LATEST POSITION

Kunwara has not found much appreciation. 1st week Bombay 62,85,725 (77%) from 13 cinemas (9 on F.H.); Ahmedabad 19,12,928 from 7 cinemas, Padra 1,75,905, Vapi 5,44,719, Rajkot 2,20,890, Jamnagar (matinee) 27,000 (1 in regular unrecd.); Pune 16,88,919 from 5 cinemas (1 in matinee), Solapur 2,80,375 from 2 cinemas (1 in matinee); Delhi 58,42,960 (66.70%) from 13 cinemas (2 on F.H.); Kanpur 4,51,261 from 2 cinemas, Lucknow 7,52,648 from 2 cinemas, Agra 3,55,000, Allahabad 2,51,162, Meerut 2,69,792; Calcutta 16,22,419 from 14 cinemas; Nagpur 7,39,651 from 4 cinemas, Amravati (6 days) 1,73,323, Raipur (4 days) 96,204, Wardha 1,00,090; Indore 4,47,601 from 2 cinemas (1 on F.H.), Bhopal 4,38,175 from 2 cinemas; Jaipur 8,70,229 (53.76%) from 3 cinemas, Ajmer (29 shows) 1,53,507; Hyderabad (gross) 31,39,836 (71.72%) from 14 cinemas (1 in noon), good.

Kaala Mandir 1st week Bombay 44,175 (24.43%).

Jungle drops but it should fetch some commission in almost every territory. (Telugu version Adavi has done poor.) 2nd week Bombay 11,31,256 on 2 prints (7 unrecd.; 7 on F.H.); Ahmedabad 5,65,667 from 5 cinemas, Rajkot 79,640, Jamnagar 30,446; Pune 7,84,555 from 3 cinemas (1 in matinee), Solapur 1,45,861 from 2 cinemas (1 in matinee); Hubli 93,267; Delhi 20,02,447 from 10 cinemas; Kanpur (6 days) 1,53,262 from 2 cinemas, Lucknow 2,04,191, Agra 2,15,000 (1st 4,10,000), Allahabad 87,200; Calcutta 6,04,785 from 5 cinemas; Nagpur 3,03,768 from 3 cinemas, 1st week Jabalpur 82,011, Amravati (6 days) 1,31,391, 2nd week Raipur (6 days) 76,954, Jalgaon 49,370, Chandrapur 1,02,722, 1st week Yavatmal 1,21,809; 2nd week Indore about 1,00,000, Bhopal 92,698 from 2 cinemas; Jaipur 1,54,710; Hyderabad (gross) 4,44,012 from 3 cinemas (2 in noon).

Bichhoo further drops badly. 3rd week Bombay 7,78,009 (33.28%) from 5 cinemas (5 on F.H.); Ahmedabad 1,60,353 from 3 cinemas, Rajkot 86,719 from 2 cinemas (1 in matinee); Pune 1,71,817 from 3 cinemas (1 in matinee), Solapur 1,32,257 from 2 cinemas (1 in matinee); Delhi 6,25,700 from 5 cinemas (1 on F.H.); Kanpur (6 days) 1,67,616 from 2 cinemas, Lucknow 2,08,021, Agra 1,02,700, Allahabad 1,11,877; Nagpur 91,723 from 2 cinemas, 2nd week Jabalpur 1,09,798, total 3,63,795, 3rd week Amravati (6 days) 99,887, Raipur (6 days) 52,895, Jalgaon 64,201, Wardha 32,498; Jaipur 1,15,877; Hyderabad (gross) 3,33,286 from 2 cinemas (1 in noon); 1st week Mangalore 1,47,819.

Refugee 4th week Bombay 16,89,056 (41.38%) from 9 cinemas (9 on F.H.); Ahmedabad 6,82,754 from 4 cinemas, Vapi 1,25,058, total 16,58,880; Pune 2,46,721 from 2 cinemas, Solapur 95,259; Delhi 5,37,229 from 4 cinemas (1 on F.H.); Kanpur 1,40,243 from 2 cinemas, Lucknow 2,66,058, Agra 65,000 (3rd 1,02,000), Allahabad 1,03,600; Nagpur 1,23,212 from 2 cinemas, 2nd week Jabalpur 1,52,526, total 4,17,392, 1st week Balaghat 77,583, 4th week Amravati (6 days) 82,243, Raipur (6 days, gross) 1,31,826, Jalgaon 76,400, 3rd week Yavatmal (gross) 50,353, Sagar (6 days) 27,836; 4th week Jaipur 5,18,605; Hyderabad (gross) 4,25,191 from 3 cinemas (1 in noon).

