Class, all of Sultan Ahmed’s United group, were: Sultan Ahmed (51 votes), Kulwant Jani (43), Nitin Manmohan (42), Boota Singh Shaad (39), K. Pappu (35), Deepak Shivdasani (33), Anil Ganguly (32), Kant Kumar (30), Prakash Jha (30), Shanoo Mehra (28), Sujit Kumar (23), Avtar Bhogal (19) and Sharukh Mirza Beig (16).

Those who were not elected in the Associate Class I were Johny Bakshi (22 votes), Surendra Mohan (18), B.R. Ishara (14), Ranjeet (9), Kamal Sadanah (5) and Rajiv Suri (4). All except Johny Bakshi (Dynamic group) and Rajiv Suri (independent) belonged to the United group.

Before the annual meeting, five veterans viz. Gulshan Rai, Gulshan Behl, Anand Bakshi, Suraiya and late Aspi Irani were honoured, the last posthumosly, by the IMPPA for their contributions to the film industry. Chief guest B.R. Chopra, paying rich eulogies to all the five honoured veterans, handed over special IMPPA trophies to them. Late Aspi Irani’s trophy was accepted by his widow.

The first meeting of the newly elected executive committee for 1998-99 was held on 29th at IMPPA House, in which Shakti Samanta was unanimously elected president. Samanta had chaired the organisation for four terms earlier. Saawan Kumar Tak was elected senior vice president, and Sushama Shiromanee, vice president. Vinay Kumar Sinha was elected hon. treasurer.

IMPPA ELECTION SIDELIGHTS

** Ex-IMPPA president Sultan Ahmed gave a feel of his sportsman spirit when he sat in the election hall all through the vote counting process even as it was clear that he and his group were facing defeat. He made an exit after the results were announced formally.

** That producers who make Hindi films prefer to use Hindi as the language of communication was clear when several of them booed Rajiv Suri for making a speech in English. Another thing that went against Suri was that his speech was too lengthy and was too general to make any impact. On the other hand, producer Rajiv Kumar was applauded even though he spoke in English, perhaps, because he made valid points and was also short and sweet.

** The election results of IMPPA this year were as unpredictable as the box-office fates of many of the releases this year. Like producers, like products!

** Sultan Ahmed’s non-election has shocked the trade. It is, perhaps, for the first time in the 61-year history (although this was the 59th annual general meeting, the body is 61 years old) of the IMPPA that a sitting president lost the election.

“Filmmaking is all about crisis management.”
SUBHASH GHAI
Caught in action in wet Chamba

Rain rain go away
Come again another day

Subhash Ghai must’ve sung this couplet a thousand times last week as he and his huge unit of Taal sat in Chamba, waiting for the skies to clear and the rains to stop. The cold morning of 22nd September started on a wet note. Even then, Ghai and his unit had reached the scenic location a few miles away from Chamba city, hoping that by the time they’d be ready to shoot, the weather would have improved. But did it? It only worsened. The drizzle turned into a downpour and the convoy of cars that had wound its way to the top (the location was at a great height) had to soon take an about-turn, now winding its way downwards. The unit headed for another location, a few kilometres away from the earlier one. Ghai announced, he had to picturise a scene and two lines of a song at that location and, in fact, needed to shoot them in the rain.

The new location was as heavenly as the earlier one. The huge mountains, green fields, overcast skies, thick fog and the light drizzle (the downpour had stopped), all these provided the perfect backdrop for Ghai’s scene-and-song shooting. Choreographer Saroj Khan and her assistant, Jojo, instructed Aishwarya Rai and her two screen sisters, Jividha and Tanya, about their dance steps. All the three of them were dressed in white. A few rehearsals and a few retakes later, the shot was finally okayed. It was then time for the scene for which Aishwarya quickly changed her costume. Akshaye Khanna was ready by then.

