FLASHBACK | 25 March, 2022
(From our issue dated 29th March, 1997)


While examinations in some parts are over, those in other parts should get over soon. Till then, collections continue to be adversely affected.

Lahoo Ke Do Rang has not been appreciated. 1st week Bombay (6 days) 25,65,689 (65.32%) from 15 cinemas (10 on F.H.); Ahmedabad 8,86,208 from 8 cinemas, Baroda 1,42,922, Rajkot 1,79,100 from 2 cinemas, Jamnagar 1,01,469 (1 unrecd.); Pune 6,12,511 from 5 cinemas (1 in matinee), Kolhapur 1,25,209, Solapur 1,09,188 from 2 cinemas (1 in matinee); Hubli 1,73,865 from 2 cinemas (1 in noon), Dharwad 73,256; Delhi 34,45,078 (72.93%) from 12 cinemas (1 cinema unrecd. and 1 on F.H.); Kanpur 3,37,217 from 2 cinemas, Lucknow 1,53,932, Meerut 1,71,000, Dehradun 1,30,577, Gorakhpur 1,40,000 (79.17%); Calcutta (6 days) 22,30,134 from 26 cinemas; Nagpur 3,30,996 from 4 cinemas, Jabalpur 1,38,639, Amravati (4 days) 85,835, Akola 93,062, Raipur 1,38,890 (59.33%), Jalgaon 88,671; Bhopal 2,39,430 from 2 cinemas (1 on F.H.); Jaipur 4,98,779 from 4 cinemas; Hyderabad 28,50,857 from 19 cinemas, share 15,01,512; Vijayawada (nett) 1,45,385, Visakhapatnam (nett) 91,946.

Judaai is being patronised by ladies all over and continues to do well. 4th week Bombay 13,60,273 (64.09%) from 7 cinemas (5 on F.H.); Ahmedabad 5,99,797 from 3 cinemas (1 unrecd.), Baroda 1,45,374, 3rd Bharuch (gross) 2,17,784, 4th week Rajkot 78,000, Jamnagar 99,809 from 2 cinemas (1 in matinee); Pune 3,03,688 from 3 cinemas (1 in matinee), Kolhapur 91,000, Solapur 77,947; Hubli 92,998 from 2 cinemas (1 in noon), Belgaum 97,249, Dharwad 27,214 (3rd 39,847); Delhi 11,42,081 from 5 cinemas (1 on F.H.); Kanpur 1,47,271, Lucknow 1,18,140, Agra 1,00,172, Meerut 87,000, Dehradun 94,730, Gorakhpur 60,800; very good in East Punjab; Calcutta (6 days) 2,94,000 from 3 cinemas; excellent in Bihar; Nagpur 58,662, Jabalpur 62,333, total 3,09,250, 3rd Amravati 93,295, 4th week Raipur 75,049, Bhilai 71,277, 3rd Jalgaon 65,030; 4th Indore 1,18,256, Bhopal 1,14,321, record; Jaipur 1,14,181, 1st week Ajmer (29 shows) 93,956, 4th Sriganganagar 64,762; Hyderabad 3,01,586, share 1,40,930.

Hero No. 1 is going strong. 5th week Bombay 14,50,564 (79.08%) from 6 cinemas (5 on F.H.); Ahmedabad 1,68,205 from 2 cinemas (1 unrecd.), Baroda 1,07,866 from 2 cinemas, Rajkot 86,819; Pune 2,54,192 from 3 cinemas (1 in matinee), Kolhapur 60,000, Solapur (matinee) 33,063; 3rd Bijapur (7 shows) 26,079, total 2,23,442; 5th week Delhi 17,37,123 from 7 cinemas (2 on F.H.); Kanpur 1,31,401 from 2 cinemas, Lucknow 1,40,280, Agra 1,10,795, Meerut 1,11,224, total 7,36,120, 4th week Dehradun 1,14,000 (3rd 1,27,000), 5th Gorakhpur 50,000; Calcutta (6 days) 1,48,182; Nagpur 88,479, Jabalpur 91,873, total 6,30,173, Akola 46,791, Raipur 76,694, Bhilai 57,478, 1st Jalgaon 1,25,006; 5th Indore 2,22,329 from 2 cinemas, Bhopal 94,972, record; Jaipur 1,83,781, Bikaner (last) 51,575; Hyderabad 3,90,707 from 3 cinemas (2 in noon), share 1,20,929.

