HELLO BROTHER

G.S. Entertainment’s Hello Brother (UA) is a comedy film. It is the story of an innocent guy who works for a drug lord but doesn’t know that he is involved in illegal activities. A police inspector suspects that he is working for a criminal and he tries to get to the main don, using the innocent guy who turns out to be too smart for him. One day, the innocent guy comes to know of his boss’ business, and the boss, therefore, kills him. Simultaneously, the police officer is also critically injured and is in need of a heart transplant. The dead guy’s heart is transplanted into the police officer. As a result, the police officer can see and talk to the dead man. To make matters more comical, the police officer falls in love with the dead man’s girlfriend. How the dead man and the police officer first quarrel among themselves, then become friends and eliminate the drug lord forms the latter part of the drama. The dead man also helps the police officer win over his girlfriend.

Since the accent is on comedy, there’s no place for emotions at all. The drama is childish and the film sometimes looks like an assemblage of items rather than a cohesive script. The film reminds of Ghazab and Chamatkar and, therefore, has no novelty value. But, perhaps, the biggest drawback of the film are the jokes of breaking wind by the police officer’s senior, and the antics of the hero adopted by him to be one-up on his opponents. Everytime the senior police officer appears on the scene (and that’s quite often), he breaks wind and the accompanying sound effects and reactions of the others around him would leave many viewers too embarrassed. For, such things are too private to be enjoyed or laughed at in public. Further, the novelty of  a character breaking wind has waned, it having been used in the recently released Hum Dil De Chuke Sanam. Of course, this very comic portion will be liked by one section of the audience (mainly youngsters) who don’t mind such stuff, but the family and class audience may find the same disgusting.

There’s no proper build-up of romance. Likewise, the climax starts pretty abruptly and it is weak, too. The short duration of the film (its running time is 2 hours and 15 minutes) is yet another drawback. Dialogues (Sohail Khan), however, are very witty and humorous.

Salman Khan, as the innocent guy, acts freely and raises a lot of laughter for his crazy antics. But it must be mentioned that Salman is repeating himself too much — he did the same crazy comedy in Pyaar Kiya To Darna Kya, in Jaanam Samjha Karo and again in Biwi No. 1. Salman’s dances are a delight to watch. Arbaaz Khan does a fairly good job as the police officer. The scene between the two Khans (where Arbaaz acts like a tapori) and the heroine is very enjoyable. Rani Mukerji dances beautifully, looks glamorous and acts quite well. Johny Lever acts with aplomb, evoking laughter almost every time he appears on the screen. Neeraj Vora’s facial expressions when he breaks wind are exceptionally natural. Shakti Kapoor is average and doesn’t get much scope. Razzak Khan is good in a couple of scenes. Sulbha Arya, Dinyar Tirandaz, Mukhtar Khan, Mahendra Verma and the others lend reasonable support.

Sohail Khan’s direction is fairly nice but his story and screenplay leave a lot to be desired. His comedy would seem weird to some, vulgar to some but also very entertaining to some. However, it will only be a section of the city audience who’d really care for the kind of mirth shown in the film. Music (Himesh Reshammiya and Sajid-Wajid) and dances (Ganesh Acharya) are, perhaps, the best things in the film. ‘Chandi ki daal par’, ‘Chunariya’, ‘Hataa saawan ki ghata’ and the title track are extremely popular numbers and their picturisations are superb, vibrant and colourful. Background score and editing (both by Yusuf Khan) are appreciable. Santosh Thundiyil’s camerawork is praiseworthy. Action scenes are alright. Production values are okay.

On the whole, Hello Brother has masala for Bombay and Maharashtra mainly. Its prospects in North India and the Eastern circuit are not too bright although it has taken a great start and has a clear field for two weeks as well as the advantage of several holidays during the two weeks. Considering its high price, it could remain a loser in several circuits.

Released on 10-9-’99 at Minerva, Eros (matinee) and 17 other cinemas of Bombay by Vimal Agarwal thru R.M. Ahuja & Co. Publicity & opening: excellent. …….Also released all over. Opening was mind-boggling in C.P. Berar and Rajasthan (1st day Jaipur about 95%). A drop in collections was noticed in Delhi-U.P. and the Eastern circuit on day 1 itself.

1947 EARTH

Deepa Mehta’s 1947 Earth (A) tells the tale of pre-Partition India. It shows the amity between Hindus, Sikhs and Muslims until the news of Partition filters in and creates mental disintegration mainly between the Hindus and the Muslims. The story, based on Bapsi Sidhwa’s celebrated novel, Cracking India, is narrated through the character of a Parsi girl. It revolves around a playful ice-candy man (Aamir Khan), a docile masseur (Rahul Khanna), the Parsi girl (Maia Sethna) and her Hindu maidservant (Nandita Das).

The first half has some light moments with Aamir Khan enlivening the goings-on with his antics, and Rahul Khanna endearing himself to the audience with his docility. The scenario changes when Aamir learns of Nandita Das’ love for Rahul. This disturbs Aamir because he, too, loves her. The tension reaches a flashpoint when a train from Gurdaspur arrives in Lahore. The train is filled with corpses of Muslims and among them are those of Aamir’s three sisters who have, like the rest, been killed by Hindus. Aamir is, therefore, filled with hatred for the Hindus. He is also agitated when the Hindu maidservant, whom he has loved, spurns him for the masseur. All this (murder of his sisters, his being spurned) causes a mental turmoil in him to such an extent that he is led to committing barbaric acts.

The film has been masterly crafted. Each and every scene and character have been perfectly etched out, thanks to an engaging screenplay. The cinematography captures the ambience of the period with great dexterity. All this technical finesse may go down well with the sophisticated audience. It would find great appreciation from the Overseas patrons. But it will not evoke the same reaction from the Indian cine goers largely due to the fact that the Partition turmoil has been relegated to the background of people’s memories and also because such a subject has been earlier dealt with in Pamela Rooks’ A Train To Pakistan. The film is terribly slow and bores the viewer, at places.

Aamir Khan is simply wonderful. He evokes a lot of laughter with his shairis in the initial reels. The drastic change of his character towards the concluding reels will, however, disappoint the audience who views him as a darling hero. Rahul Khanna is fantastic in his debut-making attempt. He looks very handsome and is sure to draw great attention of producers and directors. Nandita Das, the dusky beauty with pearly white teeth, is simply superb. She reminds of Smita Patil, in looks as well as performance. In no scene does one detect her acting effort. She is just too natural to be true. Maia Sethna, as the 8-year old Parsi girl, is adorable. Kitu Gidwani and Arif Zakaria, as the Parsi couple, live their roles and succeed in highlighting the Parsi traits. Kulbhushan Kharbanda, Gulshan Grover, Pawan Malhotra and Raghubir Yadav make their presence felt.

Music (A.R. Rahman) is in keeping with the mood of the film. Two songs (‘Rut aa gayee re’ and ‘Banno’) are truly hit numbers. The other songs are also beautifully tuned. The songs are finely integrated into the scenes. But using the songs in background, with dialogues superimposed on them, mars the impact of the wonderful music. Background score is appropriate. Production values are of a high grade. Camerawork is of a very high order.

The film has come at a time when the two partitioned countries are passing through a different stage of hostility. The Partition turmoil shown in the film will not even evoke nostalgia for those who had experienced it during their times. It may, as said, impress the Overseas audience. At home, who would like to see a flashback in these fast-forward times, except the classes?

Released on 10-9-’99 at New Empire and 13 other cinemas of Bombay thru Devgan Entertainment & Software Ltd. Publicity: excellent. Opening: good. …….Also released all over. Opening was dull in several circuits.

LATEST POSITION

It was a normal week.

Sangharsh has done well (overflow) in West Bengal and fair in Bombay but is ordinary elsewhere. 1st week Bombay 40,01,130 (68.37%) from 11 cinemas (6 on F.H.); Ahmedabad 9,30,362 from 5 cinemas, Baroda 99,925, Rajkot 84,050 from 2 cinemas (1 in matinee); Pune 12,54,545 from 5 cinemas (1 in matinee), Kolhapur 1,45,178, Solapur 2,41,000 from 2 cinemas; Hubli 2,40,386; Delhi 35,59,333 (59.86%) from 11 cinemas; Kanpur 3,54,138 from 2 cinemas, Lucknow 3,53,127, Varanasi 1,99,765, Bareilly 1,21,447, Dehradun 1,72,001, Hardwar 40,000; Calcutta 16,95,475 from 13 cinemas (share including MGs and FHs: 20 lakh, good); Nagpur 5,91,096 from 3 cinemas, Jabalpur 1,00,255, Amravati 1,94,542, Akola 1,28,083, Raipur (gross) 2,00,025; Indore 3,00,164 from 2 cinemas (2 on F.H.), Bhopal 2,07,357 from 2 cinemas; Jaipur 5,22,695 from 2 cinemas, Bikaner 97,805; Hyderabad (gross) 16,06,647 from 8 cinemas.

Godmother has been appreciated by the elite in metro cities but suffers wherever excessive number of prints were released. It is good in Saurashtra and Gujarat due to its Gujarati flavour. 1st week Bombay 13,70,631 (68.80%) from 4 cinemas (1 on F.H.); Ahmedabad 6,57,144 from 2 cinemas, Baroda 78,908, Rajkot 1,60,690, Jamnagar 1,17,068 from 2 cinemas (1 in matinee); Pune 1,84,760 from 2 cinemas (1 in matinee); Delhi 3,79,289 (90.69%); Lucknow 1,47,777; Calcutta 2,28,201 from 2 cinemas (other cinemas not disclosed); Hyderabad (gross) 1,40,068 from 2 cinemas (both in noon).

………..

Baadshah drops at many places. Will ultimately prove safe in Bombay and South only. 2nd week Bombay 47,66,881 (72.20%) from 12 cinemas (5 on F.H.); Ahmedabad 15,09,251 from 6 cinemas, Rajkot 2,33,000 from 2 cinemas (1 in matinee), Jamnagar 1,43,494 from 2 cinemas (1 in matinee); Pune 9,23,804 from 5 cinemas (1 in matinee), Solapur 1,76,489 from 2 cinemas (1 in matinee); Delhi 37,18,422 from 10 cinemas (1 on F.H.); Kanpur 3,12,982 from 2 cinemas, Lucknow 6,91,258 from 2 cinemas, Bareilly 1,26,120, Dehradun 1,65,000 (1st 2,41,968), Hardwar 60,009, total 1,74,156; Rajkot 28,665 (1st 58,549); Calcutta 9,60,413 from 7 cinemas; Nagpur 3,80,822 from 3 cinemas, Jabalpur 2,01,228, total 4,72,890, Amravati 1,13,325, Akola 1,09,700, Raipur (gross) 2,25,890, Durg 68,371, Chandrapur 89,531 (1st 1,63,291); Indore 1,71,000 (3 on F.H.), Bhopal 1,88,083 from 2 cinemas; Jaipur 3,35,360, Ajmer (29 shows) 1,15,831, Bikaner (gross) 1,71,150; Hyderabad (gross) 11,38,045 from 6 cinemas (1 in noon); Vijayawada 2 weeks’ total (gross) 5,58,578, Viaskhapatnam (gross) 4,97,970, Kurnool (gross) 2,15,580.

Arjun Pandit finally emerges an overflow film in East Punjab and Bihar, average/commission earner in Bombay and C.P. Berar, and a commission earner in Rajasthan. 3rd week Bombay 11,49,184 (58.23%) from 6 cinemas (6 on F.H.); Ahmedabad 3,49,234 from 3 cinemas, 1st week Padra 1,33,885, 3rd Jamnagar (matinee) 22,432 (1 in regular unrecd.); Pune 2,36,062 from 3 cinemas, Kolhapur 1,10,561, Solapur 85,151; Delhi 5,52,435 from 3 cinemas (2 on F.H.); Kanpur 2,61,832 from 2 cinemas, Lucknow 1,84,113, Dehradun 1,50,360 (2nd 2,01,005), Hardwar 99,238, total 4,42,673; Rohtak 8,123 (1st 70,636, 2nd 12,260); Calcutta 1,49,594; Nagpur 1,38,873, Jabalpur (6 days) 64,068, Amravati (6 days) 83,339, Akola 67,052, total 3,29,352, Raipur (6 days, gross) 1,08,164, Jalgaon (6 days) 62,799, 2nd week Wardha (5 days) 34,060, 1st Yavatmal 1,40,897; 3rd week Bhopal 79,994; Jaipur 3,55,156 from 2 cinemas, Bikaner 32,851; Hyderabad (gross) 1,91,174.

Taal 4th week Bombay 36,22,230 (67.10%) from 8 cinemas (6 on F.H.); Ahmedabad 10,43,910 from 4 cinemas, Baroda 2,10,462, Jamnagar 1,12,615; Pune 6,77,397 from 3 cinemas (1 in matinee), Solapur 1,39,000; Delhi 31,58,929 from 9 cinemas; Kanpur 2,07,231 from 2 cinemas, Lucknow 3,02,796, Varanasi 1,40,233, Bareilly 42,382, Dehradun 1,30,000; Calcutta 4,98,127 from 2 cinemas; Jabalpur 1,00,133, total 5,14,908, Amravati 1,38,683, Akola 1,10,517, total 5,89,100, Raipur (gross) 1,75,349, 2nd week Wardha 51,380, 3rd Yavatmal 48,490 (2nd 87,605); 4th week Indore 1,46,000 (1 on F.H.), Bhopal 1,32,895; Jaipur 5,82,884, Jodhpur 1,20,000, Ajmer 76,528, Bikaner 65,714; Hyderabad (gross) 12,32,970 from 5 cinemas (2 in noon), Aurangabad (gross) 3,71,773 from 2 cinemas; 4 weeks’ (gross) total Vijayawada 14,76,696, Visakhapatnam 8,21,964, Kurnool 4,63,187, Anantapur 5,41,390, Cuddapah 2,37,575, 2 weeks’ total at Rajahmundry (gross) 2,42,683, 16 days’ total Guntur (gross) 2,16,956, 1st week Ongole (gross) 1,08,555.

T.M. BIHARI PASSES AWAY

Veteran producer and Bombay exhibitor T.M. Bihari passed away last week in Pune where he was leading a retired life. He was the one who had introduced Dharmendra in his film, Dil Bhi Tera Hum Bhi Tere, directed by Arjun Hingorani. Bihari made the first Sindhi feature film, Abana, in which he introduced Sadhana.