The scene showed a despondent Aish sitting quietly and Akshaye asking her what she was thinking. When Aish refused to divulge her thoughts, Akshaye continued that he was aware that she was thinking just like the heroine of a Hindi film would — a hero comes from the city to the village, hero and heroine fall in love and then it’s time for the hero to return to the city to never come back to the village. Realising that that was exactly what she was thinking, Aish wondered aloud whether the same would happen in their case as it was time for Akshaye to return to his city. But Akshaye put her at ease by saying, this was his life, not a Hindi film. He acknowledged that both of them would have to fight it out with their respective families before they finally united in matrimony. At this point, Aish presented a red muffler to Akshaye with the word ‘Manavsi’ neatly embroidered on it. To Akshaye’s question about what the word meant, Aish explained, “Manav jaisi….. Manav jaisi Mansi”. Manav is Akshaye’s name in the film, and Mansi is Aishwarya’s. “The two of us will always be together now,” concluded Aish as Akshaye fondly touched the muffler and finally prepared to leave.

There were plenty of retakes of the shot. At times, although Ghai and his genius cameraman, Kabir Lal, were happy with the shot, Akshaye wasn’t. Thinking he could better his performance, he asked for some more retakes. Ghai sportingly agreed till at last, all of them were convinced that the best shot had been okayed.

Since the day’s shooting had started only in the evening, it began to get dark even as the shot was being taken. A few close-ups and other shots were wrapped up quickly before it got too dark for shooting. The last shot required a fan, to show Aish’s loose hair being blown by the wind, and Ghai’s efficient unit hands had installed the fan atop the terrace (that’s where the shooting was being done) in no time. Even as Subhash Ghai was instructing Aish for the last shot of the day, the strong breeze, stirred up by the huge fan, blew off his hat. Perhaps, it was the fan’s way of saying, “Hats off” to Ghai and his unit, who had wrapped up a lovely scene and two lines of a song in such a short time and despite the worst weather.

Had the weather been good, Ghai had also planned to shoot using the huge ‘Akela’ crane on another location. The ‘Akela’ crane, which can reach a height of 85 feet, had come to Chamba all the way from Madras. It was in the process of being installed for the shooting, from early morning even as it drizzled and rained, but at the end of the day, the dismantling process began when it became clear that the unclear weather wouldn’t permit shooting from atop the crane. The Akela crane, which takes a few hours to set up, is remote-controlled and can do without a cameraman perched on the top alongwith the camera (read details in 3-E column in this issue).

As if the rains weren’t bad enough, the camera and generator vans were caught in a terrible traffic jam while they were returning from the morning location to where the actual shooting took place. The traffic jam along delayed shooting by almost three hours. It was once again the efficient unit hands who literally pushed a stalled lorry to clear the way for the vans to pass, that ultimately made shooting possible that evening.

Call it a coincidence or whatever, just the previous evening, Subhash Ghai, while talking of Taal, had said, a lot of unforeseen circumstances and happenings at the time of shooting necessitated one to constantly adapt to and make the most of the given situation. “Film-making is all about crisis management,” explained Ghai. As if to prove his point, the rains created the crisis the following day. And sure enough, Ghai managed the crisis well enough to be able to at least shoot what he finally did, rains and traffic jam notwithstanding.

To say that the music of Subhash Ghai’s film is extraordinary is to state the obvious. But to say that A.R. Rahman’s music sounds different is to state the unbelievable. Yes, Rahman’s music in Taal has the North Indian flavour, something which Ghai has been able to extract out of the whizkid.

After shooting, Subhash Ghai spoke of his hero and heroine. He was all praise for Aishwarya Rai whom he described as very, very professional. “I’ve not worked with a more professional actress,” said the veteran producer-director and added, “Her professionalism reminds me of Nutan.” Ghai is aware that Aish tends to act childish in front of the camera at times and is guarding against this very consciously. About Akshaye, he dispelled rumours that the boy was a difficult actor. “He is very co-operative,” said Ghai, “and a tremendous actor.” But the best comments were reserved for his other hero, Anil Kapoor. Although Anil was not in Chamba, Subhash Ghai and Saroj Khan praised his down-to-earth attitude and described him as a producer’s delight. They spoke proudly of how Anil Kapoor would double up as a production hand whenever the need arose, especially on outdoor schedules.

