TERA JADOO CHAL GAYAA
Puja Entertainment Ltd.’s Tera Jadoo Chal Gayaa is a love story of a simpleton guy from U.P. and an ambitious girl of Bombay. It is love at first sight for the boy, but the girl has bigger dreams. Her dream-boy, rich and suave, comes into her life and she falls head over heels in love with him, thereby breaking the simpleton’s heart. Not only that, she also tells the simpleton to do things to lower himself in the eyes of her boss as he (the boss) thinks very highly of him (the simple boy) and is under the wrong impression that the two of them are engaged to be married. Despite his best efforts to obey his beloved’s command, the simpleton every time ends up winning the boss’ affection more and more instead of falling low in the esteem in his eyes. Ultimately, the girl realises that it is the guy from U.P. whom she, too, loves and the two unite in matrimony.
The film, inspired from the English film, Picture Perfect, is a love story alright, but the strange part is that there’s hardly any romance in it. The reason for this is that while the guy from U.P. loves the girl, she doesn’t reciprocate his love; likewise, while the girl loves the rich boy, he is not even aware of her love for him for quite some time! In other words, it is a tale of romance with mostly one-sided love. A weak link in the story is the girl asking the boy to do things which would make him look foolish in front of her boss because she wants a solid reason to break off her supposed engagement with the boy. This demand of the girl looks too contrived because umpteen simpler ways immediately come to one’s mind to get out of the presumed engagement. Besides, the guy’s several attempts at losing the boss’ confidence but instead winning his love more than before have no punch or comic flavour at all. In fact, the film, especially the second half, moves at a slow pace and gets very boring at times. There’s hardly any novelty in the drama and whatever novelty there is (one-sided romance), it is a weak point rather than an asset.
Abhishek Bachchan is average as the simple guy from U.P. He impresses in emotional and dramatic scenes but is weak in most of the comedy scenes. His costumes leave a lot to be desired. Even his characterisation is sketchy — his introduction song gives the impression that he is as famous as the Taj Mahal in Agra, but the director and writer have simply not shown how or why he is so famous! Kirti Reddy looks okay and makes a lacklustre debut. Sanjay Suri looks handsome and does well in a brief role. Kader Khan performs ably in the role of Kirti’s boss. The best show in the film is put up by Paresh Rawal. His Aa reeya hai ki jaa reeya hai punch-line is excellent. Himani Shivpuri entertains. Johny Lever is not at his hilarious best, maybe because of the limited scope he gets. Farida Jalal and the others lend average support.
A. Muthu makes a dull debut as director. His narration is dry and his selection of subject, characterisations of artistes and treatment leave a lot to be desired. Ismail Darbar’s music is melodious but, considering that it’s a love story with a new girl and an almost new boy, the need was for a super-hit score. ‘Mujhe pyar karo’, the title song, ‘Ae chand’, the Agra song, ‘Ishq ka matlab’ and ‘Qayamat’ numbers are good. Song picturisations strike for their richness and the beautiful foreign and Indian locations on which they’ve been shot, but the choreography should have been much, much better. Santosh Thundiyil’s camerawork is effective but not consistently so. Action (Bhiku Verma) is of a good standard. Production values are rich.
On the whole, Tera Jadoo Chal Gayaa cannot hope to cast the magical spell it set out to weave on the viewers and will prove an expensive proposition for distributors and exhibitors.
Released on 18-8-2000 at Minerva and 19 other cinemas of Bombay by Puja Films thru Shringar Films. Publicity: bumper. Opening: very good. …….Also released all over. Opening was excellent in U.P. (except some stations), C.P. Bear (except small centres) and C.I.
LATEST POSITION
Both the releases of last week reaped the benefit of holidays. DEEWANE has not found appreciation and will entail heavy losses to all its distributors and those exhibitors who paid fancy terms. DHADKAN, too, will result in losses for its distributors and the few exhibitors who booked the film on huge MGs and FHs.