YOU ASKED IT

How many cinemas are there in India? Has the number of cinemas gone up or down in the last few years?

– As on 31st March, 1999, there were 12,548 cinemas in the country. The number has dwindled over the years. On 31st March, 1991, India had a total of 13,101 cinemas. That is to say, there has been a net decline of 553 cinemas in the last eight years — an average net drop of 69 cinemas per year.

Big films are bombing at the box-office and yet, producers are not contemplating bringing film prices down. Why is that so?

– Producers will never think of bringing film prices down. It is the distributors who have to refrain from buying high-priced films. If that happens, producers will be forced to reduce prices.

DO YOU KNOW?

‘DDLJ’ SCORES A DOUBLE CENTURY!

* DILWALE DULHANIA LE JAYENGE (tax-free) has this week entered 200th combined week at Maratha Mandir, Bombay, in matinee shows (after being shifted from main cinema New Excelsior). On September 9, it completed 146 weeks at Maratha Mandir alone where it recorded a total collection of 77,18,610/- (against the total capacity of 1,09,23,136/-) averaging 70.66% per week! The total share of 146 weeks is Rs. 30 lakh (approximately). Needless to say, it has never gone into deficit in any week. A newly-designed banner is being put up at Maratha Mandir to mark the film’s entry into the 200th week!

MIX MASALA

VOCAL SUPPORT

Two stars, loyal to their own genre of films, lent ‘vocal support’ to the two films released this week. Shabana Azmi, the votary of art/class cinema, lent her voice to the Parsi girl in 1947 Earth, at the beginning and at the end of the film. Amitabh Bachchan’s deep-throated voice signifies the ‘voice from the heaven’ in Hello Brother.

HELLO ASHOK

Ashok Ahuja, the Bombay distributor of Hello Brother, was deprived of ‘hellos’ on his cellphone the day his film was released. How come? Was the cellphone’s battery down? Or was the phone damaged? Or did he switch it off? Nothing of the sort! Some visitor to his office simply walked out after stealthily picking up his ‘hello’ machine — the cellphone, that is! Who is the thief, no one knows!

PRETTY CLEAR?

Many in the industry pronounce the ‘ty’ in Preity Zinta’s name as in ‘Almighty’. But the fact is that the ‘ty’ is to be pronounced as in titli (butterfly). In other words, the correct pronunciation of the cute actress’ name is the same way one would pronounce Priti. One feels, it is the spelling which has created the confusion. But now, this clarification by Preity herself should serve to clear all doubts about how one should call her. It is spelt Preity and pronounced Priti — the ‘ty’ as in ‘Bharti’ and not as in ‘entity’.

Territorial Ratios: An Urgent Case For Rethinking

That prices of films, more than films themselves, are failing is old story now. But the old story has of late been raising its ugly head a bit too often. Big films sold at bigger prices have been even bigger losers at the box-office. While some films have bombed universally, there are others which have managed to do reasonably well in some circuits but have flopped in other territories.

Which gets us to the new story. Films today are not doing universally well. Gone seem to be the days when a film was a universal hit or even an all-round earner. Audience’s tastes in the various circuits have changed so much and are so different from each other that it is becoming increasingly difficult for makers to make films that have universal appeal. Then there are also films which do bumper business in Overseas but are not half as good in one or all of the home territories.

This makes it imperative for makers to do some rethinking on the pricing structure of their films. Not just should film prices be more moderate, they should also be structured according to the type of films made. Let not distributors be bogged down with the burden of meaningless ratios. Producers must appreciate the fact that if their films may not appeal to the Rajasthan audience as much as to the West Bengal viewers, there’s not much sense in charging the same price to the distributors of both the circuits. The distributor of C.I. need not always pay 20 or 25% of the Bombay distributor’s price; he may be charged 15% if a producer is honest enough to admit that his film has less of a flavour for the C.I. audience.

Of course, it may not always be easy for a producer to judge objectively whether and, more importantly, admit that his film has wide-ranging appeal or only sectional appeal. But if it is not always easy, it is also not so difficult as to be impossible to assess the appeal of a film before release. Its flavour, content and treatment can be reasonably good indicators.

Big producers can afford to discard the ratio system. A little lesser coverage won’t ruin them. But overcharging distributors can adversely affect the latter and jeopardise their financial standing. After all, producers have got newer sources or revenue earnings in the form of satellite channels.

– Komal Nahta

3-E
Education-Entertainment-Enlightenment

National Awards: Misinterpreting Their Importance

It is indeed strange how distributors sometimes think. Despite being veterans in their fields, some of the distributors of Godmother miscalculated the impact of the hype and hoopla surrounding the film after it bagged six National Awards. They felt, the terrific media hype would translate into a bumper opening for the film, failing to appreciate the fact that by its very genre, it was an art film and, therefore, no amount of national or international awards could change the film’s outcome on the opening day or week. Given that it is an art film and, what’s more, doesn’t boast of saleable stars, their decision to release excessive number of prints in cities like Bombay and Calcutta has proved to be detrimental for the film. What Godmother required was love and care in the form of a very limited release and not an over-saturated release, as has happened. More thought should definitely have gone into devising its release strategy. Distributors also need to understand that National awards can also go against the film sometimes, because they only serve to underline the genre of the films which win them. For, in India, it is usually art films which bag the awards except, say, the National award for the best film providing wholesome entertainment. Godmother, in any case, is a film which could not but depend on just mouth publicity to grow among the elite audience. Fortunately for director Vinay Shukla though, his good work in the film has not gone unrewarded. He has been receiving accolades galore for his direction. Incidentally, Vinay has been signed for a film to be produced by Boney Kapoor. It will star Jaya Bachchan, besides other heroes and heroines.

Rakesh Roshan’s Surprise Party

It was a party with a difference. Pinkie, wife of producer-director Rakesh Roshan, threw a surprise party on 5th September at The Club to celebrate Rakesh’s 50 years (on 6th). If the theme party (the theme being ‘A night in Las Vegas’) was a surprise for Rakesh Roshan, the close friends of the Roshans, who were invited to celebrate the milestone in the life of Rakesh, were also in for a very big surprise. They were treated to a 5-minute montage of various phases in the celebrated producer-director’s life — right from his childhood, through his marriage, birth of his two children, marriage of his daughter when Rakesh became a father-in-law, his graduation to becoming a grandpa, right to the day he completed 50. The montage was very beautifully prepared by son Hrithik Roshan who is being introduced by dad in Kaho Naa…Pyaar Hai. Hrithik used still photographs to make the montage which sure did strike an emotional chord in the hearts of the viewers. And Hrithik showed only the personal side of Rakesh Roshan’s life without really getting into details of his professional life. So, besides having an actor, Rakesh has a director, too, at home in Hrithik.

Roshan Jubilee House

Everybody in the Roshan family knew what Hrithik and his mother Pinkie were planning for the Big Day, except Rakesh Roshan. It was as if Hrithik was on some secret mission. While Hrithik was on his ‘mission’, Rakesh Roshan was desperately wanting his son to see the re-edited portion of Kaho Naa…Pyaar Hai. But Hrithik was untraceable, much to his dad’s consternation. In fact, Hrithik was engaged in finalising the photographs connected with Rakesh Roshan’s fifty years and in preparing the montage.

By the way, Rakesh Roshan’s house is now a jubilee house. While Rakesh Roshan’s mother is 75 (platinum jubilee), Rakesh is 50 (golden), and Hrithik just completed 25 (silver).

Shocking Khans

This week’s two releases provide ‘shock value’ to the cine goers for more reasons than one. Firstly, due to the disturbingly short lengths of the two films — Hello Brother (2 hours and 15 minutes) and 1947 Earth (2 hours). Secondly, due to two Khans’ unexpected moves. In Hello Brother, Salman Khan dies before the interval point, and in 1947 Earth, Aamir Khan turns negative towards the end. And these were shocks, particularly to the Khans’ hardcore fans.

Think Before You Speak

Industry leaders are sometimes quite rash in the comments they make in front of members of the fourth estate, which then get published in newspapers and magazines read by the general public. Like Pahlaj Nihalani, in his capacity as president of the Association of Motion Pictures & TV Programme Producers (AMPTPP), recently made public his ire over Shekhar Kapur who is fighting a war of words (besides battling for the censorship of his Elizabeth) with the CBFC. While Pahlaj has a right to his opinion, one fails to understand how the producer-leader got his facts wrong. To drive home the point that the cuts suggested by the CBFC in Shekhar Kapur’s Elizabeth were reasonable, Pahlaj cited the examples of Fire and Kama Sutra and said that the failures of the said two films proved the point that the taste and mentality of the Hindi film audience were entirely different from those of English film audience. Failure of Fire and Kama Sutra?!?, The AMPTPP president is, perhaps, unaware of the fact that Kama Sutra is a very successful film and collections of Fire, too, after a shaky start, picked up at many places. None of the two films is a failure, because both have fetched returns to not only their producers but distributors too.

Pahlaj has also questioned Mahesh Bhatt’s authority to support Shekhar Kapur in his fight against the CBFC, “Who is Mahesh Bhatt to support Shekhar Kapur?”, reads Pahlaj’s rhetoric. By the same logic, Mahesh Bhatt could as well ask Pahlaj who he (Pahlaj) is to object to his (Bhatt’s) support to Kapur.

While nobody objects to anybody’s personal opinions, a lot of people in the industry conveyed to Film Information their anxiety over the lack of caution and over the factual errors that came across loud and clear in some of the comments made by industry leaders in recent times. Not too many days back, TOA (Theatre Owners’ Association, Bombay) president U.A. Thadani’s comment in a national daily published from Bombay, agitated many producers and distributors. When asked his opinion on the INR hire charged by the Films Division to the film industry (an issue which is currently being debated in the Supreme Court), Thadani remarked something to the effect that the INR hire in any case wasn’t affecting exhibitors because it was being paid by distributors! How Thadani could treat such a serious issue so casually is  vexatious. After all, the industry is questioning the very basis of the hire charge — having to screen Indian news reels for the government and, over and above that, having to pay 1% of the nett collections for screening them!

Our leaders need to use caution. They should learn to be more discreet in their public utterances. For, they are representing the opinions of the entire industry. Let them not give to outsiders a picture of the industry as a house divided. As it is, the industry has rarely received good treatment at the hands of the central and state governments. The general public, too, has this suspicious glint in the eye when it views the film industry and its people. Rather than clearing the air, such ridiculous and, at times, factually and politically incorrect statements, coming as they do from industry leaders, serve only to show the film industry — our film industry — in bad light. This shouldn’t happen.

– Komal Nahta

LETTER TO THE EDITOR

KILLER ENTERTAINMENT TAX IN GUJARAT

Dear Sir,

I would like to draw the attention of the film trade to the dismal scenario prevailing in the exhibition of films in Gujarat. Towards this purpose, I am enclosing herewith the translation of a Gujarati advertisement issued by me in the local Ahmedabad dailies, Sandesh, Jai Hind, Jansatta, Sambhav, etc. to highlight the unjust and partial government policy regarding entertainment tax in Gujarat.

Why is the entertainment tax on cinema tickets so high in Gujarat? Every successive government in Gujarat seems to have adopted a very bitter attitude towards film audience.

(1) Is it a crime to see or show a film?

(2) The government seems to be reviving a practice similar to that prevalent during the days of slavery by investing unrestrained power in hands of its officials.

(3) The entertainment tax in Gujarat is the highest in the whole of India. In fact, according to a recent statement made by the leading light of our film industry, Subhash Ghai, the entertainment tax in Gujarat is the highest in the whole world.

It is indeed an irony that the entertainment tax is 4% in excess of that on alcoholic beverages! Today, a cinema ticket costing 35 paise is taxed 65 paise in the state. As a result, the admission rates have gone up considerably, which had led to a steep decline in the number of film audience as the common man is finding it increasingly difficult to pay the high prices of cinema tickets.

On the other hand, lavishly organised cultural extravaganzas are totally exempted from any tax. Even in hotels, items served and costing up to Rs. 200 are tax-free. Seen in this light, it is indeed ludicrous that such a partial attitude is adopted towards the entertainment industry. Why is the film industry being continuously made a target for excessive entertainment tax?

Cinema owners have had to make several representations — sometimes at the cost of their pride — before the government, but every plea of theirs have fallen on deaf ears. The government officials have consistently shown a lack of basic courtesy of at least hearing them out properly.

Even after the closures of 250 out of 700 cinemas in the state, the government officials never fail to remind cinema owners that earlier, the Janata Dal government under Chimanbhai had granted 50 paise, BJP government under Keshubhai had granted Re. 1 and RJP under Shankarsinh had granted Rs. 2 tax exemptions. The government officials cite these examples as if they were acts of charity more than anything else.

It is also indeed disturbing that no member of Parliament, who is supposed to represent all sections of society, has ever raised his voice against the government’s unjust and partial policy so far.

– B.P. Shah
Rupam Cinema
Ahmedabad

(It is indeed laudatory that B.P. Shah has raised his individual voice for a just cause without any fear of a possible backlash from the powers-that-be. His effort is not only commendable, it also needs to be reciprocated by the industry showing full support to the cause of Gujarat exhibitors.)

SANGHARSH

Vishesh Films Pvt. Ltd.’s Sangharsh (A) is the story of a research trainee in the CBI, who is offered a dare-devil and dangerous but nevertheless important assignment — she has to track down a psychopath killer who has escaped from jail and who murders little children as a religious ritual. The only person who can help her reach the killer is himself in prison, but this guy is no ordinary mortal. He is a genius and has a mind-boggling memory. He takes a liking for the CBI research trainee and vows to help her but only her, and not the police force which is also on the trail of the psychopath killer. How the girl and her genius-guide succeed in nabbing the killer and saving a child from being murdered, in the nick of time forms the nail-biting climax.

Inspired from Silence Of The Lambs, the film, written by Mahesh Bhatt, moves on a single track and offers almost nothing by way of relief, romance or comedy — all so essential for mass-appeal. The entire drama is very tense and the viewer yearns for some relief which is sadly missing. The point of child sacrifice looks a bit dated. Further, there is so much gore and violence in the second half that it could put off the women audience completely. Music (Jatin Lalit) is so dull that the songs not only hamper the flow of the drama but also bore a lot.