RAM YEDEKAR BIDS ADIEU

Veteran and eminent art director Ram Yedekar passed away on 24th July at his Lokhandwala Complex residence in Bombay. He was 72 and is survived by a son and a daughter.

Ram Yedekar started out as a helping hand under gifted art director G.D. Dixit during the making of Sohrab Modi’s Jhansi Ki Rani. G.D. Dixit then made Ram Yedekar his assistant. Yedekar later became an independent art director and did a number of films for Mehboob, Navketan Films, Nasir Husain, Raja Nawathe, G.P. Sippy (Sholay being one of the films) and Raj Khosla. The last film he worked as an art director for was Farishtay. Thereafter, he worked at an easy pace and did TV serials and advertisement shorts. He also worked on a large number of foreign films shot in India.

‘BADAL’ SILVER JUBILEE

Salim’s Badal entered combined silver jubilee week in Bombay and other places on 28th July. Directed by Raj Kanwar, the film stars Bobby Deol and Rani Mukerji. Music: Anu Malik.

‘HADH KAR DI AAPNE’ 100 DAYS

R.R. Productions’ Hadh Kar Di Aapne completed 100 days on 28th July in Bombay and other places. The film stars Govinda, Rani Mukerji, Johny Lever, Paresh Rawal, Satish Kaushik and Tinnu Anand. Produced by Rajeev Anand and Rakesh Malhotra, and directed by Manoj Agrawal, it has music by Anand Raaj Anand and lyrics by Anand Bakshi.

YOU ASKED IT

What is the difference between a presenter and a financier?

– A financier finances a film and gets interest on his finance. But a presenter, besides the interest, also shares in the profits and losses of the film. 

In which kind of films is less investment involved and high returns assured?

– Less investment is possible in a new star cast film but about high returns being assured, well, you must be joking! There’s no assurance of returns and you want high returns!!

Which was Aamir Khan’s first film?

– Ketan Mehta’s HOLI, released in 1984. But as a child artiste, he was seen in YAADON KI BAARAAT (1973).

DO YOU KNOW?

* To counter the formidable opposition of the Amitabh Bachchan-hosted KAUN BANEGA CROREPATI on Star Plus, Elbee and Rajmahal cinemas of Surat will conduct their last shows from 10.15 p.m. from Mondays through Thursdays. On the other days of the week, when the programme is not aired, the two cinemas will conduct their last shows from 9 p.m.

* Bombay distributors Shringar Films have been screening all their films at the same cinema — Shree — of Vapi. Their KUNWARA collected 5,44,719/- in 1st week at Shree. Their next, TERA JADOO CHAL GAYAA, is also due at Shree.

* Such was the rush at Sunderam cinema, Ujjain in the 6 p.m. show of KUNWARA on Sunday (23rd July) that the exhibitor performed a simultaneous show of the film at the adjoining Swarg cinema by having the English film running there, withdrawn for that show. …The film also did well in 1st week at Lily, Bhopal and Lokendra, Ratlam. 

3-E
Education-Entertainment-Enlightenment

Hamari Film Aapke Paas Hai

At a time producers have become as secretive about their films as one would be of things ultra-personal, the gesture of producer Boney Kapoor to show his Hamara Dil Aapke Paas Hai to his distributors comes as a whiff of fresh air. And what was shown was not the final print — how could it be shown when it is not out as yet — but rather the rush print. Distributors have for long been complaining that although they pay huge under-production monies to producers, they are never shown even a frame of the film. But producers have all along behaved as if they couldn’t care less for their distributors’ points of view. And this kind of secrecy is a relatively new phenomenon which has gained ground in the last three to four years only. Boney, however, chose to invite his distributors for a screening of Hamara Dil Aapke Paas Hai more than a month in advance. Rishi Kapoor, too, had shown his Aa Ab Laut Chalen to his distributors some days before its release. Just goes to show how much these two Kapoors care for their distributors. Contrast them with someone like Mani Rathnam who didn’t think his distributors of Dil Se.. were worth even a trial show before release! As for Boney Kapoor, the guy seems to be going with the spirit of his film’s title. After all, as Boney would tell his distributors, “Hamari film aapke paas hai.”

