JAANAM SAMJHA KARO

Karishma International’s Jaanam Samjha Karo is the story of a Casanova and a club danseuse. The danseuse yearns to be married to a decent guy but her profession is such that she is also sceptical about whether she would ever find a decent match. Add to that, her aunts who would rather that she danced and thereby earned money for them. It so happens that the Casanova, who is heavily into womanising, is one day forced to project the girl as his wife in order to win the approval of his grandfather. The grandpa is thrilled with his grandson’s choice, and the girl herself is keen that the drama turns into reality. But before that happens, some misunderstanding takes place between the girl and the boy. Ultimately, the two do get married.

On the plus side of the film are its music, the presence and popularity of Salman Khan, the sincere performance put in by Urmila Matondkar and the mangalsutra angle in the drama. But on the negative side, the story offers nothing new, and the screenplay has been very shoddily written. The scripting (Rajkumar Santoshi) is so half-hearted that hardly anything makes an impact on the audience. No care has been taken of continuity, and characters flit in and out of India as if they were going for a walk. The first half is quite pathetic with excessive songs, a couple of which aren’t even very appealing musically. What, however, saves the drama from deteriorating too much is Jaspal Bhatti’s comedy. The post-interval portion is somewhat better. But even here, emotions fall flat and fail to touch the heart because there’s no proper justification for them. Climax is inappropriate. The four to five reels before the climax are the only good part of the film. The change of heart of at least three characters in the film (Salman Khan, Monica Bedi and Sadashiv Amarapurkar) is the least convincing and appears to be an attempt at wrapping up the drama. Dialogues are witty at several places and hilariously entertaining at several others.

Salman Khan scores in light scenes but his lack of interest in the film is all too evident at several places. His performance is, therefore, not consistent. But he looks simply dashing and dances just too wonderfully. Urmila Matondkar delivers a sensitive performance and is endearing. Shammi Kapoor’s character lacks the desired sensitivity; he does fairly well. Jaspal Bhatti is excellent and brings the house down with laughter but only on a couple of occasions. Monica Bedi is poor. Shakti Kapoor fails to impress. His coming to India all the way from London in the climax looks ridiculous, to say the least. Sadashiv Amarapurkar is average. Rohini Hattangady leaves a mark. Laxmikant Berde has been wasted. Bindu, Navneet Nishan, Kannu Gill, Mushtaq Khan, Grusha Kapoor, Ghanshyam, baby Gargi, baby Ashwini, Ashwin Kaushal and Deepshikha are barely average. Asha Sharma lends fair support.

Andaleb M. Sultanpuri does not make too impressive a debut as director. Not only is his understanding of the script not proper, his shot takings also leave a lot to be desired. Anu Malik’s music score is excellent. ‘Love hua’, the title song and ‘Sabki baaratein aayee’ are the three best numbers. ‘O ho Chandni’ is also well-tuned. The dance steps and locations on which the songs have been picturised are both very beautiful. The picturisation of ‘Love hua’ is superb. Foreign locations are quite eye-filling. But W.B. Rao’s lighting and camerawork in indoor shooting are shockingly poor!

On the whole, Jaanam Samjha Karo has good initial value, limited entertainment value for youngsters only, Salman Khan and hit music on the positive side, but a weak script on the negative side. Considering its high price and lack of substance to sustain, it will barely manage to reach the average mark. Business in Bombay and South will be better.

Released on 2-4-’99 at Central Plaza and 20 other cinemas of Bombay by Vimal Agarwal thru R.M. Ahuja & Co. Publicity & opening: excellent. (Some shows in some Bombay cinemas were cancelled on Friday due to tension.) …….Also released all over. Opening was bumper except in C.I. (partly due to hike in admission rates).

LATEST POSITION

The Idd holiday on 29th March helped boost collections. …….With vacations around the corner, better times seem to be ahead for the box-office.