Akshay Kumar, as the jailed genius, does very well. Not only is he exceptional in action scenes but he also acts ably. Preity Zinta looks glamorous and acts with the ease of a seasoned actress. She gives a great deal to the role of the CBI research trainee. Ashutosh Rana is first-rate as the psychopath killer. He does such a fantastic job that he evokes immense hatred for himself among the audience. He looks every inch the character he plays and could easily pick up awards for his performance. His delirious mocking of his opponents by drumming his fingers on his lips is dramatically brilliant. Aman Verma is fair. Madan Jain, as the police inspector at loggerheads with the CBI, is very natural and he leaves a mark. Vishwajeet Pradhan does a good job. Vicky Chopra and Ninad Kamat lend able support. Master Jass Trivedi, master Mazhar, baby Alia and the others are alright.

Director Tanuja Chandra has not only extracted good work from her artistes but has also narrated the subject effectively. However, she falters while infusing the usual commercial ingredients (like songs) in the drama, making them look like add-ons. Music, as said above, is pathetic. Song picturisations are equally bad. Camerawork (Dharma Teja) is good. Dialogues are very good at some places. Action (Abbas Ali) scenes are well-composed.

On the whole, Sangharsh is too violent to have universal appeal. Besides, the subject as well as the treatment hold sectional appeal — for the class audience. It has chances in Bombay mainly. Its reasonable price is a point in its favour. In the North and Eastern circuit, however, the film can hope to achieve very little.

Released on 3-9-’99 at Novelty, New Empire and 16 other cinemas of Bombay thru Ahuja Films. Publicity & opening: very good. …….Also released all over.

GODMOTHER

Gramco Films’ Godmother (A) is the story of an uneducated woman who rules a man’s world. The woman, Rambhi, is one day shocked to learn that her husband (a gang-leader), who had just vowed to give up violence, himself becomes the victim of violence and is killed. This uneducated lady takes over the reins of her late husband’s gang. The local politician tries to use Rambhi as his pawn for getting political mileage. The uneducated woman turns out to be too smart for the politician. For, while she lets herself to be used by him, she, too, uses her new-found power to improve the wretched condition of the people of her community and, at the same time, to eliminate all those who opposed her. She is even elected to the Vidhan Sabha. Meanwhile, her son grows up and falls in love with a beautiful girl who is in love with a guy of a minority community. The son attacks the girl’s beloved and this episode is given a communal colour by the local politician who had always resented Rambhi’s rise to fame. Rambhi realises the futility of her power games, gets the beautiful girl married to her true lover, asks her son to mend his ways and also asks her community people to rise above petty parochialism by sacrificing her own life. Her martyrdom spells doom for the scheming politician.

The story is quite novel but the film suffers on a couple of counts. For one, it has elitist appeal only, and its pace is quite slow. Secondly, it has no saleable stars to attract the audience to the cinemas. Dialogues, penned by story writer and director Vinay Shukla, are really good at several places.

Shabana Azmi excels as Rambhi, the leader of the Mer community. She looks and plays every inch an uneducated woman who soon successfully rises in stature and power. A difficult role, she enacts it with consummate ease. Milind Gunaji, as her husband, gives a polished account of himself. Nirmal Pandey is brilliant and natural to the core. Govind Namdev evokes hatred as the manipulative politician. In one word, he is fantastic. Anup Soni stands out as Shabana’s brother-in-law. Raima Sen is good. Sharman Joshi does quite well. Ashwin Kumar is effective.

Notwithstanding the offbeat and dry subject which he has handled, it is to Vinay Shukla’s credit that his direction and narration show sparks of brilliance. Editing is sharp. Music (Vishal Bharadwaj) matches the film’s mood and the songs have some appeal. Background score is remarkable. Cinematography (Rajen Kothari) is extraordinary. Action scenes (Shahid Ali) are natural. Costumes (Mandira Shukla) of the characters deserve special mention. Technically, good.

On the whole, Godmother may have won six National awards and deservedly so, but its single-track dull subject, lack of popular stars of today and elitist treatment will make box-office rewards in most of the circuits a far cry. It should do somewhat better in Bombay and parts of Gujarat.

Released on 3-9-’99 at Eros and 3 other cinemas of Bombay thru V.I.P. Enterprises. Publicity & opening: very good. …….Also released in Delhi-U.P., Bengal and Nizam. Opening was dull at many places.

LATEST POSITION

BAADSHAH started sliding down from 5th and 6th day onwards.

Baadshah has done well initially in Bombay, Nizam and Mysore, is so-so in Delhi, fair in U.P., C.P.C.I. but truly dull in East Punjab and Bengal. 1st week Bombay 76,04,778 (91.42%) from 14 cinemas (7 on F.H.); Ahmedabad 18,69,268 from 6 cinemas, Padra 1,74,453, Rajkot 2,21,850 from 2 cinemas (1 in matinee), Jamnagar 1,58,123 from 2 cinemas (1 in matinee), Adipur 1,23,341; Solapur 4,22,029 from 3 cinemas (1 in matinee); Delhi 55,35,478 (77.50%) from 11 cinemas (2 on F.H.); Lucknow 9,94,703 from 2 cinemas, Agra  2,95,798, Allahabad 3,33,980, Meerut 2,80,016, Bareilly 2,48,357, Dehradun 2,41,968, Saharanpur 2,13,508, Hardwar 1,14,147; Calcutta 31,32,042 from 18 cinemas; Nagpur 11,30,756 from 5 cinemas, Jabalpur 2,71,662, Amravati 1,93,162, Akola 1,83,169, Raipur (gross) 4,00,335; Indore 3,82,759 from 2 cinemas (4 on F.H.), Bhopal 3,85,179 from 2 cinemas (1 unrecd.); Jaipur 12,22,420 from 5 cinemas; Hyderabad (gross) 59,59,328 from 22 cinemas (1 in noon); Vijayawada (gross) 3,29,340, Visakhapatnam (gross) 3,29,217, Kurnool (gross) 2,09,150 from 2 cinemas, Tirupati (gross, 6 days) 1,32,600, Cuddapah (gross) 1,20,000.

………..

Arjun Pandit drops dramatically in metro cities but is good in U.P. and East Punjab. Is an earner in Bombay, East Punjab but a loser in Nizam. 2nd week Bombay 22,78,494 (67.58%) from 8 cinemas (11 on F.H.); Ahmedabad 6,68,020 from 6 cinemas; Kolhapur 1,76,775, Solapur 1,01,460; Delhi (6 days) 14,13,509 from 8 cinemas (4 on F.H.); Lucknow 3,34,444, Allahabad 1,77,500, Dehradun 2,01,005, Hardwar 1,31,393, total 3,43,435, very good; Calcutta 3,24,416 from 2 cinemas; Nagpur 1,26,860 from 2 cinemas, Jabalpur (6 days) 1,24,251, Amravati (6 days) 1,03,655, Akola 90,910, total 2,62,300, Raipur (6 days) 1,60,897, Jalgaon (6 days) 80,791, Wardha (6 days) 74,672; Indore 97,896 (3 on F.H.), Bhopal 1,26,948; Jaipur 3,32,700; Hyderabad (gross) 3,58,300 from 3 cinemas (1 in noon).

Taal withstands the opposition of ex-superstar (Kohram), current superstar (Baadshah) and other big releases and collects well in 3rd week in many circuits. It has picked up in C.P.C.I., at places by 20-30% over the previous week. 3rd week Bombay 43,88,502 (76.66%) from 9 cinemas (7 on F.H.); Ahmedabad 9,13,479 from 3 cinemas (1 unrecd.), Baroda 2,16,220, Jamnagar 87,500; Solapur 1,64,592; Delhi (6 days) 27,22,884 from 8 cinemas; Lucknow 3,61,948, Agra 3,60,318, Allahabad 1,44,413, Meerut 1,94,920 (2nd 1,91,106), Bareilly 59,597, Dehradun 1,59,000; Calcutta 5,83,013 from 2 cinemas; Nagpur 1,65,901, Jabalpur 1,64,252, total 4,14,774, Amravati 1,82,732, Akola 1,21,400, total 4,78,600, Raipur (gross) 2,48,297, Jalgaon 1,35,000, total 4,91,532, 2nd week Wardha (6 days) 20,734, 3rd week Chandrapur 1,06,251, total 4,26,440; Indore 1,75,665 (1 on F.H.), Bhopal 1,56,762; Jaipur 6,33,255, Jodhpur 1,50,000, Ajmer 84,185; Hyderabad (gross) 8,30,750 from 3 cinemas (2 in noon); 3 weeks’ total (gross) Visakhapatnam 6,31,259, Kurnool 3,91,587, Ananthapuram 4,53,286, Cuddapah 1,45,793, 1st week Rajahmundry 1,51,232.

Kohram 3rd week Bombay 6,32,956 (55%) from 4 cinemas (5 on F.H.); Ahmedabad 1,62,968 from 2 cinemas (1 unrecd.), Baroda 70,247, Rajkot 64,973 from 2 cinemas (1 in matinee), Solapur 68,720 from 2 cinemas (1 in matinee); Delhi (6 days) 1,26,253 from 2 cinemas; Lucknow 1,14,751, Agra 1,08,536, Allahabad 89,208, Hardwar 75,000; Calcutta 1,87,137; Nagpur 81,330 from 2 cinemas, Jabalpur (6 days) 74,665, Amravati (6 days) 1,02,221, Akola 50,957, total 4,03,728, Raipur (6 days) 44,650, Jalgaon (6 days) 76,040; Indore 42,816 (1 on F.H.); Hyderabad (gross) 1,39,337.

________

Man Saayba Ni Mediye (Gujarati; TF) is doing extraordinary in Gujarat and Saurashtra; expected to do 1 crore.

AJAY DEVGAN’S DISTRIBUTION OFFICE INAUGURATED

The new office of Bombay distributors Devgan’s Entertainment on the 2nd floor of Naaz building (earlier Pahlaj Nihalani’s office) was inaugurated on 3rd September (Janmashtami day) with a pooja and havan performed by Veeru Devgan, Ajay Devgan and Kajol.

G. HANUMANTHA RAO NO MORE

Producer G. Hanumantha Rao died of cancer of the liver on 29th August in Hyderabad. He had been hospitalised some weeks back and his condition was deteriorating. The end came on the evening of 29th in the hospital.

Hanumantha Rao was aware that his end was very near because he told his brothers, producer G.A. Seshagiri Rao and actor Krishna, to take him to their Padmalaya Studios before he passed away. In deference to his wish, his body was kept at Padmalaya for several hours before it was consigned to the flames on 30th at 4 p.m. in Hyderabad. All production and distribution offices in Hyderabad remained closed on 30th August as a mark of respect. The Hyderabad State Film Chamber of Commerce held a condolence meeting on 31st August.

Hanumantha Rao, alongwith his brothers, set up the huge Padmalaya Studios and the Padmalaya banner in Hyderabad.

Together, they produced many Telugu and Hindi films. A few years ago, the Padmalaya banner also branched out into production of television software. Among Padmalaya’s Hindi films were Himmatwala, Takkar, Pataal Bhairvi, Justice Chaudhary, Singhasan, Mawaali, Mulzim, Qaidi, Kaamyab, Hoshiyar, Meri Aawaz Suno, Kanwarlal and Sooryavansham.

G. Hanumantha Rao was the president of the Film Federation of India and the vice president of the Federation of International Film Producers Association at the time of his death.

IMPPA TO HONOUR SIX STALWARTS

The Indian Motion Picture Producers’ Association will this year honour Ramanand Sagar, Manoj Kumar, Manna Dey, late Laxmikant, Pyarelal and late Rajendra Kumar by presenting IMPPA trophies for their contributions to the Hindi film industry. The presentation function will be held during the annual general meeting of the IMPPA on 25th September at ISKCON auditorium, Juhu, Bombay. Chief guest Dev Anand will present the trophies. IMPPA every year felicitates five veterans.

YOU ASKED IT

To what do you attribute the good opening of Sangharsh this week?

– Solo release, good promotional trailers, Janmashtami holiday and Preity Zinta.

Is it a fact that the Rajshri people are considering selling the Overseas distribution rights of Hum Saath Saath Hain?

– Yes, it is a fact. Are you interested in buying the rights? Then contact the Rajshri people with a very fat cheque! But be informed that the negotiations are already on. Rather, the deal may be closed any moment at an unheard of price.

How much does Aamir Khan charge for a film?

– Double of what he used to charge four years back. Maybe, he will give you dates after a year — to listen to the story, not for shooting!

DO YOU KNOW?

* Aishwarya Rai is easily the most ‘foreign-returned’ heroine today. Almost every single film of hers — JEANS, …AUR PYAAR HO GAYA, AA AB LAUT CHALEN, HUM DIL DE CHUKE SANAM, TAAL and forthcoming HUM PANCHI EK DAAL KE — has had portions shot abroad.

* Producer Salim and director Raj Kanwar are racing ahead to complete BADAL so that they can release it on 7th January next year, making it the first release of the new millennium. But already on the list of releases for the first week of year 2000 are MELA and KAHO NAA…PYAAR HAI.

* As a ‘special festival offer’, VIP Enterprises, the Bombay distributors of GODMOTHER, distributed free tickets to the first fifty ladies in the 3 p.m. and 6 p.m. shows on Friday (1st day) at Eros, the main cinema of Bombay. The festival offer will continue today (Saturday).

3-E
Education-Entertainment-Enlightenment

Multiplexes In Maharashtra: Nothing Official About It!

After a great show of enthusiasm initially, the Maharashtra government seems to have lost interest in the development of cinema multiplexes in the state. For, even after five months since the announcement of the tourism and multiplex policy, the government is yet to list it in the gazette. It is pertinent to note here that all government policies are ratified and come into effect only after publication in the gazette. Thus, Maharashtra government’s multiplex policy, announced in April this year, has yet to come into effect. Perhaps, the state government can take a leaf out of neighbour Gujarat government’s book. The latter has developed and, more importantly, put into effect a very comprehensive policy as far as entertainment complexes are concerned. As a result, state capital Gandhinagar has an exciting multiplex, City Pulse, already up and running, while another — Rajshri Movie World — is to open in some time. There are a few others which are in various stages of completion throughout the region. Hope the example won’t be lost on Maharashtra government officials who will soon — we hope, again — rectify their folly and take due action.