Raja Hindustani 15th week Bombay 8,05,207 (52%) from 4 cinemas (3 on F.H.); 19th Ahmedabad 2,18,368 from 3 cinemas, Rajkot (matinee) 25,123; 16th week Pune 3,79,819 from 4 cinemas (1 in matinee), 15th Solapur (7 shows) 53,115, 16th Satara (matinee) 12,660; 17th week Bijapur (7 shows) 23,732; 19th week Delhi 6,79,731 from 4 cinemas; 20th Kanpur 1,06,825 from 2 cinemas, 19th Lucknow 1,03,507, Agra 92,864, 20th Meerut 77,709, 19th Dehradun 15,000, 20th week Gorakhpur 31,000; 17th week Nagpur 38,142, Jabalpur 93,239, total 28,85,177, 15th Amravati (3 days, last) 23,688, Akola (last) 35,727, total 14,15,797, 3rd week Durg 70,349, 4th Sagar about 80,000; 19th Indore 1,34,635, 18th week Bhopal 59,200; 19th Jaipur 1,09,357.


Prema Bandham (Telugu, dubbed version of Raja Hindustani) 1st week Vijayawada 1,55,254, Kakinada 1,32,754, Rajahmundry 1,20,305, Eluru 97,031, Bhimavaram 80,585, Palakol 51,954, Machilipatnam 74,129, Gudivada 67,375, Visakhapatnam 1,90,158, Nellore 2,06,168, Ongole 1,04,018, Guntur 1,67,071.

Entertainment Tax In Maharashtra To Go Down

New Tax Rate Is 60% On Nett Admission Rate

Tax-Free Service Charge To Be Allowed
To Be Carried Forward

Entertainment tax in Maharashtra will come down from the present 100% to 60% on nett admission rates. A proposal to this effect was presented in the Cabinet meeting in Bombay on 27th March. The new reduced rate of tax will come into effect only after the Cabinet’s proposal is passed by both, the Vidhan Sabha and the Vidhan Parishad. Since this would require a time of some days, it is not likely that the new tax rate comes into force from 1st April, 1997, as is felt. The government, it is learnt from reliable sources, may promulgate an Ordinance instead of passing the new tax structure in the Assembly, as above. The Ordinance, duly signed by the governor, may be made effective from May 1, it is learnt. The said Ordinance will not be for any specific time period.

The tax rate will be proportionately ascertained in places where the current rate of entertainment tax is 80% and 90% in place of the normal 100%. Thus, for example, the new tax rate may be 48-50% and 54 or 55% respectively in such places.

It is also believed that the Maharashtra government may permit exhibitors to carry forward the unutilised tax-free service charge for spending in the following year. Presently, the unspent amount has to be refunded to the government.

It may be mentioned here that cinemas all over Maharashtra had downed shutters for a month from 1st January, ’97 to protest against the doubling of entertainment tax to 100%. Despite the best efforts of the action committee of the film industry, formed for the purpose of interacting with the government with regard to this problem, the industry could not get the government to agree to restoration of the tax rate to the old 50%. This relief has, therefore, come as a shot in the arm for the action committee. As N.N. Sippy, a member of the action committee, said, “I am thrilled. It had become a personal issue for me.”


Panic has overtaken distributors and exhibitors of the Bombay-Karnataka region following the hike in entertainment tax proposed in the recent Karnataka state budget. The extent to which business is likely to be adversely affected due to the new tax structure can be gauged by the example of a cinema of Bijapur. The nett capacity per show of Dreamland cinema in Bijapur, which is Rs. 6,854/-, will become Rs. 4,152/- after the new tax structure comes into force. As against the Rs. 44,000/- entertainment tax paid by the cinema so far, it will now be required to pay Rs. 1,32,000/- per week by way of tax!


East Punjab distributor Bunty alias Gurinder Singh (Narsimha Films) was blessed with a baby boy on 27th March in Jalandhar. This is Bunty’s first boy-child.


Cameraman Ravi Chavan was killed in a car accident on 22nd March. He was going from Bombay to Vapi alongwith four crew members of the unit of Gulshan Kumar’s serial, Shiv Maha Puran, when the car in which they were travelling collided with a tanker coming from the opposite direction. Ravi died on the spot. The other occupants of the car were seriously injured and are undergoing treatment at Nanavati Hospital, Bombay.

Ravi was Ken Ghosh’s regular cameraman. He was 46 years old and is survived by his wife and two children.