International Khiladi has generated good shares in the 1st week due to a bumper opening and an additional holiday, but collections at many places dropped quite dramatically from 5th day onwards. The 2nd week started quite dull at many centres. 1st week Bombay 55,02,838 (77.15%) from 14 cinemas (12 on F.H.); Ahmedabad 11,99,869 from 8 cinemas (1 in matinee), Padra 1,52,429, Rajkot 2,62,664 from 3 cinemas (1 in matinee), Jamnagar 1,69,711, Adipur 1,16,582; Solapur 2,90,658; Delhi 43,85,954 (70.94%) from 10 cinemas (1 on F.H.); Lucknow 4,34,031 (100%), Agra 4,60,525, Varanasi 2,84,121, Allahabad 2,48,653, Bareilly 2,09,598 (93.75%), Hardwar 96,000 (52.48%); Calcutta (6 days) 25,77,075 from 19 cinemas (7 on F.H.); Nagpur 5,88,278 from 4 cinemas, Jabalpur 1,64,208, Amravati 2,07,697, Akola 2,09,547, Raipur 1,76,946, Bhilai 1,47,601 from 2 cinemas, Durg 74,596, Jalgaon 2,08,938, Bilaspur 1,27,609 from 2 cinemas; Indore 1,28,000 (3 on F.H.), Bhopal 2,61,893 from 2 cinemas (1 on F.H.); Jaipur 8,26,962 from 4 cinemas; Hyderabad (gross) 32,98,604 from 17 cinemas; Vijayawada (gross) 2,24,000.

………..

‘GODMOTHER’ PRODUCERS TO MOVE AHMEDABAD HIGH COURT

Gramco Films, the producers of Godmother, have decided to move the Ahmedabad high court to appeal against the judgement delivered recently by a Rajkot court on the film’s release. The film has been at the centre of a controversy ever since it was alleged that the central character in the film (played by Shabana Azmi) closely resembled Santokben Jadeja, well-known for her political connections.

Santokben approached the Rajkot court, seeking a ban on the release of the film, on defamation grounds. The Rajkot court ruled that Godmother could be released after two specific scenes were altered. One scene shows Shabana lighting a cigarette in a taluka panchayat, and the second scene shows her drinking an intoxicating potion and thereafter engaging herself in a song sequence.

The film, it may be mentioned here, has already been cleared by the CBFC.

GANDHI BABU DEAD

Orissa distributor Gandhi Babu expired at a hospital in Cuttack on 9th March. He had been rushed there from Behrampur four days earlier, following sudden illness. He was a partner in Hira Mani Films, Cuttack.

TELUGU FILM BANNED

Telugu film English Pellam East Godavary Mogudu has been banned by the Andhra Pradesh government because it contains scenes allegedly violating the norms of judiciary and demoralising the status of judges. The film’s screening has been terminated from several centres of Andhra Pradesh after a two-week run.

BAN ON HINDI FILMS IN NEPAL LIFTED

The ban on Hindi film screenings in Kathmandu was called off after just 10 days of its imposition. The ban had to be withdrawn as there aren’t enough Nepalese films to be screened in all the cinemas of the capital city of Nepal.

The ban had been announced by the Nepal Democratic Co-ordination Front ostensibly to prevent the Nepalese culture from being corrupted by Hindi films. It had come into effect from 15th March. The decision to lift the ban was taken at a meeting of the NFDC and the Nepal Motion Picture Association as well as the Producers’ Association, held on 23rd March. However, all cinemas of Kathmandu valley will be required to screen Nepalese films for 150 days in a year. The condition of compulsory screening of Nepalese films will spread to cinemas outside Kathmandu gradually.

*           *           *

The 6 p.m. shows in Nepal are the weakest due to the poor law and order situation in the country. After the initial two or three days, the cinemas record barely 10 to 15% collections in the 6 p.m. shows. In Kathmandu, it is the 3 p.m. show which is the strongest while in places other than Kathmandu, it is the 12 noon show that is strong.

PRODUCTION NEWS

‘Hindustan Ki Kasam’

The recording of background music for Devgan’s Films’ Hindustan Ki Kasam began on March 30 at Sunny Super Sounds. The film is produced and directed by Veeru Devgan. It stars Amitabh Bachchan, Ajay Devgan, Manisha Koirala, Sushmita Sen, Prem Chopra, Shakti Kapoor, Gulshan Grover, Farida Jalal, Navin Nischol, Shahbaaz Khan, Pramod Moutho, Kashmira Shah, Johny Lever, Goga Kapoor, Brij Gopal, Pinky Chinoy, Kader Khan and Mallika. Lyrics: Anand Bakshi. Music: Sukhwinder Singh. Dances: Raju Khan. Action: Jai Singh. Art: Bijon Dasgupta. Sound: Rakesh Ranjan. Editor: Suresh Chaturvedi. The film is presented by Bharat Shah.