Tax Evasion, Andhra Style

Some cinema owners in the state of Andhra Pradesh have thought of a novel way to cheat the state government and are adopting it every week, thereby evading entertainment tax worth lakhs of rupees. The Andhra government grants entertainment tax concessions to cinemas screening Telugu films produced in the state. To take advantage of the concessions, some cinemas, even though they screen Hindi films, show names of Telugu films in their DCRs and other records. Of course, some officers of the Commercial Taxes department are hand-in-glove with such exhibitors who hoodwink the government into believing that their cinemas have screened Telugu films when actually they’ve shown Hindi or dubbed Telugu films. The concession, it may be mentioned, is available only to original Telugu films produced entirely in Andhra Pradesh. The Vigilance and Enforcement department recently conducted raids in several cinemas of the state and detected such irregularities. The concessions in entertainment tax had been granted in December ’95.

Howzzat For A Joke?

Now for a good laugh. There is this film due for an early release. And there is this over-enthusiastic guy who is presenting this ready-for-release film. The presenter, who was in Delhi last week, visited offices of exhibitors and cinema controllers in the capital city, accompanied by his Delhi-U.P. distributor. The two of them, perhaps, thought that they were the only smart ones this side of the hemisphere and that exhibitors and controllers are all duffers. For, this is what the presenter told the various exhibitors/controllers: “I’ve sold the film to him (pointing towards his distributor) for 75 lakh but I’m prepared to give him a profit of a further 75 lakh (alongwith his 75 lakh) if he is ready to relinquish the rights in my favour. My hero and I would like to distribute the film in Delhi-U.P. ourselves. We will, of course, release the film through his (again pointing to the distributor) office only, but….” When any exhibitor/controller would, out of courtesy (because, by then, he would realise that all of it is a cock-and-bull story to simply make the film ‘hot’ in exhibition circles), prompt the distributor to accept the presenter’s offer, the distributor would simply grin and shake his head to convey a “no”. This whole drama was repeated in several offices of the capital city, and one exhibitor even remarked, “If the presenter had only used his ultra-fertile brains at the time of story-writing, he may not have had to cook up this story as a ploy to create a hype around the film.” Anyway, ploy or no ploy, the film has hardly succeeded in generating any heat in exhibition circles. As a smart controller concluded, “It is not as if we will believe any and every story. After all, kya hum filmon ke liye marte hain!”

Joke Of The Week

As promised last week, here’s another interesting anecdote, courtesy music director Kalyanji:

Once when actress Raakhee was chatting with Kalyanji at his music room, she overheard him speak to his wife on the telephone. Through their conversation, Raakhee learnt that Kalyanji’s wife was observing the Jaya-Parvati vrat at the time. Curious to know more about it, the actress asked the music director what the vrat was in aid of. Kalyanji explained that it was what Gujarati women did so that they would get the same husband for their next seven lives. At this, Raakhee called up Saakarben (Kalyanji’s wife) and complained in a lighter vein, “This is absolutely unfair. You can’t ‘book’ such a jovial person like Kalyanji for yourself for seven consecutive lives! At least leave him for me in my next life!” Saakarben sportingly replied in an equally humorous manner, “Okay, I’ll let you have him in the next life. But, beware, dare you try to take liberties with him in this life!”

BAADSHAH

Venus Records & Tapes Ltd.’s Baadshah (UA) is a thriller with comedy as its base. A private detective is mistaken for a CBI sleuth not just by the CBI team but also by the villains who are out to kill the actual sleuth. But, in fact, the private detective is on a mission to rescue a rich industrialist’s little daughter from her kidnappers. The gang of villains uses him as its pawn and sends him on a mission to kill a lady chief minister. Much as he would not like to commit the heinous crime, he finds himself in a helpless situation as the villains would blow up the little daughter of the industrialist if the private detective did not exterminate the lady. How the detective, with the aid of his friends, not only saves the chief minister and rescues the little girl but also succeeds in exposing and killing all the villains forms the climax.

The story is confusing and has too many tracks but all credit to the writers (Shyam Goel and Neeraj Vora) for doing a neat job of the screenplay. Yet, despite their best efforts, the audience does tend to get baffled because of so much confusion and misunderstanding between the characters (as required in the plot). The first half is comical and while some jokes are hilarious and mass-appealing, a few others are of the kind which can be enjoyed by the class audience only. The post-interval portion takes a comparatively serious turn and gets boring at places. The last part of the film has plenty of surprise elements but again, it has been stretched a great deal. The inspiration of the last few reels seems to have come from the Jackie Chan starrer, Rush Hour.

One major drawback of the story is that when it is shown that each and every one around the chief minister is keen to see her killed, why doesn’t just anybody actually kill her? Why force an innocent and unwilling guy (private detective) to do it? The coaxing would have made sense had one or two people, really close to the chief minister, not been part of the murder plot because then, the others would not want to risk being identified. But there’s nobody like that and one unimportant character, who could have fitted into the groove, is discarded from the scene immediately. Another drawback is excessive comedy and lack of action (except in the last part of the film). Songs, though good, are not of the hit genre. What’s more, several of the songs look and sound similar.

Shah Rukh Khan plays the private detective to perfection. He is a pleasure to watch in comedy scenes. He also dances well and comes out with flying clours in dramatic scenes. In one word, Shah Rukh is absolutely fantastic and lovable. Twinkle Khanna looks ravishing and also acts ably. Johny Lever is adorable as always and evokes laughter at several places. Amrish Puri does a fine job. Raakhee is restrained as the lady chief minister. Sachin Khedekar, as her husband, impresses. Deepshikha looks sexy and performs well. Sharat Saxena is effective. Pankaj Dheer leaves a mark. Saurabh Shukla is average and so are Neeraj Vora, Shashikala, Sudhir, Mahavir Shah, Adi Irani, Viju Khote and Charlie. Razzak Khan is good. Prem Chopra, Avtar Gill, Amrit Patel, Harpal and baby Karishma Jain lend able support. Deepak Tijori is good in a special appearance. Dinesh Hingoo provides a couple of good comic moments.

Abbas-Mustan once again prove that there is hardly anybody to match them as far as slickness and style in filmmaking go. Their direction is excellent but the same cannot be said of their choice of subject which holds more appeal for children and city audience. Dialogues are masterly at several places where they are witty and humorous. Choreography is eye-pleasing. Thomas A. Xavier’s camerawork deserves distinction marks. Locations look fabulous and so do the stars. Anu Malik’s music is above average but a film of such a canvas needed nothing but super-hit music. Action scenes are quite thrilling. Background score is effective. Production values are grandiose. Other technical aspects are brilliant.

On the whole, Baadshah will rule at the box-office in Bombay and South mainly. In the other circuits, a bumper initial will just about save the situation. Prospects in the Eastern circuit are weak.

Released on 27-8-’99 at New Excelsior and 20 other cinemas of Bombay thru V.I.P. Enterprises. Publicity & opening: extraordinary. …….Also released all over. Opening was bumper everywhere.

LATEST POSITION

The extraordinary opening of BAADSHAH this week and the general upsurge in collections on Thursday due to Raksha Bandhan holiday have brought all-round cheer.

Arjun Pandit has done very well in U.P., East Punjab and Rajasthan, from where overflow is assured. It is below the mark in Delhi and fair in other circuits. 1st week Bombay 58,02,892 (87.12%) from 13 cinemas (7 on F.H.); Ahmedabad 16,09,622 from 6 cinemas, Asodar 1,54,646, Baroda 1,90,296, Surat 1,29,122, Valsad (gross, 26 shows) 1,70,997, Bharuch (gross) 2,81,614, Vapi (gross) 3,63,812, Patan (gross) 2,10,157, Cambay 1,52,314, Jamnagar (matinee) 30,654, Adipur 1,49,890, Bhuj 1,16,102; Pune 12,22,536 from 5 cinemas (1 in matinee), Kolhapur 2,61,643, Solapur 4,31,019 from 2 cinemas; Delhi 44,67,961 (79.93%) from 9 cinemas (4 on F.H.); Kanpur 7,59,011 from 2 cinemas, Lucknow 4,39,391, Allahabad 2,95,425, Hardwar 2,12,042 (91.54%); Calcutta 22,96,248 from 16 cinemas; Nagpur 7,18,030 from 5 cinemas, Jabalpur (6 days) 1,45,348, Amravati (6 days) 1,93,920, Akola 1,71,400, Raipur (6 days, gross) 2,93,621, Bhilai 1,25,454 from 2 cinemas, Jalgaon (6 days) 1,84,358; Indore 3,65,411 from 2 cinemas (5 on F.H.), Bhopal 1,97,611 (1 unrecd.); Jaipur 10,40,036 from 3 cinemas, Bikaner 2,27,970 from 2 cinemas, Udaipur 3,48,700; Hyderabad (gross) 30,57,489 from 17 cinemas; Vijayawada (gross) 1,71,117.

Taal has maintained well in Bombay, Delhi and South. Is excellent in the USA and good in other parts of Overseas. Continues to be dull in the rest. 2nd week Bombay 61,80,501 (82.40%) from 11 cinemas (7 on F.H.); Ahmedabad 11,54,301 from 4 cinemas, Baroda 2,20,639, Padra 1,94,292, Valsad 2,07,394, Jamnagar 1,02,540; Pune 12,19,534 from 4 cinemas (1 in matinee), Solapur 1,67,656; Delhi 53,93,423 from 9 cinemas; Kanpur 2,89,511 from 2 cinemas, Varanasi 2,05,525, Allahabad 1,77,864, Bareilly 78,369, Hardwar 65,127 (21.43%); Calcutta 9,26,330 from 4 cinemas; Nagpur 3,44,219 from 2 cinemas, Jabalpur 89,120, total 2,50,522, Amravati 1,78,510, Akola 1,26,800, total 3,57,195, Raipur (gross) 2,70,722, Bhilai (gross) 1,81,458, total 4,57,180, Jalgaon 1,38,525 (1st 2,18,000), Chandrapur 1,14,242, total 3,20,189, 1st Yavatmal 1,08,937; 2nd week Indore 1,60,000 (2 on F.H.), Bhopal 99,227; Jaipur 6,23,825, Jodhpur 2,75,000 (1st 3,20,000), Ajmer 94,420 (1st 1,29,626), Bikaner (6 days) 82,237, Udaipur 2,89,880 (1st 3,31,200); Hyderabad (gross) 21,46,409 from 7 cinemas, share about 10,80,000, Aurangabad 2,77,506; Vijayawada (gross) 3,53,593, Visakhapatnam (gross) 3,03,075 from 2 cinemas, Kurnool (gross) 1,30,560, Cuddapah (gross) 1,12,198 from 2 cinemas, Ananthapur (gross) 1,51,188.

Kohram has crashed almost everywhere. 2nd week Bombay 29,22,909 (47.11%) from 13 cinemas (7 on F.H.); Ahmedabad 5,09,547 from 4 cinemas, Rajkot 1,52,830 from 2 cinemas (1 in matinee), Jamnagar 61,028 from 2 cinemas (1 in matinee); Pune 6,53,960 from 5 cinemas, Kolhapur 1,50,000, Solapur 1,42,483 from 2 cinemas; Delhi 12,43,947 from 8 cinemas; Kanpur 2,26,924 from 3 cinemas, Lucknow 3,34,766 from 3 cinemas, Varanasi 1,51,179, Allahabad 1,65,006, Bareilly (6 days) 37,239; Calcutta 6,55,135 from 5 cinemas; Nagpur 2,03,121 from 3 cinemas, Jabalpur (6 days) 61,470, Amravati (6 days) 1,59,784, Raipur (6 days) 86,905, Bhilai (6 days) 39,584, Jalgaon (6 days) 1,22,414, Yavatmal 79,745 (1st 1,75,585); Indore 69,441 (1 on F.H.); Jaipur 2,32,713 from 2 cinemas, Bikaner 1,07,605, Udaipur 1,92,835 (1st 2,18,600); Hyderabad (gross) 3,58,314 from 2 cinemas.

Hindustan Ki Kasam 5th week Bombay 5,23,249 (34%) from 5 cinemas (1 on F.H.); Ahmedabad 43,583 from 2 cinemas, Baroda (matinee) 14,664, Rajkot 48,400 from 2 cinemas (1 in matinee), Jamnagar (matinee) 6,439; Solapur 31,757; Delhi 1,32,780; Kanpur 45,021, Lucknow 63,894, Allahabad 28,577, Bareilly (6 days) 21,642; Nagpur 10,138, Jabalpur (6 days) 23,676, 1st week Gondia (6 days, gross) 1,02,275; 5th week Bhopal 20,000; Jaipur (24 shows) 65,193.

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Maa Te Maa Bija Wagda Na Waa (G., TF) 2nd week Ahmedabad 81,636 from 2 cinemas, poor, Rajkot 1,15,000.

MARATHI FILM ACTOR SURYAKANT MANDRE NO MORE

Veteran Marathi film actor Suryakant Mandre passed away in Pune on 22nd August following chest problems. He was 73 and is survived by his wife and three sons.

Beginning his career in Marathi films as a child actor in Dhruv (1938), Suryakant went on to act in over a hundred Marathi films. He was especially popular in the role of Shivaji Maharaj in several films including Bahirji Naik (1943), Jai Bhavani (1947), Ganimi Kava, Swarajyacha Shiledar (1951), Pavan Khind (1956) and others. His other memorable roles include that of a comedian in Amhi Jato Amuchya Gava (1968). In Kaul De Khanderaya, he was paired with his brother, Chandrakant.

“HONEST” SOLUTION!

Reacting to the article published in our issue last week under the caption ‘Film-Making Today — Overseas Market: Is Its Bigness Eclipsing Home Market?’, producer-director Rajkumar Santoshi remarked:

“The solution offered by you (Film Information) at the end of the article is incorrect. It is a regressive solution.” (We had said that the solution lay in making a HAHK..! or a DDLJ, which would click in Overseas as also in Bihar and the rest of India). The real solution, according to Santoshi, lies in being honest to oneself. He substantiated, “If a maker feels, his film caters to the tastes of audience in Overseas more than in, say, Bihar, he should be honest enough to sell the distribution rights for Bihar at a much smaller price. Why must he sell Bihar or another territory, in which the film may not be expected to fare well, at the high ratio fixed for other territories like Overseas? Let the makers be honest to themselves. Therein lies the solution.” Point noted, Mr. Santoshi!