Film publicist Raman Pandey expired on 24th March at his residence at Bhayandar (Bombay) due to a heart attack. He was 51 and is survived by his wife, a son and a daughter. Raman had also directed a film, Pathbhrashtha, which is still to be released.


Maheshwari cinema in Hyderabad and Amba, Aurangabad, are installing the DTS sound system. Koyla is due for release at both the cinemas on 18th April.


Mahalaxmi cinema in Nasik is in the process of installing DTS sound saytem. It will also undertake heavy renovation work.


‘Barood’ 15-Day Schedule

A 15-day shooting stint of Pramod Films’ Barood commenced on March 26 in Bombay on sets at Film City, Kamal Amrohi Studios and in NSE Compound. All the artistes are participating in the picturisation of climax and other scenes. Being produced and directed by Pramod Chakravorty, the film stars Akshay Kumar, Raveena Tandon, Raakhee, Mohnish Bahl, Mohan Joshi, Aroona Irani and Amrish Puri. Music: Anand Milind. Co-producer: Bharat Shah.

‘Vinashak’ In Mahabaleshwar

Producer Xavier Marquis, director Ravi Dewan and the unit of Mark Films International’s Vinashak left for Mahabaleshwar on March 27 for a 9-day shooting schedule. All the artistes are participating. The film stars Sunil Shetty, Raveena Tandon, Om Puri, Tinnu Anand, Mukesh Rishi, Alok Nath, Disha, Harish Patel, Shivaji Satam and Danny. Its story is written by Ravi Dewan and screenplay is by Rajkumar Santoshi. Cinematography: Peter Pereira. Action: Ravi Dewan.


Who is the most highly paid actor today?

– Some of our directors are charging even more than our top actors!

Don’t you think, the production of small films has declined in recent years? Why?

– Production is a big game today. Cost of production and star prices on the one hand and theatre rentals on the other have gone up so much that it is neither possible nor feasible to make small films in toady’s time.

When producers spend crores to make films, how do they often take such thin story-lines?

– Basing a film on a thin story line is not alarming. It is finally the screenplay and the presentation which must be fresh, novel and proper.


* Mukul Dev is winning rave reviews from his co-artistes and others. People who’ve seen the rushes of Umesh Mehra’s QILA, swear, he has stood out in some dramatic scenes. Alongwith the good reviews, he is also getting good films. He has replaced Anil Kapoor in N. Chandra’s WAJOOD. Besides this, he is working in one more film — JAI SURYA — with Nana Patekar.

* Three cinemas in C.I. territory — Sangeeta and Kastur in Indore, and Rambha in Bhopal — are installing DTS sound system.

* Bappi Lahiri’s 12-year old son, Bappa, did the arrangement for a computerised song for MILITARY RAAJ at B.L. Temptation on 25th March.



Madhuri Dixit may be passing through a low phase as far as her career goes but the girl continues to remain in national news for one reason or the other. Barely has the news of the income-tax raid on her house been relegated to the sidelines than comes news that Madhuri is among the handful of persons who were allotted plots of land by former Haryana chief ministers out of their discretionary quota.

Novelty Is The Catchword

Raja Ki Aayegi Baaraat. Then Maachis. Next, it was Tere Mere Sapne. And Aastha. The latest is Judaai. Although the range of success of all the five above-mentioned films is different (a couple of them are even losing propositions in a circuit or two), one thing common to them is that they all took a start which was far from satisfactory but picked up by word of mouth and went on to become successful earners. Yet another common factor in the films was their unusual story. Of these, Tere Mere Sapne may not exactly boast of a novel or unusual storyline but its presentation was, nevertheless, fresh.

Coming to Raja Ki Aayegi Baaraat. The point in the story where the heroine, a victim of rape, pleads before the court that her rapist should be asked to marry her and look after her all her life found acceptance among the audience, if only because of its novelty value. The film took a disastrous start but as word of mouth about the newness in the story spread, collections picked up. Although it may not cover its distributors’ investments in some circuits, the film is a commission-earner/overflow in others . In Bihar territory, the film seems to have caught the fancy of the viewers so much that it is expected to do a business of over 75 lakh there. A terrific figure, considering that the film was a low-budget and new star-cast film.

Maachis dealt with the topic of terrorists and terrorism in a way different from the many films made with the theme of terrorism. It probably did not take even a respectable start because of two factors — new faces and lack of time for the music to grow. Of course, in parts like Madhya Pradesh (due to entertainment tax exemption), Delhi and Punjab, the film did open well. But where it did not, collections began to pick up as the weeks progressed and as the music became a veritable craze. Controversies surrounding the film also did help but the bottomline was that the film had been liked. Translated in monetary terms, it meant that the film brought returns to its distributors.

