DO AANKHEN BARAH HATH
Sri Nirmaladevi Combines’ Do Aankhen Barah Hath (UA) is a masala film which has some romance, drama, revenge, separation, comedy, action, dances etc. But none of the abovesaid ingredients offers anything new or exciting. A boy-child is deserted by his mother for fear that her brother would kill him. He grows up and gets entangled in a love triangle. There are villains out to kill him; however, he manages to not only save himself but also wipe out the evil men and unite with his mother. He gets married to his beloved too.
If the story is routine, the screenplay has been childishly written without caring for logic. The film has taken too long in the making and the delay shows. Double-meaning dialogues, which constitute the comedy, would appeal to the front-benchers.
Govinda enacts a role which doesn’t suit his current status. All the same, he does well except in some scenes where he overacts. Both the heroines give poor accounts of themselves. Madhuvanti makes a disastrous debut, with neither the looks nor talent of a heroine. Roopali also does not impress. Aroona Irani does a fair job as Govinda’s mother. Johny Lever, Harish Patel, Asrani and Liliput provide light moments. Sadashiv Amarapurkar does a reasonably good job. Kiran Kumar is quite nice. Raman Khatri is average. Ishrat Ali, Arjun and Jack Gaud alongwith Anil Dhawan and the rest of the cast lend average support.
Direction (Kirti Kumar) is no better than the script. The director seems to have lost all interest in the film during its making. Music is good. ‘Mile jo tere naina’ and ‘Kasam se kasam se’ are melodious. Song picturisations give the film a dated look. Action scenes are so-so. Camerawork is okay. Production values are below the mark. Dialogues are passable.
On the whole, Do Aankhen Barah Hath is a dull and stale fare which will prove a burden for all concerned.
Released on 11-7-’97 at Alankar and 14 other cinemas of Bombay thru Shree Vijayraj Pictures. Publicity: average. Opening: below average. …….Also released all over to dull houses.
MRITYUDAND
Prakash Jha Productions’ Mrityudand (UA) is the story of three women in a village of Bihar. Male chauvinism is at its peak in this backward village where women are treated as pieces of furniture. The three women in the story dare to protest and break the myth that it is the wont of women to suffer in silence.
The story is different and forward-looking. Although the screenplay is well-written, the drama often moves at a terribly slow pace. References to business, business rivalry, government’s reservation policy etc. give the film a flavour that restricts its appeal to the class audience. Further, although the feeling one gets as the drama unfolds is that it deals with the upliftment of womenfolk in general, the film actually finally turns out to be a personal vendetta of the three women in particular. This dilutes the impact of the drama. The revolt of the ladies, moreover, is subdued and lacks fire which was needed to draw applause. Yes, a few scenes will evoke claps but not the climax. Dialogues are brilliant and very bold but only at places. The Bihari flavour has been brought across beautifully and the language spoken by the characters makes the atmosphere realistic. Climax should have been more fiery.
Performances are first rate. Shabana Azmi lives the role of the suffering-in-silence daughter-in-law and humiliated wife who ultimately revolts by throwing all myths to the winds. She gives a remarkable performance and does not overact even one bit. Madhuri Dixit does a splendid job as the educated younger daughter-in-law. She acts with effortless ease and should win accolades and awards for the excellent portrayal. She also looks beautiful. Ayub Khan is restrained as Madhuri’s husband, and impresses a lot. Shilpa Shirodkar is natural to the core. Mohan Joshi excels as the villain and evokes instant hatred. Om Puri is too good. Mohan Agashe plays his character with aplomb. Pyare Mohan leaves a very good impression. Harish Patel does an efficient job. Brij Gopal, Abha Dhulia, Achyut Potdar and the rest lend admirable support.
Given the story, Prakash Jha’s narration is very good. But he should have balanced the tense drama with some comedy and romance to make the film universally appealing. He, however, deserves distinction marks for extracting wonderful performances from his entire team. Three scenes — one in which Madhuri Dixit asks her husband not to behave like a God, one in which Shabana Azmi openly exposes her husband’s impotence, and the one in which Shilpa Shirodkar calls Mohan Joshi a pimp — have been shot exceptionally well and will evoke claps. But the fact remains that the film has very limited appeal as it moves on just one track which also lacks entertainment value. Of the songs, ‘Kehdo ek baar sajna’ is extremely hummable, but a couple of other songs are very dull, though, thankfully, short. Picturisations of two songs are good. Background music (Raghunath Seth) is superb. Camerawork (Rajen Kothari) is fantastic. Technically, very nice.