“MAKE FILMS FOR OVERSEAS, NOT BIHAR”: BIPIN SAVLA

Reacting to our last week’s article, ‘Film-Making Today — Overseas Market: Is its Bigness Eclipsing Home Market?’, Bipin Savla, the associate producer of Raja Hindustani, asserts that films should henceforth be made for Overseas only, instead of keeping Bihar as the yardstick. His reasoning is based on the fact that even after Raja Hindustani proved a super-duper hit all over, the film’s Bihar distributor was ‘unable’ to share the overflow with the producer. “If a film like Raja Hindustani fails to get overflow from Bihar, no film can get overflow from there,” says Savla.

With business having gone into overdrive, Overseas is not the kind of territory it used to be. “Previously,” points out Bipin Savla, “Overseas used to be a subsidiary territory, sold on outright basis, but today, it is sold on MG royalty basis. On the other hand, producers used to sell Bihar on MG royalty basis, but today, the MG price of Bihar is as good as outright price.”

ANNOUNCEMENTS & LAUNCHINGS

Vashu Launches Film With Abhishek: A. Muthu Turns Director

Producer Vashu Bhagnani launched Puja Films’ Tera Jadoo Chal Gaya on the auspicious day of Raksha Bandhan (Aug. 26) with a song recording at Mehboob Recording Theatre. The song, penned by Sameer, was rendered (on 27th) by Sonu Nigam and Kavita Krishnamoorthy. Music was composed by Ismail Darbar.

Editor A. Muthu turns a director with this film to roll in September. Abhishek Bachchan has been signed for the lead role. A heroine and other cast are being finalised. Writers: Robin Bhatt and Ikram Akhtar. Dialogues: Javed Siddiqi.

YOU ASKED IT

Is it right to say that making a universal hit is becoming increasingly difficult?

– Not at all! Pick up a universally appealing subject, work on it very hard and make a film — you may have a universal hit on your hands. Today, only a few films are doing universally good business because there’s lack of sincerity on the part of the makers, generally speaking. The pursuit is to make big money (by selling the film at high ratios) more than a big hit. Besides, the territorial ratios need to be revised. Ratios of Bengal and C.P.C.I. Rajasthan need to be brought down.

What is the business of Marathi film Bindhast likely to be?

– About 1.5 crore — maybe, a little more also — from Bombay, Maharashtra, C.P. Berar and Marathwada.

Which has been the biggest success in West Bengal and Bihar so far this year?

– SOORYAVANSHAM and HOGI PYAR KI JEET respectively.

IN & OUT OF BOMBAY

Producer-director Govindbhai Patel, currently in Bombay at Cyrus Hotel (382-7215/1947), will leave for Baroda on 30th August.

Producer Boney Kapoor is in Hyderabad and will return on 30th August.

Producer S. Raamanathan left for Madras this afternoon (28th August).

Mr. R.N. Mandre of Mandre Pictures, Bangalore, is leaving for Kathmandu today (Aug. 28) and will be back in Bombay on the evening of 29th. On 1st Sept., he will leave for Venice to attend the Venice Film Festival for 4-5 days and then fly to London from there. He will be back in Bombay on 10th Sept.

DO YOU KNOW?

* After the failure of RAJAJI, Vimal Kumar has decided to take a break from direction for at least a year. Meanwhile, he is working on two projects that he will be producing simultaneously — one, to be directed by Kuku Kolhi, and the other, by Satish Kaushik.

* Juhi Chawla is making a special appearance in Raj Babbar’s Hindi-Punjabi bilingual, SHAHEED UDDHAM SINGH.

* Santosh Singh Jain has served as president of the Central Circuit Cine Association (CCCA) for a total of 32 years in the 46-year history of the Association. His first stint as president was from 1964 to 1969; second, from 1970 to 1982; and the present, which began in 1984.

* As a distributor, Mohanji Prasad has become active all over again after keeping a low profile despite the big success of DULHE RAJA in Bihar. He has now acquired five films for Bihar! His acquisitions are Boney Kapoor’s PUKAAR, Shyam Bajaj’s KAHIN PYAR NA HO JAYE, Salim Akhtar’s BADAL, Harmesh Malhotra’s ANKHIYON SE GOLI MAARE, Vijay Galani’s new film, and B. Subhash’s DULHAN BANOO MEIN TERI (the last-named film for South Bihar only).

* Subhash Ghai’s TAAL has been dubbed in Tamil as TAALAM.

3-E
Education-Entertainment-Enlightenment

Lot’s In A Name!

Talk about a movie living up to its name. Last week, the airing of Mehul Kumar’s Kohram on cable in Simla saw a widespread ruckus being created in the city by National Students Union of India activists. As a protest against the students’ vandalism, shops in the entire city remained closed on 21st August. The activists were protesting against depiction of a corrupt minister, played by Danny Denzongpa in the film, named Virbhadra Singh, as that also happens to be the name of the Congress leader and former chief minister of Jammu & Kashmir. As if this weren’t enough, Danny’s character is fondly referred to in the film as ‘Raja Saheb’ which, coincidentally, is also how the politician is generally addressed by the people. Thus when the film was being broadcast, a number of NSUI  activists marched to the cable operator’s premises and went on a rampage, smashing equipment and beating up employees. At the end of it all, the premises of the cable operator, who showed Kohram, itself looked like a scene of kohram! May be Mehul Kumar’s next film will be called Shanti!

‘Star Wars’ Takes Europe By Storm On Debut

The European launch of Star Wars: Episode 1 – The Phantom Menace is an earth-shattering success, if its opening weekend collections in 27 territories all over Europe are anything to go by. Hitting the European screens 11 weeks after its premiere release, this George Lucas marvel has grossed US dollars 26,368,311 from 3,302 screens between August 19 and 22. Among the top-grossing European countries for the film are Austria (USD 1,373,325 from 110 screens), Denmark (932,403 from 66), Germany (12,437,889 from 1,001), Norway (889,637 from 73), Spain (4,306,674 from 352) and Sweden (1,616,025 from 100).

In Japan, where the film is currently running in its seventh week, it has registered a total collection of USD 79,870,663 so far. In UK, the film has grossed USD 67,922,394 in six weeks and is all set to surpass Jurassic Park as the third highest grossing film ever released in UK.

The total Overseas collections of Star Wars: Episode 1 – The Phantom Menace stand at USD 271,754,182, making it the highest grossing film of the year. Its U.S. box-office collections have crossed USD 417 million already.

Karisma Not Quitting….. Keep Quizzing!

Is Karisma Kapoor getting married? Is she not getting married? Is she quitting films? Is she not? Ever since Karisma walked out of Deepak Shivdasani’s Yeh Raaste Hain Pyaar Ke, these questions have dominated every discussion on films, whether in trade circles or non-trade circles. The answer to these questions is: Karisma is not quitting films because she has no plans to get married now. Why, the girl in demand has even signed one or two new films just recently. Which ones are they? No, no, their names can’t be revealed here. Let this new question now dominate the discussions on films — whether in trade or non-trade circles!

The Long & The Short Of It

One cannot doubt the intentions of those producers who make their films long. Perhaps, they sincerely intend giving ‘full value for money’ (FVM). But, of late, there have been films which have been described (by the trade as well as the audience) as being “too lengthy”. Some recent examples are International Khiladi, Mann, Hum Dil De Chuke Sanam, Taal and this week’s release, Baadshah (length: 4,929.47 metres).

Of course, there are examples of films, which despite being long, have never been dubbed “lengthy”. In fact, they have proved to be long-runners, like Sangam, Waqt, Sholay, Dulhan Wohi Jo Piya Man Bhaaye, Maine Pyar Kiya, Hum Aapke Hain Koun..! and even the Hollywood international blockbuster, Titanic.

Providing a stark contrast to the big ones, as is the current trend, is Hello Brother, the running time of which is only 2 hours and 15 minutes (length: 3,694.10 metres), which the exhibitors feel is “short, very short”.

One is apt to ask, “Then what should be the optimum length of a film? A veteran editor’s oft-repeated sermon to his assistants and directors used to be, “A film should be as long as it entertains. At the end of it, the viewers should wish for more”. That’s the long and short of it.

So Said Hitchcock

While on the topic of length of a film, it would not be out of place to recall Alfred Hitchcock’s humorous quote: “The length of a film should be directly related to the endurance of the human bladder.”

Obviously, he said this with reference to English films. Thank God, Hindi cinegoers have an interval to go to the toilet to empty their bladders!

Busybee Distributors

Mohan Chitra must be the busiest distributors not just in C.P. Berar but in the whole of India. The concern has in the last 2-3 months released in C.P. Berar Hum Dil De Chuke Sanam, Mann, Taal, Arjun Pandit, and Baadshah this week. Its forthcoming releases are 1947 Earth (10th September) and Dil Kya Kare (24th September). The deals would happily go on. Happy dealing!

Joke Of The Week

Since elections are round the corner, here is a true and timely incident that truly brings out music maestro Kalyanji’s vintage humour. Some years ago, someone asked him, “Why is it that more and more actors are standing for elections nowadays?” Kalyanji replied with a deadpan face, “That is because today, people want a government which can act.”! More humour Kalyanji ishtyle, next week.

ASHA PAREKH IS FULLY TO BLAME

Dear Sir,

This has reference to an article published in Film Information in the issue dated 21st August ’99 under the heading, ‘WHY BLAME ASHA PAREKH?’, which is totally misleading.

The writer has quoted various rules of the Cinematograph Act but is apparently not aware of the ground realities in the country where rules are only meant to be quoted for convenience, and, in actual practice, rules are bypassed to harass and torture those who don’t blindly toe your line. Can Asha Parekh explain why ever since she became the chairperson, every medium- and small-budget filmmaker has started getting nightmares at the very thought of getting his film censored. If she is not responsible, how is it that big films are censored in a matter of days whereas small films are held up for months, and the producer is tortured and harassed to such an extent that he has to reshoot and also submit revised versions before the high and mighty chairperson agrees to sign the certificate? Is it not a fact that the regional officer and assistant regional officers have clearly and categorically been instructed to make the passing of small-budget films impossible by appointing only such members on the examining committee as are known to be having views similar to those of the chairperson? I challenge the chairperson to prepare a chart of the passing of small-budget films and the whole world will come to know how the personal bias and prejudice of the chairperson is responsible for the torture and trauma of small-budget filmmakers.

The chairperson cannot deny that she is biased against such films because she has gone on record in her interviews to say that small-budget horror and sex films will not be passed in her tenure as they are anti-scientific, obscurantist, vulgar and against Indian culture. It is not at all surprising that the reason for refusal of certificates to nearly all the small-budget films in the letter of refusal is that the film has a thin storyline or that it is a crudely made film, unscientific, obscurantist and against Indian culture and values. I would like to know that if the denial of certificate is not as per the directions of the chairperson then how is the reason for denial the same for every picture? This not only speaks of lack of application of mind by the EC and RO but total bias of Ms. Asha Parekh. I want to know from her if Fire and Bombay Boys, having lesbianism and gay themes, are her ideas of Indian culture and values. As far as ‘unscientific’ and ‘obscurantist’ are concerned, it is apparent that Ms. Asha Parekh does not watch TV because millions of people watch ‘unscientific’ and ‘obscurantist’ material on all TV channels which are also viewed by children, but adult citizens of the country who vote and elect the government can’t see such films even after buying tickets. I would like to ask Film Information, how is it that no film was refused certificate on grounds of being unscientific and obscurantist before the unfortunate appointment of Ms. Asha Parekh? Moreover, in this case, how can it be said that she is not responsible?

Asha Parekh’s justification in the press for her action in banning small films is that some film was found with interpolation, but does she not realise that for one criminal, you cannot execute a full community? The laws of the country are very clear and if somebody commits a crime, the law will deal with him, and all producers cannot be penalised for the mistake of one.

I am very grateful to Mr. Shekhar Kapur and others because of whom the whimsical and illogical behaviour of the CBFC is out in the open and we can talk about it because so far, out of fear of persecution, the Indian filmmakers had no choice but to bear the humiliation like in my case where reference to ISI of Pakistan was cut in my film, Chote Nawab Bade Nawab, but Sarfarosh, based totally on ISI, was passed as it was a big film. Asha Parekh should realise that every film, whether big or small, is the maker’s dream and the Constitution of India gives the right of freedom of expression to every individual as also the producer, and the viewer has the right to see whatever he wants. Therefore, it is essential that the CBFC should just do its job i.e. certify films and not ban, cut films and try to change films and the society because its job is to certify films and not to be the moral guardian of the country.

– Naresh Mohnot
Proprietor
N.D.R. Productions,
Bombay.

SHOWBIZ TODAY

CITY PULSE: A DREAM SHOW PLACE

How often have you had to fight for getting space on the hand-rest of your chair in a cinema hall? Or how many times have you had to look with disgust at the gentleman sitting behind you in a dark cinema hall when he moved in his seat but, due to lack of enough leg space, kicked your seat or feet? Just how often have you tripped on the steps leading to the auditorium as you groped your way late into a cinema hall with all lights switched off? In the interval, how many times have you had to postpone visiting the toilet simply because you’d have to stand in a queue in a smelly toilet and, after the job is done, try to get water out of a dry tap which is part of a shaky wash-basin?

At City Pulse, the newly-started cineplex at Gandhinagar, the capital city of Gujarat, you encounter none of these problems. Every chair in all the three cinemas of the multiplex has a hand-rest on either side. The leg-space between the two rows of chairs is so much that one can push back his chair and yet not disturb the person in front of him. The stairs leading to the landing of the auditorium are all dotted with tiny bulbs which are kept lit for 15 to 20 minutes after a film starts, for the comfort of latecomers. As for the toilets — take that wrinkle off your nose — they don’t stink. The wash-basins have automated taps from which water flows as soon as one’s hands come under them. The flushes too work automatically.

It this isn’t customer care, there’s plenty more at City Pulse built on a huge expanse of land on the Sabarmati-Gandhinagar highway, a cool 20 to 25-minute drive from Ahmedabad city. The foyer for ticket bookings is of 4,000 sq, ft. and this leads to the cinema foyer which is about 6,500 sq. ft. in area and has a huge fish tank on one side. Three different kinds of lights adorn the ceiling of the foyer. Screens 1 and 2 are opposite each other on the ground floor and the 3rd screen is on the first floor. Wall-to-wall carpets in the cinemas, ultra-comfortable chairs with cold-drink holders, wide screens 65 ft. 55 ft. and 50 ft. in the three cinemas, Dolby digital and DTS sound systems, air-conditioning plants which are kept on throughout every show, all these make cinema viewing a pleasure at City Pulse. Little wonder then that despite being far away from the city, the cinema has been able to build a large and loyal clientele in a short span of a little over three months only. Of course, the distance from the city has its disadvantage too because the 12 noon and 3 p.m. shows are not heavily patronised. But the evening and night shows witness people flocking in large numbers in cars. Car parking, which is usually a cinegoer’s nightmare, is like a nice dream here — there’s parking space for 600 cars! Compare this with the combined seating capacity of the three screens — 1,240 — and you’d understand why car-parking is not a nightmare at City Pulse.