Tere Mere Sapne, like the two earlier films, didn’t do its makers proud, what with a lukewarm opening. And this, despite a hit music score, popularised thru various television channels! Was television then indeed the right medium to publicise a film? Anyway, what television couldn’t do, word of mouth did. The best publicity for the film were the words of appreciation of the people who’d seen it. Slowly but surely, collections shot up and today, Tere Mere Sapne is a plus fare in all the circuits. In Bombay, it is doing A1 business.

A small-budget and artistic film like Aastha may not have created any earth-shattering records. But its business in many ‘A’ class centres has proved a point — that a novel subject is today accepted with open arms.

To say that Judaai, a star-cast film, took an average initial would be an overstatement. If it did start reasonably well in Gujarat and Rajasthan and brilliantly in Bihar and Orissa, its opening in Bombay, Delhi, parts of U.P., C.P., C.I. and Nizam was shockingly low. Again, the novel subject of a wife selling her own husband for the lure of luxuries caught the fancy of the viewer. What appeared in the first week to be a subject which had been rejected, found acceptance, and collections showed a marked improvement. As against the trade pronouncement in the week of release of the film that it would entail losses of about a crore per major territory, there’s already talk of “overflow” today, in most circuits. In Overseas, it is already among the major hits of all time.

So what does all this prove? That novelty in writing and presentation is what the audience wants. It is tired of seeing the run-of-the-mill kind of cinema. Fresh subjects, if well presented, do have takers. The catchword is good presentation. Tamanna, too, had a novel story but if it did not click even after the benefit of tax-exemption, it is because its presentation was far from good. It left the viewer depressed. Otherwise, the audience of today wants something new all the time. For a film with a novel subject, they may come in late but they do come.

That’s good news for writers and directors, right?


S. Raamanathan’s Film In Madras

Rajaji Hall in Madras is a picture of frenzied activity on Sunday, March 23. Almost a thousand college students are stationed outside the court (the exterior of Rajaji Hall), protesting against the arrest of their friend for murders he hasn’t committed. Not just arrest, the friend has been awarded the death sentence! Leading the protest are Karisma Kapoor and Rajesh (Rangeela) Joshi. The friend in question is Arshad Warsi. Even as the police commissioner, with his entire team of policemen, is trying to control the revolting and stone-pelting crowd, there appears on the scene a blind lawyer who fires at the commissioner for issuing orders to shoot down the students. He says, he is convinced about the innocence of the arrested boy because otherwise, such a huge force would not be standing behind him like a rock. Even as the police commissioner is left speechless by this least-expected intruder, the lawyer waves a vakalatnama in the air, asking Karisma Kapoor to get it signed by Arshad. It is now the slogan-shouting Karisma’s turn to be left speechless. The lawyer had come like a messiah in their lives when they had thought, it was the end of the road for their dear friend. The blind lawyer was Amitabh Bachchan, wearing a grey beard and, of course, dark glasses.

The film being shot is producer-director S. Raamanathan’s Prod. No. 9, as yet untitled. The 75-year-old Raamanathan could give any youngster a complex with his energy and enthusiasm. Although he has a microphone in his hand, he is issuing instructions on the mike with the same force as he would have, without a mike! And how many times he must’ve climbed up and down the 30-odd steps of Rajaji Hall, one doesn’t really know. It could’ve easily been 200 times!


Well, so charged is S. Raamanathan that when the press party reaches the venue, he greets them all with handshakes and shouts ‘Welcome, welcome’ on the microphone, forgetting that it wasn’t instructions he was giving. The college crowd (read that, junior artistes) is amused and so are we. At another time, the extra-particular film-maker shouts out for chairs for us (again on the microphone) while we are standing at a distance and watching the proceedings. The mike does its magic because the chairs arrive in a split second. Anyway, we decide to rechristen Raamanathan ‘Sir-ji’ as ‘Mike’al Jackson because his nervous energy reminds one of Michael Jackson’s!


