CHAL MERE BHAI
Neha Arts’ Chal Mere Bhai is a comedy which has punches similar to those that’ve been seen before, and a story-line that resembles films like Dillagi and Yeh Dillagi. Two brothers fall in love with the same girl and because the younger brother adores and respects his elder brother, he decides to sacrifice his love and, towards that end, he does not reveal to the elder brother that he was ever in love with the girl. But the elder brother gets to know of the younger brother’s love story, and it is he who ultimately sacrifices his love.
The screenplay is fair in the first half but after interval, the film is shoddy and looks like it has been made without application of the mind. There is an attempt to bring in the family emotions first, as in Hum Aapke Hain Koun..!, but director David Dhawan and writers Ikram Akhtar and Yunus Sejawal fail miserably. Another attempt to arouse brotherly emotions also falls flat on its face. In short, emotions in the film look like a farce. The scene in which the younger brother reveals to his dancing pals that his elder brother is in love with the girl is incorrect because it looks like he is complaining when the intention is to show that he is willing to sacrifice. The childish antics of the two brothers (funny sounds and actions) irritate after a point of time. How and why the elder brother falls in love with the girl is simply not explained. The younger brother’s drunken scene, in which he pours his heart out to his elder brother, looks contrived and accommodated only for convenience. In fact, the entire drunken scene is shabby. What, perhaps, saves the film to a small extent is the witty dialogues (Rumi Jafri) and the wonderful performances of the girl (Karisma Kapoor) and, in some scenes, the younger brother (Salman Khan). It is because of these that the audience laughs at places, mainly in the pre-interval portion.
Sanjay Dutt does a fair job as the elder brother. Salman Khan is funny and cute till he quarrels with and romances the girl, but once the story takes a turn, he is average. He dances beautifully, though. Karisma Kapoor is a delight to watch. She looks lovely and puts in a performance that’s superb. Her dances are also fabulous. Dalip Tahhil, Sushma Seth and Himani Shivpuri provide reasonable support. Shakti Kapoor is wasted. Guest Naghma has slimmed down and pops up whenever a dance situation arises. Sonali Bendre and Twinkle Khanna, also in guest appearances, add face value. Suresh Bhagwat, Ghanshyam, Birbal and Javed Khan are dull. Asrani, Shashi Kiran, Dinesh Anand, Shiva, Ravi Baswani and the rest fill the bill.
Director David Dhawan seems to be running out of ideas — that’s the impression one gets from the film. He is simply not in form and seemed to be in a hurry to only wrap up the film. Editing (A. Muthu) is loose because, although the film is short in length, it bores a great deal. Anand Milind’s music is a mixed bag but there’s not a single hit song. ‘Aaj kal ki ladkiyan’, ‘Chori chori sapnon mein’, ‘Meri neend jaane lagi hai’ and ‘Mehndi rang layee’ are tuneful. Dances (Ganesh Acharya) are refreshing. Camerawork (Harmeet Singh) is excellent. Foreign locations are very good. Action is functional and does not fit well in the film. Production values are of a good standard. Sets (R. Varman) are rich.
On the whole, Chal Mere Bhai will tire fast in its box-office journey because it bores at several places. Considering its high price on the one hand and below-the-mark opening on the other, it will entail losses to its distributor-bhais.
Released on 5-5-2000 at Metro and 19 other cinemas of Bombay by Neha Arts thru Devgan Entertainment & Software Ltd. Publicity & opening: good. …….Also released all over. Opening was way below the mark in Delhi, parts of U.P., East Punjab, C.P.C.I. Rajasthan. 1st day Jaipur 1,82,264 (53.39%) from 4 cinemas.
SECOND SUNDAYS TO BE OBSERVED AS HOLIDAY
The Federation of Western India Cine Employees (FWICE) unanimously decided in its general council meeting held on 8th April that second Sundays will be observed as a compulsory holiday. Till recently, second Sundays every month used to be observed as compulsory holiday. Then, the holiday was made optional.
DO YOU KNOW?