A common projection room caters to all the three screens and it is fully automated with minimal requirement for handling prints. A single print of Taal was screened in its release week in two screens of City Pulse with a difference of barely a minute between the screening time in the two cinemas. Christie’s projectors, auto rewinding facilities and the latest sound equipments make projection a left-hand task.

There’s a single class in all the three cinemas — Screen 1 has 566 seats, Screen 2 has 445 seats and Screen 3, 229 seats — and the ticket rate is uniform, Rs. 100. Each cinema also has separate boxes for VIPs. Yes, the cinema has become a sure spot for spotting VIPs on Saturday and Sunday evenings. For, as the popcorn packets sold at the cinema mention: ‘3 theatres and a picnic’. The whole experience at City Pulse is indeed like a picnic. Besides the beautifully done-up cinemas and immaculately maintained place, there’s a huge compound, in one corner of which is a food court that does brisk business. On another side of the compound, under a huge tree, there’s a live band playing music every evening — Hindi music on four days and English music on Fridays, Saturdays and Sundays. Visitors sit on paadars (stone platforms built around trees), listening to the live band, before the film begins and in the interval. There are water fountains in front of and behind the band, adding to the music. Lush green trees heighten the overall ambience of the place.

A bowling alley, a games parlour and a theme restaurant are under construction in the same premises. An amphitheatre and a conference room as well as 5-star rooms and green rooms for visiting artistes, singers and performers are also under-construction.

The first foyer has a huge wall with a collage of photographs of film stars. Made at a cost of Rs. 3.5 lakh, the collage attracts the attention of many a cinegoer.

The entire complex has cost owner Ashok Purohit many crores but an excellent policy of the Gujarat government makes it a viable business proposition. For ten years, there will be no entertainment tax and show tax on films screened at the cineplex, and no sales tax and turnover tax on eatables sold there. Electricity duty is also not leviable. Easy loans from financial institutions is another aid.

Purohit, it needs to be mentioned here, is himself a leading architect of Ahmedabad. His capabilities as a professional and his aesthetics are evident in every corner of the complex. What also comes to the fore is his concern for cinegoers. While any other businessman would have tried to cut down on wastage of space to make the proposition more economically viable, Purohit has done just the reverse. For example, while the rules provide for exit stairways of a breadth of 5 feet, his stairways are 7 and even 10 feet broad. The cinema exits are 2, 4 and 6 in the three screens in place of the 1, 2 and 3 respectively required by law. This is to ensure quicker exit of people in case of an accident like fire. Remember the infamous Uphaar cinema fire tragedy of 1997 in Delhi? Ashok Purohit has been helped in the designing by his daughter and son-in-law who, too, are architects. His second daughter, who is an interior designer, has done the interiors. Unbelievable as it may sound, the beautiful complex was up and running in just 15 months of its commencement. So well-designed and well-maintained is the cineplex that word has already spread in the industry. Little wonder then that the cinema has had exhibitors from places like Pune (Chaphalkar), Delhi, Nasik and Nagpur visiting it to design their planned multiplexes on similar lines. The incomplete part of the multiplex would be completed in a few months from now. Ashok Purohit’s wife looks after the day-to-day functioning and administrative side of the cineplex. Even before the screening of films started there on 7th May, 1999, the Purohits had organised a live performance of Daler Mehndi at the complex. Ila Arun too sang and danced at the show.

Not really a film man before this, Ashok Purohit was truly initiated into the idea of constructing an entertainment complex when he and his wife visited Universal Studios in Hollywood and saw Citywalk multiplex there. Fifty-five-year old Purohit is so happy with his first multiplex that he now plans to construct more such entertainment plazas in the years to come. He is already designing one with four screens in Nagpur for film financier N. Kumar.

Ashok Purohit, besides being a renowed architect, is also a deeply religious man. In fact, on one side of the cinema, there’s a huge lawn (not open to the public) with a small temple in one corner of it. Purohit points out to the idols of Lord Shiva and Sai Baba there and introduces them thus: “They are my partners in business. I don’t get the time to look after the affairs of the cineplex but I know, my God, my partners are taking care of it.”

Taking care of the bookings for the three screens is exhibitor Nandu Bohra. Purohit has only words of praise for Bohra’s business acumen and gives him a lot of credit for the success of City Pulse in the industry. A look at the table alongside will indicate what fabulous collections films at City Pulse have netted. For example, as against the 3-lakh share of Taal from Ahmedabad city in its first week, one print at City Pulse yielded a share of Rs. 11 lakh in 1 week! Even a film like Mann has yielded a share of Rs. 20 lakh from City Pulse in its 7-week run so far.

Shouldn’t the popcorn packets now read: ‘3 theatres and a picnic — and for distributors, a big pick!?’

– Komal Nahta

ARJUN PANDIT

Ratan International’s Arjun Pandit (A) is an action film with an unusual plot. A girl, whose sister is raped and who ultimately commits suicide when her professor (the sole eye-witness to her rape) refuses to testify in front of the police (because he has been threatened with dire consequences), seeks revenge on the rapist as well as the professor by pitting them against each other. But the professor, who is neither aware of the sister’s identity nor her game-plan, falls madly in love with her as she, too, pretends to be in love with him. Despite her revenge, he continues to haunt her for her hand in marriage. In the meantime, the professor also becomes a pawn in the hands of an underworld don. The girl, who all along rejects his advances, relents in the end when she realises that he loves her more than anything and anybody else in the world and also when she is made (by him) to realise how fear can cripple a person. She also holds herself guilty for dragging him into the underworld.

While the story is quite new, it has a couple of drawbacks. It shows the heroine in negative light. The heroine seeking revenge to the extent of sending the professor to jail, simply because he did not dare to testify in the case of her sister’s rape, looks too far-fetched and unbelievable because one can swear such revenge for a rapist, not for one who fails to testify. It looks even more unbelievable because the girl knows how cowardly the professor is and there’s no doubt that in not testifying, it was his cowardice at play, nothing more than that! Another major drawback is the characterisation of the hero. Sunny Deol being shown as a coward professor is hard to digest. Although he ultimately becomes a criminal, the reels in which he is shown as a peace-loving man and a coward will not go down well with the masses at whom the film is aimed. The interval point is very good. Climax is too lengthy and, in fact, the second half tends to get a bit tedious. Dialogues are good.

Sunny Deol does well in the action scenes and his performance in the angry young man’s role is extremely good. But his get-up of a professor as well as his acting in that role are dull and don’t even evoke laughter. Further, the concept of the manic lover has been seen earlier in Darr and Anjaam and, therefore, holds no novelty. Juhi Chawla looks appealing and puts in a very good show of her talent. Mukesh Rishi is effective as the dreaded villain. Shahbaaz Khan also acts ably as a lecherous villain. Ashish Vidyarthi too is very good. Jeetu Verma evokes hatred. Saurabh Shukla, Virendra Saxena and Deepak Qazir are fair. Aruna Sangal, Shashi Sharma, Vaibhavi Raut, Ravi Patwardhan, Suresh Malhotra, Sachin Khedekar and the others lend able support.

Given the complex subject, Rahul Rawail’s direction is competent. But he could have avoided the flashback-in-the-flashback, to make the story simpler. Action scenes (Tinu Verma) have been excellently composed but there’s an overdose of violence in the second half, which will keep ladies audience away. Music should have been much better. Of the songs, only the Daler Mehndi number is very good. The ‘Paagal’ number is quite nice. The ‘O Priya’ song can be safely deleted as it hampers the narration without adding much to the film. Production values are of a good standard.

On the whole, Arjun Pandit has action for masses but a less believable plot and a coward Sunny Deol (in part of the film) will limit its business prospects. Keeping its high price in mind, it can hope to fetch returns in North India on the strength of ‘B’ and ‘C’ class centres, and will prove average in other circuits.

Released on 20-8-’99 at Maratha Mandir, New Excelsior and 18 other cinemas of Bombay thru Ratan International. Publicity: good. Opening: very good. …….Also released all over. Opening was bumper in East Punjab and Rajasthan and good in Delhi-U.P. but not up to the mark in C.P. Berar.

LATEST POSITION

TAAL, as predicted, has done excellent in Overseas and has also fetched handsome shares from Bombay, Delhi, Nizam, Mysore, Andhra and Tamilnad on the strength of gentry audience. It is, however, poor in Bengal, Bihar and C.P.C.I. Rajasthan, where losses are predicted. It has done fair in East Punjab and parts of U.P. but is very dull in other parts of U.P. Not appreciated in ‘B’ and ‘C’ class centres at all. …..KOHRAM has yielded good shares in 1st week but the drop in collections outside Maharashtra from 5th day onwards was alarming.

Taal 1st week Bombay 73,00,636 (93.19%) from 12 cinemas (9 on F.H.); Ahmedabad 23,95,671 from 4 cinemas, Baroda 2,67,915 (100%), Padra 2,51,668, Valsad 2,85,812 (77.25%), Jamnagar 1,26,000; Pune 16,43,314 from 5 cinemas (1 in matinee), Solapur 3,12,101 from 2 cinemas, Sangli 2,13,440; Hubli 100%, Belgaum 100%, Dharwad 100%; Delhi 61,69,125 (93.31%) from 9 cinemas; Kanpur 5,24,792 from 2 cinemas, Lucknow 4,50,024, Agra 4,75,615, Varanasi 2,60,643, Allahabad 2,26,622, Bareilly 1,55,029, Dehradun 2,70,000, Hardwar 1,03,929 (34.20%); Calcutta 17,76,879 from 10 cinemas; Nagpur 10,08,793 from 4 cinemas, Jabalpur 1,61,401, Akola 2,30,394, Raipur (gross) 3,77,601, Bhilai 2,52,942 from 2 cinemas, Jalgaon 2,18,000, Chandrapur 2,05,946; Indore 3,48,000 from 2 cinemas (2 on F.H.), Bhopal 4,72,779 from 3 cinemas; Jaipur 11,70,236 from 3 cinemas, Bikaner 1,69,370; Hyderabad (gross) 50,66,514 from 18 cinemas (2 in noon), share 28,48,000, Aurangabad 3,70,023; Vijayawada (gross) 7,59,013 from 3 cinemas (1 in 6 shows only); is extraordinary in USA in 1st week and good in UK, Gulf, Singapore but dull in Malaysia.

Kohram 1st week Bombay 66,20,340 (81%) from 15 cinemas (9 on F.H.); Ahmedabad 14,46,419 from 7 cinemas, Vapi 6,08,336 from 2 cinemas, Rajkot 2,61,150 from 3 cinemas (1 in matinee), Jamnagar 1,52,029 from 2 cinemas (1 in matinee); Pune 15,32,261 from 6 cinemas, Solapur 4,62,471 from 3 cinemas (1 in matinee), Sangli 2,00,180; Hubli 2,15,426, Belgaum 1,47,289; Delhi 40,85,159 (57.84%) from 13 cinemas (4 on F.H.); Kanpur 5,20,678 from 3 cinemas, Lucknow 7,32,229 from 3 cinemas, Agra 3,15,670, Varanasi 2,56,499, Bareilly (6 days) 1,28,712, Dehradun 1,75,000; Calcutta 22,68,377 from 13 cinemas; Nagpur 8,14,544 from 4 cinemas, Jabalpur (6 days) 2,02,087, Akola 2,55,762, Raipur (6 days, gross) 3,31,623, Bhilai 2,39,171 from 2 cinemas, Jalgaon (6 days) 2,59,360, Chandrapur 2,25,378, Yavatmal 1,75,585; Indore 1,67,659 (3 on F.H.), Bhopal 1,08,762 (2 unrecd.); Jaipur 6,49,579 from 3 cinemas, Bikaner (gross) 2,86,080; Hyderabad (gross) 26,20,967 from 14 cinemas (1 in noon); dull in Overseas.

………….

Hindustan Ki Kasam 4th week Bombay 8,10,116 (37.34%) from 6 cinemas (3 on F.H.); Ahmedabad 1,59,931 from 3 cinemas, Jamnagar (matinee) 13,382; Pune 2,27,463 from 4 cinemas (1 in matinee), Solapur 51,209; Delhi 4,16,962 from 3 cinemas (2 on F.H.); Kanpur 1,21,271 from 2 cinemas, Lucknow 1,53,170, Agra 26,936, Varanasi 1,29,310, Allahabad 66,750, Bareilly (6 days) 44,187, Dehradun 40,200, Hardwar 15,000; Calcutta 74,365; Nagpur (5 days) 35,177, Jabalpur (6 days) 44,812, Amravati (6 days) 44,278, Raipur (6 days, gross) 63,257, Bhilai 22,141; Jaipur 1,13,376.

Mann 6th week Bombay 8,85,783 (51.86%) from 4 cinemas (1 on F.H.); Ahmedabad 1,81,377 from 4 cinemas, Rajkot 82,740 (1 in matinee unrecd.); Pune 4,29,486 from 4 cinemas (1 in matinee); Delhi 4,27,248 (1 on F.H.); Kanpur 1,20,619 from 2 cinemas, Lucknow 1,93,194, Agra 70,163, Varanasi 85,908, Allahabad 55,800, Dehradun 30,000; Calcutta 2,88,252 from 2 cinemas; Nagpur 63,579, 5th week Jabalpur (6 days) 42,125, 6th Amravati (6 days) 59,398, Akola 40,654, Raipur (gross, 6 days) 81,226, 4th week Wardha (5 days) 30,881; 6th week Indore 64,371, Bhopal 52,203; Jaipur 1,87,261 from 2 cinemas; Hyderabad (gross) 2,16,348.

………….

INR HIRE: INDUSTRY FILES REVIEW PETITION IN SUPREME COURT

The film industry has filed a review petition in the Supreme Court against its order delivered recently in the matter of INR hire. It may be recalled that a 3-member bench of the Supreme Court held that it was well within the rights of the Central government to charge cinemas a hire of 1% of net collections for screening its Indian news reels. The review petition before a full bench of the apex court is likely to come up in the month-end.

