GHARWALI BAHARWALI
Tutu Films’ Gharwali Baharwali (UA) is a comedy film about a man (Kader Khan) who is obsessed about his daughter-in-law (Raveena Tandon) not being able to conceive and, therefore, give him a grandchild. His obsession drives him to force his son (Anil Kapoor) into a second marriage (with Rambha). What follows are incidents where the son finds himself in a fix as he has to deal with his two wives. While some of the scenes are hilarious and evoke instant laughter, the plot itself is very weak. For one, the manner in which Anil Kapoor is led into a second marriage looks implausible in view of the fact that Anil is not shown as an uneducated village bumpkin but rather a city-bred, educated businessman. Secondly, the second wife (Rambha) is not at all demanding and, in fact, pointedly tells Anil Kapoor to leave her and continue his life with Raveena. In such a situation, why Anil Kapoor tries to fool Raveena and woo Rambha is incomprehensible, when he could have as well made amends by simply supporting Rambha rather than romancing her. Thirdly, Anil Kapoor’s characterisation is poor, making him appear to be a queer mix of a completely devoted husband and a Romeo. Similarly, Kader Khan’s character is so inconsistent that it changes after every few reels — first, he is bent upon a second marriage for his son; next, he is cent per cent against bigamy and even threatens to kill Anil if he weds again; and later, he insists that both Anil’s wives should live together! Trying to justify Anil’s second marriage, in the post-interval portion is neither convincing nor emotional. It would have been much better had the comic track been allowed to continue. Besides, the crude language in which the father prods his son to give him a grandson, looks odd. Dialogues are punch-packed and witty.
Anil Kapoor is in his element in just a few scenes but for the rest, he does an average job, suffering on account of a weak characterisation. Raveena Tandon impresses in a couple of dramatic scenes but is so-so otherwise. Rambha is alright; she doesn’t get too many scenes to emote. Kader Khan (made to look unshapely) is too loud at places. Satish Kaushik’s comedy is excellent at several places and, in a couple of scenes, he brings the house down with laughter. But his dialogues in a few scenes are unclear. Besides, his role is so lengthy that he could get on people’s nerves. Asrani is okay. Tiku Talsania, Rakesh Bedi and Dina Pathak are fair. Master Shahrukh is cute.
David Dhawan’s direction is like a job hurriedly done. While his handling of comedy scenes (especially those involving Satish Kaushik) show his stamp, the narration of the drama is not very convincing. David seems to have been let down by writer Rumi Jafri who has relied on clichéd situations and has hardly worked on two important characterisations — those of Anil and Kader Khan. Anu Malik’s music is a big letdown. Except for ‘Ek taraf hai gharwali’ and ‘Ta ra ra ra’, which are fair numbers, the other songs are dull. Even song picturisations are not exciting. The ‘Ghunghat mein chehra’ song can be advantageously deleted. Camerawork is okay. The Nepal locations have not been well exploited. Production and other technical values are alright.
On the whole, Gharwali Baharwali is neither a comedy nor an emotional family drama. It may make the audience laugh at places, but it cannot be expected to make distributors smile. A dull fare, its business in Bombay and Maharashtra may be fair but that in the rest of India will be weak.
Released on 12-6-’98 at Minerva and 16 other cinemas of Bombay thru VIP Enterprises. Publicity: good. Opening: fair. …….Also released all over.
ACHANAK
Film Folks International’s Achanak (UA) is a thriller in which there is also a suspense angle, albeit weak. The main drawbacks of the film are that it has several unbelievable incidents, unrealistic acts by characters, and hotch-potch screenplay. The story moves from the view-points of different characters at different times. Suspense, when revealed, fails to excite because what is suspense for the hero is not suspense for the audience. Further, too many coincidences in the drama dilute the impact.
Screenplay is one of sheer convenience. Tight corners for the characters are first created in a contrived manner and then other characters try to help those stuck up in such forced tight corners. Dialogues are okay. Climax is too lengthy.
Govinda does well. Manisha Koirala does a fair job. Farhana suffers on account of a faulty and ill-defined characterisation. Rahul Roy is alright in a special appearance. Paresh Rawal is reasonably good. Johny Lever, in a triple role, provides some comic moments. He is especially good in the climax scenes with Sanjay Dutt and Shah Rukh Khan (both in friendly appearances). Navneet Nishan, Saeed Jaffrey, Tinnu Anand, Dalip Tahhil, Vishwajeet Pradhan, Viju Khote, Dinesh Hingoo and the other artistes lend average support.