‘Kaho Naa…Pyaar Hai’ In New Zealand

Producer-director Rakesh Roshan and the entire unit of Film Kraft’s Kaho Naa…Pyaar Hai will leave for Christ Church and Queenstown in New Zealand on April 6 for a 19-day shooting stint. Two songs and several scenes will be picturised on Hrithik Roshan, Amisha Patel and Tanaaz Currim (who has been added to the cast). The film co-stars Ashish Vidyarthi, Dalip Tahhil, Farida Jalal, Payal Malhotra, Mohnish Bahl, Rajesh Tandon, Vrajesh Hirjee, Satish Shah, master Abhishek and Anupam Kher. Story-screenplay: Ravi Kapoor and Honey Irani. Dialogues: Sagar Sarhadi. Music: Rajesh Roshan. Lyrics: Saawan Kumar, Ibrahim Ashq and Vijay Akela. Cinematography: Kabir Lall. Action: Tinnu Verma. Sound: Navin Zaveri. Dances: Farah Khan. Editor: Sanjay Verma.

ANNOUNCEMENT & LAUNCHING

Shakeel Noorani Teams Govinda, Twinkle In ‘Joru Ka Ghulam’

Noorani Films Corporation’s Joru Ka Ghulam was launched on March 27 with the recording of a song penned by Sameer, set to tune by Aadesh Shrivastava and rendered by Sonu Nigam and chorus. The film stars Govinda, Twinkle Khanna, Johny Lever, Satish Kaushik and Paresh Rawal. It is being produced and directed by Shakeel Noorani. Writers: Yunus Sejawal and Ikram Akhtar. Cinematography: Dinesh Telkar. Dances: Ganesh. Art: Vasant Katkar. Sound: S.K. Srivastava. Editor: Sudhir Verma.

Guddu Dhanoa’s ‘Bichhoo’ Rolls With Week-Long Schedule

Guddu Dhanoa’s Bichhoo, presented by Narinder Dhanoa, went before the camera on March 24 with a week-long schedule (till March 30) at Ace Jam, Gateway of India and on various locales in Bombay. Bobby Deol participated alongwith Virendra Saxena. Being made under the banner of Bhagwan Chitra Mandir, the film co-stars Ranee Mukerji and Raj Babbar. It has music by Anand Raaj Anand and lyrics by Sameer. One song has already been recorded. Veena Sood is the executive producer.

Maharashtra Government Announces Policy For Cinema Multiplexes

The Maharashtra government has announced the policy for cinema multiplexes, valid all over Maharashtra including Bombay city. The policy for multiplexes is actually a part of the Tourism Policy announced to coincide with the Year of Tourism. The Tourism Policy has four components of which the third component relates to the package for multiplexes.

Excerpts from the policy:

“The multiplexes will have criterion for minimum number of screens for Bombay city and outside Bombay and can have tourism-related amenities within the multiplexes.

“The multiplexes shall be eligible for exemption from entertainment duty for a period of 4-5 years. They will also be entitled to stamp duty relief if they are located outside the municipal limits.

“For the projects of Indian entrepreneurs, joint venture projects and 100% projects of foreign companies, there shall be different norms within the multiplex policy.

“The cinema houses in the multiplexes will be exempted from sales and purchase tax for the cinematographic equipment purchased by them.

“Existing cinema houses can also convert into multiplexes under the policy.”

The Tourism Policy shall be implemented by a single-window clearance system.

FIVE MULTIPLEX PROPOSALS ALREADY CLEARED

The Maharashtra government has issued letters of intent to five parties for construction of cinema multiplexes in the state. Of the five, three projects okayed are those of producer Nitin Manmohan and his brother Hemant; Videocon; and Modi International.

Nitin and Hemant have already started work on their project in Pune. Their multiplex will have four cinema screens. Manmohan Shetty (of Adlabs) is also planning to construct a multiplex in Bombay city. Bharatbhai Shah, whose multiplex is coming up in Gujarat, is also reportedly contemplating building one in Bombay.

Trade Ecstatic
Industry Hails Multiplex Policy

SHYAM SHROFF
(Distributor, Exhibitor)

“I am extremely positive about the new policy. My prediction is that there would be nearly 500 new screens that will come up in the next couple of years in Maharashtra, thanks to this policy. This will definitely provide a more conducive situation for distributors.

“I do not think, the admission rates will reduce drastically right away. So, I feel, there is no immediate cause for concern for the existing cinema owners. The entertainment tax that goes to the government will now go to the builders of multiplexes in return for their investments. Thus, the admission rates will remain unchanged for a while. It is only when a lot of cinemas come up and start competing against each other that the admission rates will begin to be slashed.