Mehul Kumar Two-Tuned

Producer-director Mehul Kumar had to face ‘two much’ of music at Sunny Super Sounds on 24th July. For, he was recording two songs for two different films, to be launched next month. On the first floor of Sunny, music director Anand Raaj Anand was recording one song, and on the third floor recording theatre, Sanjeev Darshan were recording a song for Mehul Kumar’s other film. Both the songs were duets. That makes four singers, three music directors, two songs and one common maker.

Better Pardes Than Uttar Pradesh

The U.P. State Film Development Board is keen that Hindi film producers shoot their films in Uttar Pradesh. The Board has offered all facilities for Hindi film units shooting in the state. Recently, in a meeting with the Board officials, producer Pahlaj Nihalani lamented that producers have to run from pillar to post to get work done in U.P. As if to endorse Nihalani’s opinion, Kamleshwar, who is the chairman of the U.P. State Film Development Board, told a press gathering in Lucknow recently that when he had sent a letter of acceptance (of the Board’s chairmanship), the letter could not be delivered to the official concerned as the bearer of the letter was asked by a secretariat’s peon for a bribe to allow him into the secretariat.

By the way, the U.P. Film Development Board has offered to accommodate the film’s makers and stars in its circuit houses, provided no VIP turns up. Which means that if a VIP turned up at any time, even during the middle of the night, the film folk will have to move out! Arrey bhaiyya, better to shoot in pardes or anywhere in apna desh than Uttar Pradesh!!

Title Jung

Whose title is Jung Ka Elan? Does it belong to producer Surendra Shrivastava (Suchitra Films Enterprises) or producer-director Kishan Shah? Producer Shrivastava has claimed it to be his. And rightly so. According to a copy of the letters circulated to the press by Shrivastava, the title Jung Ka Elan was allotted by AMPTPP to Shrivastava whose film of the same name, starring Mithun Chakraborty, is in progress. But Kanti Shah publicised his film with the same title. Following a complaint by Surendra Shrivastava, the AMPTPP and FMC asked Kishan Shah to desist from using the title for his film. So, Kanti Shah has made an elan that his film is now Meri Jung Ka Elaan. So possessive!

INFORMATION MEETS

“Basically, there should be sixty days of undiluted publicity for any film… that is, thirty days prior to the film’s release and thirty days after the release.”

– RAMESH SIPPY

GAJAA

Happy — in fact, active — days are here again for Bombay distributor Ramesh Sippy and his son, Rakesh Sippy. Some years ago, enterprising Ramesh Sippy was enviously admired by the ilk of his own trade for his dynamic approach, good judgement and astute dealings. His hit list grew. But, as they say, even a sprinter needs a pause. Ramesh Sippy paused. After a brief sabbatical, he started acquiring films — but fewer films. May be, this was to make his equally enterprising son, Rakesh, learn the first lesson of this unpredictable trade of distribution: of exercising caution. Rakesh has grasped the other finer points of his father’s business qualities and, what’s more, the son is well on his way to bringing about a great revival of his famous father’s business enterprise. The father-son duo has fired the first salvo by acquiring Shankar’s maiden Hindi venture, the costly Nayak The Real Hero. Truly, the interim period was, as Ramesh Sippy himself generalises for others, “a recoil for a bigger leap”. There are plans for acquiring more significantly big films, too, in a couple of months. The deals are being finalised. So Ramesh Sippy, the man known for his dynamism, foresight and acumen, is once again emerging as a force to reckon with along with his generation next, his savvy son, Rakesh.

Congratulations on bagging a big film like NAYAK THE REAL HERO for Bombay. How did you decide on this project?

We have always been on the lookout for big films, like films of Yash Chopra and Karan Johar. Since we couldn’t acquire them, we found Nayak to be ideally suitable. It will be rich, both, content-wise and visually. I and my son, Rakesh, saw the Tamil original (Mudhalvan) two months back at a projection in Bombay for Boney Kapoor as his brother, Anil Kapoor, had committed to do the film. Secondly, director Shankar’s track-record has been very good. And what’s more, it has already proved a super-hit in Tamil.