On the whole, Mrityudand is a film for very select cinemas in select cities only, because it has an inherent ‘class’ appeal, being too serious a film and devoid of regular masala like hit music, comedy, romance etc. It will, therefore, entail losses to most of its distributors. Its Bihari flavour may help it in Bihar. Tax exemption (the film is tax-free in Maharashtra and Madhya Pradesh) will help to an extent.
Released on 10-7-’97 at Metro (matinee) and on 11-7-’97 at Novelty and 12 other cinemas of Bombay by Vimal Agarwal and Cineyug thru R.M. Ahuja & Co. Publicity: good. Opening: fair. …….Also released all over. Opening was dull almost everywhere.
LATEST POSITION
GUPT has recorded extraordinary collections in 1st week except in C.I. Heavy rains in different parts (Bombay, Maharashtra, Bengal, Bihar, Madhya Pradesh etc.) affected collections during the week.
Gupt has done tremendous business in 1st week. Cinemas screening DTS prints are drawing unprecedented crowds. 1st week Bombay 46,81,379 (98.16%) from 12 cinemas (10 on F.H.); Ahmedabad 16,55,279 from 6 cinemas, Anand 5,05,450, Nadiad 3,97,325, Palanpur 2,09,254, Padra 2,80,068, Mehsana 2,36,275, Valsad 3,43,513 (92.75%), Bharuch (gross) 3,48,880 (100%), Rajkot 1,79,000 (100%), Jamnagar 1,52,097 from 2 cinemas (1 in matinee); Pune 12,34,611 from 6 cinemas (1 in matinee), Kolhapur 1,77,338, Solapur 4,31,850 from 2 cinemas; Hubli 100%, Belgaum 100%, Dharwad 100%; Delhi 49,33,354 (92.23%) from 13 cinemas (3 on F.H.); Kanpur 5,39,052 from 2 cinemas, Lucknow 3,11,307 (100%), Allahabad 1,53,953, Varanasi 1,87,113, Meerut 2,34,731 (100%), Bareilly 1,71,200 (77.97%), Dehradun 1,84,552 (77.87%), Gorakhpur 1,62,000 (88.89%); Calcutta 37,31,102 from 27 cinemas (of these 14 cinemas are for 6 days; 15 on F.H.); Guwahati about 2,83,000 from 6 cinemas; Nagpur 10,68,286 from 5 cinemas, Akola 1,78,020, Raipur 2,35,647 (97.31%), Bhilai 1,71,000 (1 unrecd.), Chandrapur 1,87,657, Yavatmal 1,30,198; Indore 4,20,000 from 2 cinemas (2 on F.H.), Bhopal 5,25,308 from 3 cinemas; Jaipur 13,03,987 from 4 cinemas, Bikaner 3,22,280 (100%), Udaipur 2,18,600; Hyderabad 39,76,909 from 17 cinemas, share 21,96,375, Aurangabad share 3,85,000; Bangalore 12,70,000 (100%) from 7 cinemas, Davangere 100%, share 1,30,000; Vijayawada 3,20,670 (100%), Kurnool 98,490; Madras 100%.
……….
Border (TF) 4th week Bombay 41,77,264 (91.49%) from 12 cinemas (9 on F.H.); Ahmedabad 3,97,566 from 3 cinemas (1 unrecd.), Baroda 1,61,802, Rajkot 1,62,342, Jamnagar 81,310, Adipur 85,110, 1st week Bhuj 1,46,970; 4th Pune (TF) 6,01,313 from 3 cinemas, Kolhapur (TF) 1,87,163, Solapur (TF) 1,28,544 from 2 cinemas (1 in matinee); Hubli 79,857, Belgaum 59,384; Delhi 34,12,604 from 10 cinemas (2 on F.H.); Kanpur 2,04,071 (1 unrecd.), Lucknow 3,22,783 (100%), Allahabad 1,42,000, Varanasi 1,42,532, Bareilly 77,032 (34.48%), Dehradun 1,66,608, Gorakhpur 1,20,000, Hardwar 52,000; Rohtak 32,146; Calcutta 5,75,147 from 5 cinemas; Nagpur (TF) 2,51,062 from 2 cinemas, Jabalpur 2,03,192, total 9,78,088, Akola (TF) 1,20,518, total 6,82,877, Raipur 96,550, total 5,85,141, Bhilai 77,417, Durg 60,048, Wardha (TF) 47,851, total 2,68,000, share 2,00,000, Chandrapur (TF) 1,35,944, total 7,24,310, Yavatmal (TF) 45,282; Indore 1,40,096 (2 on F.H.), Bhopal 1,51,917; Jaipur 4,63,831 from 2 cinemas, Jodhpur 2,85,000, Bikaner 1,81,445; Hyderabad 4,42,794 from 2 cinemas (1 in noon), share 1,95,794.