“It must be pointed out here that even though the government has taken the right step in formulating this policy, there are still a few areas in film business that are continuously being ignored. I was just talking to a government official the other day about it. I told him, ‘It is nice that you are boosting the development of multiplexes and all that, but how do you plan to contain cable piracy? How can you expect people to go and spend Rs. 60 and 70 in cinemas, when they can view the same film at home without spending any money, so to speak.’ I also told him that, on the one hand, the government asks us to make films of international standards and, on the other, the same government imposes so many rules and regulations on us. These things must be considered with gravity before going all out in praising the policy.”

PRANLAL DOSHI
(Exhibitor)

“Though I haven’t read the policy yet, going by the proposal, I can say that it is a welcome step. Yet, certain things need consideration. As we all know, multiplexes will require large areas of land, which is simply not available in a city like Bombay. I would like to ask the government if it is going to provide FSI.

“Secondly, the existing cinemas will be affected very badly by the tax holiday offered to multiplexes. I mean, it doesn’t seem fair that one cinema pays 60% entertainment tax while another pays nothing at all. In fact, we (CEAI) will be meeting the concerned government officials very soon and will make a case for them to ease the present structure of entertainment tax.”

VINAY CHOKSEY
(Distributor, Exhibitor)

“The policy will prove beneficial to the distributors because it will lead to more screens. As regards the fate of existing cinemas, I do agree that it isn’t a good omen for them. But, in my opinion, the multiplexes will mostly attract big films with big star cast etc. while the old cinema halls will continue to remain good outlets for ‘B’ grade films.

“Another thing that should go in favour of the existing cinemas is the high price of land in cities like Bombay. Construction of new multiplexes will require large areas of land, which when bought will not be so cost-effective keeping the low returns from exhibition in mind. So, eventually, there will remain only two options — you construct one on a plot lying idle with you or convert an existing cinema into a multiplex.”

SHRAVAN SHROFF
(Distributor, Exhibitor)

“If I were asked to, I would give the Maharashtra government 1000 points out of 100 for formulating the policy. The best thing about it is that it is not protectionist like the usual government policies. No one is unduly protected under it. Of course, the existing cinemas will have to pull up their socks and improve or else face closure. On the brighter side, they also have the option to convert into multiplexes. After all, they have an established presence and infrastructure, and can be converted into multiplexes in six months flat. This should prove very advantageous to the existing cinemas. Apart from that, the policy will lead to a larger number of screens which, in turn, well lead to a growth in the number of films being produced. All in all, both, as a distributor and as an exhibitor, I am more than happy with the policy.”

KIRAN SHANTARAM
(Producer, Exhibitor)

“I am not exactly aware of the issue. But it appears to be a very good policy on the face of it. This is the time for multiplexes and it is heartening to see that the state government has decided to encourage them.”

SAAWAN KUMAR TAK
(Producer-Director)

“Anything that eases the burden of entertainment tax on films is a welcome step. I am completely pleased with the policy. As far as existing cinemas are concerned, their owners will scramble to sell them in favour of multiplexes as soon as the policy comes into effect. So, one need not be unduly worried about their fate. A larger number of screens will be available for films which will also prove to be a boon for the industry.”

PARVESH MEHRA
(Exhibitor, Producer)

“The policy is the sign of our times. Obviously, the existing cinemas will have to either make way for multiplexes or perish as soon as the policy comes into effect. I am more than happy with the policy.”

DO YOU KNOW?

* JAANAM SAMJHA KARO is the first film to have been released simultaneously in two cinemas in the same complex — Ramakrishna 70mm and Ramakrishna 35mm — in Hyderabad.

* INTERNATIONAL KHILADI has created theatre records in 1st week at the following cinemas of the following stations of U.P.: Vasant, Ghaziabad (2,91,520/-), Darpan, Saharanpur (2,29,100/-), Nandan, Aligarh (2,53,679/-), Vishwamitra, Allahabad (2,48,652/-), Dilshad, Moradabad (2,27,312/-), Jubilee, Gorakhpur (2,18,212/-), Prabhat, Dehradun (2,32,217/-), Maya, Muzaffarnagar (1,75,438/-), Saraswati, Varanasi (2,84,121/-), Nishat, Shahjahanpur (1,33,100/-; city record), Prasad, Bareilly (2,09,589/-), Shubham, Lucknow (4,34,030/-, all full) and Menka, Meerut (2,33,478/-; all full).

* INTERNATIONAL KHILADI has created a theatre record by collecting 2,07,697/- in 1st week at Shyam, Amravati.

