DAAG THE FIRE

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

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

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

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

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

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

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

BOMBAY BOYS
(Dubbed)

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

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

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

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

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

LATEST POSITION

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

…………….

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

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

…………….

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

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

‘AA AB LAUT CHALEN’ TAX-FREE IN DELHI

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

NEW CINEMA OPENS AT ANAND

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

YOU ASKED IT

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

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

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

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

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

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

DO YOU KNOW?

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

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

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

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

3-E
Education-Entertainment-Enlightenment

‘Kachche Dhaage’, Pucca Record

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

Lucknow Exhibitors Trying Luck Now In Distribution

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

‘Daag’: A 100% Spotless Record

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

INFORMATION MEETS

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

– RISHI KAPOOR

KOMAL NAHTA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BABY BOY FOR GUDDU DHANOA

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

ZEE TO AIR EIGHT NEW CHANNELS

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

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

M.B. SAMANT ELECTED CAA PRESIDENT

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

ANJAN SHRIVASTAVA’S INTEGRATION MEET ’99

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

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

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

FIRST CONVICTION FOR VIDEO PIRACY

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

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

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

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

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

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

‘ZAKHM’ TAX-FREE IN MADHYA PRADESH

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

SURESH ISSAR, PUNIT ISSAR BEREAVED

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

YOU ASKED IT

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

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

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

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

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

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

DO YOU KNOW?

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

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

CENSOR NEWS

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

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

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

5000 Films’ Murda Ghar has been refused certificate.

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

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

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

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

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

3-E
Education-Entertainment-Enlightenment

Star Tallies

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

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

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

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

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

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

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

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

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

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

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

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

Odd Release Due To Idd

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

Censorship And R.K. Banner

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

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

No Khandala Invitations, Please

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

1948 Humour

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

AASTHA

Released this week all over except in C.P. Berar, Aarohi’s Aastha (A) is the story of a lady and her professor-husband. The young lady gets entrapped in the world of sleaze and finds herself sleeping with rich men, a fact which her husband is completely unaware of. Although she feels guilty about the life she is leading, she carries on with it till one day she finds herself exposed by her husband’s student. Together, she and the student plan to confess to her husband, but not directly, only by innuendo. This, she feels, is her only chance to pick up the threads of her shredded life.

By its very nature, the story is one which would appeal only to the elite audience. The treatment of the subject is also of the kind which makes the film hold interest only for a section of the audience. The wife’s guilt and yet her unwillingness to give up sleeping with other men would confuse the general audience. The ending is also too ‘class’ appealing because the husband is not told about the wife’s extra-marital affairs in plain and simple words. There isn’t much titillation too for the front-benchers. In short, the story is neither of the kind which one could identify with or would want to identify with nor of the kind which a layman could comprehend and enjoy.

Rekha does well. Om Puri gives a restrained performance as her husband. Dinesh Thakur is average in a brief role. Anwesha Bhattacharya does a fair job. Daisy Irani is quite effective. Navin Nischol is okay. Sagar Arya does reasonably well.

Basu Bhatttacharya’s direction is in keeping with the mood of the story. He seems to be not very concerned about the mass audience. Music is very good for the genre of the film which Aastha is. ‘Labon se choom lo’ and ‘Kaanch ki boonde’ are truly melodious songs. Dialogues are ordinary. Photography is good.

On the whole, Aastha neither has universal acceptance nor sex scenes to lure the masses. As such, it will remain a fare for select cinemas in selected cities only. …….Opening was dull almost everywhere due to poor publicity.

LATEST POSITION

Barring the cinema closure in Maharashtra, it was a normal week in the rest of the country.

Ajay 1st week Bombay 37,81,450 (91.65%) from 13 cinemas (9 cinemas for 5 days, 9 on F.H.); Ahmedabad 6,93,178 from 5 cinemas, Baroda 1,19,116, Padra 1,12,326, Rajkot 2,13,683 from 2 cinemas, Jamnagar 1,28,450; Delhi 38,57,282 (78.19%) from 13 cinemas (2 on F.H.); Kanpur 3,77,494 from 2 cinemas, Lucknow 2,15,116, Agra 2,50,000, Allahabad 1,40,000, Meerut 100%, Dehradun 1,58,000, Gorakhpur 1,61,000 (87.97%); Calcutta 23,49,244 from 20 cinemas (14 on F.H.); Raipur 1,39,000 (70.14%), Bhilai 1,33,000; Indore 91,774 (3 on F.H.), Bhopal 2,95,927 from 2 cinemas (1 on F.H.); Jaipur 7,05,439 from 4 cinemas, Bikaner 2,82,424; Hyderabad 22,67,598 from 12 cinemas.

Tere Mere Sapne 4th week Bombay (5 days) 11,87,044 (88.89%) from 7 cinemas (1 on F.H.); Ahmedabad 2,55,327 from 3 cinemas, Baroda 89,409, Rajkot (matinee) 16,859; 1st Solapur (matinee, 5 days) 28,819; 4th Delhi 7,56,850 from 3 cinemas; Kanpur 55,593, Lucknow 1,68,345, Agra 71,425, Allahabad 41,325, Dehradun 74,342, Gorakhpur 11,500; Nagpur (6 days) 1,62,578, 3rd week Akola (6 days) 67,330, total 2,05,567, 4th Bhilai 37,255, 3rd Jalgaon 64,252; 4th week Indore 2,40,280, Bhopal 1,10,810; Jaipur 1,46,717; Hyderabad 5,39,984 from 4 cinemas (2 in noon).

Raja Hindustani is still doing wonders all over India. 7th week Bombay (5 days) 25,79,148 (93.73%) from 10 cinemas (9 on F.H.); Ahmedabad 6,02,037 from 5 cinemas, 1st Himmatnagar 1,87,039, 5th week Bharuch (gross) 2,64,140, 7th Jamnagar 1,14,051 from 2 cinemas (1 in matinee); Solapur (5 days) 1,66,167 from 2 cinemas (1 in matinee); Delhi 27,58,794 from 9 cinemas (1 unrecd. and 1 on F.H.); Kanpur 3,17,082 from 2 cinemas, Lucknow 2,11,098, 8th Allahabad 1,20,300, Meerut 1,66,516, 7th Dehradun 1,52,274, 8th Gorakhpur 1,18,000; 7th week Calcutta 15,34,556 from 17 cinemas; Nagpur (6 days) 3,78,831 from 4 cinemas, Akola (6 days) 1,22,731, Raipur 1,19,007, Bhilai (6 days) 1,06,090, Jalgaon 1,60,580 (100%), 5th Wardha (26 shows) 77,860, 7th Chandrapur 1,21,783; Indore 2,31,931 (100%), Bhopal 3,55,142 from 2 cinemas; Jaipur 4,81,886 from 2 cinemas, Jodhpur 2,47,300, 6th week Bikaner 1,44,544; 7th Hyderabad 9,89,286 from 5 cinemas (1 unrecd., 1 in noon).

……..

Film Weather: 1996

125 RELEASES

A total of 125 films were released in 1996. Of course, 29 were dubbed films. As against this, 129 films were released last year, of which 30 were dubbed.

HITS & MISSES

Of the 125 films released, only 16 proved to be successful/hits/mega hits. The remaining 109 ranged from average to disastrous.

THE HITS

Dharmesh Darshan’s Raja Hindustani emerged as the biggest blockbuster of the year. It is still doing record-shattering business and is poised to exceed the business of last year’s mega-hit, DDLJ. Among the other super-hits of the year were Saajan Chale Sasural, Agni Sakshi and Bandit Queen.

ENTERTAINMENT TAX 100% AGAIN

The Maharashtra government discontinued the benefit of 50% entertainment tax in the state after 31st December, 1996. This prompted the cinemas in the state to down shutters from 1st January, 1997, in protest.

NEWS MAKERS

If it was Shekhar Kapur’s Bandit Queen at the start of ’96, which was involved in a censor controversy, it was Mira Nair’s Kama Sutra that hit the headlines as the year came to an end, again due to censorship problems. Like the former, the latter film is also likely to be cleared by the Film Certification Appellate Tribunal.

MUSIC MAHARAJAS

The year undoubtedly belonged to Nadeem Shravan whose names were associated with three blockbusters viz. Raja Hindustani, Agni Sakshi and Saajan Chale Sasural. Jeet, another major success, had Nadeem Shravan’s music.

ALL-TIME HIGH

Film prices touched a new high and so did star prices. Now, it is normal to speak of film prices in crores of rupees as against lakhs a couple of years ago.

EYEWASH, BIHAR STYLE

The Bihar distributors decided to put a ceiling on film prices and resolved to pay not more than 35% of a film’s ratio, for their territory. But this has led more to dealings in cash than anything else.

PRICE HIKES

Price hike at the time of a films’ delivery has become the in-thing. In 90% of the cases, producers increased their film prices at the time of release. Distributors cribbed but, all the same, paid the increased prices in most of the cases.

BIG B’S BIG COMEBACK

Amitabh Bachchan staged a comeback to acting by launching a film to be produced by his ABCL and directed by Indra Kumar, on 9th February. But while that film is yet to roll, his Mrityudaata is almost complete. He has also signed several other films, some of which are already on the floors.

ELECTION BLUES

The Lok Sabha election results in May were not exciting for the industry as several industry folks lost the elections. Among the losers were Rajesh Khanna, Raj Babbar, Revathi, Ramesh Deo and K.C. Bokadia. Shatrughan Sinha and Jaya Prada made it to the Rajya Sabha.

NATIONAL AWARDS FOR ‘DDLJ’, ‘BANDIT QUEEN’

Aditya Chopra’s Dilwale Dulhania Le Jayenge bagged the National Award for the best popular film of 1995, providing wholesome entertainment. Seema Biswas bagged the best actress National Award for Bandit Queen which also won a National Award for the best Hindi film.

AMITABH’S DAUGHTER TO WED RAJ KAPOOR’S GRANDSON

Amitabh Bachchan’s daughter, Shweta, got engaged to Nikhil, son of Rajan and Ritu Nanda of the Escort empire, in Delhi on 1st January. Nikhil Nanda is the grandson of late Raj Kapoor and is a director in Escorts Yamaha Motors Ltd.

DO YOU KNOW?

* A record number of 14 actors and 8 actresses made their debuts in films in 1996. The 14 actors are Arshad Warsi, Milind Gunaji, Mukul Dev, Sharad Kapoor, Chandrachur Singh, Nirmal Pandey, Abhishek Kapoor, Indra Kumar, Manik Bedi, Samrat, Faraaz Khan, Puru Raaj Kumar, Mohan Kapur and Shaadab Khan. The eight new actresses are Ranee, Sushmita Sen, Suman Ranganathan, Priya Gill, Mayuri Kango, Rambha, Koyal and Rupali.

* The Tolani brothers, Sanjay and Rajiv, who own the best (twin) cinemas of Indore, Sapna and Sangeeta, have jumped into distribution and how! They’ve acquired five films for C.I. The films they will be distributing are BADE MIYAN CHOTE MIYAN, ..AUR PYAR HO GAYA, VISHWA VIDHATA, OFFICER and DIL DEEWANA MANE NA. Besides this, Sanjay is presenting Vicky Kumar’s ZOR (starring Sunny Deol and Sushmita Sen), and Rajiv is producing a film (also starring Sunny Deol) in association with Guddu Dhanoa.

CLASSIFICATION: 1996
(Total 125 films, including 29 dubbed films)

Movie Marvel Of The Year
RAJA HINDUSTANI

AA (Super Hit)

–

A1 (Hit)

SAAJAN CHALE SASURAL
AGNI SAKSHI (‘AAA‘ in Maharashtra)
BANDIT QUEEN

A (Semi-Hit)

GHATAK (‘BB‘ in Eastern Circuit)
JEET (‘B1‘ in Eastern Circuit)

BB (Overflow)

Hindustani (dubbed; ‘AAA‘ in Maharashtra, losing in Rajasthan)
Jaan (‘A‘ in Delhi-U.P. & East Punjab)
Khiladiyon Ka Khiladi

Commission To Overflow

Masoom (‘A‘ in Maharashtra)
Loafer
Diljale (losing in some circuits)
Raja Ki Aayegi Baaraat (losing in some circuits; ‘BB‘ in Bihar & C.P. Berar)
Tere Mere Sapne (‘A‘ in Bombay & losing in Eastern Circuit)
Fareb (‘A‘ in Maharashtra)

B1 (Commission Earner)

Antim Yudh (dubbed; ‘BB‘ in South)

Coverage To Commission

Ek Bandar Hotel Ke Andar (dubbed)
Chaahat
Army
Mission: Impossible (dubbed)
Mita Doonga Naam-O-Nishan (dubbed)

TOP HEROES OF 1996

1. Aamir Khan – Raja Hindustani

2. Sunny Deol – Ghatak, Jeet

3. Kamal Haasan – Hindustani

4. Nana Patekar – Agni Sakshi

5. Govinda – Saajan Chale Sasural

TOP HEROINES OF 1996

1. Karisma Kapoor – Raja Hindustani, Jeet, Saajan Chale Sasural

2. Manisha Koirala – Agni Sakshi

3. Seema Biswas – Bandit Queen

4. Rekha – Khiladiyon Ka Khiladi

5. Tabu – Jeet, Maachis, Saajan Chale Sasural

TOP SONGS OF 1996

1. Pardesi pardesi – Raja Hindustani – Nadeem Shravan

2. Ghar se nikalte hi – Papa Kahte Hain – Rajesh Roshan

3. Latka dikha diya humne – Hindustani – A.R. Rahman

4. Pyaar karna mushkil hai –Agni Sakshi – Nadeem Shravan

5. Yeh teri aankhen – Fareb – Jatin Lalit

6. Chappa chappa charkha chale – Maachis – Vishal Bhardwaj

7. Chhota bachcha samajh ke – Masoom – Anand Raaj Anand

8. Aankh maare o ladka – Tere Mere Sapne – Viju Shah

9. Aaj main ooper – Khamoshi – Jatin Lalit

10. Jhanjharia – Krishna – Anu Malik

11. Telephone – Hindustani – A.R. Rahman

12. Kya ada kya jalwe – Shastra – Aadesh Srivastava

13. Yaara o yaara – Jeet – Nadeem Shravan

14. Shaher ki ladki – Rakshak – Anand Milind

15. Ho nahin sakta – Diljale – Anu Malik

16. Banno teri ankhiyaan – Dushmani – Anand Milind

As Govt. Fails To Extend 50% Ent. Tax Concession
MAHARASHTRA CINEMAS DOWN SHUTTERS FROM 1ST JANUARY

Bandh Not 100% * Action Committee Meets CM

˜˜Cinemas in Maharashtra closed down indefinitely from 1st January, 1997, in protest against the state government’s refusal to continue the concession of 50% entertainment tax beyond 31st December, 1996. The rate of tax had been brought down from 100% to 50% in September ’94 and renewed further in September ’95 for a year, and again in September ’96 for three-and-a-half months till 1996-end. With the Shiv Sena-BJP government having refused to continue the concession from the new year, cinemas all over the state downed shutters from 1st January. Had they continued to conduct shows, the old rate of 100% entertainment tax would prevail from the new year’s day. The closure entered the fourth day today (4th January).