Naresh Malhotra’s direction is not very inspiring, maybe due to the weak script. Music is quite good. ‘Jaane jaana’, ‘Ek soni kudi’ and ‘Dil leke gayaa chor’ are hummable numbers. Song picturisations have no novelty or freshness. Photography (Raju Kaygee) is eye-pleasing. Action is quite good. Production values are of a good standard. Technically, up to the mark.
On the whole, Achanak is a dull fare.
Released on 12-6-’98 at Maratha Mandir and 19 other cinemas of Bombay thru Dilsa Distributors Combine. Publicity: good. Opening: fair. …….Also released all over. Opening was dull in many circuits.
HUMSE BADHKAR KAUN
Vee Creations’ Humse Badhkar Kaun (UA) is a routine tale of good versus evil. A pair of twin brothers (played by Sunil Shetty and Saif Ali Khan) gets a shock when they learn that the chief minister of the state is none other than their own mother. Some terrorists will, however, not let them reach their mother. Ultimately, the two brothers fight the villains and thus save the state and their mother.
Neither is the story exciting nor is the screenplay. Scenes are so lengthy that at many places, their impact is lost. Dialogues are commonplace. Except for some exciting action, a couple of emotional scenes and some funny moments, there’s little to please the heart.
Sunil Shetty does well as the simple village boy who comes to the city in search of his twin brother. Saif Ali Khan, as the twin brother, is good in a carefree role. Sonali Bendre and Dipti Bhatnagar do fair jobs, but they are almost missing in the second half. Raza Murad is okay and so are Mukesh Rishi and Mohan Joshi. Beena, as the mother of the twins, does quite well. Shiva and Ashish Balram Nagpal pass muster. Deepak Anand is alright. The rest fill the bill.
Deepak Anand’s direction is reasonable but the uninspiring story and unduly lengthy scenes are sore points. Viju Shah’s music is a letdown. ‘Line maar le’ is about the only hummable number. Its picturisation is good. Camerawork is so-so. Production and other technical values are average.
On the whole, Humse Badhkar Kaun is a dull fare with chances in small centres.
Released on 12-6-’98 at Alankar and 19 other cinemas of Bombay thru Mahalaxmi Film Distributors. Publicity & opening: average. …….Also released all over. Opening was quite dull in many circuits but alright in U.P.
INDUSTRY DELEGATION CALLS ON U.P. CM
A delegation of the film industry, headed by FFI president Santosh Singh Jain, will meet the Uttar Pradesh chief minister on 13th June (today) in Lucknow. The delegation will also go to Dehradun where it will visit the proposed site of Film City. Ramanand Sagar, Surinder Kapoor, Subhash Ghai, Sultan Ahmed and G.P. Shirke will be the other members of the delegation. Shatrughan Sinha and Pahlaj Nihalani will join the delegation from Delhi.
The industry people have been invited by the U.P. tourism minister for the proposed development of Uttar Pradesh as a shooting spot.
GAUTHAMI WEDS
South films’ heroine, Gauthami, was wedded to Sandeep Bhatia, a Bombay-based businessman, on 7th June in Madras.
ANU MALIK, RAHAT INDORI ACCUSED OF PLAGIARISM
Music director Anu Malik and lyricist Rahat Indori have been served legal notices by lyricist Syed Mohammad Hasan Imam for alleged plagiarism of his lyrics, in Kareeb. According to the notice, Hasan Imam had had a sitting with Anu Malik in March ’92 when he had narrated the lyrics of the mukhda of a song written by him, which went as Haan judaai se darta hai dil. The lyrics were also registered by Imam with The Film Writers’ Association. Anu Malik had, at that time, assured Hasan Imam that the lyrics would be used in the then under-production film of producer Salim Akhtar. It is stated in the notice that while this never happened, Anu Malik later used the lyrics, without Hasan Imam’s consent or knowledge, in two songs composed by him for Vidhu Vinod Chopra’s Kareeb.
Accordingly, a notice has also been served on Tips, the film’s audio rights holders, as well as producer Vidhu Vinod Chopra.
NAWAL BABU NO MORE
Leading Bihar exhibitor Nawal Kishore Sinha, proprietor of Kiran Talkies, Gaya, expired on 6th June at Gaya.
‘DUSHMAN’ TAX-FREE IN MAHARASHTRA, DELHI
Pooja Bhatt’s Dushman has been granted tax exemption in Maharashtra for a period of three months starting 12th June. Since the tax-free order was received by the producer after the film’s matinee show started on 12th June, the tax-free rates came into effect from the 3 p.m. show onwards.
The film has also been exempted from entertainment tax in Delhi.