The matter of appeal will be discussed at the meeting of the Film Federation of India (FFI) this evening (21st August) at IMPPA House. This meeting is likely to be attended by all Bombay-based members of the executive committee of the FFI. The decision to have the EIMPA and the MPA jointly file a review petition had been taken at an earlier meeting of the FFI. It was then also decided that the FFI would oversee the entire legal proceedings.

D. RAMA NAIDU TO CONTEST LS ELECTIONS

Producer and studio owner Dr. D. Rama Naidu will contest the ensuing Parliamentary elections on a Telugu Desam Party ticket. He will be contesting from Bapatla constituency in opposition of Janardhan Reddy, a Congress strongman.

Despite being engaged in so many film and social activities, D. Rama Naidu has accepted the TDP ticket “to strengthen the hands of Andhra Pradesh chief minister Chandrababu Naidu”.

COURT REJECTS PLEA AGAINST NATIONAL AWARDS TO ‘GODMOTHER’

A division bench of the Delhi high court, comprising Justice S.N. Variava and Justice S.K. Mahajan, on 19th August dismissed a petition challenging giving of National Awards to Godmother. The court said, “We would not like to interfere in the matter as it is the discretion of the government.” The petition, filed by a private organisation, Filmavalokan, had challenged the giving of six National Awards to Godmother on the ground that it portrayed the lifestyle of mafia, violence, riots and murders, which violated censor guidelines and did not promote production of healthy movies.

MAJOR VIDEO PIRACY RACKET BUSTED IN USA

In a major piracy unearthing operation in the USA, Eros International and Eros Entertainment Inc. recovered nearly 2,000 unauthorised VCDs and DVDs of several new Hindi films last week. The raid was conducted at VJ Video (owned by Vijay Patel) at Rockway, New Jersey, where the investigating team found and seized 55 VCRs and video duplicating equipment, apart from 1,071 VCDs and 1,871 DVDs of films like Hindustan Ki Kasam, Sirf Tum, Haseena Maan Jaayegi, Hote Hote Pyaar Ho Gaya, Biwi No. 1, Kohram, Hum Aapke Dil Mein Rehte Hain, Raja Hindustani, Dilwale Dulhania Le Jayenge, Dil To Pagal Hai, Kuch Kuch Hota Hai and others. The raid was co-ordinated and implemented by Megha Bhouraskar and William M. Poppe of the law firm Poppe & Bhouraskar LLP.

PRAVIN SHAH BEREAVED

Niral, son of Pravin Shah of Time Video, expired on 14th August in Bombay at Hinduja Hospital. He was only 8 years old. He had been hospitalised due to high fever on 11th August. He slipped into a coma the next day and remained in that condition till he passed away.

Jaap and prarthana in his memory were held on 17th August at Vishnu Prasad Hall, Juhu, Bombay. In a rare humane gesture, the family donated his eyes. Niral was an expert swimmer and a smart child.

YOU ASKED IT

Does re-editing help a film after its release?

– Only if it is done in time and with tact.

When films of big banners and top makers are flopping, how do distributors dare to pay unheard of prices to films made by comparatively smaller banners?

– Success is not the privilege of only the big banners and top makers. All the same, prices of films are definitely going haywire, very haywire, today.

Is Shekhar Kapur justified in asking the CBFC the reasons for the various deletions in his Elizabeth?

–Hundred per cent justified. After all, the CBFC should be accountable for its actions.

CENSOR NEWS

Venus Records & Tapes Ltd.’s Baadshah, applied on 16th and seen on 17th, has been issued C.C. No. CIL/2/26/99 (UA) dt. 19-8-’99; length 4929.47 metres in 18 reels (no cut).

Padmini Films P. Ltd.’s Rockford (English, partly in Hindi), seen on 16th, has been passed with UA certificate, with cuts.

G.S. Entertainment’s Hello Brother (length 3694.10 metres in 14 reels), applied on 17th, was seen on 18th.

DO YOU KNOW?

* TAAL is now short by four-and-a-half minutes. Subhash Ghai has halved the song Nahin paas tu and has made the climax portion racy by effecting some deletions. The comic parts in the climax have been chopped off.

* Producer Balkrishna Jha’s SASTA ZINGI MAHAG SENUR is the first Maithili film which is entirely in this dialect. So far, only two Maithili films have been made. One was KANYADAAN, released in 1965, which was not entirely in Maithili; the other was MAMTA GAYE GEET which was a documentary.

* Johny Lever has joined hands with Imtiyaz Shaikh, Amrit Jain and Albert Jassani to launch a music company, Auro Audio. They have already released the company’s first music album, ‘Pardesiya Yaad Teri Aati Hai’, rendered by Sadhana Sargam, Reema Mishra and Saud Khan.

MIX MASALA

NET-SAVVY JACKIE

Not only is Jackie Shroff a lot into internet these days, he is also initiating people to get net-savvy. And a sure way of getting people to at least get curious, he feels, is by signing his e-mail address instead of his name every time a fan requests the star for an autograph. So in place of ‘Jackie Shroff’, it is now ‘jackie@jackieshroff.com’. That’s Jackie’s e-mail address.

FILM-MAKING TODAY

Overseas Market: Is Its Bigness Eclipsing Home Market?

Are our filmmakers going ‘phoren’? The Overseas bug seems to have bitten some of the bigger filmmakers. No, not just in terms of shooting their films abroad. But in making films which cater to the tastes of audience in foreign lands more than to Indian audience.

While some films like Hum Aapke Hain Koun..!, Dilwale Dulhania Le Jayenge and Kuch Kuch Hota Hai are universal hits, faring as well in India as in Overseas, there are many other films which don’t have the same universal appeal. Why compare home territory with Overseas, quite often a film which does well in one circuit in India does not do so in the other circuits of the country. The recently released Hum Dil De Chuke Sanam is an instance in point. It is doing extraordinary business in Bombay, Maharashtra and Gujarat in India, but is nowhere near that mark in circuits like Delhi-U.P., Bengal, Bihar and Rajasthan. Again, it is a huge hit in Overseas. Dil Se.. scored fabulously in the UK but was a damp squib in India. Last week’s Taal has broken all previous records in the USA by grossing US $ 5,91,289 in the first three days from 44 screens, thereby making it the first film to make it to the US Top 20, at the 20th spot. It has also done very well in the UK and the Gulf but its performance at home is not half as good.

Some of the cases prompt one to conclude that the Overseas audience has now become very important for some of our filmmakers. There was a time when the Overseas market was like a residual territory. But with Overseas opening up and business of films like HAHK..!, DDLJ and KKHH in the Overseas being Rs. 15 to 20 and more crore, it is one territory that just cannot be ignored.

Producers are also able to get super-fantastic prices from Overseas today, especially if the film stars Shah Rukh Khan, Aamir Khan, Salman Khan or Anil Kapoor. A top maker recently remarked, “Our under-production monies mostly come from the Overseas distributor and the music company holding the audio rights. If we make a musical for the Overseas market, are we wrong?” But it is also a fact that while these makers make films for the Overseas market, they don’t charge their Indian territory distributors any less. Having thus taken heavy MGs from the all-India circuits, isn’t it necessary to also keep the interest of the all-India distributors in mind? Bihar is not what Overseas is. But if the Bihar distributor is paying through his nose, he expects the film to have something for his circuit too. To cater simultaneously to the UK, USA and Bihar or Rajasthan can be the toughest thing. Why, even KKHH, which was a blockbuster in India, was not as strong in Bihar as in the rest of the country or in the Overseas.

So what is to be done? The answer is simple. Make a HAHK..! or a DDLJ. Is the answer really so simple? The task, which the answer raises, is surely far from simple.

Why Blame Asha Parekh?

The CBFC has come under fire once again. This time, it is Shekhar Kapur’s Elizabeth and the three cuts ordered by the CBFC therein. Without going into the details of the cuts — everyone knows them by now — let us examine a pertinent issue that this whole imbroglio has raised and one which has gone unnoticed by and large so far. Somewhere along the line, the issues seem to have been mixed up. What should have been a protest against censorship as a principle, has been reduced to a relentless personal campaign by the media against CBFC chairperson Asha Parekh. Let us try and understand how erroneous the whole scenario is.

Firstly, let us get some facts right. The chairperson of the CBFC has absolutely no authority to demand any cut in a film applied for. According to the Cinematograph (Certification) Rules, 1983, framed under the Cinematograph Act, 1952, the chairperson’s duties are defined as purely administrative — if one may use the term — in nature. The rules clearly state that the chairperson, upon receiving the recommendations from all the members of the examining committee and verifying that each and every guideline issued by the government is followed, ‘will direct the Regional Officer concerned to take further action on behalf of the Board in conformity with the recommendation of the Examining Committee either unanimously or by majority’. In simple terms, the job of the CBFC chairperson is limited only to receiving the cuts from the examining committee and forwarding them, without any authority to effect any changes in them, for preparation of the certificate. At no place in the Act is it mentioned that the chairperson’s presence is necessary at the viewing of a film by the Examining Committee and as such, it is not incumbent upon the chairperson to view a film applied for censorship. It is clear, then, that the chairperson is given absolutely no authority by the Rules, to influence any of the examining committee member/s in any way whatsoever.

The Rules, however, give the CBFC chairperson the authority to ‘of his own motion or on the request of the applicant, refer the film to a Revising Committee’. If interpreted correctly, even this rule does not allow the chairperson to take a decision as per his/her discretion. The decision to refer a film to the Revising Committee can only be taken by the chairperson, that too only in the case where there is a hung situation in the examining committee, or if it is felt that certain guideline/s has/have not been adhered to or any such reason.

Viewed in this light, blaming Asha Parekh for implementing the cuts ordered by the members of the Examining Committee, appears not only unwarranted, but foolish, too. Also ridiculing her for not having seen Elizabeth is plainly ridiculous in itself because even if Asha Parekh were to view the film, she would have no right or privilege to alter the scenario as regards cuts offered. After all, viewing films at the Examining Committee stage is not her job. What the media and especially the film fraternity must realise is that the only way the censorship issue can be resolved is through a dialogue with the central government. That alone would be a constructive thing to do. Let’s not take the easy way out and throw one more brick at the White House simply because, besides being far more easy, it also gets the brick-thrower free publicity.

– RAJ VAIDYA

3-E
Education-Entertainment-Enlightenment

Khan Versus Khan — Idd Mubarak!

Mela, which was scheduled for release on Diwali (Nov. 5), has now been slated for release on Idd (January 5, 2000). And that’s because the film’s lead man, Aamir Khan, is presently abroad to participate in stage shows. Since Aamir would be returning only on October 7, it won’t give Aamir enough time to devote himself to the dubbing and post-production work of the film. Hence it has been decided to postpone it from one festival (Diwali) to another (Idd). This change would make Mela among the first few films to be released in the new millennium (year 2000)! Does it qualify to be nicknamed ‘Melannium’?! And what’s more, Aamir Khan will be pitted against another Khan, Shah Rukh Khan, whose Phir Bhi Dil Hai Hindustani is also scheduled for release on the same date. And between the releases of these two Khans may be released Rakesh Roshan’s Kaho Naa…Pyaar Hai, starring debut-making hero Hrithik Roshan.

Coming back to Mela, there is good news, if you believe director Karan Johar. After having seen the songs, Karan feels, “It’s going to be a super-hit film.”

Karan’s Kaaran

And while on Karan Johar’s feeling, here’s a denial and clarification for those who dwelled in the notion that his next would be a remake of Yash Chopra’s Kabhi Kabhie. First, the denial: “I am not remaking Kabhi Kabhie“. Now the clarification: “I had said in an interview that I would like to make a generation film like Kabhi Kabhie. I’m not a fool to remake a classic like Kabhi Kabhie.”

Not A Thing Of Beauty – II

Okay, so everyone knows that we were referring to the dispute between Aishwarya Rai and producer Shabnam Kapoor in this column last week. What only a few know is the latter’s side of the story. In a conversation with Film Information, Shabnam refuted outright the claims that she had not utilised the dates given by Aishwarya. “It is absolutely untrue,” said a very ill Shabnam in between sobs (yes, she broke down while speaking to us). “There has never been a case of the shooting being cancelled on my account. I don’t know why Aishwarya is doing this to me. That too, after I had gone out of my way to accommodate her demand for a price higher than the one agreed on before singing.” Definitely not a thing of beauty, then. We sincerely hope that the warring parties find a way to call truce soon.

Thank You!

Dear Readers,

As you all must have seen last week, the response to our Kargil Special was overwhelming. The industry people rose to the occasion and advertised in our issue of 14th August, 1999, making it a grand success.

That being truly good enough, we had a surprise when producer-director Guddu Dhanoa lamented (after the Special issue was out) that he had wanted to put in more advertisements (besides the one published in his name last week) for the welfare of the Kargil victims and their families. Looking to his enthusiasm, we are carrying his advertisements (29 in all) in this issue. The revenues from these 29 pages, too, will be entirely donated to the Army Central Welfare Fund just as the revenues from the entire Kargil Special issue of 14th August, 1999 will be.

To say that we at Film Information are touched by the humane gesture and largesse shown by our brothers in the industry would be an under-statement. We have no words to express our gratitude. Our sincerest thanks to all of them. Our sincere thanks also to Shri Boney Kapoor whose idea the Kargil Special was. Our thanks also to Shri Rizwan Thakur and Shri Sohail Thakur (of Plascote Industries, our printers), Shri Uday Bhojani and Shri Sunand Bhojani (our printers) and Shri Raju Jain (paper supplier) who, too, pitched in their worthy contributions and helped us in bringing out the Kargil Special in fine form.

As all the monies have not yet reached us, our contribution — your contribution — to the Army Central Welfare Fund will take a few days more. We shall keep you posted on that.

Till then, with folded hands, we all at Film Information thank all the advertisers whose contributions towards the welfare of Kargil victims and their families will be cherished for ever and ever.

Jai Jawan! Jai Hind! Jai Film Industry!

– Komal Nahta

TAAL

Mukta Arts’ Taal is a musical love triangle. A rich industrialist’s son falls in love with a simple girl who is the daughter of a middle-class music teacher and singer, and promises to marry her. But due to a sudden turn of events, the relationship between the girl and the guy sours. Although the boy has immense faith in the power of true love, the girl, hurt and humiliated as she is, decides to move ahead in life and forget her brief affair as a bad dream. She meets a rich and prosperous owner of an entertainment company, who takes her under his wings and soon makes her an international singing-dancing star. He also falls in love with her, but his love is selfish in the sense that he wants to possess the girl at any cost. The girl is torn between her two lovers. On the one hand is her true and first love and on the other, the guy who gave her fame and stardom. Once again, a turn of events puts her in a dilemma. The problem is resolved in a fairly lengthy climax.