The cinema bandh call has been given jointly by the Cinematograph Exhibitors’ Association of India (CEAI), the Theatre Owners’ Association (TOA), Central Circuit Cine Association (CCCA), Indian Motion Picture Distributors’ Associatoin (IMPDA) and Kinematograph Renters Society (KRS). Despite the joint call, the bandh is not 100% as cinemas in Marathwada region (Nizam circuit) are operating and have not closed down. The Marathwada region includes cities like Aurangabad, Latur, Parbhani, Nanded etc. Cinemas in this region did not heed the bandh call because of an assurance given by the local MP, Chandrakant Khaire, that some relief would be given to the cinemas. According to a cinema owner of Aurangabad, two more reasons have prompted them to refrain from joining in the closure: one, the exhibitors’ associations of Bombay did not take them (cinemas of Marathwada) into confidence and did not even consult them before taking the extreme step of closure and secondly, it is felt by Marathwada cinemas that the government is sore about the high admission rates charged by some Bombay cinemas and since they (Marathwada cinemas) do not have high admission rates, they are unnecessarily being made to suffer because of the handful of Bombay cinemas. In fact, the cinemas of Marathwada have suggested to the government that it should retain the rate of 50% entertainment tax for admission rates upto, say, Rs. 25 or 30 and fix it at 100% for rates above that.

A delegation of the Marathwada Film Exhibitors Association, headed by its president, Ravi Machhar, met Chandrakant Khaire on 31st December. The minister assured the delegation that he would discuss the demands of the cinema owners of Marathwada region with the Maharashtra chief minister and since he appealed to the delegation not to close the cinemas, the latter decided to honour his request. The delegation included Atul Save (secretary), Jugalkishore Tapadia, Amin Sayeed Khan, Sadanand Pande, Noor Khan, Shaikh Salim and Quaisar Khan. They presented a memorandum of demands to Khaire.

Although cinemas of Marathwada are in operation, leaders in Bombay are prevailing upon them to fall in line and down shutters. Foreign film companies, in response to the bandh call given by KRS, have since withdrawn their films which are running in cinemas of Marathwada.

The state has approximately 1,300 cinemas, including a little over 100 in Bombay.

On its part, the government until 3rd January seemed to be adamant about the 100% tax rate. It seemed to be in no mood to reconsider its decision of levying 100% tax with effect from 1st January, 1997. It had not been convinced by the industry’s argument that its revenue from entertainment tax increased from Rs. 80 crore in 1994-95 to Rs. 88 crore in 1995-96 because of the 50% tax concession. In the six months from April ’96 to September ’96, the total entertainment tax collected is said to be Rs. 54 crore.

The government argued that had the tax rate been 100%, it would have earned Rs. 176 crore (double of Rs. 88 crore) in 1995-96. It, therefore, viewed the concession as having caused the exchequer a loss of Rs. 88 crore.

But when the action committee met Maharashtra chief minister Manohar Joshi and cultural affairs minister Pramod Navalkar on 3rd January, the two ministers seemed to be in a mood to heed the industry’s demands. Although no concrete assurance was given to the action committee members, the latter felt, the government would reconsider its stand and offer some relief, at least.

The bandh is supported by distributors who have stopped supplying films to cinemas in the state. Since Bombay (in Maharashtra) is the nerve centre of the film industry, all releases of new films have been indefinitely postponed as producers would not like to release their films in other circuits without releasing them in Bombay territory, for fear of video piracy. As a result, the shortage of films has started to be felt by cinemas of other circuits too. Only Aastha has been released this week all over except in C.P. Berar. No other film is scheduled to hit the screens next week or in the week following that. One or two small, non-star cast films like Ganga Maange Khoon and Maun may be released in the coming week or two outside Maharashtra to take advantage of the lack of oppositions. Besides these, no other film is being announced for release till Idd (Feb. 7) by which time it is hoped, cinemas would reopen.

INDUSTRY TO SUBMIT PROPOSALS TODAY

The action committee of the film industry, which met the chief minister and the cultural affairs minister of Maharashtra on 3rd January, is preparing proposals asked for by the government. The action committee met on 3rd itself and is likely to submit some proposals today (4th).

If the government approves of any proposal submitted by the industry or offers a counter-proposal agreeable to the industry, the possibility of the cinemas reopening from Sunday, January 5, is not ruled out. It is being whispered in trade circles that a two- or three-tier system of entertainment tax may be introduced, that is to say, there will be different rates of taxation for different admission rates, the tax rates increasing with the increase in admission rates. Different tax rates may also be fixed for air-conditioned and non-air-conditioned cinemas, it is learnt from reliable sources.

Don’t Rejoice Today To Repent Tomorrow

The cinema closure in Maharashtra in protest against the state government’s refusal to extend the concession of 50% entertainment tax in the new year has not come a day too soon. In fact, a protest against the very levy of entertainment tax should have been made, and remedial action in the form of complete abolition of the tax, sought.

In today’s times, when cinema has to compete with television and satellite channels, entertainment tax on films makes no sense. After all, why should the industry pay tax to show films when the same films are shown by Doordarshan and all satellite channels without the need to pay any tax? It is discrimination at its worst.

It is rather strange that the government blatantly resorts to discrimination as above on the one hand and objects to price discrimination in the cinema industry. The state government is reported to have expressed displeasure over the trend of cinemas increasing admission rates after getting a concession in entertainment tax rate. What is the logic of the government’s displeasure? All cinemas do not increase their admission rates. Only those which provide first-class amenities like air-conditioned auditoria, latest sound system etc. charge higher rates. Doesn’t price discrimination exist in other industries that it should be looked down upon in our industry?

It is also strange that the state government can completely exempt the recent Michael Jackson show held in Bombay and yet sell tickets at Rs. 1,000 and Rs. 5,000 but frown upon cinemas pricing their tickets at Rs. 50 or Rs. 100, that too, after having to pay entertainment tax.

And if this trend of hiking admission rates to what the government feels is an “unaffordable level” is what has prompted it to withdraw the 50% tax rate and revert to the 100% rate, the following statistics need to be pointed out to the government: Of approximately 1,300 cinemas in the state, just 7 cinemas have admission rates of Rs. 50 or more, that too, for one or two small classes in the said cinemas. Put differently, of the 8 lakh and odd seats in the 1,300 cinemas, just about 3,000 seats are priced at the government’s “unaffordable” level. That is to say, only about 0.375% of the total seats in the state come in the government’s objectionable category. To penalise the entire industry for the action of less than half a percent of the total cinema seats is ridiculous. Only a non-thinking government can do such a thing. And mind you, the action of this 0.375% is not incorrect, it is only considered wrong by the government. No court has branded the admission rates of these 0.375% cinema-seats as wrong, inappropriate, objectionable or unaffordable.

Yet another grouse of the government is that its entertainment tax revenue has not increased from Rs. 80 crore to Rs. 88 crore in one year, but has rather decreased by 50% because of the 50% concession given in tax. The government could as well have said that had the tax rate been 150%, it would have collected Rs. 264 crore. Suffice it to say that tax collection and rate of tax don’t move upward simultaneously. So, such misleading comments by the government serve only to expose its ignorance of knowledge about basic economics.

Lastly, a word for the Maharashtra film industry. The Marathwada exhibitors committed a grave mistake in not supporting the bandh and instead keeping their cinemas open. There can be no excuse good enough to pardon their lapse. It is likely that the leaders in Bombay may accept a compromise solution offered by the government (as is being rumoured) for fear that there is no complete unity (Marathwada exhibitors not supporting the exhibitors in the rest of the state). If they do so, they will be committing a mistake more grave than what the Marathwada exhibitors have committed by not joining the bandh. Today, these words of caution may not seem to have much meaning. But the time ahead will prove that if the industry acts in haste today, it will repent tomorrow.

– Komal Nahta

Dream Merchant

The Dream Marriage

Maybe because it is the season of marriages and I’ve been attending a lot of them that I dreamt of a beautiful wedding card I received.

The card mentioned that the daughter of Guddi and Coolie would wed the grandson of Awara Shri 420. I liked the style of the card as much as I liked the words used. So I decided to probe further into this marriage which promised to be the best in Bollywood and the corporate world. Bollywood, because the bride-to-be was the daughter of a legendary superstar, and corporate world, because the bridegroom-to-be was the son of a multi-millionaire industrialist, besides being the grandson of a late legendary filmmaker and actor.

I learnt that the baaraat would come not on foot, as is customary, but on motor-cycles. Why, the bridegroom himself would not ascend a ghodi, as is the Hindu custom, but would also come riding a motor-bike manufactured by his own company. At the reception, I was told, the bridegroom’s family had made arrangements for every guest to be ‘Escort’ed to the dais which was being erected in filmi style for the couple.

I learnt from the common dress designers of the girl and boy that the two had been meeting chupke chupke since quite a few months. Which means, the silsila wasn’t new and the love story had a filmi tinge. Which also means, it isn’t a case of do anjaane meeting for the first time. What is more, the parents of both, the girl and the boy, were also hoping that the wedding bells would toll for the two. So, when the boy did finally propose to the girl, the latter’s father told the former’s mother, “Oh, this is the realisation of tere mere sapne!”

About the boy and the girl, people say, they are both Indians at heart, although they’ve lived abroad and even studied there. That’s because the girl is the daughter of a true desh premee, one of the prominent saat hindustanis, and the guy is the first cousin of the new rani hindustani. Talking of relations, the boy’s youngest maama (maternal uncle) has decided to write a granth on his nephew’s prem story. But the eldest maternal uncle of the groom-to-be lovingly scoffs at the enthusiasm of his brother as he feels, all love stories are the same since jawani is always diwani, whoever the love birds.

Coming to the pre-marriage functions, the bridegroom’s family will hold an evening of sargam, to be hosted by another maternal uncle of the groom. The girl’s father will not have the run-of-the-mill ladies’ sangeet programme. Instead, he has opted for an all-mard, aalaap recital only, which is expected to be held in his favourite city, Bangalore. This recital will have the patronage of the Karnataka government too and although the participants will be only males, it will, nevertheless, be attended by beauties from all over the world. Lest the not-so-beautiful ladies revolt in opposition, the bride’s father has decided to also have some special invitees from among them.

A joint dandiya nite will be organised by the families of the boy and the girl in Delhi, a day before the marriage. No liquor will be served at this nite as the groom’s father wants no people dancing under the influence of alcohol. No entry for sharaabis then! At this dandiya nite, the girl’s mother is expected to present a special dance item, ‘Pallo latke’. Not to be left behind, the girl’s father will dance to the tune of ‘Hey sabse bada tera naam, O Sheranwali’. Entry to this function as to all the other functions too will be strictly by invitation only and gate-crashers will be checked, because they will be a congregation of all big names from all corners of the world. No place for benaams then.

The baaraatis will receive gifts from the girl’s father, in the form of 100 shares of his new company. The groom’s gracious parents have also decided to gift a cooking range to each and every guest from the girl’s side. But the two families have decided not to accept any wedding uphaars. Presents in blessings only, you see.

For the reception, the best bawarchis of every state in India have been hired by the groom’s maternal uncles so that they can live up to their reputation of being descendants of the showman. On his part, the girl’s father has hired the services of internationally acclaimed cooks so that his shaan remains intact. While the girl’s father will receive the guests on the dais, her only brother will stand at the entrance with folded hands. Bade miyan and chote miyan sharing responsibility.

For their honeymoon, tips will be taken from the bridegroom’s maternal uncle who insists, he has become an expert at honeymooning after having worked in a film called Honeymoon.

Gosh, what have I been letting you readers into. I was supposed to keep all this a closely guarded secret till the D-Day. But when will I get over this habit of writing in my dream? Anyway, I’m happy, I haven’t let out the names of the groom and the bride.

No, please don’t ask me: “Naam kya hai?”

– Komal Nahta

GRAFFITI

The film industry and the

government share a

give-and-take relationship…….

The industry always gives

and the government only takes.

LATEST POSITION

BIWI NO. 1 has written box-office history — from North to South and East to West. Collections maintained marvellously after the flying start it took, and new records have been created at many places. Ladies and youngsters are patronising the film in a big, very big way. Second week opened wonderfully well. In Overseas too, the film has stolen the hearts of the audience. In the UK and the USA, first week collections are more than DTPH almost everywhere. At Cineworld, Feltham (U.K.), the film has grossed more than even KKHH had in its 1st week!

Biwi No. 1 has created havoc in 1st week. It is outstanding in Bombay, Delhi-U.P., East Punjab, C.P. Berar, C.I., Rajasthan, Nizam and Mysore. 1st week Bombay 74,44,340 (100%) from 14 cinemas (6 on F.H.); Ahmedabad 22,33,286 from 5 cinemas, Baroda 2,45,522 (100%), Vapi (gross) 5,75,120, Padra 2,60,057, Bhuj 1,37,346 (83.74%), Bharuch (gross) 3,44,994, Valsad 3,11,865 (94.88%), Bardoli 1,89,353, Patan 1,91,289, Jamnagar 1,58,450, Adipur 1,50,620 (92.82%); Pune 14,53,307 from 4 cinemas (1 in matinee), Kolhapur 2,61,909 (100%), Solapur 4,83,539 from 2 cinemas, Ahmednagar 2,01,489 from 2 cinemas (1 in matinee), Malegaon 2,01,617 (100%), Satara 2,12,758 from 2 cinemas (1 in matinee), Sangli 2,23,020 (100%), Islampur 1,59,532 (100%), Miraj 1,40,722 (100%), Nasik 3,52,901; Bijapur 1,83,137 from 2 cinemas; Delhi 69,66,105 (96.76%) from 12 cinemas (1 on F.H.); Kanpur 8,67,210 from 2 cinemas, Lucknow 5,12,075 (100%), Agra 3,61,281, Varanasi 4,03,429, Allahabad 2,19,788, Saharanpur 2,15,171, Meerut 2,97,262, Bareilly 2,76,973 (79.54%), Dehradun 2,89,180, Gorakhpur 2,38,674, Hardwar 1,74,435, Moradabad 2,72,537, Aligarh 2,99,282, Jhansi 2,08,933, Shahjehanpur 1,36,743, Bulandshahr 1,56,468; Calcutta 29,23,458 from 14 cinemas; Nagpur 12,76,016 from 6 cinemas, Amravati 3,47,176, Akola 2,01,288, Raipur (6 days) 1,94,840, Bhilai (6 days) 1,62,964, Durg 1,60,005; Indore 3,53,000 (4 on F.H.), Bhopal 4,42,606 from 2 cinemas (1 on F.H.); Jaipur 15,09,254 from 5 cinemas, Bikaner 1,74,318; Hyderabad (gross) 53,33,893 from 18 cinemas; Vijayawada (gross) 2,13,646.

Sooryavansham has maintained in Calcutta (where even the first week’s collections were very good) and some stations in the other circuits. 2nd week Bombay 16,12,693 (53.96%) from 7 cinemas; Ahmedabad 4,77,223 from 6 cinemas, Rajkot 74,858 (1st 94,633), Jamnagar 46,727 (1st 60,966); Pune 3,16,129 from 3 cinemas; Delhi 6,72,843 from 7 cinemas; Kanpur 56,421, Lucknow 2,03,335 (1st 2,40,591), Varanasi 74,948, Bareilly 40,166 (14.62%), Dehradun 43,421; Calcutta 20,35,555 from 25 cinemas (1st 29,76,818 from 27 cinemas); Nagpur 2,37,402 from 3 cinemas, Jabalpur 50,263, total 1,08,951, Amravati 94,866 (1st 1,13,879), Akola 92,193, total 1,99,663, Raipur 1,03,520 (1st 1,04,049), Bhilai 60,078, Bilaspur 53,887; Bhopal 55,873; Jaipur 1,21,904; Hyderabad (gross) 4,47,606 from 2 cinemas; Guntur (gross) 73,854, total 1,48,585, Ongole (gross) 77,972, total 1,49,591.