YOU ASKED IT
Will star prices come down due to the spate of failures in the recent times?
– Star prices are already steady and, in some cases, coming down because there aren’t too many announcements. Even in the case of newly announced films, the artiste finds himself unable to dictate sky-high prices as he was capable of doing, say, a year back. But still, prices need to come down even more.
People keep saying that films are flopping one after another because of a bad period. Is it really the period that is bad or is it the films which are poor?
– What are flopping are bad films, but it is also true that the extent to which they are flopping is because of the bad times.
Is it worthwhile to shoot on foreign locations even now or have we had too much of it?
– Foreign locations can be exciting for the audience but our makers should stop repeating the same locations over and over again.
DO YOU KNOW?
* PYAAR KIYA TO DARNA KYA has yielded a distributor’s share that has surpassed the first run share of DIL TO PAGAL HAI and ISHQ at Barsi (Maharashtra). The share of DTPH from Chitra, Barsi was about 1,15,000/- and that of ISHQ from the same cinema, about 1,20,000/-. The share of PKTDK from Asha cinema in the first 5 weeks (4 weeks in regular shows and 1 in matinee) is 1,32,141/- and the film is now in its 6th week. DTPH fetched an additional share of 38,600/- in 3 weeks’ run (2nd run) in matinee shows at Asha.
What’s Hot?
The Aati kya Khandala song of Ghulam is becoming a rage not only in India but abroad too. It is Aamir Khan’s first try at playback singing. Maybe, the craze for the number may translate into a bumper opening for the film next week. Aati/aata kya film dekhne?
The promotional trailer of Major Saab on satellite channels is being well appreciated. People are happy to see Amitabh Bachchan playing his age.
Another film of which trailers-on-air are being hotly discussed is Harmesh Malhotra’s Dulhe Raja. They’re good — that’s the general opinion.
CENSOR NEWS
Vishesh Films P. Ltd.’s Ghulam was given C.C. No. CIL/3/26/98 (A) dt. 9-6-’98; length 4794.88 metres in 20 reels (no cut).
Deepak Arts’ Iski Topi Uske Saar was given C.C. No. CIL/2/20/98 (UA) dt. 5-6-’98; length 3980.47 metres in 16 reels (cuts: 122.80 metres).
Sarav Productions’ Dhadak was given C.C. No. CIL/3/27/98 (A) dt. 10-6-’98; length 4343.13 metres in 15 reels (cuts: 75.05 metres).
Rajeev Mohan’s Suraj was given C.C. No. CIL/1/34/98 (U) dt. 9-6-’98; length 1117.20 (16 mm) metres in 10 reels (cuts: 0.80 metres).
ABCL’s Major Saab (length 4812.86 metres in 19 reels), applied on 8th and seen on 10th, has been passed with UA certificate, with minor cuts.
Pramod Films’ Barood (length 4855.55 metres in 18 reels), applied on 10th, was seen on 11th.
Pali Films’ Maut (length 2714.58 metres in 13 reels), applied on 10th, was seen on 11th.
Vishal International Productions (P.) Ltd.’s Jaihind (length 4741.24 metres in 18 reels), applied on 11th, was seen on 12th.
Eastern Epic Production’s Jaag Utha Shaitan (dubbed; length 2496.88 metres in 5 reels), applied on 9th, was seen on 10th.
Columbia Tristar Films of India Ltd.’s Maut Ke Saudagar (dubbed; length 2275.32 metres in 5 reels), applied on 10th, was seen on 12th.
3-E
Education-Entertainment-Enlightenment
Too Many Releases Spoil The Fun
The folly of simultaneous releases of three and four films in a week has always been a topic of discussion in film circles. Such an eventuality invariably leads to bad consequences for all the films in question. To substantiate this point, one can take the case of the simultaneous releases of Gharwali Baharwali, Achanak and Humse Badhkar Kaun this week. In Rajasthan circuit, all the three films have failed to open to full houses in Jaipur. In fact, the opening day’s collection of Achanak was 57%, of Gharwali Baharwali was 53% and of Humse Badhkar Kaun was about 30%. In contrast, Gharwali Baharwali opened to full houses in Ajmer, Kota and Bikaner since the other two films did not open there this week. Even in Udaipur, Gharwali Baharwali opened to full houses because the only other release this week in the lake city was Dushman. This example should serve as an eye-opener for the industry about the merits of spacing out releases.