Dhadkan 1st week Bombay 53,55,652 (84%) from 10 cinemas (9 on F.H.); Ahmedabad 18,45,966 from 5 cinemas, Jamnagar (28 shows) 1,30,642; Pune 11,39,340 from 5 cinemas (1 in matinee), Solapur 2,61,167 from 2 cinemas (1 in matinee); Delhi 54,64,317 (72.07%) from 12 cinemas; Kanpur 5,03,864 from 2 cinemas, Lucknow 6,91,410 from 2 cinemas, Agra 5,07,000, Varanasi 2,99,755, Allahabad 2,13,128, Bareilly 1,75,864; ran for a week in Jalandhar, shifted, Amritsar 47,154; Calcutta 18,92,117 from 13 cinemas; Nagpur 6,40,737 from 3 cinemas, Akola 2,17,134, Raipur (6 days) 1,64,595, Bhilai (gross, 6 days) 2,03,733, Jalgaon 2,25,156, Rajnandgaon (6 days) about 1,00,000, Chandrapur 2,21,764, Sagar 89,299; Indore 2,43,100 from 2 cinemas (3 on F.H.); Jaipur 6,68,856 (51.02%) from 3 cinemas, Ajmer (gross, 29 shows) 2,78,443, Bikaner 2,29,378, poor in Bharatpur; Hyderabad (gross) 25,63,121 from 8 cinemas (1 on F.H.), share 15,63,949.
Deewane 1st week Bombay 33,73,086 (70%) from 11 cinemas (11 on F.H.); Ahmedabad 20,63,351 from 10 cinemas, Rajkot (28 shows) 2,45,771, Jamnagar 1,03,113; Pune 9,34,177 from 5 cinemas (1 in matinee), Solapur 3,55,814 from 3 cinemas (1 in matinee); Delhi 45,46,323 (58.50%) from 13 cinemas (1 on F.H.); Kanpur 4,04,992 from 2 cinemas, Lucknow 4,21,067, Agra 2,65,000, Varanasi 2,64,866, Allahabad 2,00,343, Bareilly 1,60,549, Pilakhwa 70,000; Amritsar 52,230; Calcutta 15,47,721 from 11 cinemas; Nagpur 4,74,937 from 4 cinemas, Jabalpur 2,11,944, Akola 1,89,397, Raipur (gross, 6 days) 2,96,123, Jalgaon 1,90,050, Wardha 1,08,374; Bhopal 1,40,500 (2 cinemas unrecd.); Jaipur 6,36,001 (42.83%) from 3 cinemas, Bikaner 1,72,804; Hyderabad (gross) 21,01,472 from 8 cinemas (5 on F.H.).
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Har Dil Jo Pyar Karega faces a steep decline in collections, but is better in Bombay city. 2nd week Bombay 64,09,202 (74.85%) from 14 cinemas (7 on F.H.); Ahmedabd 8,92,214 from 6 cinemas, Jamnagar 84,014; Pune 13,63,310 from 5 cinemas (1 in matinee), Solapur 1,94,215; Delhi 31,31,552 from 9 cinemas (1 on F.H.); Kanpur 3,75,526 from 2 cinemas, Lucknow 3,27,612 (1st 4,61,887), Varanasi 1,76,230, Allahabad 1,57,800, Bareilly (6 days) 91,436; Calcutta 11,51,576 from 7 cinemas; Nagpur 5,10,806 from 3 cinemas, Jabalpur 2,01,828 (1st 2,75,495), Amravati 1,99,577, total 4,98,545, Akola 98,192, total 3,01,330, Raipur (5 days) 1,12,662, Jalgaon 76,548 (1st 2,00,946), Gondia (gross) 77,558, Wardha 65,391, Rajnandgaon (6 days) about 45,000; Indore 1,64,000 (2 on F.H.); Jaipur 2,45,817 (50.15%), Ajmer (gross) 1,63,876, Bikaner 1,20,042; Hyderabad (gross) 13,14,967 from 5 cinemas; Vijayawada 2 weeks’ total (gross) 5,07,879, 2nd week Guntur (gross) 96,822, total 1,93,357.
Woh Bewafa Thi 1st week Bombay 1,53,369 (34.43%) from 2 cinemas.
Refugee is steady in Maharashtra (Bombay and C.P. Berar) due to tax exemption. 7th week Bombay 88,739; Solapur 27,834; Delhi 1,15,982 (1 on F.H.); Kanpur 29,765, Lucknow 90,613, Agra 2,81,000, Varanasi 64,662, Allahabad 42,500; Calcutta 1,11,625; 5th week Jabalpur (TF) 99,407, total 6,95,125, 7th week Raipur (TF, 6 days) 55,147, Sagar (TF, 3 days) 10,022; Jaipur 4,08,381 (43.11%).