* JORU KA GHULAM of 1972 starred Rajesh Khanna while JORU KA GHULAM of 2000 stars his daughter, Twinkle Khanna. Quite like JEET — the old one starred Randhir Kapoor and Babita, and the new one, their daughter, Karisma Kapoor.
* Who says, matinee shows yield little or no shares? STUART LITTLE (English) dispels this deep-rooted notion. At Chitra, Dadar, Bombay, where this film was screened in matinee shows last week, it recorded a collection of 95,348/- in 1st week against a capacity of 1,10,029/-. That’s 87%! Why, a film like DDLJ has yielded a share of 50 lakh in matinee shows alone at Maratha Mandir, Bombay (in 181 weeks) and is still running at the cinema. The day is not far when distributors will release different films in matinee and regular shows.
3-E
Education-Entertainment-Enlightenment
‘Rishta’ – The Bone Of Contention
The title registration committee of the IMPPA has accepted that it committed a mistake in registering the title Rishtaa – The Bond Of Love in favour of producer-director Suneel Darshan even while the title Rishta stands registered in favour of Indra Kumar (Indu) and Ashok Thakeria’s Maruti International. Indu and Ashok were quick to act when Suneel Darshan last week launched Rishtaa – The Bond Of Love with Amitabh Bachchan, Akshay Kumar, Juhi Chawla and others. They approached the title registration committee and apprised it of the title Rishta standing registered in their concern’s name. They also informed the committee that they were about to launch Rishta with Anil Kapoor and Aishwarya Rai. The committee realised its mistake and informed Indu and Ashok that the title Rishtaa – The Bond Of Love would be deregistered. Reasons Ashok, “If this is the way titles are going to be registered, nobody can make a film. Imagine me registering Yaadein – The Memories or Kabhi Khushi Kabhi Gham – The Family Saga or Josh – The Passion.” Anyway, it is to be seen how Suneel would react to the action of deregistration by the title registration committee. Considering that Suneel is a thinking person, it doesn’t seem likely that a controversy would flare up. But, but…. before Indu and Ashok approached the IMPPA, they did try to reason it out with Suneel Darshan who refused to change the title of his film. Maybe, a bit of persuasion by people who believe in fair play would help. Because, today, it has happened with Indu and Ashok; tomorrow, it could even happen with Suneel Darshan himself.
Second Impression, Better Impression?
For those who had written off Feroz Khan’s son, Fardeen Khan, after his debut film, Prem Aggan, bombed, there’s news. The boy holds promise in Ram Gopal Varma’s new film, Jungle. Glimpses of the film’s songs one saw at the music release function of the film on 2nd May at The Regent, Bombay gave the impression that Fardeen bids fair to prove himself this time — that too, with a vengeance. The songs, like Ram Gopal’s earlier films (Rangeela, Daud, Mast), are racy and a couple of them, even foot-tapping. After all, it’s Sandeep Chowta’s music. Jungle co-stars Sunil Shetty (on whom there’s no song picturised) and Urmila Matondkar.
O Calcutta! O Hrithik!!
There were reports that many school girls of Calcutta were trying to sneak out of their homes and fly off to Bombay to catch an eyeful of their most idolised young star of today. The Calcutta police are reported to have caught at least a dozen teenagers trying to take a flight or a train to Bombay after Kaho Naa…Pyaar Hai created a storm.
Appalled by the Hrithik mania, principals of several schools of Calcutta got together and urged Hrithik to appeal to his fans to exercise restraint. The principals conveyed their appeal to the young heartthrob through Mithun Chakraborty. Hrithik lost no time in faxing a reply stating, “The girls need not come to Mumbai. I will be in the city (Calcutta) for them.” And Hrithik did go to the city last month.
Principals of some reputed schools in Calcutta were even thinking of putting the Hrithik mania to some constructive and educative use. One school principal opined that the students would understand History, Geography, Biology and other subjects better if they were linked to film stars. According to her (the principal), “For instance, students could be told that the capital of Maharashtra was Mumbai from where Hrithik hailed, or, the longest bone in Hrithik Roshan’s body was the femur.” In that case, Hrithik would represent the three qualities of this column — education, entertainment and enlightenment, 3-E, you see.