YOU ASKED IT

You editorial about script writers last week was depressing. Why do you write such pieces?

– If reality is depressing, why don’t you want to face it? Will turning your face away from reality improve matters? If yes, you are right. If not, the situation must improve and for that, it is imperative to first face the situation.

Why is so much street publicity of films done in Bombay and not in other circuits?

– Perhaps, because the producers live in Bombay!

Dil Se.. was shown on Zee TV last Sunday. Will its all-India distributors not claim compensation from the makers?

– If they go to court, they will succeed because the distribution agreements must’ve specified that the producer cannot sell satellite rights so soon. 

THE HUMANE SIDE OF THE FILM INDUSTRY

That the industry is not so ruthless after all has been brought out by what producer-director Guddu Dhanoa plans to do today (3rd April). A news item in a national daily this morning spoke of the pitiable condition in which celebrated qawwali queen of yesteryears, Naseem Bano, is today. The singer, whose voice once upon a time serenaded presidents and entertained the who’s who of the world, today lies huddled in a dark and smelly enclave beneath the staircase of the building in the central government servants’ colony at Antop Hill in Bombay. She is a victim of paralysis and is, therefore, immobilised.

A stranger, who happened to visit his relatives in the colony some time back, recognised her and is now ensuring that the relatives provide Naseem Bano food, at least.

Naseem Bano has rubbed shoulders with the likes of Dilip Kumar, Sunil Dutt, Sanjay Khan and Kader Khan in the industry and is expecting one or more of them to help her. When the stranger contacted Dilip Kumar, the thespian is reported to have asked him to write out his petition!

Now coming to the not-so-ruthless-after-all side of the industry. On reading the emotional report in the morning paper, Guddu Dhanoa has decided to visit the great singer today itself. And this, even though he has never met her all his life. Said Guddu to Information, “It is really unfortunate that nobody should be coming to Naseem Bano’s assistance. I hope, our singers and others in the music industry do something for the celebrity of her times.”

Shocking Statistics

The first quarter of 1999 has gone and it has left the film industry in not too happy a position. Of the 27 films released in the first three months of the year, including three dubbed and one in English-Hindi, barely have 15% proved earners. Not a single of the winners has been a universal hit. If Hum Aapke Dil Mein Rehte Hain is expected to do a business of almost Rs. 3.75 to 4 crore in Bombay, it has not done well in Rajasthan where it will not even cover its cost! That is to say, business has not been uniform.

It would alarm many to know that the production, distribution and exhibition sectors have suffered losses of over Rs. 33 crore in the last three months. Producers of a majority of the released films have suffered losses on the table because of inability to recover the total cost of production from territorial sales. Of course, some of them will earn from sale of satellite television rights but that at a later date. Some others, whose films have bombed and do not star saleable heroes, may not even earn much from satellite, cable TV and other rights. For the distributors and exhibitors, there’s no scope for reducing their losses.

Another alarming feature of the releases of the first quarter is the delivery hassles that producers and distributors had to engage themselves in. Whether it was a mega project like Aa Ab Laut Chalen or a small film like Kahani Kismat Ki, there were tensions in the release of 16 of the 27 films — that is, in more than 59% of the total number of films released. The tensions were, of course, varied. In the case of some films, distributors pleaded inability to take deliveries at the contracted price; in a few cases, producers cried foul and announced a price hike to tide over difficulties. Some films simply couldn’t be released in several circuits due either to lack of buyers or to existing buyers developing ice-cold feet. Among the films in the last category are Lo Main Aagayaa, Jahan Tum Le Chalo, Chalo America, Krantipath, Aaag Hi Aag, Kahani Kismat Ki, to name a few. At least 17 of the 24 Hindi original films released between January and March were either star-cast films or made by regular banners or both of the above. And there were delivery problems in at least 11 of these 17 films.

Shocking statistics, all this! But, as we all know, the industry is full of shock-proof people. For how long will they remain shock-proof? That is the question.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

Great News

The best news for Bollywood in a long time is the Maharashtra government’s new policy for cinema multiplexes in the state, gazetted recently. Not only are big film people keen on constructing multiplexes in Maharashtra because of the lucrative benefits attached but even industrial houses, not connected with the film world, can be expected to jump onto the bandwagon. What’s more, foreign companies, which had been eyeing the Indian entertainment market for a long time now but were sceptical to make a headway because of the vagaries of the production and distribution sectors (not to talk of the indiscipline and lack of organisation), will now feel secure in investing in multiplexes. For, there will be none of the indiscipline and vagaries of the other two sectors, in the exhibition sector.