Major Contribution To ‘Major Saab’
It is often said that people from the film industry lack a sense of camaraderie towards each other. While there are many who subscribe to this view, producer Vashu Bhagnani’s recent deed should force them to reconsider. It all began when the publicity materials of Major Saab were not ready till as late as three weeks before the scheduled date of release. ABCL was even contemplating postponing the film’s release by a couple of weeks because of the delay in the preparation of publicities. Fortunately for ABCL, such a situation was avoided just in the nick of time when Vashu Bhagnani, producer of the Amitabh-starrer Bade Miyan Chote Miyan, stepped in. Amitabh Bachchan is reported to have requested Vashu to help the film out by taking charge of getting the publicity prepared in the shortest possible time. Vashu, on his part, went out of his way to make sure that the publicity materials designed were of a very good quality. As a result, two splendidly attractive back-lit hoardings of Major Saab were put up at two strategic locations in Bombay on 11th June — that is, in just a week’s time from Vashu stepping in. The hoardings, designed by Himanshu and Rahul Nanda, are displayed at the junction of Linking Road and S.V. Road at Bandra and outside Mela restaurant at Worli. In one word, the two hoardings are fantastic. And so was Vashu’s gesture.
Crisis And Losses
D.Y. Pattani was one of the leading sub-distributors of Gujarat territory but the losses he has faced in the last year-and-a-half could frighten anyone. His list of loss-making films released in 1997 and 1998 (so far) includes Himalay Putra, Mrityudaata, Insaaf, Itihaas, Do Ankhen Barah Haath, Ghoonghat, Mere Sapnon Ki Rani, Mr. & Mrs. Khiladi, Aflatoon, Sher-E-Hindustan, Zor, Saazish, 2001, Yugpurush and Salaakhen. Little wonder then that Pattani has suddenly given up buying films for Gujarat and is, instead, concentrating on his exhibition business. As he says, “I’ve completely stopped buying films because of the crisis in the industry and the heavy losses I’ve suffered in distribution. I’m now only interested in releasing films on commission basis.”
Censors Behind Filmmakers
Certain shots in a song from David Dhawan’s Gharwali Baharwali were objected to by the censors, leading to their deletion from the film. The objectionable shots appear in the antra of the song Ek taraf hai gharwali and depict hero Anil Kapoor tapping (as if he were playing drums) on the backsides of heroines Raveena Tandon and Rambha, of course, in humour. The accompanying lines go thus: Yeh mera bongo, yeh meri dafli….! It must be said here that the censors have chosen to literally go by the guidelines even when it is obvious that the shots have been included in jest rather than due to any ulterior motive. Incidentally, a while ago, the censors had not insisted on the deletion of similar shots showing Shah Rukh playfully pinching Juhi’s backside, and Sonali Bendre slapping Shah Rukh’s behind in the song Ek sharaarat hone ko hai from Duplicate. So while the shots of the behind in Duplicate were allowed to remain in the film, those in Gharwali Baharwali were left behind in the editing room.
INFORMATION MEETS
“Ten years from now, I see myself as an actor who has reached heights that no one ever has.”
– ASHUTOSH RANA
RAJ VAIDYA
Quite a few heads turn and eyebrows are raised as he casually saunters into the lobby of Hotel Centaur at Juhu. This newly-found admiration on people’s faces doesn’t seem to flatter him one bit. Down-to-earth, intelligent and extremely self-confident, Ashutosh Rana is a virtual power-house of talent who has impressed one and all with his power-packed performance in Dushman. Soft-spoken and articulate, he comes across as a refreshing change from many other newcomers in films. In a free-wheeling interview, Ashutosh reveals about his journey towards success.
On His Early Days
I hail from Gadarwara, a small town near Jabalpur in Madhya Pradesh. I did my schooling there, in Jabalpur, and in Ahmedabad. I finally graduated in Law from Sagar University (M.P.). Since childhood, I have been actively involved with theatre. My first performance on stage was at the age of 4 years. While still at school, I gradually began to discover an in-built ability to act. This discovery slowly turned into a passion as I moved on to participating in Ram Lilas from acting in plays in school. Eventually, while still in college, I set up a theatre group with a few friends and began performing in our own productions of popular Hindi plays. We also tried our hand at experimental theatre and even wrote and staged a play ourselves. By the time I finished college, I realised that I had evolved into a mature actor.
On Transition From Law To NSD
I studied law only because I needed a degree. My main interest had always been acting ever since my growing-up years. So, after getting my law degree, I began thinking about how to turn my passion for acting into a profession. I sought the advice of Pt. Shastri, my spiritual guru in whom I have complete faith. At his behest, I went to Delhi and joined the National School of Drama in 1991. For the next three years, I received formal education on various aspects of theatre. I graduated from the school in 1994.