Virasat 6th week Bombay 15,35,854 (71.03%) from 6 cinemas (3 on F.H.); Ahmedabad 95,700 from 2 cinemas (1 unrecd.), 5th week Rajkot 67,495; 6th week Pune 5,71,292 from 4 cinemas (1 in matinee), Kolhapur 1,06,965, Solapur 90,186, 2nd Barsi 26,000; 6th week Delhi 91,387; Kanpur 66,776, Lucknow 1,71,961, Allahabad 39,000, Varanasi 34,180, Meerut 40,204, Dehradun 50,676, Gorakhpur 27,400, Hardwar 16,533; Calcutta 2,21,675 from 2 cinemas; Nagpur 53,313, Jabalpur 79,482, total 7,41,787, Amravati 46,095, 2nd Akola 75,900, total 1,98,150, 6th Raipur 47,605, Bhilai (5 days) 21,300, 2nd week Wardha 48,115; 6th Bhopal 57,414; Jaipur 1,19,784, 2nd week Udaipur 70,680; 6th week Hyderabad 2,77,197.
CHETAN ANAND DEAD
Veteran producer-director-actor Chetan Anand died in the early morning hours of 6th July at Nanavati Hospital in Bombay. He had been suffering from kidney failure and chronic asthma. He was 82 and is survived by his illustrious brothers, Dev and Vijay Anand, wife Uma, and sons Ketan and Vivek.
Chetan Anand was cremated the same day at Oshiwara (Bombay) and the funeral was attended by a number of film personalities including B.R. Chopra and Amitabh Bachchan.
Chetan Anand made his debut in films in 1944 as hero in Phani Mazumdar’s Rajkumar. He made his first film, Neecha Nagar, in 1946. It was not only acclaimed in the country but also won an award at the Cannes film festival.
Chetan Anand made a variety of films. Haqeeqat, which he directed in 1964, was based on the Sino-Indian war of 1962 and was India’s first war film. It went on to become a super-hit. His other memorable films are Heer Ranjha, the only film written in verse, Taxi Driver, Andhiyan, Hindustan Ki Kasam, Afsar, Fantoosh, Hanste Zakhm and Kudrat. His last film was Haathon Ki Lakeerein. He made films for his brother Dev Anand under the banner of Navketan Productions and for himself under the banner of Himalaya Productions.
‘MRITYUDAND’ RELEASE: ERSTWHILE C.P. DISTRIBUTOR GETS NO RELIEF IN COURT
Rajesh Jain, the erstwhile distributor of Mrityudand for C.P. Berar, could not get any relief from the court for restraining the film’s release. He had gone to court after the CCCA refused to register the film in his favour and, instead, registered it in favour of another. As mentioned last week, Rajesh was late in knocking the doors of the court. Justice Kapadia opined that had Rajesh sought justice six months back when producer Prakash Jha sought a price increase for the first time, things may have been different. Following no relief in Justice Kapadia’s court, Rajesh went in appeal before a division bench but his appeal was disallowed.
JAYSINH RATANSHI DEAD
Veteran Bombay distributor Jaysinh Ratanshi (of Jaysinh Pictures P. Ltd.) expired on 6th July in Bombay. He used to be the regular distributor of Raj Kapoor’s films till the eighties.