Comedy Film Takes Serious Turn

“David Dhawan murdabad.” This and similar slogans were heard at Palpa, a ‘C’ class centre in Nepal on 27th March. David Dhawan’s Gharwali Baharwali was running at the centre when the incident took place, in which irate students tore the film’s posters and even tried to set the reels of the film on fire. The audience in Nepal don’t seem to have forgotten the “incorrect portrayal” of Nepal, its women and its culture, by David in the film. The screening had to be stopped and the film was discontinued immediately. Palpa is not the first place from where Gharwali Baharwali had to be discontinued. Consequently, the Nepal distributor (Bara Movies) has had to suffer a heavy loss for the compensation of which he is running from pillar to post — sorry, from the film’s Bihar distributor to its producer. Neither the Bihar distributor nor producer Tutu Sharma have volunteered to come to the Nepal distributor’s rescue. The Nepal Motion Picture Association has requested Tutu to compensate the Nepal distributor but since the Association is getting no response from Tutu, it has decided not to register any future film of Tutu Sharma.

Fatal Shock

For quite some time now, there has been talk in trade circles about the high risk involved in the huge gamble our films have become today. Now comes a tragic bit of news that further substantiates the point. Following the demise of Orissa distributor Gandhi Babu in Cuttack on 9th March, his partner, Naresh Malhotra, sent a letter to financier Dinesh Gandhi whose Laawaris was the last film their concern had distributed. In the letter, Naresh Malhotra explains that Gandhi Babu had only recently resumed distribution activity, after a gap of 10 years, with the Anil-Juhi starrer, Jhooth Bole Kauwa Kaate. The film fared miserably and Gandhi Babu suffered a loss of Rs. 5 lakh. Some time later, there was a difference of opinion between the partners (Gandhi Babu and Malhotra) over the Akshaye Khanna starrer, Laawaris. While Naresh Malhotra did not want to take delivery, Gandhi expressed hope in the film and insisted that they go ahead and release it. He got the contracted price reduced by Rs. 3 lakh from the producer, and released the film in Orissa on 5th March. Unfortunately, the film’s poor opening and a dismal audience turnout at a Behrampur cinema on the release day gave him a mental shock. So big was the shock that he had to be rushed to a Cuttack hospital where he succumbed to death four days later.

Will this unfortunate death serve as an eye-opener for all?

Shah Rukh’s New Fan

Among Shah Rukh Khan’s fans, who must be countless, there’s a new addition. Star-secretary and producer Rikku is the actor’s newest fan. Ever since Shah Rukh made a special appearance in Gaj Gamini, being produced by Rikku and M.F. Husain and directed by the latter, Rikku can’t stop singing the actor’s praises. And not just because Shah Rukh has worked in the film for free. But also because he co-operated splendidly and worked sincerely for five days (seven shifts) during which he completed his work in the film. Shah Rukh readily agreed to make a special appearance in the film when its heroine, Madhuri Dixit, requested him to do so.

Three Cheers To Three Heroes

The bumper opening which Jaanam Samjha Karo has taken this week, once again proves three things: (1) that hit music has a magical effect on a film’s initial value; (2) that promotion on television helps a film tremendously; and (3) that Salman Khan is a hot favourite of the youngsters. So three cheers to the three heroes — Anu Malik, Tips (for fabulous promotion) and Salman Khan.

LETTER TO THE EDITOR

Agency For Writers

Dear Sir,

I have read your editorial Films Today: Bodies Without Backbone with tremendous interest. It is a timely piece of writing. It couldn’t have been written with more sensitivity, more anguish. You have rightly issued a warning that if no corrective measures are taken sooner rather than later, nothing will stop the apocalypse.

Undoubtedly, the quality of scripts of our films has deteriorated progressively whereas the filmmaking techniques have improved vastly, and production costs, sky-rocketed. But who is to blame for the present sorry state of affairs? Not film writers, indeed. They must be a clever lot if they can palm off bad scripts; and producers must be patently naive to accept them.

After all, who decides on scripts? Producers and directors, of course. Then why do they buy bad scripts? Robert Evans, a former head of Hollywood’s Paramount Pictures, once observed: The script is your biggest star, and the mistake too many of us make is covering up inferior material with star names. Isn’t this true of Bollywood too? No one has the time and patience to look for good stories. And you’ve observed rightly: Producers are in a hurry to make proposals. Directors can’t afford to waste time on story-sittings because they have other projects in the pipeline. Then, if their films bomb, why blame writers?