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Aai Thor Tujhe Upkar (Marathi; TF) 1st week Bombay 2,09,490 (70%) from 2 cinemas, Vasai 50,000, Kalyan 55,000, Alibag 60,000.
NEW CINEMA OPENS
A new cinema — Sharda — opened on 12th August at Bhind (C.P. Berar) with Har Dil Jo Pyar Karega. The film collected excellent in 1st week.
NAZIA HASSAN DEAD
Playback singer Nazia Hassan expired on 13th August in London. She had been suffering from cancer since 1994. Even after she was detected for cancer, her fiancé got married to her. Just a few days before her death, her marriage was reportedly declared null and void following a divorce. Her body had not been handed over to her family even five days after her death as it was being claimed by both, her ex-husband as well as by her parents.
Nazia, who had playbacked in Feroz Khan’s Qurbani, shot to fame with her very first song in films, Aap jaisa koi meri zindagi mein aaye, which had become a veritable anthem then. She also lent her voice to songs of Star and cut a couple of albums like ‘Disco Deewane’ with her brother, Zoheb Hassan. Most of her songs were composed by Biddu. A Pakistani living in London, she had carved a niche for herself in the field of pop songs in her short career.
RENU SALUJA DEAD
Leading film editor Renu Saluja passed away on 16th August at Bombay Hospital in Bombay. She had been undergoing treatment for cancer of the stomach since more than three months. Her condition had deteriorated in the last couple of days and she breathed her last on 16th night. She was cremated on 17th. She was 48.
Renu was the ex-wife of producer-director Vinod Chopra. She had edited films like Pardes, Godmother, Bandit Queen, Ardh Satya, Sar Ankhon Par, Parinda, Dharavi, Sardar, 1942 A Love Story, Kareeb, Janam, Papa Kehte Hain, Hey! Ram and Nagesh Kukunoor’s due-for-release Bollywood Calling. She won National Awards for her slick editing in Godmother, Parinda, Dharavi and Sardar.
KHAJANCHIS BEREAVED
Padmabai R. Khajanchi, wife of late R.R. Khajanchi and mother of leading C.P. Berar distributors Bharat and Vijay Khajanchi of Khajanchi Film Exchange, Amravati, passed away on 1st August at Bhilwara (in Rajasthan). The 12th day ceremony was held on 12th in Amravati.
MINERVA REDONE!
With the release of Tera Jadoo Chal Gayaa, Minerva Cinema, Bombay presents a fresh new look. The walls and ceilings have been given a fresh coat of paint, the decor and designs changed, seats firmed up and everything redone. The admission rates have consequently been revised. The new admission rates are: stall Rs. 45, dress circle and balcony Rs. 65. The rates for matinee shows, however, have not been hiked.
T. RAMA RAO’S SON TO WED
Wedding of director T. Rama Rao’s son, Ajay Kumar, with Ragha Shyama will be solemnised on 24th August in Secunderabad at Jewel Gardens.
MAHARASHTRA CM’S PAT FOR SUBHASH GHAI’S IPO
A personality no less eminent than the chief minister of Maharashtra, Vilasrao Deshmukh, unveiled the production banner, Kapoor & Kaushik Entertainment P. Ltd., promoted jointly by Anil Kapoor and Satish Kaushik, at the party hosted by Mukta Arts Ltd. on 10th August at The Regent, Bombay. The production house was launched a day earlier with a song recording for its maiden film, Badhaai Ho Badhaai, at Sahara. The song, penned by Javed Akhtar, was composed by Anu Malik. The party on 10th was in celebration of the launch.
Mukta Arts Ltd. are the presenters, business promoters and world rights controllers of the film which stars Anil Kapoor, Karisma Kapoor and Amisha Patel. Satish Kaushik directs the venture.
Speaking at the launch party, Vilasrao Deshmukh congratulated Subhash Ghai and his Mukta Arts Ltd. on the success of their IPO. He added, “Mukta Arts has brought the film industry on the capital market map for the first time and has also brought a lot of respectability to and faith in this much misunderstood industry.” He felicitated Ghai and his stars on the occasion of the golden jubilee of Taal. Golden jubilee trophies were presented to the film’s cast and technicians at the hands of celebrities.