Only Credit? No Cash?!
Writer Ranjan Bose wrote the screenplay for 40 episodes of Akbar Khan’s television serial, Akbar The Great. Although the serial acknowledges Ranjan Bose’s name in the credits, the writer has alleged that he has not been paid at all! He was promised Rs. 10,000 per episode. But why is the money not coming to me, the writer asks. ‘Great’ indeed!
INFORMATION MEETS
“The people I was supposed to have ‘destroyed’ are the ones who are responsible for my revival. Words are a poor substitute to express my feelings for Anil Kapoor and Boney Kapoor.”
– SATISH KAUSHIK
Dr. SHIVAJI SEN-GUPTA
In the recognisable past, Satish Kaushik’s career, as director, seemed to be slipping away faster than the landscape seen through the window of a speeding train. To repair and then resurrect a situation as alarming as this calls for tremendous strength of character besides, of course, an unswerving belief in oneself. And to his credit, Satish Kaushik must be possessing both the qualities in ample measure, as he proved beyond doubt with Hum Aapke Dil Mein Rehte Hain.
Ironically, while director Satish Kaushik was involved off-screen in this grim fightback, audiences were laughing their hearts out at actor Satish Kaushik’s hilarious antics on screen and rolling down the aisles. ‘When the going gets tough, the tough get going’ is an age-old adage and Satish put aside everything else from his mindscape as he set out to prove this saying right. And the results are there for all to see now — Boney Kapoor’s Hamara Dil Aapke Paas Hai is on the verge of completion; and this gifted graduate of the National School of Drama (NSD), Delhi, is already immersed in Vashu Bhagnani’s Mujhe Kuch Kehnaa Hai (the first film of Jeetendra’s son, Tushar); Ripples Picture Entertainment’s Prod. No. 1, starring Anil Kapoor; Subhash Ghai’s next; and his own Badhai Ho Badhai, a joint venture of his concern, Chitrayug, and Anas Films. As an actor too, he has peaked and now has to make the painful decision to prune his assignments. What’s more, he has made a spectacular return to stage after a gap of 15 years!
Excerpts from our conversation:
To use your punchline from JALWA — “…..can you give me some idea” as to how you are managing all this adulation?
By working and only working. After all, all said and done, I am a worker, a karmayogi. The trade does not take much time in dismissing Roop Ki Rani Choron Ka Raja and Prem as disasters. I am not denying or disowning this bitter truth. But, please spare a thought for the TEN years of my youth which also suffered a serious setback while these two films were in the making. That is why, I have resolved to make films quickly, for, only then are they cost-effective. I want to make compact films which are family entertainers and economically viable. If I am unable to achieve this, the trade will not remember my Hum Aapke Dil Mein Rehte Hain for very long.
Strange, isn’t it, that the people I was supposed to have ‘destroyed’ are the ones who are responsible for my revival. Words are a poor substitute to express my feelings for Anil Kapoor — he had faith in me and he recommended me to D. Rama Naidu. I was so moved by Anil’s gesture — he is a true friend and well-wisher. Likewise, Boney Kapoor. Boney could have signed anyone to direct Hamara Dil Aapke Paas Hai but he still picked me. I have worked very hard on this film primarily because I don’t want to let him down… again….
There is no doubting that remakes have been an inescapable part of Hindi films for a long, long time. What interests me is how you approach this touchy topic?
See, I am the last person to deny that Hamara Dil Aapke Paas Hai is based on a Telugu hit, Pelli Chuskuandam. Similarly, Hum Aapke Dil Mein Rehte Hain had its roots in a Telugu film which was loved by the audience in Andhra. Having admitted this, let me now add that I am allergic to this very term, ‘remake’! I certainly do not reshoot the film frame by frame, shot by shot. I adapt the film and this process begins from the stage of scripting itself. It should be obvious to anyone and everyone that the very ambience and atmosphere in the South is poles apart from that in the North. So, naturally, when I am making a Hindi film, my target audience that lies North of the Vindhyas, must be my major area of concern. Accordingly, I have to make vital changes and give the film a totally different look. Characters have to be changed, cultural and moral values have to be changed — and all this takes time and a lot of hard work along with imagination. Adapting a subject, particularly a ‘hit’ subject, is a challenge in itself.