ROAD IN DELHI TO BE NAMED AFTER S.P. SINGH
Aadharshila, a group of writers, journalists and artistes, paid emotional tribute to the memory of noted journalist S.P. Singh and well-known theatre and TV artiste Anand Sharma at a function in Delhi last week in the Indian Council for Cultural Relations auditorium, Azad Bhawan. The president of Aadharshila, Pradeep Sardana, demanded that for paying memorable tribute to the memory of S.P. Singh, a road in the capital city, preferably one near the place where the office of Aaj Tak is located, should be named after him. He also requested suitable financial help for the family of Anand Sharma. Chief minister of Delhi welcomed both the suggestions and assured that he would immediately act on this.
Sardana recalled how only last December, S.P. Singh was awarded the Aadharshila award for Aaj Tak at the same auditorium. He also announced the starting of two special awards in the memory of these two personalities, one to be given to an outstanding journalist and the other, to the best actor of the year, in the annual Aadharshila awards function.
Tributes were also paid in this programme to film journalist Sampat Lal Purohit and filmmaker Basu Bhattacharya, both of whom also expired recently.
‘MRITYUDAND’ TAX-FREE IN MAHARASHTRA, M.P.
Prakash Jha’s Mrityudand has been granted 100% tax exemption in Maharashtra and Madhya Pradesh. While the exemption in Maharashtra is for one year, that in M.P. is for six months.
CHITRA, SATARA DOWNS SHUTTERS
Chitra Talkies, Satara, closed down from 30th June. It was owned by Girdhar Shah and controlled by Vilas Karandikar. The cinema used to screen only English films. A commercial complex is likely to come up in place of the cinema which will be demolished soon.
NEW CINEMA IN HUBLI
A new cinema — Sri Laxmi Narayan — will open in Hubli, most likely on 18th July.
POWER SUPPLY DISCONTINUED TO 2 DELHI CINEMAS
The owners of Swaran cinema in Delhi have moved the court against the cancellation of power supply by the Delhi Vidyut Board on 4th July. The electricity connection was snapped on Friday while the afternoon show was still on.
The Swaran owners are challenging the decision of the DVB as, according to them, the power was cut without issuance of notice and this is against law. The capacity of the transformer at Swaran is 30 KW but they had been allegedly drawing around 40 KW.
The owners say that they had been requesting the DVB to increase the strength of the transformer to 40 KW, but no step had been initiated.
Meanwhile, the power supply of another cinema hall, Payal, has also been disconnected for deficiencies in the installation of transformer and other electrical equipment.
CENSOR NEWS
United Seven Combines’ Yes Boss, applied on 7th and seen on 8th, has been issued C.C. No. CIL/1/25/97 (U) dt. 10-7-’97; length 4536.84 metres in 16 reels (no cut).
Eklavya Visions’ Daava was given C.C. No. CIL/3/19/97 (A) dt. 7-7-’97; length 4452.75 metres in 16 reels (cuts: 156.80 metres).
Rohitasha Movies’ Dhaal has been passed for adults, with cuts, by the revising committee.
Mukta Arts Pvt. Ltd.’s Pardes (length 5261.45 metres in 21 reels), applied on 9th and seen on 10th, has been passed with U certificate, with 3 minor cuts.
Chiragdeep International’s Bhai Bhai will be seen next week.
TV & VIDEO INFORMATION
MUKESH KHANNA’S ‘SHAKTIMAN’ ON DD1
Bhishma International’s Shaktiman, produced by Mukesh Khanna and starring himself in the main lead, will go on air on DD1 from August. Directed by Dinkar Jani and written by Brij Mohan Pandey, the serial co-stars Kitu Gidwani, Navab, Deepak Bhatia and Brij Mohan Pandey.
YOU ASKED IT
In 150 weeks of HAHK..!, how many prints of the film have been taken out?
– 510 prints, unarguably the highest for first-run films.
Which has done more business, Dilwale Dulhania Le Jayenge or Raja Hindustani?
– RAJA HINDUSTANI is a shade better in many of the circuits.
Is it advisable to make a star-studded horror film with a lot of computer graphics today?
– You can make anything, so long as the film has the merits to sustain audience interest and it offers something new.
DO YOU KNOW?
* GUPT has created a theatre record by collecting 2,48,740/- in 1st week at Anupam, Ahmedabad.
* GUPT has created history at Krishna, Padra (Gujarat), by collecting 2,80,068/- in 1st week.
* GUPT has created a theatre record by collecting 3,97,325/- in 1st week at Shreyas, Nadiad.
* GUPT has created a theatre record by collecting 3,11,307/- (100%) in 1st week at Anand, Lucknow.