Speaking on the occasion, Subhash Ghai said, “This is the first deal done by Mukta Arts after going public. We’ve entered into a very important agreement signifying a tie-up for movie-making in future.” Badhaai Ho Badhaai, which is being jointly produced by Mansoor Ahmed Siddiqui of Anas Films, is the remake of a Tamil hit. The guests who attended the party were a mix of names from various walks of life — Surinder Kapoor, Jeetendra, Jackie Shroff, David Dhawan, Vimal Agarwal, Hrithik Roshan, Govinda, Akshaye Khanna, Kareena Kapoor, Gulshan Grover, Gava, Ashok Thakeria, Tutu Sharma, Prakash Jha, Joy Augustine, John Mathew Matthan, Srichand Hinduja, Yukta Mookhey, Yash Johar, Karan Johar, Tolu Bajaj, Adi and Parmeshwar Godrej, Sridevi and Boney Kapoor, Ketan Parikh, Vallabh Bhansali, Vinay Maloo, Vijay Choraria, Manmohan Shetty, Amit Khanna, Udit Narayan, Kiron Kher, Alka Yagnik, Anu Malik and Ravi Gupta.
JAIRAJ BIDS ADIEU
P. Jairaj, the popular ‘he-man’ of the silent era and talkie films, passed away on 11th August at Lilavati Hospital, Bandra, Bombay following kidney failure. He had been hospitalised on 4th. He was 91 and is survived by two sons and three daughters.
A recipient of the Dadasaheb Phalke award, P. Jairaj had not been keeping good health since the last one year, after he was admitted to Jaslok Hospital following a heart ailment.
Born on 28th September, 1909 in Hyderabad, Jairaj came to Bombay in 1928 to make a career in films. He got his break in 1929 in Indulal Yagnik’s silent film, Sparkilng Youth (Jagmagati Jawani) opposite Madhuri. P. Jairaj had played the lead man opposite Devika Rani, Durga Khote, Nargis, Suraiya, Nimmi and Madhuri. He had acted in about 200 films as hero and later in character roles. He had enacted many historical legends such as Maharana Pratap, Tipu Sultan, Chandrashekhar Azad, Prithviraj Chauhan and also the fabled Hatimtai. Among his films are Hamari Baat, Anjuman, Amar Kahani, Chhoti Si Duniya, Magroor, Noorjehan, Humjoli, Raj Mukut, Garibi, Amarsingh Rathod, Pardesi (Indo-Soviet co-production), MGM’s Maya and 20th Century Fox’s Nine Hours To Rama.
He had directed five films — Rajghar, Mala, Pratima, Mohar and his own production, Sagar.
Jairaj was also associated in a number of social activities in the film industry. He was an avid participant in the fund-raising drives for national causes. While many of his confreres had retired and led secluded lives, Jairaj remained active in social work. He was last seen in an important character role in Khoon Bhari Maang.
Paying tribute to Jairaj, O.L. Sharma, founder-member of the Dadasaheb Phalke Trust of India, said, “At the function to celebrate the 131st birth anniversary of Dadasabeh Phalke on 30th April, 2000 in Bombay, Jairaj was the highlight.” He had been awarded a lifetime achievement award of the millennium by the film industry at the function.
Grand Music Release Function Of ‘Dhaai Akshar Prem Ke’
Compact discs and music cassettes of producer-director Raj Kanwar’s Dhaai Akshar Prem Ke were released at the hands of Amitabh Bachchan at a glittering function in New Delhi, hosted by Super Cassettes on 10th August. Amitabh and Jaya Bachchan specially flew to New Delhi to offer blessings and good wishes to their son, Abhishek Bachchan, who plays the lead role in the film, and to Aishwarya Rai, Raj Kanwar, executive producer K. Pappu and the unit of Inderjeet Films Combine. Super Cassettes Industries were represented by Bhushan Kumar, Krishan Kumar and Chandrabhan Dua, managing director of Super Cassettes Industries Ltd. and father of late Gulshan Kumar.
Amrish Puri, Shakti Kapoor, music directors Jatin Lalit, lyricist Sameer and singers Anuradha Paudwal and Babul Supriyo were also present o the occasion. Jaya Bachchan lit the traditional lamp. There were song and dance performances by Saroj Khan’s troupe of dancers.
DO YOU KNOW?