Rajaji 2nd week Bombay 7,50,030 (33.44%) from 7 cinemas (10 on F.H.); Ahmedabad 1,25,857 from 2 cinemas, Rajkot 61,643; Pune 3,48,345 from 3 cinemas (1 in matinee); Delhi 8,46,604 from 7 cinemas (2 on F.H.); Kanpur 1,39,944 from 2 cinemas, Lucknow 99,546, Varanasi 58,578, Bareilly 35,548 (25.62%); Calcutta 1,43,471; Nagpur 77,635 from 2 cinemas, Jabalpur 59,378, total 1,42,728, Amravati 72,361, Akola 70,336, total 1,98,503, Raipur 74,201, Jalgaon 97,423, Bilaspur 54,422; Indore 90,000, Bhopal 47,216; Jaipur 1,71,187 from 2 cinemas; Hyderabad (gross) 1,42,294 from 2 cinemas (1 in noon).

Hogi Pyar Ki Jeet 4th week Bombay 5,85,303 (52.28%) from 3 cinemas (4 on F.H.); Ahmedabad 2,02,670 from 3 cinemas, Rajkot 94,581, Jamnagar 35,072; Pune 98,440 from 2 cinemas; Delhi 4,01,090 from 3 cinemas (2 on F.H.); Kanpur 1,52,807 from 2 cinemas, Lucknow 1,64,429, Varanasi 1,42,575, Meerut 80,502, Bareilly 41,114 (13.56%), Dehradun 52,000 (3rd 93,000); Calcutta 2,17,214 from 3 cinemas; Nagpur 93,835 from 2 cinemas, Jabalpur 1,04,020, total 5,72,271, Amravati 1,24,200, Akola 74,158, total 4,48,045, Raipur 1,34,893, total 7,27,369, Bhilai 80,552, Jalgaon 89,421, total 4,87,877; Bhopal 72,700; Jaipur 1,00,030, Jodhpur 1,08,000, Bikaner 53,582; Hyderabad (gross) 4,85,303 from 3 cinemas.

Sarfarosh 5th week Bombay 28,90,918 (81.50%) from 9 cinemas (10 on F.H.); Ahmedabad 1,76,305 from 3 cinemas; Pune 8,34,034 from 3 cinemas (1 in matinee), Kolhapur 1,17,484; Delhi 9,17,218 from 5 cinemas; Kanpur 1,46,290 from 2 cinemas, Lucknow 2,40,418, Varanasi 1,03,672, Dehradun 88,791 (4th 1,35,000); Calcutta 2,84,271; Nagpur 1,10,914, 2nd week Jabalpur 1,99,497, total 4,38,670, 5th Amravati 1,10,343, Akola 56,019, total 4,81,370, Raipur 41,428, total 4,40,000, Bhilai 19,860, 1st Durg 32,796, 5th week Jalgaon 48,417, 4th week Wardha (6 days) 29,469; 5th Indore 1,42,202 from 2 cinemas; Jaipur 5,87,455; Hyderabad (gross) 7,41,852 from 4 cinemas (1 in noon).

FOUR ARRESTED FOR SELLING ‘BIWI NO. 1’ VIDEO CDs

A police team from Pydhonie, Bombay, on 28th May raided a courier company and recovered pirated video CDs of Biwi No. 1, besides digital video tapes, 198 video CDs and 362 audio CDs of other films. The total value of goods seized was around Rs. 2 lakh. The raid was conducted with the assistance of Vashu Bhagnani, producer of Biwi No. 1, and the Feature Film Copyright Company. Four persons were arrested.

‘SARFAROSH’ TAX-FREE IN DELHI

The Delhi state government has granted Sarfarosh exemption from payment of entertainment tax for a period of 3 months with immediate effect.

Aamir Khan, the hero of Sarfarosh, and the film’s associate director, U.S. Pathik, were in Delhi recently in this connection. Aamir visited Chanakya, Shiela and Anupam PVR cinemas where the film was being screened.

‘SOORYAVANSH’ — THE SUN RISES IN THE EAST

Now this bit of news will surprise many. The latest Amitabh starrer, Sooryavansham, which has fared miserably in many territories, has proved very successful in West Bengal! In fact, if the film’s Bengal distributor, Bijay Khemka, is to be believed, the film’s collections in the first two weeks are so good that it may well go on to become an overflow film there. Sooryavansham, bought by Khemka at an MG royalty of Rs. 45 lakh for West Bengal, has already fetched a share of Rs. 38 lakh in 2 weeks!

This incredible result of the film is not only because the film has been appreciated there but also the outcome of Khemka’s foresight and shrewd pre-release planning. First of all, he changed the film’s title to Sooryavansh and had new posters printed, bearing the new title. “People, especially Muslim audience, have always had some kind of an allergy towards Sanskritised film titles, and I quickly realised that with a name like Sooryavansham, it would be that much harder to pull in the audience,” says Khemka, explaining the rationale behind the move to change the title. Another thing that went in the film’s favour at the box-office in Calcutta was its spaced-out release. Khemka explains, “I could have easily gone overboard like distributors generally do with Amitabh starrers but, I was confident of the film’s merits and knew that a spaced-out release would be best suited for it. Accordingly, I literally hand-picked the cinemas in the territory, keeping in mind that no two cinemas showing Sooryavansham (or rather, Sooryavansh) are within striking distance of each other.”

It is comprehensively evident that Bijay Khemka’s efforts have paid off, and paid off well. This was also the response of Amitabh Bachchan to Bijay Khemka when the latter called the former up in Los Angeles to inform him of the good news.

Sooryavansh is currently running in its third week in Bengal, and Khemka is expecting a slight drop in collections as the ongoing World Cup cricket has entered the interesting Super Six stage. However, the film’s first two weeks have been so encouraging in Calcutta, that there remains no doubt about its smooth sailing in the weeks to come. Like they say — well begun is half done!

YOU ASKED IT

Why do you say (in this column last week) that Hum Dil De Chuke Sanam will take a flying start? The trade insists that its music is not too exciting and you will agree, music today is a key factor in deciding the kind of opening a film will get.

– Let the trade say what it wants to. Ask the public and you will know that the music of HDDCS has been very well received by them.

When was the multiplex policy of the Maharashtra state government announced in the gazette?

– The policy has not yet been gazetted. The gazette is due soon.

Is the great business of Biwi No. 1 the result of publicity hype?

– The publicity helps a film, but no amount of hype can ever benefit a film for more than a couple of days unless the film has merits.

What’s Hot?

♦♦ Sanjay Leela Bhansali’s Hum Dil De Chuke Sanam. Initial trial reports have it that the film is — hold your breath! — a major hit. Get ready for a great start and a greater run, then!

♦♦ Indra Kumar and Ashok Thakeria’s Mann. Its music is growing and may soon become super-hit.

♦♦ Music of Smita Thackeray’s Haseena Maan Jaayegi. The ‘I love you bol daal’ song will soon become a rage. The catchy music will ensure a bumper opening to the film.

DO YOU KNOW?

 * Seven different promotional trailers of Indra Kumar and Ashok Thakeria’s MANN will be aired on DD1 during the live telecast of the World Cup Super Six cricket match between India and Pakistan on 12th June. This is the first time ever that a Hindi film’s promotional trailers would be aired on DD1 during the World Cup live telecast.

* Bengal distributor Bijay Khemka used to be a regular distributor of Hindi films produced in the South, generally those produced by Padmalaya, in the eighties. But he stopped acquisitions in 1990 when the Padmalaya people also stopped producing Hindi films. Khemka restarted buying after nine years, with Padmalaya’s SOORYAVANSHAM this year. And the film is doing very well in West Bengal (he holds the distribution rights for West Bengal and Assam; it opened in Assam this week).

* Like producer Vashu Bhagnani, the C.I. distributor of his BIWI NO. 1 also left no stone unturned to publicise his film on a grand scale. A procession was taken out in Indore city on the opening day last week and the procession was accompanied by a band. The band also played outside the cinema screening the film. Further, specially made BIWI NO. 1 sarees were marketed in the city, and those ladies coming to see the film wearing the special sarees were given free entry!

3-E
Education-Entertainment-Enlightenment

Trailer Ki Kasam

One promotional trailer that’s proving magical for the film’s distributors is that of Veeru Devgan’s Hindustan Ki Kasam. Exhibitors of the various circuits are clamouring to book the film at their cinemas. Why, the East Punjab distributor is said to have covered almost a crore of rupees (!) by way of MGs and FHs two months before the film’s release (on 23rd July). Exhibitors of U.P., too, are picking up the film for their cinemas at fancy prices.

Animals Do The Trick

An interesting bit of observation. Among all the Hindi-dubbed foreign films released in India, the ones which usually manage to do well are the ones portraying some kind of an animal in a central role. Be it the Hindi dubbed versions of Jurassic Park, Jurassic Park: The Lost World, Anaconda or Godzilla, each of these films revolving around a menacing creature (a dinosaur, a huge snake, a gigantic gorilla) has gone down well with our audience. One may infer from the above that our viewers have a penchant of sorts for animals. However, this may be far from the truth. The real reason behind the success of the aforesaid films may be the fact that each of these films offered a spectacular visual novelty, presented in a simple storyline. For some reason, our audience seem to prefer a Hindi dubbed foreign film that deals less with dialogues over the others. Why, as long as the film can be understood without paying attention to its dialogues, it will do even if the creature is nowhere near being menacing, as shown by the success of the funnily titled Hindi dubbed version, Ek Bandar Hotel Ke Andar, of Dunston Checks In. This may also explain why the Hindi dubbed version of Babe (a universal hit about the goings-on in the life of a cute pig) failed to attract viewers. The latter has a lot of dialogues whereas the former is an action comedy. Points to ponder, then?

“….JAANEWALE KI YAAD AATI HAI“
RAJENDRA KUMAR BIDS ADIEU

Jubilee star Rajendra Kumar Tuli, who dominated the film scene from the mid-fifties to the seventies, passed away on 12th July at 3.30 a.m. at Breach Candy Hospital, Bombay, where he had been admitted ten days earlier for respiratory and cardiac complications and a blood ailment. He was 71 and is survived by his wife, son Kumar Gaurav and two daughters.

The funeral, held the same afternoon at the Santacruz crematorium, was attended by a large number of film celebrities, friends and relatives including Sunil Dutt, B.R. Chopra, Yash Chopra, Ramanand Sagar, Amitabh Bachchan, Dharmendra, Mohan Kumar, Naushad, Feroz Khan, Randhir Kapoor, Rishi Kapoor, Manoj Kumar, Rakesh Roshan, Rajesh Roshan, Dara Singh, Chandrashekhar and others.

“Jaanewale kabhi nahin aate
Jaanewale ki yaad aati hai.”

One remembered these memorable lines of late Shailendra, during the final journey of the gentleman star Rajendra Kumar on July 12.

A partition refugee from Sialkot (Pakistan), Rajendra Kumar’s transition to stardom would read like a story of a comic-book hero. Those were the days when Dilip Kumar was the undisputed star. Rajendra Kumar appeared as an extra with Dilip Kumar in Mela (1948) and Devdas (1955) while working as an assistant to director H.S. Rawail. His passport to the industry was a letter of introduction for Rajinder Krishen.

Devendra Goel spotted Rajendra Kumar’s talent for acting and ventured to cast him as lead man in Vachan (1955). Fate ordained him with a spate of jubilees and successes beginning with director Vijay Bhatt’s Goonj Uthi Shehnai (1959), followed in the same year by Devendra Goel’s Chirag Kahan Roshni Kahan, B.R. Chopra’s Dhool Ka Phool (directed by Yash Chopra), director Kedar Kapoor’s Do Behnen and director Jyoti Swaroop’s Santan. There was no looking back after that. The hits that followed in later years were Aas Ka Panchhi, Gharana, Kanoon, Mere Mehboob, Gehra Daag, Sasural, Hamrahi, Aayee Milan Ki Bela, Dil Ek Mandir, Arzoo, Sangam, Zindagi, Suraj, Ganwaar, Gora Aur Kala, Aap Aaye Bahar Aayee, Anjana, Talash and Geet. He had also acted in Mehboob’s Mother India (1957) and a Gujarati super-hit, Mehendi Rang Lagyo (opposite Usha Kiron). Rajendra Kumar turned a producer with Love Story (1981) and launched his son, Kumar Gaurav, as the lead main in it. He had also produced Naam, Jurrat and Phool.

Rajendra Kumar, also known as Jubilee Kumar because a large number of his films turned out to be jubilee hits, was a wise investor. He constructed the Dimple preview theatre and personally used to oversee its maintenance. He also invested in film shooting equipments like cameras and lights. However, due to his simple and unostentatious lifestye, he was dubbed “tight-fisted”.

A well-known fact about Rajendra Kumar is that he was repeated by his producers in Bombay as well as in South, like B.R. Chopra (Kanoon and Dhool Ka Phool), S.S. Vasan of Gemini (Zindagi, Gharana and Shatranj), Sridhar (Dil Ek Mandir and Dharti), Ramanand Sagar (Arzoo, Geet and Lalkar), L.V. Prasad (Sasural and Hamrahi), Venus Krishnamoorthy (Suraj and Saathi), Devendra Goel (Vachan, Pyar Ka Sagar and Chirag Kahan Roshni Kahan), O.P. Ralhan (Gehra Daag and Talash) and Raj Kapoor (Sangam and Mera Naam Joker). Mohan Kumar made five films with him — Aas Ka Panchhi, Aayee Milan Ki Bela, Aman, Anjana and Aap Aaye Bahar Aayee — and the two remained great friends till the end.

Among the many who paid fulsome tributes to Rajendra Kumar were Naushad who said, “He was a simple-hearted gentleman and a talented actor.” Producer S. Raamanathan described him as “a man of fine human qualities, who was a great favourite with South producers. He used to be very co-operative and never behaved like an arrogant star.”

Prime minister Atal Behari Vajpayee condoled the death of Rajendra Kumar and expressed profound grief. I & B minister Pramod Mahajan expressed his grief saying, “The world of cinema has become poorer by his death.” State minister for I & B, Mukhtar Abbas Naqvi, said, “The death of the veteran actor, who swayed the emotions of the cinegoers, is a great loss to the industry.” B.R. Chopra, who cried when he visited Rajendra Kumar’s house on hearing the news of his demise, said that he (Rajendra Kumar) gave very good performances in his two films, Dhool Ka Phool and Kanoon. Mohan Kumar, a close friend of Rajendra, said, “I had worked with him in five films and all of them were hits. He took success in his stride and never let it go to his head. He was a great person and was liked by everyone.” Ramanand Sagar said, “I am proud that out of 25 silver jubilee hits he gave, I had a share of four precious films.” Ashok Kumar, who worked with Rajendra Kumar in a number of films, had a very close relationship with him and began to cry on hearing the news of his death. He said, “I have no words to express my feelings for him.” Shammi Kapoor paid his respects saying, “He was a fine person and a fine actor. The film industry is indebted to him for his immense contribution.”

LATEST POSITION

MANN suffered a lot on account of its poor editing. Yet, first week collections at many places were brilliant. The makers have deleted scenes and two songs (total running time reduced is 29 minutes) but the re-editing seems to have been effected too late in the day.