Do you have any plans of reviving producer Nitin Manmohan’s BUS CONDUCTOR, starring Anil Kapoor, at this juncture?
No, not at the moment. In any case, the film was in a stage of infancy. May be, it will figure in my plans some other time. That is what I like about this profession — the constant uncertainties! But as things stand today, Bus Conductor could be described as shelved.
Your popularity as a comedian has touched its peak! Hence it is natural that you must be flooded with acting offers. How do you manage to strike a balance between these two totally divergent tracks?
I feel, you are exaggerating! There are so many versatile comedians. I would like to make my mark primarily as a director. This does not mean that I do not enjoy acting or that I am closing my doors to acting assignments. How can I? My Alma Mater is the National School of Drama in Delhi, where I learnt whatever little I know. However, I will have to be judicious in spacing out my time since I am morally committed to the producers who have put so much faith in me. I am not here to make money. My priorities are different. I want to do something which people like and appreciate. Here is where an actor plays second fiddle to the director since the director designs the entire film. I will prefer to be recognised more as a director. That will be my ultimate award!
When Sony TV started, you had two mega serials on air — YEH SHAADI NAHIN HO SAKTI and O’ MARIA. Do you have any plans of making something for the small screen sometime in the foreseeable future?
I made those serials for Sudesh Iyer who is still a director on Sony TV — and now, I am doing a feature film for him (Ripples Picture Entertainment)! I enjoyed the experience of making those two serials. The inclination is there but, at the moment, there is precious little time.
Nevertheless, you found the time to return to stage after a gap of 15 years, with Arthur Miller’s Death Of A Salesman, albeit in Hindi!
I must admit that Willy Loman is one of my all-time favourites. The character and the play are very special for me. I was amazed when the noted theatre personality, Feroz Khan, approached me to do the role in Hindi, and he was absolutely adamant! He said that he would only do the play if I played the title role and thus, Salesman Ramlal was born. Again, it was very challenging to adapt an American character into the North Indian milieu but, going by the audience reaction, I feel, we have been successful. I must profess my admiration for Feroz Khan. He is a very dedicated and talented person doing yeoman service to theatre.
You assisted Shekhar Kapur in MR. INDIA. Could you anticipate at that stage that he would touch such dizzy heights?
Most certainly! I always found Shekhar to be a cut above his contemporaries. He is a very intelligent person and has a mind that is extremely creative. For example, while his Masoom was a runaway hit, the English film from which Masoom was inspired, was not worth writing home about!
I am grateful that I got an opportunity to work with Shekhar and I would rate that phase as a particularly rewarding one. I learnt a lot from him and that has stood me in good stead. Hence I am really happy for him that he is such an illustrious director on the international scene. Hardly any Indian director has achieved this — work in Hollywood and become a success in that milieu. Indeed, a miracle of sorts!
Do you nurse similar aspirations?
Please, please… As I mentioned at the outset, I consider myself to be just a worker. I mean this in all earnest. My first commitment is to the producers who have put their faith in me. Mind you, Subhash Ghai, Boney Kapoor and Vashu Bhagnani are all producers of stature — they don’t need any introduction. I still find it strange that I should be directing a film for Boney Kapoor after the twin debacles. As for Subhash Ghai, I liked his style immensely when I was acting in his films. It is the ultimate acid test now to be directing a film for his banner. Meanwhile, I am keeping my fingers and toes crossed for the box-office fate of Hamara Dil Aapke Paas Hai. As the saying goes — and I have first-hand experience of it twice, not once, here — you are only as good as your last film! Therefore, I really need everyone’s good wishes and prayers. You can call me a God-fearing person — and I would like to remain that way.