It is true that good scripts do not come easily — even in Hollywood! Syd Field, a Hollywood writer and producer, observes in his book Screenplay: The Foundation Of Screenwriting that, on an average, 99 out of 100 screenplays he read weren’t good enough to invest a million or more dollars in.

If that is the situation in Hollywood, we cannot expect it any better in Bollywood. Then what is the way out? Robert Evans has a suggestion: I would have six people working for me finding good writers and interesting screenplays. What with the never-before budgets of their films, Bollywood producers should have the financial resources and the inclination to emulate Mr. Evans. But has any Bollywood producer worth his name taken such a step so far?

The popular harangue remains, nevertheless, that there are no good writers available. Even stalwarts like Mr. Yash Chopra and Mr. Subhash Ghai have made such observations in the press. This is a defeatist attitude. I do appreciate that it is not humanly possible for producers and directors to entertain and listen to every writer worth his salt, who approaches them.  For, to be a writer for films does not need any education or training. Anybody can proclaim himself to be a film writer.

Then what should a really competent and genuine but uninitiated writer do to gain access to genuine and serious producers/directors to show them his wares? As in advanced countries, here we do not have the institution of literary agents who assess a new writer’s work and liaise with producers on his behalf. I suggest that the Film Writers’ Association ought to give a thought towards forming an agency which could assess the work of its members to recommend to producers and directors — of course, on merit.

– CHIRANJIT DHAWAN
Bombay
(Chiranjit Dhawan is a novelist, film writer & journalist)

INFORMATION MEETS

“I turned a producer out of compulsion.
Once the film’s shooting is complete,
the producer starts thinking of the vyaj factor.”

– KUKU KOHLI

KOMAL NAHTA

There’s simply no time.  He has to zip off to Shreenathji for which he has to board the flight to Udaipur. But before that, he has to complete so many things on hand, which includes meeting a number of visitors. Still, Kuku Kohli doesn’t lose his nerve and has the courtesy to ask you, “Kya lenge aap?” You smile, “Kuchh nahin, bas aapka interview lenge.” The joke is not lost on him — well, actually, how can it? After all, his Anari No. 1 is a comedy supposed to be full of jokes. Anyway, that sets the ball rolling for a free tête-à-tête over glasses of delicious chhas.

Kuku Kohli may not exactly be very publicity-savvy but he comes across as a straightforward person and a down-to-earth one at that. In between his professional history, the director of such films as Phool Aur Kaante, Suhaag and Haqeeqat spoke about his new film, what made him turn producer, how he managed to complete a Govinda starrer in less than a year and other things.

The first question, obviously, would relate to the quick completion of your film. How did you manage to complete ANARI NO. 1 in less than a year’s time despite the fact that it stars Govinda?

– The most important reason for completing the film so fast is that I had a ready script in my hands when I started the film. Since I was very clear about the script, I could manipulate the dates. The credit also goes to Aroona ji (Aroona Irani) who has handled the project very well. She has been a great organiser. A director couldn’t ask for a better producer than Aroona ji. I never had to wait for anything. Even when there was a shift of location, she used to organise things at the new location before we used to reach there. We always used to work with two cameras and had two generator sets when shooting on different locations. This ensured that most of the field-work was done before I reached the second location. My artistes also cooperated wonderfully. Govinda may have any kind of reputation but let me tell you, he never came late on our sets, nor did we have any date problems with him. In fact, our film would have been complete and released on 22nd November last year had it not been for the death of Govinda’s father. That calamity in the actor’s life did affect us but we managed to complete the film quite fast despite that.

If Govinda was not troublesome, what manipulations did you have to do?

– (Laughs) No, no, I didn’t mean manipulations in that sense. What I did mean was manipulation of staff, unit hands etc. A producer or director has to constantly manipulate things, he has got to be smart, he has to manipulate equipments, staff. There has to be perfect co-ordination between the production and organisation staff. If there is no proper co-ordination, a producer can lose upto 50, 60 or even 70 shifts. Translated in monetary terms, this could mean a loss of 1.5 to 2 crore. I may have directed only five films but I’ve been in this industry for 28 years and I’ve seen a lot.

Did the fact that Aroona Irani is an artiste also help in the quick completion of the film?

– Yes, it did. The other artistes gave her a lot of cooperation. And not just because she is herself an artiste but also because Aroona ji works like a unit hand, she is out of her room at 6 o’clock on an outdoor schedule if the shooting is to begin at 7 o’clock. I can make a film in 50 days provided I have a producer like Aroona ji. Would you believe that Govinda’s entire work has been completed in 39 shifts only?