After the chair, arrives Anupam Kher. No, not to participate in the shooting but to meet Bachchan. Anupam Kher plays Amitabh’s doctor-friend in the film. He is not required for the shooting that day and is, instead, shooting nearby for a Tamil film with Prabhu Deva. He jokes, “Looking at such a huge crowd, I thought, my fan following in Madras had increased.” Bachchan too is in a mood to joke. After giving the final rehearsal of his shot in the sweltering heat, which requires him to say long lines of dialogues, he plonks himself on the chair next to Anupam’s and confesses, “Patloon geelee ho gayee, yeh shot dete dete.” And before Anupam feels that the camera has made Bachchan so nervous in his comeback days, the star continues with a poker face, “Itni dhoop jo hai.” Anupam Kher has a different thing to say about the scorching heat. “I was shooting this morning at the beach and I had to speak my dialogues in Tamil. Iss liye, mere to do-do pasine chhoot rahe thhey. Garmi ka pasina toh thheek tha, Tamil ka pasina jaane ka naam hi nahin le raha tha.”


Amitabh is called to give the final take. Before this, there is discussion about the point at which the crowds should applaud him. There are two options and one is finally okayed. In between the rehearsals and discussions, a unit hand comes to clear off some pieces of paper and plastic bags lying as waste in the field. Amitabh’s watchful ‘blind’ eye falls on the dutiful unit hand and he asks him to let it be as it is, so that it looks natural. In the rehearsals, Amitabh, quite understandably, falters as he forgets his long lines of dialogues twice.


In the take, it is Karisma’s chance to falter. While she is climbing down two steps to reach out to the vakalatnama being held out by Amitabh, Karisma loses her balance, thanks to her high-heeled sandals and the small steps. “Now, that’s not a slip of the tongue,” says Anupam who has been watching the shooting, “It is a slip of the taang.”

Before we know it, Anupam has given us the slip as he is required for giving his shot in the Tamil film’s shooting.


S. Raamanathan is quite secretive about his film’s story. “We will tell you the story at the appropriate time,” he tells the visiting party, “so that you can then convey it to your readers.” Sensing S. Raamanathan’s mood, Amitabh takes back his words. For, he has already informed us that he plays a blind lawyer in the film. “No, I’m not playing a blind lawyer,” he says, trying to keep a straight face while taking off the dark glasses he has worn. Of course, none in the press party is blind. And we all know, lawyers are liars. Amitabh, perhaps, takes his role too seriously even when not shooting and bluffs us when he says, he isn’t blind in the film. That’s what you call ‘Blind Man’s Bluff’! For, it’s there for all of us to see when Amitabh gives his first shot of the day, that he indeed does play a blind lawyer. In a nutshell, the story is about a young college boy who is framed for four murders and is ordered by the court to be hanged to death. A blind lawyer is convinced that the college student is innocent and takes up his case to finally get him acquitted in the court of law. Vijayashanti plays Amitabh’s heroine. Shivaji Satam also plays an important role.

Amitabh does not remain blind all through the film. His doctor-friend (Anupam Kher) operates on his eyes and restores his eyesight. After all, it’s the kanoon which is andhaa forever, not the lawyer who argues in front of the blindfolded statue…

– Komal Nahta

“We can camouflage his age
to quite a large extent”
Make-up Man Deepak Samant
Talks About Amitabh And Age

“I’m already 55 years old and I have wrinkles on my face.” This is the famous quote of the comeback-Amitabh. An honest confession this, but one which could shake the confidence of the distributors of Amitabh starrers. Although, of course, Amitabh is being careful about the roles he accepts in films and is happy playing his age. Still, the question haunting distributors, exhibitors and his legion fans alike is: Will Amitabh not look old now? Can he be accepted now?

Amitabh may be frank enough to himself declare that age is no longer on his side. Yet, his make-up man, Deepak Sawant, does not sound as if he has surrendered to Amitabh’s age factor. It’s his job to make Bachchan look fresh and he accepts the “55 years” as a challenge. “It is not as if Amit-ji will look old and tired on the screen. We can camouflage his age to quite a large extent,” he says with conviction and a confidence which bears testimony to his 23 years’ association with the man who has often been referred to as the no. 1 to 10 among heroes.

Explains Deepak, “We get different shades of make-up — there’s red, pink, brown, yellow, white, orange, etc. Now, I’ve got to be careful about the colour I use on Amit-ji’s face. Another thing I’ve got to take great care of is the oil and sweat. Oil is secreted from within the body, and sweat comes due to external heat. When the oil and sweat/water (artificial sweat) react with the make-up, the wrinkles on the face become more visible in front of the arc-lights.” Does that mean that one will never see Amitabh with sweat running down his face on the screen? “It’s not that,” clarifies Deepak, “but I will have to be extra-careful for such scenes.”