What’s the film about?

It’s an anti-politician film. Although there have been a lot of anti-establishment films made in the past, what sets Nayak apart from the rest is its fresh subject and treatment and a good amount of gloss and glamour.

(Ramesh Sippy narrated the story in full and dwelt on the various highlights. Suffice it to say that it will keep the viewer’s attention totally engaged.)

It’s too good. Have you planned to acquire some more biggies?

Yes. And we are moving to a bigger office, too, on the same floor (N.B. Kamat’s office).

We hear that your son, Rakesh, is all set for the big revival like the way you came with a bang years back, when you acquired big films of South banners.

He is the main guiding force. He had to make distribution his full-time job. Those days, we were buying remakes of films which were proven hits. But today, things are different. There’s always this generation next!

But today, prices have hit the roof…

Not yet, not yet. They are yet to hit the roof!

In the light of such high prices, how do you view the distribution scene today? Very risky, risky or return-yielding?

See, those days, films were being acquired at an average of, say, 20-25 lakh. And if the distributor was unlucky, he would lose about 5 lakh or so. But today, though Refugee was not appreciated, its initial was enough to cover the risk. Today, I could afford to lose 25 lakh in a Rs. 3-crore film, but not 25 lakh in a 1-crore film.

But many have quit the distribution trade in the last some years…

This is nothing new. It has been happening over the years. Many have gone for good. Some of them are deciding to quit. Maybe, some of them are taking a pause, perhaps, for a little recoil for a bigger leap.

Some are even contemplating going into film production…

More lately, there are some who are thinking on those lines. See, those days, satellite channels did not exist, Overseas was not at its peak, and music did not fetch the kind of money it is fetching today. The big money from all these three avenues encourages newcomers to enter production business.

Which do you think is a more lucrative business — distribution or production?

Production is, any day, better.

So, would you be going into production soon?

Well, I have my eyes open.

How much does promotion on TV help a film?

Film promotions are mostly songs-oriented. Songs do not necessarily ensure an opening. TV promotion needs to be modified. Padmalaya’s Sooryavansham comes to the mind as a case in point. Its TV promotions had songs showing the younger Amitabh. The film has a good many scenes of confrontation between the young and the old Amitabh. Glimpses of those scenes in promotional trailers could have created a remarkable curiosity for the film. The film’s songs promotion was not only improper, it was also inadequate.

There are those who think that print media has become obsolete where film promotion is concerned.

No, it hasn’t. I don’t agree with this. Print medium will never go obsolete. Right from the launch of the film till its completion and release, it is the print medium which informs the reader and cinegoer about the film. Today, a small-town exhibitor evinces interest in a film because he has read about it somewhere. When I ask him why he wants the film for his cinema, he tells me that he liked the subject about which he had read in some magazine or newspaper. As a distributor, I might not be knowing the film’s story, but that exhibitor knows it. Many of the cinegoers decide to see a film after reading its reviews in newspapers. The reviews may not always be right, but readers form their own opinions after reading the critic’s comment. No amount of showcases on TV can assure a decent opening like comments and reports appearing in the print medium.

Basically, there should be 60 days of undiluted publicity for any film, whether it be on the channels or journals and newspapers, that is, 30 days prior to the release and 30 days after the release, so that you don’t miss out on any medium or any avenue of promotion. After all, a film’s promotion is done only once.

Not very long back, producers used to take their distributors into confidence by showing rushes of whatever they had shot and edited. But this is not happening today. Is it not regrettable?

It is indeed regrettable but then if you show a film which involves a big stake, the six distributors will see the film and come up with varying opinions. If the producer and the director start considering the various opinions, there is bound to be confusion. Secondly, producers have a fear psychosis, though they might not admit to this. Just one negative remark might land them in a soup. The ideal way is to go by the director’s track-record and by reposing confidence in active producers — producers who participate in the film’s day-to-day making.

Films which are made by producers who are directors themselves have generally been successful. Today, we have such pro-active producers, like Subhash Ghai, Indra Kumar, Boney Kapoor, Gordhan Tanwani, Vashu Bhagnani… They are totally involved. And their involvement pays.

As involved as Ramesh Sippy and sonny Rakesh Sippy are in finalising big buys…