* Special colourful tickets of TERA JADOO CHAL GAYAA have been made for Novelty Cinema, Lucknow. The reverse of the tickets has utility value as important telephone numbers (railways, airlines, emergency services, 24-hour petrol pumps in the city, blood banks and medical shops) are printed there. Time difference around the globe is also printed with reference to IST. That’s not all! Looking to the popularity of the KAUN BANEGA CROREPATI show on television, the telephone numbers, which intending participants need to dial in Bombay, Delhi, Calcutta or Bangalore, have also been given!
* BACHELORS (Telugu), made at a cost of Rs. 40 lakh and which has entered 50th day at 25 centres of Andhra this week, has already grossed 2 crore so far and is expected to do a business of 3.50 crore. The film has been made (not dubbed) in English too and it will be released all over next month along with its dubbed Hindi version, with the same title.
* Actor Mahesh Raaj must have felt like a true police officer by the end of the day on 17th August. For, he faced the cameras in the role of a DCP for not one or two but three films that day at Esel Studios. The films in the shootings of which he participated were DAAKU BHAIRAV SINGH, CHEHRA MAUT KA and DAMAN CHAKRA.
* Shyam Talkies, Yavatmal is probably the only cinema in the whole of C.P. Berar circuit where DEEWANE drew all 28 shows full in 1st week.
YOU ASKED IT
I am a school student who wants to know whether watching films and TV programmes during or before examinations affects our minds?
– Of course, it does! Films remain in the mind, whether they are good or bad.
Despite a majority of films proving flops, why do cinegoers hanker for watching films in cinemas in the first three days?
– Because cinema is the cheapest form of entertainment in our country. And everybody wants to be entertained.
For a long time now, no film on a historical or legendary character has been made. If a film were to be made on such a subject, encompassing romance, emotions, action, valour, comedy etc., on whose character can it be made?
– Bajirao Mastani is one such subject. Attempts were made to make a film on this subject by some makers including Manmohan Desai. BAJIRAO MASTANI was made only once, in 1925, during the silent era.
COMMENTS
G.D. MEHTA (Delhi-U.P. distributor and exhibitor)
Prices continue to rage like a never-ending inferno. But distributors are hardly cautious. Rather than retreating from the fire, they continue to surge ahead and play with fire. No wonder, many have burnt their fingers.
3-E
Education-Entertainment-Enlightenment
In Search Of The Yaadgaar Beat
Subhash Ghai last week employed the services of famed percussionist Sivamani for three songs of his Yaadein. Sivamani has been the head of the rhythm department in A.R. Rahman’s group, besides being a drumming genius. The flamboyant musician, who uses a large number of unusual percussion instruments, has featured in a number of programmes organised for national causes and, as such, has got a lot of prominence the world over for his esoteric and acrobatic styles while he is engaged in displaying his rhythmic skills. Some of his work in films include hits like Humma Humma from Bombay, and Chhaiyyan Chhaiyyan from Dil Se... What sort of memorable beat he creates for Yaadein remains to be seen… or heard, should we say?
Uttar Pradesh Calling
A 20-page booklet, titled ‘Uttar Prasesh Film Policy 1999’ has an appearance of a tourism promotional booklet. It carries about 20 colourful pictures of landscapes, landmarks and tourism sites of U.P. along with the U.P. government’s seemingly filmmaker-friendly assurances. This booklet was handed over to those who attended the luncheon organised by FICCI president K.K. Modi in honour of Uttar Pradesh chief minister Ram Prakash Gupta in Bombay at The Regent on 12th August. The chief minister invited filmmakers to come to his state to shoot their feature films. He urged filmmakers to spell out their various needs and demands when they came to his state to shoot their films. Among those who met the U.P. chief minister were Yash Chopra, Ramanand Sagar, Shakti Samanta, Amit Khanna (co-chairman, FICCI) and G.S. Mayawala of the Motion Picture Association, Delhi.
Those present at the meeting were highly critical of the high (100%) entertainment tax in U.P. This seems to have had an effect on the CM’s mind. For, back home, he ordered the entertainment tax department to consider reduction in tax. But knowing the U.P. CM’s habit of forgetting things, even this point of tax reduction just might slip out of his mind. Who knows?!?
Hospitality In Style!