On Coming To Bombay
Upon finishing my training at the NSD, I was faced with two opinions. I could either remain in Delhi and join a theatre repertory company or go to Bombay and try my luck in films. You see, by then, acting had become my passion, profession and majboori. Once again, Shastri-ji came to my rescue and made the choice simpler for me. He advised me to opt for Bombay. Soon enough, I landed myself in the middle of the scorching Bombay summer of 1994. All I had with me was my acting ability, and I soon realised that in the absence of any Godfather to launch me, I had to take the rough ride up. Thus began endless months of meeting with producers and auditioning for minuscule roles for TV serials and films. Eventually, I landed a small role in the TV serial Aahat. The role involved only one scene! I was almost disillusioned with the meagre result which my strenuous efforts had paid off into. Later, when director B.P. Singh complimented me on my performance and expressed great admiration for my abilities, my confidence was somewhat restored.
“Guruji Predicted My Swabhimaan Role….”
After my initial break with Aahat, no substantial role came my way for nearly a year. But even during that period, I never once thought of going back to where I came from. In fact, during those trying times, I strengthened my resolve to make it. Then one day, Guru-ji (Pt. Shastri) told me that Mahesh Bhatt would soon be launching a serial, the title of which would begin with ‘S’. He also said that I would be offered a role in it and that I must take it, however small it may be. Sure enough, I was offered the role of a gunda in Mahesh Bhatt’s daily serial, Swabhimaan within just a few days after Guru-ji‘s prediction. I took up the role in spite of the fact that it was to span over only 10 episodes. But as luck would have it, such a small opportunity ended up boosting my career in a major way. My work in the serial was so well-appreciated that the 10-episode role was stretched to more than 650 episodes!
From Small Screen To Silver Screen
My work in Swabhimaan slowly but surely began to interest filmmakers in my acting ability. As a result, I began getting small but significant roles in films. Yet, the kind of roles I had in mind all along, were still eluding me. I acted in small roles in Govind Nihalani’s Sanshodhan and Mahesh Bhatt’s Tamanna. I had only three scenes in the latter film, but director Mahesh Bhatt was so impressed with me that he suggested my name for a one-scene role of a freedom-fighter in director Vikram Bhatt’s Ghulam.
On Bagging The ‘Dushman’ Role
Pooja Bhatt, while still planning Dushman, happened to like my cameo performance in Ghulam, at a preview so much that she asked me to meet her and Mukesh Bhatt after a couple of days. They told me that they had been toying with the idea of casting me in the role of the main villain in Dushman. The only thing they were apprehensive about was that I had a softer look than what they wanted for their villain. I pleaded with them to cast me and argued that if anyone could portray the role in the best possible way, it was me. I must have managed to convince them, for, a few days later, Mukesh Bhatt called me to his office and offered me the role.
On His Dream Finally Coming True
My first reaction on being offered the Dushman role was of disbelief! I asked Mukesh Bhatt if he was serious. When he replied in the affirmative, I just felt like yelling out. I even asked him if I could do so! He said okay and immediately, then and there, I let out all my excitement in a loud yell, only after which Mukesh Bhatt discussed business with me!
On Still Having To Approach Producers For Work
It is true that I still approach people for work, even after my performance in Dushman. But I don’t think, there is anything humiliating about it. I feel that I have a greater desire to work with them than they have, to work with me. So, it’s only logical that I approach them. As far as the creative ego goes, it never gets hurt by such things because the very reason of my existence is my acting ability, and in order to survive, I must be able to prove it. Again, I can only prove my ability through my work. If I were to just sit back and wait for people to flock to me with roles, I may lose out on a lot of precious work that I could otherwise get by approaching the producers myself.
On Current And Future Projects
I have been cast in Vishesh Films’ next film, Sunghursh, being directed by Bunty Luthria. Apart from that, I have also signed Suneel Darshan’s next, tentatively titled Jaanwar, and Pranlal Mehta’s film, to be directed by Esmayeel Shroff.
On Acting
I feel, acting is something that cannot be defined. It is beyond the reach of definition, just like our concept of God is. You can only experience them, but can never describe them in words.
On How He Sees Himself 10 Years From Now
I see myself as an actor who has reached heights that no one ever has. I hate mediocrity and will never want to remain in a mediocre position. For me, it is either all, or nothing. Just as the poem goes:
Dil bhi ek zid pe adaa hai,
Kisi bachche ki tarha,
Ya to sub kuchh mujhe chhahiye,
Ya kuchh bhi nahin.