Mann began to drop mid-week. It is dull in Bihar, C.I. and Rajasthan. 1st week Bombay 66,51,187 (95.75%) from 12 cinemas; Ahmedabad 22,11,239 from 4 cinemas, Padra 2,23,513, Vapi 6,49,904, Rajkot (mat.) 54,505 (1 unrecd.), Jamnagar 1,65,683 from 2 cinemas (1 in matinee); Pune 14,73,353 from 4 cinemas (1 in mat.), Kolhapur 2,56,519, Solapur 3,99,085 from 2 cinemas, Sangli 2,03,000 (95%), Miraj 1,26,000 (92%), Islampur 1,72,151; Delhi 60,89,610 (93.17%) from 11 cinemas (1 on F.H.); Kanpur 6,47,423 from 2 cinemas, Lucknow 5,19,606, full, Agra 3,62,222, Allahabad 2,41,950, Meerut 2,77,311, Bareilly (6 days) 1,66,297 (64.04%), Hardwar 1,26,206, Saharanpur 2,00,006; Calcutta 42,63,319 from 24 cinemas; Nagpur 13,42,667 from 5 cinemas, Jabalpur (6 days) 2,00,062, Amravati (5 days) 2,13,474, Akola 2,51,770, Raipur (6 days; gross) 3,47,886, Durg 1,22,661, Jalgaon 2,75,325, Rajnandgaon (6 days) 1,03,000, Chandrapur 1,99,391; Indore 3,12,084 (3 cinemas on F.H.), Bhopal 1,89,993 (1 on F.H.); Jaipur 11,17,674 from 4 cinemas, Bikaner 2,42,328; Hyderabad (gross) 45,28,309 from 18 cinemas (2 in noon), total share of 7 districts is over 40 lakh; Vijayawada (gross) 2,98,998.

Khaufnaak Raat 1st week Bombay 5,23,420 (42.29%) from 4 cinemas; 2nd week Delhi 86,231.

Benaam 2nd week Bombay 3,93,205 (47.29%) from 4 cinemas; Ahmedabad 28,157; 1st week Pune 2,72,329 from 3 cinemas; 2nd Delhi 1,64,420 from 2 cinemas (2 on F.H.); Kanpur 30,189, Agra 39,131, Allahabad 15,885, 1st Bareilly 55,087 (24.64%); 2nd Calcutta 70,300; 1st Nagpur 1,50,115 from 2 cinemas; Bhopal 82,765; Bikaner 40,171.

Haseena Maan Jaayegi 3rd week Bombay 28,66,379 (71.14%) from 8 cinemas; Ahmedabad 6,54,095 from 6 cinemas, Rajkot 89,313, Jamnagar (mat.) 9,566 (1 unrecd.); Pune 6,04,186 from 4 cinemas (1 in mat.), Solapur 1,39,261 from 2 cinemas (1 in mat.); Delhi 26,91,866 from 8 cinemas (2 on F.H.); Kanpur 2,95,750 from 3 cinemas, Lucknow 2,95,804, Agra 2,20,000, Allahabad 1,35,547; Calcutta 2,34,674; Nagpur 98,004, Jabalpur 92,412, Amravati (6 days) 1,09,722, Akola (27 shows) 1,00,007, Raipur (gross) 1,70,295, Durg (gross) 41,484, Jalgaon 94,000; Indore 1,18,874 (1 on F.H.), Bhopal 2,08,263 from 2 cinemas; Jaipur 2,69,398, Ajmer 87,958, Bikaner 1,25,210; Hyderabad (gross) 6,03,599 from 4 cinemas.

Hum Dil De Chuke Sanam 4th week Bombay 49,39,255 (84.34%) from 11 cinemas; Ahmedabad 15,65,941 from 5 cinemas, Vapi 1,62,326, Rajkot 1,75,560 from 2 cinemas (1 in mat.), Jamnagar 70,364, Adipur 1,34,103; Pune 8,25,378 from 4 cinemas; Delhi 21,50,359 from 9 cinemas; Kanpur (6 days) 1,68,240 from 2 cinemas, Lucknow 3,86,898, Agra 2,05,011, Allahabad 80,622, Bareilly (6 days) 46,033; Calcutta 7,70,466 from 7 cinemas; Nagpur 1,55,534 from 2 cinemas, 2nd Jabalpur 2,45,967, 4th Amravati (6 days) 1,28,255, Akola 1,05,512, Raipur (6 days; gross) 1,76,697, 3rd Wardha 39,905, 4th Chandrapur 48,234; Indore 1,16,217, Bhopal 1,44,860; Hyderabad (gross) 4,46,865 from 3 cinemas (1 in noon).

Mahashaktimaan (dubbed) is fair. (Its English version, The Matrix, is excellent.) 1st week Ahmedabad 1,34,387 (57%), Baroda 93,412 (82%); Kolhapur 86,536 (35%), Solapur 1,33,263 (89%), Sangli 84,686 (46%), Ichalkaranji 68,731 (50%), Malegaon 53,966 (48%); Belgaum 65,356 (82%); Indore 77,896 (40%); Aurangabad 1,20,990 (49%).

_____

Bindhast (Marathi; tax-free) 4th week Bombay 11,80,793 (52.46%) from 8 cinemas; Pune 1,15,678, Solapur 46,237.

ADITYA PANCHOLI ARRESTED, FREED ON BAIL

Aditya Pancholi was put in police lock-up at Santacruz (Bombay) on the morning of 15th July for injuring two police constables in a car accident at 1.30 a.m. According to the police, Aditya Pancholi was driving in an inebriated state. He is said to have first hit the motorcycle of the police constables, then an autorickshaw and then a dumper truck. Pancholi told the police that he had not committed any criminal act and that it was an accident. He was freed on bail the same day.

BHOOMI PUJA OF TWO CINEMAS IN SHIVPURI

Premnarayan and Radheshyam Rathod alias Munia performed bhoomi puja for two cinemas at Shivpuri. The puja was performed at the hands of Gajanand Patel. Munia already owns Shriram Smriti, Jyoti Talkies and Satyam Talkies at Guna; Laxmi Mandir and Mahesh Mandir at Ashok Nagar; and Laxmi Talkies at Aron.

The two cinemas at Shivpuri will come up within six months, according to Munia, who is also planning to construct some more cinemas at other centres of C.I.

ASHOK VASHODIA APPOINTED SECRETARY TO HRITHIK

Ashok Vashodia has joined as secretary to Hrithik Roshan. He can be contacted on phone nos. 631-4362 (residence) and 649-2352/605-0393 (office). Cellphone: 98200-45797. Fax: 605-0391.

YOU ASKED IT

Which is the most ideal and cost-effective medium for a film’s release publicity?

– The most cost-effective is paper publicity but the most effective is, of course, the television medium.

What is the difference between the Kargil war heroes and our film heroes?

– While the Kargil hero fights for defending the line of control (LoC), the film hero fights for his price and knows no line of control!

What do you predict for the second half of the year?

– It will be good, very good. So relax!

Among the old-time directors, who is still going strong?

– Only Yash Chopra. Who else?

DO YOU KNOW?

* The already big screen of Metro, Bombay, will assume a bigger dimension for the screening of Subhash Ghai’s TAAL. The screen will become bigger by 33% in keeping with the film’s grandeur. The screen is being changed by the cinema after a gap of 42 years.

* After playing football in New Delhi, cricket stars will take on the Bengali film stars for the benefit of army jawans’ welfare on August 8 in Calcutta. Organised by Eastern India Motion Pictures Association (EIMPA) in collaboration with the Federation of technicians and workers of Tollygunge, the match will feature Mithun Chakraborty, Prasenjit, Ranjit Mullick and company on one side and cricketers Kapil Dev, Ajay Jadeja, Laxmi Ratan Shukla and, of course, Saurav Ganguly and company on the other. In Calcutta, it will be cricket.

* In an effort to show solidarity with our jawans in Kargil, producer K.P. Singh and director Kundan Shah called off a day’s shooting of HUM TO MOHABBAT KAREGA last week in Hyderabad, to participate in a special rally arranged by the Andhra Pradesh Film Chamber of Commerce. The entire unit, including stars Bobby Deol and Karisma Kapoor, spent the day collecting funds for the noble cause.

* For the first time ever in the history of Gujarati films, a father and son are being pitted against each other at the box-office. This week’s Gujarati releases have father Naresh Kanodia (in MAN SAAYBA NI MEDIYE) and son Hitoo Kanodia (in SENTHI NU SINDOOR)!

MIX MASALA

ACHIEVEMENT INDEED!

The other day, we received a telephone call from a rather jubilant producer of a Mithun starrer. “God, I am so happy!”, he gushed over the phone. We would have thought that his film had become a hit at the ticket-windows or something, but then… So, what was the reason behind his ecstacy, we probed. “My film has not run into a single delivery problem,” he exclaimed, adding, “Saari deliveries smoothly ho gayee. That’s cause for celebration.” Yes, if it’s a Mithun starrer these days, we guess, smooth deliveries themselves are an achievement!

Many Important Awards For Hindi Films

---

‘KUCH KUCH HOTA HAI’ BAGS NATIONAL AWARD
‘Godmother’ Picks up Six

Yash Johar’s Kuch Kuch Hota Hai, with which son Karan Johar made a remarkable debut as director, has bagged the National Award for the best popular film providing wholesome entertainment. It has also won the best singer (female) award for Alka Yagnik.

Shyam Benegal’s Samar has been adjudged the best film. It has also bagged the best screenplay award for Ashok Mishra.

Ajay Devgan shared the best actor award for his performance in Zakhm with Mammootty for his enactment of the title role in Dr. Babasaheb Ambedkar (English), directed by Dr. Jabbar Patel. Dr. Babasaheb Ambedkar has also bagged the best art direction award for Nitin Desai.

Godmother, directed by Vinay Shukla, won the best actress award for Shabana Azmi. The film also won the best feature film award in Hindi in the language category. It has won four other awards: best lyrics (Maati re maati) award for Javed Akhtar; best music for Vishal Bhardwaj; best singer (male) for Sanjeev Abhyankar; and best editing award for Renu Saluja. In all, Godmother has bagged six awards.

The Nargis Dutt award for the best film on national integration has been won by Zakhm, produced by Pooja Bhatt.

The best supporting actor award has gone to Manoj Bajpayee for Satya, and the best supporting actress award, to Suhasini Mulay for Hu Tu Tu.

Mani Ratnam’s Dil Se.. has won two awards: for best cinematography (Santosh Sivan) and for best audiography (R. Sridhar).

It is after a gap of several years that Hindi films in 1998 have bagged most of the important awards.

OTHER AWARDS

Besides winning the best cinematography award for Dil Se.., Santosh Sivan has bagged an award for direction for Malli (Tamil) which has been selected as the best environmental film. Malli has also won an award for child artiste baby Amma (Shwetha).

Rajeevnath has won the best director award for Janani (Malayalam). The Indira Gandhi award for the first film of a director has gone to Venu for Daya (Malayalam) which also won the best costume award for S.B. Satheesan.

The best children’s film award has been won by Virendra Saini for Kabhi Pass Kabhi Fail. Raja Sen’s Atmiyo Swajan (Bengali) has won an award for the best film on family welfare. Chintavishtayaya Shyamala (Malayalam) has got an award for portraying a woman’s struggle.

The 46th National Film Awards were announced at a press conference in New Delhi on July 16. Information and Broadcasting minister Pramod Mahajan and chairpersons of the various juries addressed the conference. Minister of state for I & B Mukhtar Abbas Naqvi was also present.

A record number of 114 feature and non-feature films in different Indian languages and English were viewed by a jury headed by D.V.S. Raju. Shaji N. Karun headed the non-feature jury. M.T. Vasudevan Nair headed the jury to select the best book on cinema and best cinema journalist.

BEST BOOK

In The Forest Hangs A Bridge won the best non-feature film award while Dr. Kishore Vaswani’s Cinemaee Bhasha Aur Hindi Samvaadon Ka Vishleshan was adjudged the best book on cinema. Meenakshi Shedde was chosen the best film critic.

3-E
Education-Entertainment-Enlightenment

Cut Short

Following the release of Mann last Friday, producer-director Indra Kumar and producer Ashok Thakeria took off for London and New York for the film’s premiere shows there. But after reaching London, Indra Kumar had to cut his trip short and return to India — to shorten the film! In keeping with the general consensus, Indra Kumar went a-trimming. And he finally effected cuts to the extent of 29 minutes! Two songs have been completely chopped off and scenes/shots of a total running time of 19 minutes have been thrown off.

Curiously enough — well, actually, not so curiously, after all — some distributors did not even wait for Indra Kumar’s advice. They exercised the cuts, apne mann se!

Operation Oppositions

Producers are wary of releasing their films in the face of oppositions. And what exactly constitutes an opposition? Well, for decades now, anything and everything, so to say, is construed an opposition to the box-office. Ramzan is an opposition, rains are an opposition, so are examinations, so is television, so are pre-Diwali days, so are Navratri days (especially in Gujarat and Maharashtra) and so also Ganpati festival (in parts of Maharashtra and, these days, in other states too). There are plenty of other oppositions too. But actually, after Vashu Bhagnani braved the World Cup cricket and brought his Biwi No. 1 in direct opposition of the event, is any opposition really an opposition? The collections of Biwi No. 1 were phenomenal all through the cricket days. That India did not enter the final could be one reason, but what about the days when India was still in the race? It would, therefore, be in the fitness of things if producers and distributors did some rethinking on the issue of oppositions and deduced whether it is actually right to keep their films away from the so-called oppositions and select release dates that don’t clash with the oppositions.

The ‘Taal’ Tale

When will Taal see release? And when should it be released? The answers to both the questions cannot be given definitively as of now because of the following given situation:

Subhash Ghai was in a fix whether to get Taal on August 6. His distributors insisted that Ghai should release Taal on 6th. That’s because if Taal were to be postponed, the distributors would have to let go of the chain of cinemas booked in their circuits and would, obviously, not be able to get a new chain that would be good enough, because of the line-up of releases.

So, Subhash Ghai, as of now, is determined to release Taal on 6th.

But exhibitors and others, who wish well for Subhash Ghai, are strongly of the opinion that Taal should not come on 6th. Why? They think that the promotion of ‘the beat of passion’ is yet to reach a crescendo which may not be possible till 6th August.

Many voices and whispers in the trade seem to strongly suggest, “Let the promotion be in sur and taal with the big canvas of the film!”

Dimple Luck

Rajendra Kumar’s daughter, Dimple, was undoubtedly his lucky mascot. And this can be proved by two examples. Before he built himself a new bungalow on Pali Hill, Bandra, he used to live in a bungalow on Carter Road, which was known as Dimple House. Till the time he lived in Dimple House, he rolled in great luck. One after the other, his films used to click and, as an actor, he was in great demand. It was only after he reluctantly sold the bungalow to Rajesh Khanna that Rajendra Kumar moved to his new bungalow at Pali Hill. Incidentally, when Rajendra Kumar sold the bungalow to Rajesh Khanna, he laid down a condition that the bungalow’s name be changed. Rajesh Khanna, therefore, changed it to ‘Aashirwad’. As fate would have it, Rajesh Khanna was to ultimately marry a girl named Dimple.

Much later, Rajendra Kumar constructed, with great love, the ultra-modern preview theatre, which he named ‘Dimple’, in his bungalow premises. This preview theatre is a great favourite of the industry folks even today.

It was a common sight to see the man taking a round of his preview theatre every evening and inspecting every nook and corner of the floor. If he found anything littered there, he would himself pick up the litter and throw it in the dustbin. Why, one even remembers seeing him keeping the bathroom slippers in their place! So much did he care for ‘Dimple’, the name that spelt luck for the jubilee star!