Distributors generally never have a good word for their producers. Either the film price is too high for their (distributors’) liking or the product is bad or the producer is not found worth his word… But distributors of Har Dil Jo Pyar Karega are singing a different tune as far as the film’s producer, Sajid Nadiadwala, is concerned. They are all praise for the 32-year-old producer and not without reason. To celebrate the grand sale of the film’s music, Sajid not only invited his all-India distributors for the party he and Super Cassettes hosted on 17th August in Bombay, but also played the perfect host by arranging for their stay for three days in a 5-star hotel — Centaur — all at his cost. What’s more, the large-hearted Sajid plans to take all his distributors to Mauritius for a brief holiday soon. All this, because — to quote Sajid — “they are my distributors and they’ve stood by me through thick and thin.”
A ‘Shaan’dar Bash?!
The party to celebrate the 25th anniversary of Sholay, held on 12th August at The Regent, Bandra, Bombay, was as lacklustre as G.P. Sippy’s next film, Shaan. Everyone thought that the event would set off sparks of nostalgia of those happy days 25 years ago when Sholay created box-office history. But none of the living protagonists of the film — Dharmendra, Amitabh Bachchan, Hema Malini, Jaya Bachchan and director Ramesh Sippy — turned up. The only ones who cared to be present were Mac Mohan and Jagdeep, the ‘Sambha’ and ‘Soorma Bhopali’ of Sholay, and writer Salim. Among the guests who came to greet G.P. Sippy were Dilip Kumar, Anil Kapoor, Randhir Kapoor, Prem Chopra, Milind Gunaji, Nadira, Shyama and Shakila. The big set of Gabbar’s den, which had been specially erected, was the best thing of the ‘nostalgic’ evening!
The Naked Truth
After Jis Desh Mein Ganga Rehta Hai, an enterprising producer is planning to announce a film with a similar though shocking title. He has signed Salman Khan for the film. It is titled Jis Desh Mein Nanga Rehta Hai. Who better than Salman to play the lead role, what with his penchant for taking off his clothes on screen at the drop of a hat, to flaunt his body!
INFORMATION MEETS
“The National Award meant a lot, not so much in terms of reward for the good work done but in regard to renewing my confidence and boosting my morale.”
– ISMAIL DARBAR
GAJAA
Unpredictable are the ways of Destiny. Which is why you never know when it will pitchfork a musician to an eminent position of a music director just as it did with Ismail Darbar. Not many years ago, while Jatin-Lalit were recording a song for Sanjay Leela Bhansali’s Khamoshi, this self-effacing musician was playing violin among the rows of violinists. At that point of time, little did Sanjay Leela Bhansali know that this unassuming musician would make his debut as music director in his next film — and for that, also be conferred with National honours! As for Ismail, he must not even have dreamt of this incredible prospect! From violin to an exclaim of voila!
To Ismail Darbar goes the unique distinction of bagging the prestigious National Award for the best music of 1999, with his very first film — Hum Dil De Chuke Sanam.
Here, Ismail talks about his early days, his music and his feelings:-
From a musician to a music director of eminence. What do you feel about this transition?
– Well, it is like a mission accomplished. To tell you what my mission was, I will have to rewind my life’s tape to those days in 1985 when I started out as a violinist under Laxmikant Pyarelal. After some time, when I left them, I thought that I must become like them. This thought kept growing in me. In the meanwhile, I worked under Pancham-Da. Thereafter, I worked under Bappi-Da’s music direction. I did the maximum work under Bappi-Da. Those days, I hardly used to get time for rest and recreation.
Much before that, when I started learning violin, I thought of making it big in the realm of music — whether as a musician or as a music director, I was not sure.
I got my first lessons in violin from Maira Teacher and then from Babaji (Ram Prasad Sharma, who has been a guru to many of the present-day musicians and who was the father of music directors Pyarelal and Ganesh). Then, Ganesh uncle took me under his tutelage. I used to be with him from morning till night. Ganeshji not only taught me music but also gave me an insight into the world of film music: how tunes are made and what music directors do to make their place here, and all those things. I was his only student then. He was my real guru, guide and philosopher.
…And one day, the big break happened. Before meeting Sanjay Bhansali for HUM DIL DE CHUKE SANAM, did you have to go through a great deal of struggle. How many producers’ doors did you knock?