* GUPT has created a theatre record at Shah, Agra, by drawing all shows full (2,39,927/-) in 1st week.
* GUPT has created a theatre record by collecting 2,40,285/- in 1st week at Apsara, Aligarh.
* GUPT has created a theatre record by collecting 1,87,622/- in 1st week at Miglani, Moradabad.
* GUPT has created a theatre record by collecting 3,71,801/- in 1st week at Prem Prakash, Jaipur.
* GUPT has created a theatre record by collecting 2,07,430/- in 1st week at Anand, Jodhpur.
* BORDER (tax-free) has created a theatre record by collecting 2,06,612/- in 4th week at Panchsheel, Nagpur.
* BORDER (TF) has created a city record by collecting 1,96,757/- in 4th week at Rajlaxmi, Amravati.
* BORDER (TF) has created another theatre record at Rajkamal, Akola, by collecting 1,20,518/- in 4th week (26 shows). Total: 6,82,877/-.
In Capital City Of Des For Music Release Of Pardes
After lying low for more than a year-and-a-half, Subhash Ghai decided to be his normal self on the 6th of July. So he did what he normally does. He organised a grand function at the grander Hyatt Regency Hotel in Delhi for releasing the music of his Pardes. And, as usual, he flew the Bombay press to cover the function.
I know, it must not have been pre-planned but I’d like to think otherwise. No, not the audio release party. I’m talking of the number of the room allotted to me in Hyatt. It was 124 and I couldn’t help remembering the ‘One two ka four’ song from Ghai’s earlier hit, Ram Lakhan, all through my 28-hour-and-some-15 minutes’ stay in Delhi. There were other reasons too for humming that super-hit number.
One of them was that the release function, which was scheduled to start at 1 p.m., commenced only around 2 p.m. One ka two, you see. Secondly, there wasn’t one but two different cassette release functions — one in the afternoon for the local press and film trade, and the other in the evening for political dignitaries and special friends. One ka two again, you see again! And for the two functions, there were four artistes of the film — Shah Rukh Khan, Amrish Puri and newcomers Mahima Chaudhry and Apoorva Agnihotri — present. The music team was also represented by four singers — Kavita Krishnamoorthy, Kumar Sanu, Sonu Nigam and Hema Sardesai. Of the two music directors, Nadeem and Shravan, only the latter, that is one, could make it to Delhi. See, how important the numbers ‘one’, ‘two’ and ‘four’ were in the showman’s function. So, do you blame me for constantly being haunted by the ‘One two ka four’ number?
Well, now coming to function number one. Ashok Amritraj and Jackie Shroff set the ball rolling by throwing open a float of the film on the dais and lighting the traditional lamp. An audio-visual of Subhash Ghai’s journey in the film industry under the Mukta Arts banner served to remind one of the hits and blockbusters the Ghai guy has given. Then there was the usual I-present-you-one-cassette-you-give-me-one-cassette ceremony with the recipients and the givers flashing smiles for the still and video cameras. In between the barter exchange of cassettes, the playback singers rendered songs from Pardes.
Lunch and drinks, hosted by distributors Mukta-Shakti Combines, followed, and by the time the celebrations were over, it was 4 o’clock. 1 (p.m.) ka 2 (p.m.) ka 4 (p.m.).
The evening function was almost a repetition of the afternoon one except that the two new faces, Mahima and Apoorva, were formally introduced to the gathering in the evening. Chief of army staff General S. Rowchowdhury formally released the cassette and presented one to Subhash Ghai. Ex-prime minister of India Atal Behari Vajpayee and Congress vice president Jitendra Prasad were special invitees. Atal-ji won a thunderous round of applause when, on being asked by Ghai to speak do shabd, announced that he would speak teen shabd and went on to say the three words, “Bahut bahut dhanyavad” before stepping down from the dais.
The playback singers enthralled the audience again with songs from the film. Kumar Sanu sang Do dil mil rahe hain, Hema Sardesai rendered ‘My first day in USA’, Sonu Nigam sang Dil deewana dil, and Kavita Krishnamoorthy aroused patriotic feelings with her ‘I love my India’ song. If there was anything that in a small way spoilt the show, it was the microphone which kept failing at the wrong time. But this is India and without such lapses, how can a function be complete? No, I don’t want to complain because I love such lapses as much as I love my India.