Title Of The Week

Bhooton Ka Honeymoon!

What The Left Hand Does…

So often do we observe — quite hilariously, might we add — how different government agencies take ridiculously contrasting stances on the same issue. Mahesh Bhatt’s Zakhm has bagged the Nargis Dutt National Award for 1998 for the best film on national integration. But wait a minute! How can that be? After all, wasn’t it another government agency — the CBFC, of course — which had not so long ago objected to the communal angle in the same film? Perhaps, there is some logic in the manner in which the government thinks, but try as we may, we fail to see any. Quite often, as in this instance, it seems to be just a case of — what the left hand does, the right hand does not know!

Gujarat Ma Hit Ne Halol Ma Jalso!

Lucky Studios at Halol (in Gujarat) looked decorated for a marriage. The excitement in the atmosphere was no less than what one witnesses at a weddinig. Well, in a way, the occasion was also a celebration of a marriage — top Gujarati film producer-director Govindbhai Patel’s marriage to success! For years now, the two — Govindbhai and Success — have lived like man and wife, inseparable, made-for-each-other.

After producing several hits almost in a row, Govindbhai delivered his biggest hit last year when his Desh Re Joya Dada Pardesh Joya hit the screens and simultaneously, the bull’s eye. The film went on to write new box-office history not just in Gujarat and Saurashtra but in Overseas, too. Not just the masses which usually patronise Gujarati films, this one, for the first time, also brought classes by the bulk to the cinemas. If the film became a blockbuster, its music, too, made the cash registers jingle as never before.

It was the celebration of the golden jubilee of Desh Re Joya Dada Pardesh Joya for which Lucky Studios on 13th July was bedecked like a bride. Govindbhai Patel, who turned a director with DRJDPJ, was a picture of humility as he, with his equally humble family, welcomed the guests who had come from all over Gujarat and Saurashtra to partake in the jubilee function which was preceded by the muhurt of Govindbhai’s next, Gaam Ma Piyaryu Ne Gaam Ma Sasaryu.

Rajeshbhai of Galaxy Pictures, Rajkot, sounded the clapper-board for the muhurt shot as Jeevanbhai Patel and Mrs. Govindbhai Patel cracked the auspicious coconuts, and Komal Nahta, editor of Film Information, switched on the camera. Govindbhai himself directed the first shot — a dramatic one — on Roma Manik and Hiten Kumar. The film stars four more heroes (Sameer Rajda and three others) and four other heroines of which one, Nandini, will be introduced in the film. Another new face in the film will be Heera alias Hiralal Thakkar who is a name to reckon with on Gujarati stage. Govindbhai had approached Alok Nath and Paresh Rawal for the role but, unable to get their bulk dates, he ultimately opted for Hiralal Thakkar and is more than happy with his choice.

Muhurt and lunch over, the latter part of the day was devoted to the jubilee celebrations. Govindbhai had got made trophies for every cinema where the film had had a meritorious run (and they were plenty) and every music shop which recorded outstanding sales of DRJDPJ audio cassettes, besides the film’s artistes, technicians and spot boys. Most of the trophies were presented by the lead pair of DRJDPJ, Roma Manik and Hiten Kumar. Govindbhai made an exception in the case of the trophy of late actor Narayan Rajgor who died last year following a freak accident on the sets of Desh Re Joya Dada Pardesh Joya. In fact, the function started with Govindbhai paying tributes to his “dear friend Narayan Kaka”. He could barely complete two sentences of his opening address when he burst into tears. In a quivering voice and with tears rolling down his cheeks, Govindbhai managed to convey to the audience that he would start off the trophy distribution function by personally presenting Narayan Kaka’s trophy to his son, Manish. A tearful Manish Rajgor came up on the dais and accepted the trophy even as several persons on the dais and in the audience were seen wiping their moistened eyes.

After the function, Govindbhai explained how thrilled he was because God had showered blessings on his new film in the form of rains which poured as soon as the muhurt shot was canned! Govindbhai also let us in to the secret of his success. “I do my home-work thoroughly before shooting begins,” he revealed and added, “God is great. He has been very obliging towards me.” And for GMPNGMS, Govindbhai will be immersed in its shooting for 50 days now. Before the shooting, he has had his script (story and screenplay are by Govindbhai himself, while the dialogues have been penned by Arvind Barot who is also the film’s lyricist and music director) cent per cent ready. Why, Govindbhai even plans to mix the film in Dolby sound, which will make this as the first Gujarati film in Dolby sound. For this, he has had detailed technical discussions so that due care may be taken while shooting. It was exhibitors D.Y. Pattani, Balaporia and Girishbhai, who prevailed upon Govindbhai to make his new film with Dolby sound. “The three of them volunteered to lend me some lakhs for the Dolby mixing and were willing to forgo the amount if the film did not do well when released!”, disclosed an ecstatic Govindbhai.

GMPNGMS will also be made in Marathi but Govindbhai will shoot the Marathi version after about 20 days of completing the Gujarati version’s shooting. And then, he will make the Rajasthani version of Desh Re Joya Dada Pardesh Joya. And one fine day, Govindbhai might just make a Hindi film too. “If I ever do so, it will be with Aamir Khan,” he smiles.

– Komal Nahta

DIL HI DIL MEIN

Sri Surya Movies’ Dil Hi Dil Mein (partly dubbed) is a love story where the romance begins and develops via the internet. A rich college-going girl and a poor college-going boy become friends on the net and soon, their friendship turns into love although they do not meet each other personally. Gradually, once they realise that they both are from the same city, they even start exchanging glances and smiles whenever they cross each other. Fate plays a cruel joke on the poor boy when he is forced to sacrifice his love. But in the end, the two lovers unite in matrimony.

The film’s greatest drawback is that a very small section of the audience would be able to appreciate the role internet can play in initiating romance. When a majority among the masses isn’t even aware of computer operation, to assume that it will appreciate and comprehend the meaning and importance of internet, chats on the net and e-mails is foolhardiness. Even those who are knowledgeable about the net will find the pace so slow and irritating that the internet romance will lose its freshness for them. The film reminds of Sirf Tum in the initial reels (so long as the lovers do not meet). Dialogues are ordinary. Comedy is very feeble. Emotions fail to touch the heart.

Sonali Bendre looks extremely pretty and also acts very well. Kunal looks too immature for the hero’s role. His performance is average. Johny Lever is very loud and does not raise laughter; rather, he gets on one’s nerves with his performance as well as get-up. Anupam Kher gets limited scope and is alright. Nasser plays Sonali’s father effectively. Rajoo Shreshtha, Chinni Jain, Kalpana Iyer and the rest are average.

Kathir’s scripting and direction are both too ordinary to merit any discussion. A.R. Rahman’s music is average. Song picturisations, however, are heavenly and so are the locations on which the songs have been picturised. P.C. Sreeram’s camerawork is extraordinary. Production values are grand. Editing needed to be much sharper. Dubbing is so-so.

On the whole, Dil Hi Dil Mein is a dull hi dull fare and will find the going very tough.

Released on 21-4-2000 at New Empire and 3 other cinemas of Bombay by Sri Surya Movies thru Shringar Films. Publicity: so-so. Opening: fair. …….Also released in Bengal, C.P. Berar, C.I., Rajasthan and Nizam.

ASHA PAREKH, RAM MOHAN RESIGN FROM CINTAA

Asha Parekh, chairperson of the Cine and TV Artistes’ Association (CINTAA), Ram Mohan (general secretary) and actress Shammi tendered their resignations from the Association due to allegations of malfunctioning against them. “The charges, though baseless, are serious,” Ram Mohan told Information before wryly adding, “In any case, change is the order of the day. The old must give way to the new — better sooner than later. Yet, I must admire the efforts put in by Asha-ji, Amrish-ji (Puri) and Mithun, in particular. It was largely on their initiative that we could re-christen our body from the Cine Artistes’ Association (CAA) to Cine & TV Artistes’ Association (CINTAA), reopen our old office at Famous, Mahalaxmi, and disburse a pension of Rs. 1.25 lakh to several senior, retired artistes. In case the young Turks, who have cast aspersions on our integrity, are able to not only carry on the show but also improve upon our humble efforts, I will personally have no complaints whatsoever. I wish them the very best from the bottom of my heart and bear no ill-feeling towards anyone,” concluded Ram Mohan. Repeated efforts to contact Asha Parekh proved futile.

‘HUM SAATH-SAATH HAIN’ SILVER JUBILEE

Rajshri Productions’ Hum Saath-Saath Hain, written and directed by Sooraj R. Barjatya, and starring Salman Khan, Karisma Kapoor, Tabu, Saif Ali Khan, Sonali Bendre, Mohnish Bahl, Neelam, Mahesh Thakur, Reema and Alok Nath, entered 25th week at many stations in the country on 21st April. The film has music by Raamlaxman. It is produced by Kamal Kumar Barjatya, Rajkumar Barjatya and Ajit Kumar Barjatya.

‘KAHO NAA…PYAAR HAI’ SCORES A CENTURY!

Producer-director Rakesh Roshan’s runaway hit, Kaho Naa…Pyaar Hai, starring newcomers Hrithik Roshan and Amisha Patel with music by Rajesh Roshan, is celebrating 100 days all over today (22nd April). The film is still going strong at several places.

JAL MISTRY NO MORE

Cinematographer Jal Mistry passed away on 13th April in Bombay following a heart attack. He was 76. He was the younger brother of late cinematographer and director Fali Mistry. He is survived by another brother who is based in London. Although Jal was a Parsi by birth, his funeral was performed (on 16th April) according to Hindu rites, as per his wishes.

Among the notable films photographed by Jal Mistry were Allahrakha (1986), Jheel Ke Us Paar (1973), Heer Ranjha (1970), Baharon Ke Sapne (1967), Aakhri Khat (1966), Uran Khatola (1955), Aandhiyan (1952) and Barsaat (1949).

NEW DRIVE-IN CINEMA IN SURAT

A new Drive-In Cinema is due to be inaugurated in Surat next month. The cinema is designed and constructed by Creata Architects, Ahmedabad.

Incidentally, the first Drive-In cinema in India came up in 1973 in Ahmedabad. It has a 141′ x 62′ screen and a capacity of 700 cars and 1,000 seats.

ANNOUNCEMENT & LAUNCHING

‘Mujhe Kuch Kehnaa Hai’ Launched With Recording

Producer Vashu Bhagnani’s Mujhe Kuch Kehnaa Hai, to be directed by Satish Kaushik, was launched on April 21 with a song recording at Sahara. The film introduces Tushar, son of Jeetendra, as the lead man opposite Kareena Kapoor. Tushar, who was present on the occasion, told the press that his role in the film was akin to his real-life character. Tushar took his acting lessons from Roshan Taneja who has groomed many present-day acting talents.

The first song, tuned by Anu Malik, was rendered by Babul Supriyo. It was penned by Sameer. Banner: Puja Films.

PRODUCTION NEWS

‘Champion’ Climax

The action climax of Shree Shiv Bhakti Films’ Champion was shot till April 20 in a 10-day schedule at a graveyard set erected at Film City. Action director Tinnu Verma supervised the shooting. Now, only two songs remain to be picturised to complete the film. Starring Sunny Deol, Manisha Koirala, Kashmira Shah, Rahul Dev, Vikram Gokhale, Surendra Pal, Tom Alter, A.K. Hangal, Anil Nagrath, Dina Pathak, Abhishek, Neha Sharad, Rakesh Pandey, Vivek Shauq, Panni, baby Tanvi and Deepak Parashar, the film is being produced by Sujit Kumar and directed by Padam Kumar. Music: Anu Malik. Lyrics: Javed Akhtar. Dialogues: Sanjay Masoom. Cinematography: Thiru. Dances: Ahmed Khan and Raju Sunderam.

‘Dhai Akshar Prem Ke’ 24-Day Schedule Over

Producer-director Raj Kanwar picturised two songs and scenes for Inderjit Film Combine’s Dhai Akshar Prem Ke on five different sets at Kamal Amrohi and Filmalaya Studios. A huge haveli, a church, a hospital, a gigantic bedroom and a huge modern hall were specially erected for the marathon 24-day schedule which concluded on April 13. The entire cast participated alongwith junior artistes and dancers. The film stars Abhishek Bachchan and Aishwarya Rai in the lead, with Anupam Kher, Tanvi Azmi, Neena Kulkarni, Sushma Seth, Himani Shivpuri, Harish Patel, Supriya Karnik, Dalip Tahhil, Inder Sudan, Shakti Kapoor and Amrish Puri. It has music by Jatin Lalit, lyrics by Sameer, story by Raj Kanwar, scenario by Ratna Rajaiah, dialogues by Jainendra Jain, cinematography by Ishwar Bidri, art by R. Varman, action by Bhiku Verma, editing by Kuldip Mehan and sound by Jagmohan Anand. K. Pappu is the film’s co-producer.

YOU ASKED IT

The film industry used to cry hoarse and even today cries that satellite channels and DD have ruined its business. But, on the other hand, sale of satellite and DD rights of films fetches huge revenues to the producers. Isn’t this a paradox?

– Those crying are distributors and exhibitors because they don’t get to share in the revenues from sale of satellite and DD rights. The ones making the money are the copyright holders or, in other words, the producers.

When will Yash Chopra’s studio be ready?

– Work on the studio has not even begun. Yash Chopra has bought a place in Andheri, Bombay, for constructing a studio but work on the same has not yet started.

Is there more money in films or television serials?

– Money has to be in one’s fate, basically. Then, whether it is films or television serials, it hardly makes a difference.

Why is no Rajasthani film becoming a hit these days? Does it mean, it is the end of the road for Rajasthani films?

– No Rajasthani film has done well for a long time because no good film has been made. It is not as if a good Rajasthani film has bombed. So, it is definitely not the end of the road.

Two Stars And A Full Moon

The venue was the open-air ground of The Club at Andheri, Bombay. The occasion was the music release of a film that stars two of the most awaited star-children together. The mood, therefore, was very upbeat, the excitement, very palpable.

J.P. Dutta chose the night of 18th April when the moon was in full bloom, to launch the music of his Refugee and to introduce his two new stars to the world. Abhishek Bachchan and Kareena Kapoor were first seen on the screen when glimpses of the making of Refugee and excerpts of its songs were shown to the invitees at the music release function. It was after a fairly long wait and many speeches later that the two star-children were called up on the dais to greet the invitees.

Abhishek, wearing a black suit and a rare confidence, addressed the gathering in English (was it because the film’s title is English?) and thanked his director for the break. Since Kareena Kapoor preferred not to make a speech like all the other unit members, Abhishek spoke on her behalf as well.

The music was released formally by the star-parents of the two discoveries. Amitabh and Jaya Bachchan released the music cassettes whereas Randhir Kapoor and Babita released the CDs of Refugee. Jaya specially flew for the function from the US where she had gone to present stage shows of the two plays in which she plays the title role, Maa Retire Hoti Hai and Dr. Mukta. The music of Refugee is being marketed by HMV.

J.P. Dutta held centre-stage for a fairly long time, briefing the guests about Refugee, his two new stars and the other stars and unit members of the film. His father, O.P. Dutta, who has written the dialogues of Refugee as of all of J.P.’s earlier films, was in great mood and he regaled the audience with his humour-laced speech. Jackie Shroff revealed how the camels in the film had given him a stiff back during the shooting schedules. Sunil Shetty exclaimed emphatically that two stars had been born.