How many shifts did the entire film take to complete?

– Less than 50.

Why does everyone say that your film has been made in the David Dhawan mould? Is it true?

– Maybe because the film is titled Anari No. 1. Actually, I had wanted to title it Anari but that title was with D. Rama Naidu. Anari No. 1 was the next best choice.

But does your film have the David Dhawan brand of comedy?

– Anybody can make a comedy film. It is because David has given so many comedy hits that everybody has started calling comedy films the David Dhawan brand. I have made Suhaag earlier, which also was a comedy. Akshay Kumar’s character was comic in that film. Anari No. 1 has good emotions too, besides comedy. Its story line is not thin. There’s a message too in the film.

Is it so important to have a message in a film? Do audience really care for messages?

– If you can give a message or convey something more than the story, it’s good.

But do cinegoers attach any significance to messages in a film?

– If there’s a good message conveyed through the film, they’ll respect the film and its maker. All big makers give some message or the other in their films. This is much the same case as the difference between old songs and new. The old songs had depth, the new ones don’t have it.

Is it because your earlier films didn’t have messages that you have not got your due as a filmmaker despite the fact that you have given a super-hit and at least two other successful films?

– On the contrary, all my films have had some message or the other. As regards not having got my due, I think, it’s all destiny. I’ll give you an example. When you go to Juhu Beach, you may dig a hole in the sand and find water after one foot, but another person may not find water for 10 feet. So it’s all a matter of luck which, in our industry, counts a lot. Luck may be the factor responsible for me not getting my due. Maybe, there’s still time for the recognition. But let me tell you, I’m working sincerely with whatever experience I have. And yes, maybe, I’m not aware of the manipulations that one has to resort to in the industry to get his due. Here, I use the word ‘manipulation’ as it should be used.

How did you think of turning a producer?

– It was out of compulsion. After completing shooting, promotion and release of a film are equally important. Releasing a film today is not a simple task. There’s a tendency among producers to push everything and hurry up at the time of release. However, if you are the producer also, you have things under your control. You can’t do the detailing if you are only the director. Producers, once the film’s shooting is complete, start thinking of the vyaj, about the interest factor. That is also the reason I’ve decided to be more careful about the producers for whom I direct films in future. I don’t want to make films for producers who are only money-minded, they must be ambitious too, they must be concerned not just with the money aspect but with their name too.

Which of your producers let you down so badly that you decided to turn a producer?

– Not “let me down”, but I wasn’t too happy with all my producers. Some producer had a problem of funds, some producer had some other problem.

How do you go about making a project?

– Unless I like a subject, I don’t start work on it. The subject should inspire me. Then, based on the subject, I decide on the artistes. When I was developing the subject of Anari No. 1, I had only Govinda in mind. I went to Ooty to sign him after being convinced about the subject and his suitability in it.

Weren’t you apprehensive of his reputation of being a troublesome artiste?

– It is wrong to blame the artistes alone. Producers force stars to sign their films even if they (stars) don’t have the required dates to give them. The producer may be wanting to get money out of his financier, so we can’t blame the actor alone. Producers, directors, artistes, all are to be blamed. When the artiste signs a film in such conditions and shoots for a couple of days, after which he is unable to give more dates, relations between the producer and the artiste get strained. But while blaming the artiste, the producer forgets that it is he who had not taken the dates in advance. But things are changing now, only genuine makers will survive.

What changes have you noticed in the economics as well as style of filmmaking in your 28-year career?

– There has been a great deal of change in the economics of filmmaking over the years. So also the style has undergone a sea-change. Now we have only three or four heroes to choose from and three or four heroines. Actually, the artiste has more choice than the maker because he or she can choose among the directors he/she wants to work with. The star-system has always been there. The style of filmmaking has changed. Because the audience today has so many satellite channels as an alternative mode of entertainment, the thinking of the cinegoers has changed. Earlier, our films and songs had depth, today, there’s no depth. Like life, which has become fast, very fast, even our films have become fast. In the good old days, a couple of reels used to be consumed in the hero expressing his love for the heroine. But today, there’s no time for such trivia. Forget ‘I love you’, today, the hero would ask the heroine out in a jiffy with, ‘Are you coming with me?’. On television as well as in real life.

What after ANARI NO. 1?

– Besides the film I am directing for Vimal Kumar, with Govinda in the lead, I have two more subjects ready. I’ll launch my own production venture in September or October.