– I did not have to knock anyone’s doors. It was ittefaq! There was a TV serial called Ittefaq, directed by Hanif Chhipa. I did a song for it, in which I introduced a new singer, Kunal. Now, this guy, Kunal was struggling to become a playback singer in films. During his rounds of struggle, he one day met Sanjay Bhansali. Sanjay told him that he was on the lookout for a new music director and not a singer. Kunal suggested to Sanjay to try me out. Kunal came to me with Sanjay Bhansali’s message and told me to contact him. When I went to Sanjay’s house, he himself was at the door. He was a bit surprised on seeing me because he knew me by my face since I used to play violin during the recordings of his Khamoshi. I had nothing ready with me to make Sanjay aware of my ability, except an album of Zee Music, in which I had provided the tunes. Then I hummed out a tune which he liked. That tune became the title song of Hum Dil De….
Although the songs of HDDCS became hits, the songs of TERA JADOO CHAL GAYAA, despite good sales of its music albums, are not on everybody’s lips except for the title song.
– My music is not easy to sing for the man in the street. Why, even the playback singers found my compositions a tad difficult to sing in the beginning.
Why so?
– Because I make songs from my heart. Whether easy or difficult, dil se nikli hui cheez kabhi fail nahin hoti. Every man’s soul is beautiful, it depends on how one uses it.
People say that the credit for the big success of the music of HDDCS goes to Sanjay Bhansali.
– Yes, they are absolutely right! It was due to Sanjay’s encouragement that I could deliver the goods. He has a sharp ear for music. If he likes anything, he will immediately say, “Yes, this is it”. He is quite easy and cordial when we discuss the tunes. We have already recorded five songs for Devdas and they have all come out very well.
You have acknowledged Kunal for your meeting with Sanjay Bhansali. Will you not make him sing your songs?
– No, it’s not that way. To Kunal, I will always remain thankful for suggesting my name to Sanjay who gave me the big break. But the day Kunal develops his talents fully well, I will definitely use his singing talents. Even my elder brother, Yasin, has a very good voice, and I can easily give him a chance but… You see, singing for films is a different ball game.
You have another brother who is also a music director in Gujarati films.
– He is my cousin, Iqbal Darbar.
Anyone else in your family who is into music?
– My father, Hussain Darbar, was a musician, but not in films. He used to play saxophone. In films, he played it for only one film, Kashmir Ki Kali, for the song, Ye duniya usee ki, zamana usee ka. Thereafter, he did not carry on because he was too self-respecting a person to plead with people for work. He was associated with band groups.
When the music of HDDCS became such a big hit, why were you not so much in demand?
– After HDDCS, there was no dearth of offers, but I took up only four films — Tera Jadoo Chal Gayaa, Mehbooba, Deewangi and one more. But then came Sanjay’s offer of Devdas. And do you know, I spurned 28 offers — only due to Sanjay and Devdas. If Sanjay Bhansali were to ask me whether I had the time to devote for Devdas, could I have afforded to say, ‘No, I’m busy’? After all, he is my mentor. I will always remain indebted to him.
How did the industry react to your bagging the National Award for your very first film?
– See, I don’t roam about much in the industry. My work keeps me engaged enough. About the National Award, I was first informed by Sanjay Bhansali but he was in a doubt. Later, Amitabh Bachchan congratulated me on the phone, and it was then that I became sure of having bagged the Award. Vashu Bhagnani reacted happily by throwing a party the day after the announcement of the Awards.
What did the National Award mean to you?
– It meant a lot, not so much in terms of reward for the good work done but in regard to renewing my confidence and boosting my morale. I was damn confident about getting all the awards for HDDCS, but none came my way. I was, therefore, simmering from inside. It was like I was suffering under the scorching sun in the hot desert region. But this National Award came as Godsent welcome showers!
Which music directors do you admire?
– I have been a fan of Laxmi-ji and Pyare-ji. It was God’s will and my good fortune that I got to learn violin from this family — Laxmi-Pyare and Ganesh uncle.
Then, I was also very fascinated with the notes of Salil-Da (Salil Choudhary), the feel of Naushad Saab, the undiluted sweetness of Madan Mohan’s melodies, and Pancham-Da’s (R.D. Burman’s) brilliance. And, of course, among the current ones, I admire A.R. Rahman.
With such competition among music directors today, how can you afford to remain content with just a few films?
– See, if I do good work, I will be sought-after. It’s better to do few films and produce qality work. As it is, while working for three films — Mehbooba, Deewangi and Devdas — I get a feeling of working in a hundred films.
As of now, Ismail Darbar seems to be following that famous saying: ‘One year of joy, another of comfort, and all the rest of content.”