Ashish Vidyarthi, dressed in Rajasthani attire, played the master of ceremonies, speaking intermittently in Marwari and English. Anu Malik was gracious enough to give all the credit for his melodious music in the film to J.P. Dutta who, he said, knew to extract work out of him. He repeatedly thanked J.P. and lyricist Javed Akhtar.

Now a word about the music. It is very Indian, melodious and of the kind which is bound to grow on the listener. There’s a qawwali which should definitely reach the top of the charts. Panchhi nadi hawa ke jhonke and the Taal numbers are also excellent. Abhishek and Kareena look lovely together. Bachchan Jr. plays a Hindu from India. He is in love with Kareena who plays a Muslim girl from Pakistan. The qawwali forms part of the climax, it is learnt.

All said and done, it was one full-moon night with a marked difference. Unlike other such nights every month when stars in the sky almost stop shining due to the brilliance of the full moon, 18th April saw two rising stars shine brighter on the earth than even the moon in the sky.

3-E
Education-Entertainment-Enlightenment

Javed Moves — And How!

A poignant document on the plight of street children in India. And Javed Akhtar amassed a fortune — Rs. 32.50 lakh! A windfall for any Indian film writer. Well, Javed Akhtar ‘earned’ this grand amount of money not for — as you must have assumed — a script or a book he may have written. He collected this money in just one instalment and in no time. Javed Akhtar ‘earned’ this royal sum for a moving speech he recently made at the Lions Club of Enfield in the U.K. The Club had invited Javed Akhtar to address a gathering of its members and he spoke on the topic of ‘street children in India’. The members were so moved by Javed’s speech that they quickly collected 50,000 pounds for aiding the street-children. It is said that a wise writer’s words move even the mountains. But ever heard of a writer’s spoken words moving people so much as to initiate them into removing their wallets from their pockets?!

Javed’s Punches

Here’s another one on Javed Akhtar. The writer was recently invited to recite his poems at a function held in Delhi to bid farewell to the retiring Rajya Sabha members. Before he could start reciting his poems, he looked around the hall and said, “Normally, at public gatherings, I greet two or three VIPs by their names at the start of my speech/recitation and generalise the others by referring to them with the words ‘and all my friends’. But today, every person here is a VIP. So, I can either address everyone by name, or recite my poems, not do both. I, therefore, start reciting my poems right away, if you please.” The humour was well-acknowledged by the VIPs who included prime minister Atal Behari Vajpayee and home minister L.K. Advani. At the same function, Javed delivered another punch by saying, “I am happy that the people whom the whole of India listens to, would be listening to me today. And I am happier because I would be listened to by those who do not listen to each other!”

House Full Or Fooling The House

The dancing hero is at it again. For his recent release, the guy purchased the unsold tickets in cinemas of Bombay to paint a rosy picture of the film. On Tuesday (18th April), the hero ordered that unsold tickets worth Rs. 21,000 in one single (matinee) show of a Bombay cinema be ‘torn’ so as to project it as a house-full show. Imagine the bewilderment of our staffer, who had gone to see the film at the cinema, when he saw the ‘house-full’ board on the outside and a far-from-house-full crowd inside.

A Father-Son Day

April 21 was a day of launching for baap and beta, Jeetendra and Tushar Kapoor. During the day, Shri Siddhivinayak Films’ maiden venture, being presented by Jeetendra, went before the camera at Filmistan Studios. The film is produced by Jeetendra’s wife, Shobha Kapoor, and daughter, Ekta Kapoor. While the launching rituals were being performed in Bombay, producer Ekta was away on the seven hills of Tirupati, offering prayers to Lord Balaji for the success of the Kapoors’ venture, starring Govinda and Sushmita Sen and directed by David Dhawan, and also for her brother, Tushar.

In the afternoon, Jeetendra’s son, Tushar Kapoor, was launched as the leading man, opposite Kareena Kapoor, in Vashu Bhagnani’s Mujhe Kuch Kehnaa Hai.

INFORMATION MEETS

“I think, I picked up the basics of cinema at a young age almost subconsciously”

– B.R. CHOPRA

Dr. SHIVAJI SEN-GUPTA

As the millennium, that has just gone by, stepped gingerly into its teens, Baldev Raj Chopra stepped into this world on April 22, 1914 in a milieu which barely hinted that he would be honoured with the prestigious Dadasaheb Phalke Award one day. His father was in government service, and B.R. had been groomed to be an ICS officer rather assiduously. He was a brilliant student and hence his success in this stiff examination was considered a foregone conclusion. Few could then perceive the strange designs of destiny! A freak bout of ill-health prevented B.R. from appearing for some papers of the examination and the depressed, despondent young man embarked on the tangential path of film journalism. To date, he remains the only successful filmmaker who has his roots in the print medium. No doubt, umpteen articles and interviews have appeared in the last few months, extolling his deeds; yet the objective of this interview is to assemble some insights of how and why B.R., who completes 86 years today, was drawn to the liveliest art.

Excerpts from our conversation:

To rephrase just one word from the introduction you wrote for your DHARMPUTRA: “The best way to start this interview is to start from where it started!”

Well, actually I was always very fond of writing — right from my student days. I recall writing articles mainly on cinema and sending them to various magazines. New Theatres used to publish a film magazine called Varieties, edited by Mr. Sanyal, and I distinctly remember sending them my first ambitious article titled ‘Around the Indian Screen’. You can well imagine how disappointed I was when it was not published! Nevertheless, I sent them another article on Rattanbai — but even that did not see the light of day. Refusing to accept rejection, I sent them yet another piece — a review of Swarag Ki Sidi, directed by J.K. Nanda; this was a rather scathing review and I mentioned that only New Theatres was capable of making good pictures. You can imagine how pleasantly surprised I was when I received a letter of apology from Mr. Sanyal and a complimentary copy of Varieties in which all the three articles were published! Apparently, my articles had not reached Calcutta on account of the vagaries of the postal department. In hindsight, that was one of the most satisfying days in my life.

But did you not contribute to magazines published in Lahore? After all, you were studying in the Government College there.

Yes, I did and therein lies an interesting story. When I was in my final year of M.A., a gentleman named N.S. Suri, who was running an Urdu magazine called Filmstage and had been reading my forays in film journalism, approached me to edit 40 pages in English for a special annual number of Filmstage. I used to go to his press and spend a couple of hours every evening after attending my classes at college. Suri was keen to reach out to a wider audience and that is the reason he had decided to spread his wings. He was happy with my work and when the issue was packed, he presented me with a cheque of Rs. 250, a princely amount in those days. I was naturally thrilled and I went to the Government College the next day and showed this cheque to my friends, teachers and, above all, my principal, H.L.O. Garrett, who, I must say, was all praise for my ‘earn while you learn’ approach and even singled me out for a special mention at the College assembly. He was a very affectionate and learned man and since he had planned to retire and return to England, he used to always tell me, “Meet you in London next year!” It was common knowledge that I was going to appear for the ICS exams.

Before I forget, I must add that the Filmstage people later felt, they had underpaid me! So they got in touch with me again and presented me with a Ranken suit piece, shirt, tie, shoes — the works!

In spite of tasting such heady success in the field of film journalism, were you still keen to pursue a career as an ICS officer?

Absolutely! In fact, I was bitterly disappointed when I couldn’t complete my papers. I brooded for almost a month in despondence. I used to live in Amritsar then and would cycle daily to Lahore — a distance of 32 miles to attend college. After I had passed out of college, quite out of the blue, Shaadilal Handa approached me one day in Lahore and offered me the post of an editor in a magazine he was planning to start — a monthly called Cine Herald. He owned the Okay Press in Lahore and I took up the challenge since this was something novel and exciting. He offered me a monthly salary of Rs. 120 to begin with, and I asked him to add a bicycle which I could use in Lahore. Somehow, I think best while cycling; ideas come in a stream as I pedal along! Anyway, he agreed; the magazine was launched and became a runaway success. I have fond memories of meeting Mehboob Khan then. He had come to Lahore on a talent hunt. To this day, I feel privileged that I was a part of the team that selected Govinda’s father, Arun Ahuja, to play the lead role in Mehboob’s Ek Hi Raasta or The Only Way; those days, films had two titles — one in Hindi and the other in English.

Sohrab Modi asked me to bring out a special edition of Cine Herald on Minerva Movietone. An advertisement of his Jailor was on the cover, and the film went on to become a very big hit and so Modi regarded Cine Herald as his lucky mascot. Indeed, when I first came to Bombay in 1938, there were two cars waiting to receive me at the airport. One belonged to Mehboob Khan and the other, to Sohrab Modi. I can never forget their warm, generous hospitality. Within no time, I was on friendly terms with everyone who was anyone in the Hindi film industry.

Did this fame and coveted position of editor of Cine Herald open more vistas?

Yes, it did. Northern India Studios in Lahore were making Sethi Murad, very similar to Heer Ranjha. They were stuck for a good climax and approached me. I conjured up a dramatic climax choc-a-bloc with effects and they accepted it gladly. Indeed, they were so impressed that they appointed me as a director in their company and paid me Rs. 10,000! Further, there were some foreign companies which were making documentaries. One such was ‘The Himalayan Wolf’ and I remember Roop Shorey and R.K. Shorey urging me to write its commentary. The first shot was that of a herd of sheep moving across the frame and I penned, “Here is the moving soil on which wool grows.” Noted Urdu poet Hafeez Khan Jallandhary saw this documentary and since he was writing some poems for the elections in Lahore, he asked me to add visual values.

Looking back, I feel, all these experiences were very educative.

I think, I picked up the basics of cinema at a young age almost subconsciously.

I suppose the next logical step at this stage was to make films.

Quite true. You see, Cine Herald had become a hit and Shaadilal Handa later on became my partner. When the question of revising my remuneration came up, Raghubeer Singh, proprietor of Nishat Cinema, Lahore, was mutually agreed upon as arbiter. He gave me 17½% of the profit as my fees and a 50:50 partnership thereafter. Now, I had some financial clout — not a great deal, but adequate. Besides, Mohanlal Sibal and Harkishanlal Sibal were my father’s colleagues, who had voluntarily retired from government service and started their own paper business in Rawalpindi. They used to keep egging me on to make a film. Finally, we formed a company with five partners — Mohanlal Sibal, Harkishanlal Sibal, Shaadilal Handa, D.P. Berry and myself. In 1945, we started with a Muslim social, Chandni Chowk, which was famous music director Khayyam’s first film as an assistant to his uncle, Chishti. We completed all the spadework but, as luck would have it, on the day the first song was to be recorded in the first week of August, 1946, the Partition riots broke out and all of us fled to Bombay. When we resumed the project in Bombay, my partners were of the viewpoint that we should make a film that is virtually a carbon copy of the latest hit. I held a radically different opinion but my partners waived aside my protests and went ahead. The result was Karwat, a disaster, to put it mildly. I was left penniless after the film was released. In fact, it was released in the first place on account of my excellent rapport with distributors all over India. Once Karwat flopped, I was totally down and out. I used to while away my time at The Parisian Dairy (now The Pizzeria) on Marine Drive in Bombay. In a state of dire depression, I wrote a letter to Durgadas-ji, a friend of my father (Durgadas-ji was then the editor of The Hindustan Times), for a job. Durgadas-ji was like a father to me and he offered me a job but, more importantly, he gave me an invaluable piece of advice, “Never return defeated from the battlefield.” His words inspired me and the seeds of Afsana were sown! And the rest is, I think, far too familiar to merit repetition! I would like to end this chat by expressing my immense gratitude to God. But for his blessings, I would not be sitting here and reflecting aloud on my past!

‘KAMA SUTRA’ GOES TO COURT

R. Mohan, who holds the all-India distribution rights of Mira Nair’s Kama Sutra, has filed a writ petition against the decision of the CBFC, which has offered additional cuts in its dubbed versions (Hindi, Tamil and Telugu). The English version, cleared by the Film Certification Appellate Tribunal, was issued certificate by the CBFC earlier, but its three dubbed versions have been offered new cuts.

The petition will come on board once the courts reopen after Diwali vacations in the first week of November.

‘QAHAR’ POSTPONED

Raj Kumar Kohli’s Qahar, which was scheduled for release on 14th November, has been postponed by two to four weeks. The postponement has been necessitated due to the CBFC’s objection to the Junglee kabootar song in the film, reportedly due to Maneka Gandhi’s crusade against cruelty to animals. According to Kohli, “Although there is no cruelty whatsoever to the pigeon, we can’t fight with the CBFC. It they don’t see reason in our arguments, we will have to change the picturisation of the song. Hence the postponement.”

RAMESH TAURANI FREED ON BAIL

Ramesh Taurani, who was in judicial custody in the Gulshan Kumar murder case, was granted bail by the Bombay high court on 23rd October.

RUMI JAFRI WEDS

Writer Rumi Jafri got married to Hannan on 24th October at Apostolic Carmel High School, Bandra, Bombay. A reception to celebrate the marriage will be held this evening (25th) at Andheri Sports Complex.

Cable TV, Satellite Rights Are Separate: Bombay High Court

In a significant judgement by the Bombay high court on 21st October, satellite broadcasting rights have been held to be different and distinct from cable TV rights. Film rights can, therefore, be sold separately to the various television delivery systems like cable, terrestrial and video, the court has ruled.

Mr. Justice A.V. Sakhre, while disposing of a number of suits involving various cable TV operators on the one hand and satellite rights holders linked to Zee on the other, ruled that video rights cannot include all modes of exploitation where video cassettes are used since they (video cassettes) are merely one form of storage device.

The judgement is likely to go a long way in introducing a semblance of order in the chaotic film industry. The notices of motion of the various cable TV operators having been dismissed, the court seems to have upheld the arguments of the holders of satellite rights that mere purchase of video rights does not cover other forms of broadcast.

In one group of suits, some cable TV operators, who were holding the video rights of Bees Saal Baad and Mera Dharam, were claiming that the satellite broadcasting rights, which had been purchased by Zee Telefilms, also belonged to them. In another set of cases, Zee, which holds the satellite rights of Laawaris and Muqaddar Ka Sikander, had got a stay against ATM and others who held the video rights, from using the video rights separately as satellite rights.

In a recent controversy, both, the Hinduja-owned cable TV channel, CVO, and Zee Cinema aired Manoj Kumar’s Kranti on 15th August at the same time. Manoj Kumar had reportedly sold the satellite rights to Zee Cinema, while he had separately sold the cable TV rights to the Hindujas in 1984. As per the present Bombay high court judgement, it will now be perfectly in order for Manoj Kumar or any other producer to sell cable TV and satellite rights separately.

YOU ASKED IT

What is the most disturbing change you have noticed in the film industry from last Diwali to this?

– Distributors have begun to feel a sense of being let down by producers.

I want to produce an ‘A’ grade film and I have a capital of Rs. 1 crore. How should I start?

– With a capital of just a crore, you should not even be dreaming of producing a film, what to talk of actually producing a film. You should have at least 3 to 4 crore or arrangement for the same to venture into production today.

Is Amitabh Bachchan starring in J.P. Dutta’s next alongwith Sunil Shetty and Akshaye Khanna?

– J.P. Dutta has not finalised the cast of his next film.

MIX MASALA

DTS IN NAAZ

Naaz cinema, which houses almost all distribution offices of Bombay, may not have been upgraded as far as its sound quality is concerned. That is to say, it does not have Dolby or Dolby DTS sound. But there are at least two DTS distributors in Naaz. What’s a DTS distributor, you might ask. Well, the first DTS distributor is Devendra T. Shah because his initials are D-T-S. The other DTS is Dilip Dhanwani. DTS in his case stands for ‘Distributor in T-shirts’. Yes, Dilip is the only distributor who always sports a T-shirt.