One rose up the following morning to be greeted by heavy rains. Waste of another day? Not for Ghai! The guy was up at 6 a.m. and was busy shooting instructions to his unit to reach the location (Dalhousie), more than an hour’s drive from Chamba. He was confident that the weather God would not let him down again and he’d be able to shoot a couple of hours later. In other words, he was preparing once again to manage the crisis. Even when the shooting schedule started in Delhi (from where the unit then shifted to Chamba), there had been a crisis of sorts — Ghai was running high temperature and had been advised rest by his doctor in Bombay. But rest he did — after his daily shooting which he refused to postpone. As Ghai joked, “All these days of shooting, I was sick. Now that I’m feeling alright, the weather is sick.”

Anyway, it was time for us to bid goodbye to the Taal unit. We left by road to Jammu to catch a flight to Delhi (and from there to Bombay). After barely 45 minutes of the 7-hour drive, we missed being hit by a boulder that came rolling down the mountain on the road and ultimately fell down into the valley hundreds and hundreds of feet below. We missed the boulder that must’ve weighed over 50 kgs., by barely 10 seconds. It was a crisis we had least expected. Thankfully, God had managed this crisis for us. Or else….. the  very thought now sends shivers down our spines.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

IMPPA: A Different Scene

Elections for three important associations in the industry were held over the last two weeks. The Indian Motion Picture Distributors’ Association (IMPDA), the Central Circuit Cine Association (CCCA) and the Indian Motion Pictures Producers’ Association went to the polls with great fervour. While members of the IMPDA and the CCCA voted the sitting members again to their executive committees (the only exception being G.E. Naik who replaced B.N. (Laloo) Kabra in the CCCA), the scenario was quite in contrast as far as IMPPA was concerned. Last year, it was the members of the United group who swept the polls but this time, the same United group faced defeat at the hands of the Dynamic group. It’s a different story that several sitting members of last year had left the United group this year and have been re-elected this year, but under the aegis of the Dynamic group.

‘Dil Se..’ Triumphs…. In Britain

There is hope for Dil Se.. yet. The latest reports indicate that Dil Se.., which bombed in India, has proved to be a huge success in Britain. Its phenomenal run there can be gauged from the fact that the film collected more than £67,000 in just three days of its premiere release in London. The film ran to packed houses in a number of Asian-dominated suburbs all over Britain and, in the process, became the first-ever Hindi film to break into Britain’s weekly Top 10 films. The film’s tremendous success among British-Asians is seen as largely due to the popularity of its hero, Shah Rukh Khan, and A.R. Rahman’s hit music. Chhaiyyan Chhaiyyan, the foot-taping number from the film, has become a big rage among Asians living all over Britain.

The ‘Bade Miyan’ Of Fashion

Arguably the most outrageous costume designer in Bollywood, Firoze Shakir is known as much for his wild and wacky personality as for designing the flamboyant costumes of Govinda. Firoze, who changes his own appearance so often that some people have trouble recognising him at times, has currently designed the new-look costumes for Amitabh Bachchan in David Dhawan’s Bade Miyan Chote Miyan. His costumes for both, Govinda and Amitabh Bachchan, in the film have been so well-appreciated that he has been flooded with offers for a vast number of new films. On a recent publicity campaign of BMCM, Firoze travelled all over Bombay, distributing posters of the film. He says, he did this out of love for producer Vashu Bhagnani who provides him with a lot of inspiration for his work. Speaking about BMCM to Information, Shakir said, “The magic of Vashu Bhagnani, David Dhawan, Amitabh Bachchan and Govinda, and a sprinkling of the wild clothes designed for the duo — is just the right recipe for success!

KEEP THE FLAG FLYING HIGH

Film Information, born on 6th October, 1973, has completed 25 years of its publication this week. Started with the blessings of industry stalwarts, by founder-publisher-editor Ramraj Nahta who promised, “There will be a strong emphasis on timely information and news, news that affect the business in a variety of ways, tightly edited with proper consideration to the needs of the industry.” And if one goes through all the issues of the magazine, it can easily be said that the promise has been kept, not only by the founder-editor but also his successor, Komal, who is currently editing the paper.

Being associated with the paper from its first issue, rather, even prior to that — from the planning stage — as a moral support and contributor, it is a matter of pride for me to say that the paper faced with a smile all the storms that came its way and never allowed any force to affect its moral strength, its honest reporting and its pursuits for the betterment of the industry.

Keep Ramraj’s flag flying high, Komal!

– JAGAT GUPTA