Drinks and dinner in the company of Delhiites followed. The next morning, breakfast was with Subhash Ghai. Actually, it was more of a ‘brunch’ (breakfast plus lunch) — two-in-one, if I may use the ‘one’ and ‘two’ again — because it was well past 12 noon by the time we had our first bite from a table laid with egg omelettes, dosa, puri bhaji, aloo parathas etc.
1 p.m. and 2 p.m. on the 7th of July was time for shopping and lunch respectively. And 4 p.m. was time to bid goodbye to Ghai and his Pardes family. It was also the time for a shock. Where was my ticket? Frantic searches and exactly three minutes later, it was clear that I had misplaced the ticket to Bombay. Ghai immediately instructed that a new ticket be purchased at the airport. Now this kind of one two ka four or rather, four two ka one, I least expected.
Feeling guilty for my absent-mindedness and more guilty for the monetary loss, I returned to buy a new ticket. “Name please,” asked the Sahara airlines staffer. “Komal Nahta,” I replied dejectedly. “Komal Nahta?”, asked the staffer excitedly. “We’ve already got your ticket, Sir. You left it in the aeroplane yesterday when you flew from Bombay to Delhi,” he informed a thrilled me.
Oh, I love Sahara India, I love Sahara India……. just as I love ‘I love my India’ from Pardes.
P.S.: I’ve stopped humming ‘One two ka four’ now. Instead, I’m singing ‘I love my India’…..
– Komal Nahta
3-E
Education-Entertainment-Enlightenment
No. 1 in Hindi & Sindhi
It is common knowledge that producer Vashu Bhagnani, who has a penchant for ‘No. 1’ in his film titles (Coolie No. 1 and Hero No. 1,) will soon start Biwi No. 1. But few are aware that Bhagnani will also be launching a Sindhi film which has been titled Sindhi No. 1! For Biwi No. 1, Vashu has signed Anil Kapoor and Govinda, who will be directed by David Dhawan. The heroine is yet to be finalised, and Vashu plans to launch it in September. Sindhi No. 1 will also roll in September and will be made by and with a team of newcomers. But wait, Vashu Bhagnani has serious plans of roping in dear friend and Sindhi by caste, Ramesh Taurani, to act in this film!
C.I.: Panic Circuit For Bobby
Call it a coincidence or whatever. Both the Bobby Deol starrers have had shaky starts in C.I. circuit. When Bobby’s debut film, Barsaat, was released in October ’95, the C.I. territory behaved rather erratically in the opening week. The opening in all other circuits was sensational but not so in C.I. Once again, when Gupt was released last week, the initial it fetched in C.I. sent panic signals through the length and breadth of the trade. Of course, finally, Barsaat managed to go into overflow in C.I. too. Let’s wait and watch where Gupt reaches.
Helpful Thackeray
Prakash Jha is extremely grateful to Bal Thackeray. It is because of him that his film, Mrityudand, managed to get the tax exemption order for Maharashtra in a matter of hours. Explained Jha, “We had completed all the formalities for tax exemption in advance, before Bal Thackeray called me over on Wednesday, July 9. He promised me that I would have the tax-free order in my hands by 4 p.m. and sure enough, the order was faxed to me around 4.30 p.m.” It was the first time Jha had met Thackeray who, according to the filmmaker, loved the film which deals with the awakening of women in a backward town of Bihar.
‘Ghoonghat’ Gifts
Bombay distributor Dilip Dhanwani has got made special umbrellas and bags which will be distributed among the holders of lucky ticket numbers of Ghoonghat in the various cinemas of Bombay where the film will be released on 25th July. Special Ghoonghat caps will be distributed free among the children-audience. A mobile van, carrying Ayesha Julka and master Omkar Kapoor, will make the rounds of Bombay city beginning 13th July to publicise the film. The two artistes of the film will meet people at Madh Island, Fantasy Land and Chandan cinema (Juhu) on Sunday, sign autographs and even distribute free gifts.
Golden Jubilee Of Freedom: Industry Must Celebrate
With India celebrating its golden jubilee of Independence this year, the film industry should organise a function for the occasion. There have been a number of films produced in the country, which have a patriotic flavour, and an audio-visual made from scenes and songs of such films can be screened at the function as also in cinemas all over for the rest of the year. Surely, the industry owes at least that much to the motherland.