INCORRECT PUBLICITY

Many people feel, the publicity of Mr. & Mrs. Khiladi went against the film. The heavy Sumo wrestler was publicised so heavily that people thought, he would have a substantial role or, at least, an important role. But in the film, the wrestler appears in only the climax, that too, for a short while. One publicity design of the film showed Akshay Kumar lying on top of the wrestler (who himself is lying down) and Juhi Chawla lying on top of Akshay. Another design showed Akshay and Juhi tugging at the wrestler’s underwear. This gave the impression, to kids especially, that the film would have comedy done by the wrestler. But it wasn’t so. May be, wrong publicity was responsible for Mr. & Mrs. Khiladi missing the bus.

Oh! Our Poor Stars

Our stars are the poorest people in the industry. Producers have money, distributors have it too, and so do exhibitors. Technicians are moneyed people but our stars — they are really poor. Don’t believe me? Then answer these simple questions:

(1) Why do many of our artistes take their families and friends on outdoor schedules of their films at the producer’s expense? Why do the family members and friends stay in the five-star hotel booked by the producer, eat food paid for by the producer, and even ask for cars to be arranged by the producer when they need to go shopping to buy rich clothes, jewellery, art items etc.? No, no, don’t misunderstand. I said, the stars are poor, not their families. These family members and friends also drink the liquor of the producer and romance on STD calls paid for by the producer. Would any hero or heroine take any of his friend on a foreign shooting schedule if a producer were not to pay for the friend’s air travel, stay, wining and dining? Forget it, most of them wouldn’t.

(2) Why do stars (many of them) charge petrol money from producers? Poor things, they can’t afford petrol in their Mercedes, Volkswagens, Pajeros and the other fancy imported cars they possess.

(3) Or why do the stars ask their drivers and other personal staff to take conveyance money and other allowances from the producer? Isn’t it sad, our stars are hardly any better than our poor who live below the poverty line. The only difference is that the stars themselves don’t beg, they have employees (like drivers, attendants, spot boys etc.) who are asked to beg. Yes, I call it begging because if the stars, who charge the producer crores, can’t pay in hundreds to their personal staff or can’t fuel up their personal cars, it is actually worse than begging.

(4) Have you ever heard of other professionals asking their assistants to charge small expenditure like conveyance, to the person to whom they are rendering their services? For example, a lawyer will never tell you to pay petrol money to his driver, or a doctor will not expect you to give conveyance money to his compounder. Then why the stars who earn much more?

Why do most stars behave as if they are obliging a producer by signing his film? After all, they are not working for free. And why do producers always have to bend backwards to please their artistes? Producers need to come out of this star-created system which forces them to expend lakhs of rupees which, by no stretch of imagination or business prudence, should be expended by them. The hero/heroine/ character artiste has been signed for the film, not his/her family members or friends nor even his car, driver or spot boy. If the artiste feels like carting his friends or aunts, uncles and cousins along to an outdoor location, fine. But tell him, Mr. Producer, that along with the big jingbang, he must not forget to carry his wallet or credit card.

After all, the artistes must be given lessons in the art of spending money. The producer who does it first shall do a great service to the industry.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

‘A’ Bad Year

Bombay distributors Raju Bhagde and Achal Agarwal (of Art Home) have made an interesting observation. According to them, 1997 has been particularly unlucky for people with mesh rashi i.e. those names beginning with ‘A’, ‘E’ or ‘I’. They quote examples: Amitabh Bachchan whose comeback in Mrityudaata bombed; Akshay Kumar whose career is passing through an all-time low (Lahoo Ke Do Rang, Insaaf, Daava, Tarazu and Mr. & Mrs. Khiladi), …Aur Pyar Ho Gaya which bombed, IRK Films (Bombay distributors of …Aur Pyar Ho Gaya), Ajay Devgan, Itihaas, A.A. Nadiadwala (Lahoo Ke Do Rang), Akshaye Khanna (Mohabbat), Aishwarya Rai (…Aur Pyar Ho Gaya), Ahuja Films (Bombay distributors or Tarazu), Ayub Selia (Thane distributor or Tarazu), Achal Agarwal himself, who has been passing through a professional low. So much so that films released in ‘A’ months — April (Himalay Putra, Kaun Sachcha Kaun Jhootha, Koyla, Mrityudaata) and August (Daud, …Aur Pyar Ho Gaya, Prithvi, Mere Sapno Ki Rani, Tarazu) also bombed with the exception of Ziddi (April) and Pardes (August). To this list, we would add ABC Enterprises, Jaipur (which released Daud and Mrityudaata in Rajasthan). The only exception, perhaps, is Anil Kapoor who has had a particularly fantastic year (Judaai, Virasat and Deewana Mastana).

Music Industry: Out Of Tune

1997 has been a bad year for at least three leading ‘T’ music companies — T-Series (Super Cassettes), Tips and Time. While Gulshan Kumar, the boss of T-Series, was killed on 12th August ’97, Tips boss Ramesh Taurani was taken into police custody in connection with that murder. Dhirubhai Shah of Time was arrested under COFEPOSA. Besides the above ‘T’ companies, two ‘B’ music companies — Big B and BMB — shut their operations. Little wonder then that the music industry is in a bad shape. It’s like the music industry is suffering from TB.

Surprise Visitor

The unit of N.N. Sippy’s Silsila Hai Pyar Ka had a surprise celebrity visitor on the sets at Convent Villa on 21st October. Hollywood actress Goldie Hawn visited the set but since she dropped in unannounced, there was none of the customary welcome. “In fact, we were caught unawares,” gushed a visibly thrilled associate producer Pravesh Sippy as he recalled, “A fleet of imported cars came to a halt outside Convent Villa where we were shooting that day, and in walked this foreigner. It took us some seconds before it registered that none other than Goldie Hawn had come on the sets.” Goldie discussed her directorial venture with Pravesh and revealed that she was in India for a film she was making on spiritual gurus. She was thrilled to know that Pravesh Sippy and his co-associate producer, Prem Pillai, had watched her on the Jay Leno show on NBC channel. Goldie Hawn was excited to learn that the director of the film she was watching the shooting of was a lady, Shrabani Deodhar. And then the two ladies discussed direction too. Karisma Kapoor was floored when Goldie Hawn said, she knew her as Bollywood’s no. 1 heroine of the day. The Hollywood actress asked Karisma about the songs and dances she (Karisma) was so famous for. Well, the only disappointed person from the unit was producer N.N. Sippy himself. For, while Goldie Hawn was hobnobbing with his unit members, N.N. Sippy was busy elsewhere at an urgent meeting.

No Brother

Thanks to Pahlaj Nihalani postponing his Bhai Bhai to 14th November, we will now have just one Bhai — that of Deepak Shivdasani — releasing on Diwali. But in Nizam circuit, Diwali will be a Bhai-less affair! That is to say, even Bhai will not hit the screens there. Although Dilip Tandon (Indra Films, Secunderabad) will take delivery of Bhai alongwith the all-India distributors next week, he will release the film only on 7th November. Reason: non-availability of a proper chain. Here in Bombay, Bhai Bhai had been scheduled for release at New Excelsior as the main cinema. With it being postponed, it is Bhai now, which will be released on Diwali at New Excelsior, besides Dreamland, another main cinema. T

Business In Bihar

Believe it or not but Hanif Sameer’s Sanam, which bombed everywhere, has done fantastic business in Bihar. …….And the business of Salim’s Raja Ki Aayegi Baarat in Bihar is almost as much as that of Border in the same territory!

Matinee Picnic

DDLJ has celebrated its golden jubilee at Bombay’s Maratha Mandir in matinee shows. Today (on October 25), it has completed exactly one year of its run at Maratha Mandir. The film completed 50 weeks at New Excelsior, Bombay, and was shifted to Sachinam thereafter, where it ran for 3 weeks. It was then shifted to Maratha Mandir in matinee shows. Since it is tax-free and also because admission rates in matinee shows are low otherwise too, there are many people who don’t mind repeating the film for just viewing a song or two or, say, for seeing the first half. Yes, people come in and go out when they please as if they were on a picnic, and on any given day, there are many people seeing the film only partly. That’s the advantage of having repeat value in a film — an advantage that can be heightened if the film is tax-free and if admission rates are low. From Maratha Mandir alone, the distributor has got a share of over 18 lakh in one year. And the film can go on running for many more weeks still.

Govinda-Akshay Face-To-Face: History Repeats Itself

Like Deewana Mastana and Mr. & Mrs. Khiladi, both directed by David Dhawan, were released on the same day (10th October), there were two films of director Kishore Vyas also, which were released on one day. They were Jawaharlal Bafna’s Bhabhi and Ramesh Ludhiani’s Dancer, released on 23rd August, 1991. The coincidence is that even then, it was a clash of a Govinda-Juhi starrer (Bhabhi) with an Akshay Kumar starrer (Dancer), like Deewana Mastana (Govinda-Juhi with Anil Kapoor) and Mr. & Mrs. Khiladi (Akshay Kumar). And like at present, it was Govinda’s film which had scored over Akshay’s even then. Moral of the story: Akshay Kumar should plan his releases in such a way that he doesn’t clash with Govinda if the directors of the two films are the same.

KRODH

Ashok Honda Productions’ Krodh (UA), remake of the Malayalam hit, Hitler, is the story  of a young man and his five sisters. Having had to bring up his sisters since the time he himself was just a kid, he is over-protective about them. His over-protectiveness assumes the nature of madness and his strict disposition earns him the nickname ‘Hitler’. He does not even respond to the overtures made by his good friend’s sister, only because he is burdened by the fact that he is guardian to five sisters. His estranged father tries to help the family, but the children spurn his assistance because they believe, he was responsible for their mother’s untimely demise. As it turns out to be, there is a villain who has actually wronged the father and who also has an axe to grind with the young man (father’s son) for a separate incident. Coincidences like this (two tracks — one of the father and the other of the son — and just one common villain) are quite a few and they make the story implausible. The track of the brother not permitting his sisters to even speak to boys looks unbelievable in today’s times, especially because the treatment is not mature. There are some questions which crop up in the drama, but which are left unanswered, thereby further reducing the film’s appeal. For one, why does the brother only order around his sisters and never take them into confidence? Why does he object to the marriage of his sister with his good friend from a decent family? And after their secret marriage, why does he resent it so much as to feel cheated and humiliated? Why does he blame himself for the unfortunate incident involving the eldest of the five sisters, when he has never acted against their interests? How does his good friend as well as his sister not object to their father being slapped by him — this, even when the audience isn’t aware that the father is an evil guy?

This is not to say that there are only flaws and no plus points in the film. Comedy is quite a highlight and it makes the first half light and enjoyable. The second half has more of serious drama and that’s where the film drops because most of it doesn’t look believable. Romance is absent almost completely. Emotions hardly touch the heart because they are improper at places.

Sunil Shetty does a good job and gives a restrained performance. Rambha is her bubbly self. Apoorva Agnihotri is average. Sakshi Shivanand is fair. Johny Lever is just too superb and brings the house down at several places with his brilliant comedy. Kader Khan shines in emotional scenes. Mohan Joshi is average. Rami Reddy suffers on account of faulty pronunciations and monotonous dubbing. Ponnambalam is not really effective. Harish Patel and Himani Shivpuri lend able support. Shashi Sharma acts confidently. Puja Seth, Tanya and Dimple Ghosh are so-so. Others fill the bill. Dubbing of some of the characters is poor.

Ashok Honda’s direction is average. Anand Milind’s music is fair but the absence of a hit song is sorely felt. The best number is the ‘Kangna’ song. The romantic songs picturised as dream sequences is another drawback. Song picturisations are quite an eyeful. Cinematography (Teja) is effective. Background score is good. Action scenes (Bhiku Verma) have thrill and punch. Production and other technical values are of standard.

On the whole, Krodh looks like a dated film because of its regressive story. Comedy and action are its saving points, which should see it reach the average mark in some circuits. Its low price and the holiday period will help.

Released on 17-3-2000 at Dreamland and 18 other cinemas of Bombay thru S.P. Enterprises. Publicity: so-so. Opening: very good (due to Idd holiday). …….Also released all over. Opening was not up to the mark in some circuits despite Idd, because of the examination fever and cricket matches.

SULTAAN

Sangeeta Pictures’ Sultaan (A) is the usual good versus evil drama in which the former triumps over the latter. A police inspector, disillusioned by the system, resents it when his neighbour’s son, whom he had raised as his own child, also joins the police force. Fate plays a cruel joke on the young police officer; his entire family is wiped off by a pack of villains, which forces him to get equally disillusioned by the system. Thus dejected, the police officer decides to lead a commoner’s life after disfiguring the eldest son of the villain, but he is not allowed to live in peace. Finally, he eliminates the villains.

The first half is quite dull with too much emphasis on light moments of a single character (played by Tiku Talsania). The post-interval portion abounds in action and that is fairly engaging. Story and screenplay are dull, and the film’s mainstay is its action. Dialogues (Anoop Shrivastava) are witty at places.

Mithun Chakraborty does a good job. Shaina and Suvarna are average. Dharmendra is so-so and looks quite disinterested in his work. Tiku Talsania has too lengthy a role and, although he acts effectively, he manages to raise laughter only at places (the blame for ineffective comedy would go to the writer). Raza Murad acts quite well. Mukesh Rishi is pretty impressive. Jack Gaud, Shiva, Sanjeeva, Vikas Anand and Yunus Parwaiz lend fair support. Tej Sapru leaves a mark.

T.L.V. Prasad’s direction is functional and leaves plenty to be desired. Music (Bappi Lahiri and Aadesh Shrivastava) is average, a couple of songs being of the hummable variety for front-benchers. Song picturisations are ordinary. Camerawork (K.V. Ramanna) is average. Rambo Rajkumar’s action is old-fashioned, yet punch-packed.

On the whole, Sultaan is only for ‘B’ and ‘C’ class centres.

Released on 17-3-2000 at Super and 9 other cinemas of Bombay thru Dilsa Distributors. Publicity: dull. Opening: fair (due to Idd holiday). …….Also released all over except in South.

SHAHEED UDDHAM SINGH

Surjit Movies’ Shaheed Uddham Singh (UA) is a patriotic film about the life of martyr Uddham Singh and his fight for India’s independence from the British empire. An extremely authentic film, it has been beautifully made. But its Punjabi flavour and the liberal use of Punjabi dialogues dramatically limit its appeal.

Writer Atul Tiwari has done a splendid job of the subject. Dialogues (Surjit Pattar and Atul Tiwari) are masterly. The film does drop in its pace at times, but it picks up again after a while every time.

Raj Babbar gives a marvellous performance in the title role. Juhi Chawla, in a brief role, is restrained and impressive. She looks pretty. Gurdas Maan is wonderfully natural. Charlene Carswell acts pretty ably. Shatrughan Sinha leaves a mark in a brief but important role. Amrish Puri lends face value in a cameo appearance. Tom Alter is effective. Barry John shines. Ranjeet does well. Kavita Kamal, Brenda Carson, Gurkirtan, Dav Anderson, David Maclennan, Joe Lamb, Gurdayal Sirra and Vincent McReady lend admirable support.

Chitraarth’s direction is praiseworthy. The man has an eye for details. The Jallianwala Baug massacre has been effectively recreated. Music has too much of Punjabi flavour but is, nevertheless, good. Costumes have the period flavour. Camerawork (Rajesh Joshi) is good. Production values are of standard.