Deepak concedes that earlier, he used to take 20 to 25 minutes to do Amitabh’s make-up but now, it takes him about 35 minutes to do the job. “Some stars are very interfering, but Amit-ji lets me do my job without interference. He is a fabulous person to work with,” announces Deepak with pride.

The veteran make-up man laments that in an industry where make-up is so important, there’s no award for this craft. “How would you like if an actor plays a hungry beggar without make-up? However good an actor he may be, he will never be able to create as much of an impact merely by his acting talent as with a combination of his acting skill, make-up, hair style and costumes.” In fact, Deepak feels, an actor is 25% acting talent, 25% make-up, 25% hair style and 25% costumes. “If even one of them is lacking, he has to make up for it with the help of the other three,” explains Deepak, “but a good actor must have all the four in equal proportion.” To substantiate his point, Deepak cites the instance of the climax scene of Sholay. “Amit-ji is blown up with a bomb in that scene and is dying. The director told me, he wanted ‘blood’ coming out from the corners of Amit-ji’s mouth. I thought for a while, then I asked Amit-ji to give me the shirt and pant he was wearing for the scene. I took them and tore them with a stone so that they looked shredded. I asked him to wear them again and then I sprinkled ‘blood’ all over his tattered clothes as well as on his forehead. In the scene, after Amit-ji is blown up, his body is lying still when the other characters arrive at the place of the accident. During this time, the blood trickled down from his forehead and came to the sides of his mouth, as desired by the director.”

Coming back to the Bachchan of today, Deepak shuns all talk about his boss having gone in for facial skin treatment or a face lift, as baseless. “It’s just make-up and regular exercising,” he says. “We may have faulted a bit in the first couple of films but even those faults will not recur once we see the first film’s copy. The errors that may have remained in his make-up can be analysed and, thereafter, avoided in the future.”

So, all ye distributors of Bachchan starrers, let the wrinkles of tension on your foreheads go. For, Deepak Sawant assures that he is taking care of the wrinkles and the age of Amitabh Bachchan.


Sippy Surfaces Again

N.N. Sippy has finally decided to take the plunge into production once again, after a long gap. He plans to start his new film in June and complete it within six months. In place of a film with Rishi Kapoor, Madhuri Dixit and Ajay Devgan, which he was earlier planning to produce, this project of his will star Karisma Kapoor and Chandrachur Singh. Raj Kanwar was to have directed the earlier film but this one will be directed by Shravani Deodhar. Informed Sippy, “The subject is so wonderful that dialogue writer K.K. Singh is too thrilled for words.” N.N. Sippy plans to have a third of the film shot abroad “because the story moves there and not just to picturise the songs, as is the fashion these days”.

Mauritius Indoors

Producer Yash Johar has lost count of the number of sets his art director, Sharmishtha Roy, has erected for his Duplicate, so many have there been for the film. One more was put up by the talented girl at Mehboob Studios last week, on which a song and some scenes were picturised on Shah Rukh Khan, Sonali Bendre and others. Before picturising the song, director Mahesh Bhatt had shot the film in Mauritius. But unlike other units which shoot on the beautiful landscapes of this picturesque place, the Duplicate unit was confined to the indoors only. It so happened that the (indoor) location required for the shooting was not available continuously in India as in Mauritius.

Pricey Reena

Reena Roy is acting pricey these days. Shocked? You needn’t be shocked because it isn’t for the big screen for which Reena Roy is acting pricey. She is doing so for a serial, Jung. Reena feels, the serial (produced by Pranlal Mehta) is enjoying popularity because of her presence in it. And so, she’s now demanding a price more than half as much as she gets for a film. This price is not for working in the entire serial, it is just for one episode!

Hero Mastana & Not-So-Mastana

All was not well on the sets of a comedy film starring two heroes and a heroine and nearing the completion mark. One of the heroes (who, incidentally, is the favourite of the film’s director) reportedly changed his dialogue in a scene (involving the two heroes together) at the time of its final take. This seems to have agitated the other hero so much that he charged into his hoted room and didn’t shoot… till the director and the errant hero went to his room and apologised!

Enemies Only

Can you believe this? Kamal Haasan’s Ladies Only is complete but all through its making, its director, Dinesh Shailendra, was barely on talking terms with one of the three heroines of the film, Seema Biswas. Dinesh, it is reported, was angry with Seema as she did not greet him when on the sets!