On the whole, Shaheed Uddham Singh is an enjoyable fare but its business prospects will be very limited due to the Punjabi flavour and dialogues (which make it a class film). It definitely deserves tax-exemption.

Released on 17-3-2000 at Metro (matinee) and 2 other cinemas of Bombay thru ABC Pictures. Publicity & opening: so-so. …….Also released in Rajasthan and Nizam.

LE CHAL APNE SANG

Jyoti Films’ Le Chal Apne Sang is the story of love between a poor boy and a rich girl, who ultimately unite as man and wife. It is a very ordinary story, that too of the kind one saw in films of the ’60s and the ’70s. The screenplay, too, is antiquated. Dialogues are commonplace.

Debutants Nishant and Aakanksha are misfits as love birds. Aakansha has the looks and sex-appeal but she needs to brush up on her acting. Nishant is so-so. Beena, Alok Nath and Raza Murad are okay. Baby Sonali is good. Babloo Mukherji, Suresh Chatwal, Raju Srivastava and Ajay Wadhavkar provide able support while Nanda Shinde, Sudhir Joshi, Resham Tipnis and Sachin Deshpande fill the bill.

Vijay Kondke’s direction is ordinary, like his script. Musically, all the songs are rehashes of old tunes. The only plus points are cinematography (Sameer Arya), editing (V.N. Mayekar) and background score (Anil Mohile) along with good production values.

On the whole, Le Chal Apne Sang is a poor fare with dim chances.

Released on 17-3-2000 at Central Plaza and 5 other cinemas of Bombay thru Kamakshi Film Combine. Publicity and opening: dull. …….Also released in C.P. Berar and Nizam.

LATEST POSITION

Examinations and cricket are adversely affecting collections. But wherever SSC Board exams got over this week, collections of KAHO NAA…PYAAR HAI jumped up dramatically.

Qayamat (dubbed) 1st week Bombay 1,27,500 (3 on F.H.); Ahmedabad 2,58,366 from 4 cinemas; Delhi (6 days) 7,32,853 (32.28%) from 4 cinemas; Lucknow 1,37,221; Calcutta (6 days) 58,507; Nagpur 2,43,015, Amravati (6 days) 93,663; Hyderabad (gross) 2,81,441 from 2 cinemas (3 unrecd.).

………..

Khauff crashes. 2nd week Bombay 7,65,432 (28.71%) from 5 cinemas (5 unrecd., 6 on F.H.); Ahmedabad 2,96,388 from 4 cinemas, Rajkot (matinee) 8,115, Jamnagar 40,038; Pune 3,00,578 from 3 cinemas (1 in matinee), Solapur 1,08,230; Delhi (6 days) 15,50,071 from 7 cinemas (2 on F.H.); Lucknow 1,01,047, Agra 75,000, Allahabad 88,162, Bareilly 38,742; Calcutta (6 days) 1,28,456; Nagpur 37,127, Jabalpur (6 days) 25,006, Amravati (6 days) 61,642, Akola 46,000, Raipur (6 days) 43,432, Jalgaon 74,120 (1st 1,78,266); Indore 60,000, Bhopal 60,000; Jaipur 4,20,567, Ajmer 70,925; Hyderabad (gross, noon) 63,436 (2 unrecd.); 1st week Vijayawada (6 days, gross) 60,606.

Hey! Ram 4th week Bombay 4,96,195 (30.30%) from 2 cinemas (3 unrecd., 4 on F.H.); Pune 2,79,667 from 3 cinemas (1 in matinee), Solapur 22,879; Delhi (6 days) 3,99,881 from 3 cinemas; Lucknow 63,831, 1 week Bareilly 24,335; 4th week Calcutta (6 days) 1,17,026; Nagpur 37,127, 1st week Jabalpur (4 days) 75,386, Akola 90,805; Vijayawada (gross) 2,25,673.

Badal 5th week Bombay 10,30,150 (49.61%) from 5 cinemas (4 on F.H.); Ahmedabad 40,034, 1st week Balasinor 91,621; 5th week Pune 60,645, Solapur 65,152; Delhi (6 days) 2,69,599 from 2 cinemas (1 on F.H.); Lucknow 1,89,011, Agra 1,75,000, Allahabad 68,110, Bareilly 79,887; Calcutta (6 days) 1,18,338; Nagpur 81,262, Jabalpur 59,184, 1st week Kamptee (4 days) 47,467, 5th week Amravati 80,302, Akola 52,377, total 5,89,036, Raipur (6 days) 1,01,272, 4th week Gondia (gross) 86,306, Chandrapur 59,292, total 5,25,706, 1st Yavatmal 1,83,787; 5th week Indore 89,000, Bhopal 66,408; Jaipur 1,55,069, Ajmer 70,000; Hyderabad (gross) 3,27,281 from 3 cinemas (1 in noon).

Pukar 6th week Bombay (TF) 4,71,750 (4 unrecd., 3 on F.H.); Ahmedabad 75,920 from 2 cinemas (2 unrecd.); Pune (TF) 4,30,747 from 3 cinemas, Solapur (TF, matinee) 25,680; Delhi (TF, 6 days) 8,82,291 from 6 cinemas; Lucknow 97,603, Agra 54,000, Allahabad 34,771; Calcutta (6 days) 1,01,681; Nagpur (TF) 1,13,030, Jabalpur (TF, 6 days) 40,716, Akola (TF) 63,926, total 5,92,849, Raipur (TF, 6 days) 35,396, Jalgaon (TF) 85,212 (5th 55,816); Indore (TF) 41,309 (1 on F.H.), Bhopal (TF) 46,451; Hyderabad (gross) 4,04,040 from 3 cinemas (1 in noon, 2 unrecd.).

Kaho Naa…Pyaar Hai is just too fantastic. 9th week Bombay 42,08,528 (94.35%) from 10 cinemas (5 on F.H.), 3rd week Vashi (gross, 6 days) 2,79,918, 8th week Vasai (gross, 6 days) 2,22,535; 9th week Ahmedabad 3,84,868 from 3 cinemas (1 unrecd.), Baroda 2,15,515, 3rd week Padra 1,88,868, 2nd week Cambay 1,64,668 (1st 1,98,906), 9th week Rajkot 1,12,800; Pune 9,16,645 from 3 cinemas (1 in matinee), Solapur 1,91,977; Delhi (6 days) 15,24,080 from 7 cinemas; Lucknow 2,92,167, Agra 1,46,000, Allahabad 91,233, Bareilly (6 days) 43,668; Calcutta (6 days) 7,07,151 from 5 cinemas; Nagpur 2,60,330 from 2 cinemas, Jabalpur (6 days) 1,15,122, 2nd week Balaghat 75,854, total 1,80,976, 9th week Amravati 1,50,664, Akola 1,42,845, total 12,91,504, Raipur 1,20,609, 7th week Durg 70,403, 9th Jalgaon 1,38,260 (8th 1,15,001), 4th week Wardha (nett) 94,827, total 5,08,947, share 4,16,947, 8th week Chandrapur 1,59,371, total 14,28,978, 7th Yavatmal 88,869; 9th Bhopal 1,92,584, total 18,31,574; Jaipur 3,24,159 from 2 cinemas; Hyderabad (gross) 5,57,302 from 2 cinemas (1 in noon, 2 on F.H.); Vijayawada 7 weeks’ total (gross) 16,73,530.

Derani Jethani (Gujarati; TF) 1st week Ahmedabad 1,88,211 from 3 cinemas (1 unrecd.).

FILM PROMOTION COUNCIL FORMED IN U.P.

The Uttar Pradesh government recently announced the formation of the long-awaited Film Promotion Council under the presidentship of well-known writer Kamleshwar. Formulated under the state government’s film policy, the Council will discuss and organise film activities in the state. Besides Kamleshwar, the Council has as its members the chief secretary to the government of U.P. (as associate president), Naushad Ali, Pahlaj Nihalani, Dr. Ramanand Sagar, Dr. R.K. Verma (U.P. Film Chamber of Commerce president), Muzaffar Ali, Ravindra Jain, Pt. Gautam Kaul, Surinder Kapoor, Sultan Ahmed, Shiv Kumar, Raja Bundela, Ashok Chand Jain, J.N. Srivastava and representatives of the NFDC, the FFI, the IMPPA, the Film & Television Academy of U.P., directorate of film festivals, U.P. Film Exhibitors Federation, entertainment commissioner of U.P., and other government departments.

CALCUTTA STUDIO GUTTED IN FIRE

A fire broke out in Calcutta’s oldest studio, Technicians Studio, in Tollygunge on 14th March. The studio’s floor no. 3 was gutted. Six fire engines were employed to put off the fire, but by the time they reached there, the floor had been reduced to cinders. The fire broke out during the shooting of Streer Maryada, being made by Swapan Saha. Fortunately, nobody was injured. Prasenjit and Rituparna Sengupta were participating in the shooting and were the first to notice the fire. Short-circuit is said to be the cause. The set was that of a village, constructed with pinewood and straw which burnt very fast, destroying everything within minutes.

CONFERENCE ON FILM INDUSTRY

An international conference on ‘The business of entertainment: India – Opportunities in the 21st century’ will be held at Hotel Regent in Bombay on March 30 and 31. Topics relating to films, television, music, radio and the government’s role, will be discussed in six sessions. Organised by the Federation of Indian Chambers of Commerce & Industry in association with the Film Federation of India, Indian Music Industry (IMI), Indian Broadcasting Foundation (IBF), Association of Motion Picture & TV Programme Producers, and other bodies, the conference will be inaugurated by Arun Jaitley, minister for information and broadcasting. It will be presided over by Maharashtra chief minister Vilasrao Deshmukh.

AJIT BARJATYA’S SON, RAJAT TO WED

Rajat, son of Ajit Kumar Barjatya, will wed Neha in Delhi on 23rd March. A reception to celebrate the wedding will be held on 25th March in Bombay at the RWITC (Members’ Enclosure), Mahalaxmi.

YOU ASKED IT

Is there any effective way of cutting down production cost without it being obvious on the screen?

– Plenty of ways! Pay the stars less and it will never show on the screen! Jokes apart, production values should be commensurate with the scene/song but producers often go overboard without it really being necessary.

It’s been a long time since a good woman-oriented film has been made. Here, I don’t mean films like Ramkali, Munnibai and the like. I mean films like Mother India, Seema (old), Bandini, Sujata, Aurat (old), Chandni… Will they not make viable proposals today?

– Of course, they would make exciting and viable proposals even today. Do you have a good woman-oriented subject?

Do film awards help in enhancing the market value of stars and technicians?

– Not in India. Here, box-office rewards are more important than awards.

DO YOU KNOW?

* With 15 cinemas currently being installed with DTS sound system, the total number of DTS cinemas in India would go up to 507. Andhra Pradesh has the maximum number of DTS cinemas (142), followed by Tamil Nadu (80) and Maharashtra (70). 

* Universal has released a private album, ‘Dil Kahin Hosh Kahin’, featuring songs penned by Nida Fazli, composed by Aadesh Shrivastava and sung by Lata Mangeshkar, Asha Bhosle, Jagjit Singh, Kumar Sanu, Alka Yagnik and others. The album is presented by Bharat Shah. So many top names in a private album? Well, this private album is different from the rest. The songs of the album were actually recorded for Chetan Anand’s feature film, HUSN. Following Chetan Anand’s demise, the film was shelved, and now, Universal has released the songs in the form of an album. 

* Kader Khan will return to stage after 15 years. He will appear in two plays on 26th March — Badi Der Ki Meherbaan Aate Aate and Local Train — directed by his son, Sarfaraz Khan.

CENSOR NEWS

Baba Films’ Dulhan Hum Le Jayenge (social) was given C.C. No. CIL/1/15/2000 (U) dt. 10-3-2000; length 3876.14 metres in 16 reels (cuts: 2.36 metres).

A.G. Films P. Ltd.’s Hera Pheri (social/comedy), seen on 14th, has been issued C.C. No. CIL/1/16/2000 (U) dt. 16-3-2000; length 4124.86 metres in 18 reels (minor deletion in sound only).

Ashok Honda Productions’ Krodh was given C.C. (in Madras) No. CIL/2/0138/2000 (UA) dt. 6-3-2000; length 4439.90 metres in 17 reels (no cut).

Sangeeta Pictures’ Sultaan was given C.C. (in Madras) No. CIL/3/0175/2000 (A) dt. 15-3-2000; length 3777.45 metres in 16 reels (with cuts).

3-E
Education-Entertainment-Enlightenment

Hrithikmania

While the whole nation is in the grip of Clintonmania these days, the school-going kids as well as the teeny-boppers are struck by Hrithikmania. A case in point is that of a 7th standard 12-year-old of Bhusawal. This girl goes to a school which strictly prohibits its students from bringing into the school any film magazine or photographs of film stars. Any student violating this rule could face a heavy fine or even be rusticated. At such a school, this girl was found to be in possession of more than a hundred pictures of Hrithik Roshan. When the school authorities brought this ‘offence’ to the notice of her parents, even they were shocked by their daughter’s obsession for the KN…PH star! Even the film’s C.P. Berar distributor Laloo Kabra’s school-going son is an ardent fan of Hrithik. He had been pestering his father for a telephonic conversation with Hrithik. The father had agreed to fulfil his wish on the condition that his Hrithik-struck son pass his annual examinations with flying colours. The son had started concentrating on his studies, which made Laloo yield to the pressure from his son even before the results are out!… In Bombay and elsewhere, youngsters have been repeatedly requesting cable-operators to screen KN…PH, even though each cable operator has screened it thrice or more times already. Madness at its height! But who is complaining?! Nobody, not even the parents of such star-struck children. One member of the Parent-Teacher Association (PTA) of a school in South Bombay suggested to us, “Since school exams are nearing, Hrithik should exhort students, through the media, to study for their exams and forget him for a while.” Kaho naa…Hrithik, “Exams hai, tumhe padhna hai!”

Hrithik: A Desi Leo?

Although the comparison may look a trifle too preposterous and far-fetched, one can’t help but draw a few similarities between Titanic and Kaho Naa…Pyaar Hai.

Both are huge hits (the former, of course, is too huge); both are love stories; both have super-hit music; both have the hero and the heroine’s love blossoming on board a luxury liner; in both the films, the lovers do not live happily ever after as in most other love stories (in Titanic, hero Leonardo DiCaprio dies, while in Kaho Naa…, one Hrithik Roshan is killed before the other makes the scene as the earlier hero’s look-alike). Both, Leo and Hrithik, became superstars over-night after the release of these films.

FROM PLEASING PUBLIC TO GOING PUBLIC

The production sector of the film industry is undergoing a sea change. Several top producers, who so far only concentrated on entertaining the public with their films, are now aiming higher and taking their companies pubic. The coming three to four months are likely to see at least five or six producers and music companies bringing out public issues.

With public funds coming into the production sector, the face of the industry will change. The manner in which business is conducted may undergo a radical change. With IPOs (initial public offerings) and corporatisation, the corporate culture will set in. In its wake will come more discipline, greater transparency and more organisation.

While all the public issues may not be lapped up with the same enthusiasm by the people, at least three or four of the several forthcoming public issues can be expected to be hugely over-subscribed. Entertainment and media companies are oven-hot today. Dot com companies command huge market capitalisation. Imagine then, a combination of media and dot com business. It will make for an explosive, effective and formidable synergy. At least a couple of production houses are also contemplating going online in a big way.

The excitement has started. The way film business is conducted is bound to change dramatically. So fasten your seat belts and gear up for the action!

– Komal Nahta