The story has not much of a novelty but the treatment of director Subhash Ghai is quite remarkable. However, although his direction gives evidence of his mastery over the craft, the script is below the mark. For one, the screenplay is loose and the film gets boring at many places — an error which will have to be rectified by early and judicious re-editing (at least 20 minutes can safely be chopped off). Secondly, the character of the industrialist’s son (lover) is so passive that it lacks fire. The boy telling every relative/acquaintance of his that he/she would get his love back to him sounds rather funny, especially because he himself does little to win her back and instead sermonises on the power of God and faith in love — something which today’s impatient audience isn’t prepared to buy unless convinced very very carefully. Further, the romance between the girl and the industrialist’s son is not so youthful nor are the pangs of separation so painful. The fire sequence looks contrived.

On the positive side, the film has witty dialogues, brilliant gloss, excellent music and breathtaking song picturisations. But even all these do not make up for the relatively weak drama and the dull characterisation of the young lover.

Anil Kapoor does a splendid job, playing to the gallery all through the second half. His entry at the interval point evokes claps. His performance in the climax is wonderful. If only the amount of effort that’s gone into making Anil’s characterisation mass-appealing had gone into making the other hero’s character also more audience-acceptable, it would’ve been so much better. Although Akshaye Khanna suffers on account of a dull characterisation, his performance is natural to the core. Aishwarya Rai has less dialogues and more expressions and she comes out with flying colours. She casts a magical spell on the audience with her beauty, dances, glamour and acting. Alok Nath, as Aishwarya’s father, is first-rate. The confrontation scene between him and Akshaye’s father (Amrish Puri) just before interval is superb. As much credit for the said scene goes to the visualiser as to the director and to Alok Nath. Amrish Puri is effective but gets less scope. Mita Vashist leaves a mark. Saurabh Shukla is wasted. Jividha Sharma and Tanya Mukherjee are good as Aishwarya’s sisters. Supriya Karnik, as Akshaye’s aunt, is superb. Sushma Seth deserved a better role. Prithvi Zutshi, Manoj Pahwa, Rajesh Khera, Vinod Raut and the others lend fair support.

Subhash Ghai makes the film a visual treat. Although his direction has brilliant touches, the weaknesses in the script sometimes eclipse his directorial brilliance. A.R. Rahman’s music is masterly. ‘Ramta jogi’, ‘Ishq bina’ and the title song are extraordinary and their picturisations are heavenly. ‘Aag lage lag jaave’ is also lavishly picturised and Aishwarya’s dance is fantastic. The ‘Nahin paas tu’ song needs to be deleted as it hampers the film’s pace. Production values are grand. Kabir Lall’s camerawork is simply dazzling and mesmerising. Sharmishtha Roy’s sets are great. Background score is fabulous.

On the whole, Taal is high — very high — on gloss, glamour, grandeur, style, music but is low on racy screenplay, pacy drama and mass-appealing ingredients. The low points, however, outweigh the high points of the film. It will appeal to the gentry audience more than the masses and will, therefore, do well in ‘A’ class centres. Considering its high price on the one hand and city appeal on the other, it can hope to fetch returns only in Bombay, Maharashtra, Delhi (not U.P.), South and Overseas. Business in Bengal, Bihar and Rajasthan in particular and in small centres in general will be dull.

Released on 12-8-’99 at Metro and on 13-8-’99 at 18 other cinemas of Bombay thru Metro Films. Publicity & opening: bumper. …….Also released all over. Opening was below the mark in West Bengal (dull), C.I., Rajasthan and East Punjab (in stalls). There was a noticeable drop in collections on 2nd day in U.P., C.P. Berar and C.I.

KOHRAM

Mehul Movies Pvt. Ltd.’s Kohram (UA) is a story of good versus evil, the former represented by army officers and the latter, by a corrupt minister and the nation’s enemies in the neighbouring country. A conscientious army officer is dubbed a traitor when he tries to kill the actual traitor. This forces him to leave the army and live in obscurity and in disguise. Another army officer is sent to investigate whether the look-alike is actually the ex-army officer. Not only is the mystery unravelled but the truth about who is actually the traitor is brought to the knowledge of the higher authorities. Ultimately, the two army officers eliminate the nation’s enemy.

The film abounds in action and also has a good dose of comedy. What it lacks in are fiery dialogues and exciting/tension-filled confrontation scenes between the two army officers, played by firebrand actors Amitabh Bachchan and Nana Patekar. The dialogues, in fact, fall short of the stature of the two great actors pitted against each other for the first time. Comedy (of Nana Patekar and Tabu) is enjoyable. The latter part of the climax holds appeal for the classes only, as it has a mere symbolic significance.

Amitabh Bachchan does a fine job. Nana Patekar is the life of the film and impresses the maximum in light scenes. His get-up with a pony-tail, however, looks odd. Tabu is cute as the corrupt police officer. Danny Denzongpa makes a competent and polished villain. Jaya Prada has no worthwhile role. Mukul Dev also does not get much scope. Mukesh Rishi is good. Jackie Shroff leaves a mark in a special appearance. Ayesha Julka is so-so. Kabir Bedi is effective in a guest role. Ali Khan, Avtar Gill, Mukesh Rawal, Pushpa Verma, Jassi, Sikander Khan, Santosh Gupta, baby Jahan and the rest lend fair support.

Mehul Kumar’s direction is quite good but he seems to have under-estimated the power of punch-packed dialogues and a fiery drama. Music (Dilip Sen Sameer Sen) is a letdown. Except for the ‘Banaras ke bhaiyya’ song, which is fairly well-tuned, the other songs have mere functional value. Bhiku Verma’s action is good. Camerawork is alright. Background score is adequate. Other technical values are of standard.

On the whole, high-priced Kohram scores for its light moments more than the drama and dialogues. It cannot be expected to have a long run except in Maharashtra and West Bengal where Nana has a fan-following. It will fetch good returns in Bombay, West Bengal and C.P. but do average elsewhere on the strength of business mainly in ‘B’ and ‘C’ class centres.

Released on 13-8-’99 at Central Plaza and 23 other cinemas of Bombay thru Veekay Enterprises. Publicity & opening: excellent. …….Also released all over. Opening was very good in U.P., Bengal and C.P. Berar but below the mark in East Punjab, Rajasthan and Nizam.

LATEST POSITION

The bumper opening of TAAL in many parts of the country has taken the industry by surprise.

Trishakti is a washout. 1st week Bombay 22,77,209 (45.40%) from 11 cinemas (6 on F.H.); Ahmedabad 2,53,265 from 5 cinemas, Jamnagar 53,107; Pune 2,58,657 from 3 cinemas, Solapur 1,23,617; Delhi 6,16,859 (29.78%) from 6 cinemas (1 on F.H.); Kanpur 1,06,982 from 2 cinemas, Agra 75,888; Calcutta 6,80,946 from 10 cinemas; Nagpur 1,80,153 from 4 cinemas, Amravati 67,728, Raipur 57,608, Bhilai 42,858 from 2 cinemas; Indore 42,000 (2 on F.H.), Bhopal 72,000; Jaipur 1,47,893 from 2 cinemas, Bikaner 54,139; Hyderabad (gross) 8,74,782 from 9 cinemas (2 in noon).

………..

Hindustan Ki Kasam, due to the fantastic initial value and abundant action, will prove to be safe in several circuits. 3rd week Bombay 18,04,817 (43%) from 9 cinemas (7 on F.H.); Ahmedabad 2,93,811 from 5 cinemas, Baroda 1,24,324; Pune 4,42,740 from 4 cinemas (1 in matinee), Solapur 83,775; Delhi 14,95,870 from 9 cinemas; Kanpur 2,22,628 from 2 cinemas, Lucknow 2,61,060, Agra 1,37,000, Varanasi 1,96,311, Allahabad 1,28,870, Bareilly (6 days) 68,258, Dehradun 83,526; Calcutta 2,19,889 from 2 cinemas; Nagpur 57,751 from 2 cinemas, Amravati (6 days) 64,960, Akola 48,330, Raipur (6 days) 1,11,762, Bhilai (6 days) 28,986, Jalgaon (5 days) 97,156, Yavatmal 54,386; Indore 82,421 (1 on F.H.); Jaipur 5,43,997, Bikaner (gross) 1,42,830; Hyderabad (gross) 2,95,205; Guntur (gross) 69,840, total 2,13,788.

Mann 5th week Bombay 6,33,456 (55.46%) from 2 cinemas (3 unrecd., 5 on F.H.); Ahmedabad 1,96,837 from 2 cinemas, Rajkot 1,26,090 from 2 cinemas (1 in matinee); Pune 4,84,772 from 4 cinemas (1 in matinee), Kolhapur 92,172, Solapur 22,876, 1st week Barsi 52,937; 5th week Delhi 10,54,608 from 5 cinemas; Kanpur 1,63,825 from 2 cinemas, Lucknow 2,40,401, Agra 1,20,783, Varanasi 95,353, Allahabad 74,000, Bareilly (6 days) 28,127, Dehradun 50,000; Calcutta 6,21,045 from 5 cinemas; Nagpur 1,08,028 from 2 cinemas, Amravati (6 days) 77,992, Akola 44,076, total 5,49,600, Raipur (6 days) 99,120, 4th Jalgaon 49,789, total 5,72,178, 3rd week Wardha (5 days) 33,166; 5th week Indore 1,02,421; Jaipur 1,56,473; Hyderabad (gross) 3,91,398 from 3 cinemas (2 in noon, 1 unrecd.).

Hum Dil De Chuke Sanam is still doing extraordinary in Bombay and Gujarat-Saurashtra. 8th week Bombay 43,34,872 (67.68%) from 11 cinemas (6 on F.H.); Ahmedabad 5,07,288 from 4 cinemas, Rajkot 73,150, Jamnagar (matinee) 6,837; Pune 3,56,009 from 3 cinemas (1 in matinee), Solapur (matinee) 24,447; Delhi 4,39,025 from 2 cinemas.

BABY BOY FOR AADESH, VIJAYETA

Vijayeta Pandit, wife of music director Aadesh Shrivastava, delivered a baby boy on 7th August at a private nursing home in Bombay. This is the couple’s second child.

SECRETARY PREM GHAI PASSES AWAY

Prem Ghai, secretary to Rakesh Bedi, Alok Nath and Ishrat Ali, passed away on 12th August at Belle Vue Nursing Home, Andheri, Bombay, where he was admitted following brain haemmorhage. The funeral, held the next day (13th August), was attended by many members of the Cine Artistes Secretaries Association.

Chautha will be held today (14th August) at Arya Samaj Hall, Versova, between 5 p.m. and 6 p.m.

DARA SINGH TO CONTEST LS ELECTIONS FROM ROHTAK

The BJP will field actor-producer-director Dara Singh as its candidate from the Rohtak constituency in the  forthcoming Lok Sabha elections.

‘HOGI PYAR KI JEET’ 100 DAYS

Shweta International’s Hogi Pyar Ki Jeet celebrates 100 days of its run today (14th August) at many centres in India. Produced by Anil Sharma and directed by P. Vasu, the film stars Ajay Devgan, Arshad Warsi, Neha, Mayuri Kango, Ketaki Dave, Mohan Joshi, Tiku Talsania, Prithvi, Raza Murad, Arjun and Anil Dhawan. Screenplay & dialogues: Anwar Khan. Music: Anand Milind. Lyrics: Sameer. Choreography: Raju Khan. Cinematography: Damodar Naidu.

‘BORDER’ TAX-FREE IN DELHI

J.P. Dutta’s Border has been exempted from payment of entertainment tax in Delhi with effect from 23rd July, 1999. The film’s distributor for Delhi-U.P. is Kewal Suri’s Movie Tee Vee Enterprises.

YOU ASKED IT

Since Nepal’s distribution rights are given separately and not with Bihar these days, what should be the ratio for Nepal?

– 10 to 12 per cent of the Bihar territory.

After the expiry of the distribution rights (for 10 or 5 years), where do the prints go?

– Technically, the distributor is supposed to hand over all the prints and publicity materials, which are in his possession, to the producer after the expiry of his distribution rights. But rarely does any distributor do this. Some distributors do send back the unserviceable prints to the producers during the tenure of the contract.

One always reads in trade papers that so-and-so film has broken such-and-such record at the box-office. But then, so many films are mentioned as breaking records and creating history. What is the historical truth?

– Any film can create history by virtue of record collections for the time being because admission rates are not static.

3-E
Education-Entertainment-Enlightenment

‘Taal’ing Images

For the first time ever, a Hindi film — Subhash Ghai’s Taal — will be released on the state-of-the-art IMAX screen. Taal will open on 24th August at the IMAX 3-D theatre in White River State Park, USA. The theatre boasts of a 40 ft. high (about 6 storeys tall) and 80 ft. wide screen, a 6-channel digital surround sound system (about 10,000 watts of sound) and the latest equipment in 3-D technology. IMAX technology works on a 70mm, 15 perforation film (technically known as 15/70 system) with each frame being ten times the size of a standard 35 mm film. Moreover, the specially designed IMAX projectors impart the images more clarity, sharpness and brightness than a normal film. The ultimate effect of this on the viewer is that while watching the film, he feels like he is in it! The screening of Taal at IMAX-Indianapolis is a joint effort of Eros Entertainment and Shyaam Entertainments (Indianapolis).

It would not be out of place to add here that the premiere of Taal was held on 13th August at the Empire cinema in Leicester Square, Central London. Surprisingly enough, the tickets for the premiere show were selling at an unbelievably high premium: 50 pounds for a 10-pound-rated ticket! And this, despite the cinema having as many as 1,400 seats.

Testimonial To A ‘Perfectionist’

The following quote needs absolutely no comments:

Deepa Mehta, on working with Aamir Khan in 1947 Earth: “I looked at many actors to play Ice Candy Man and the one who responded to the script as a whole and not just to his own part was Aamir. I was very impressed with that — thank God for small mercies! Wish there were more actors like him. I feel that his ‘perfectionism’ is one of his major strengths…. Aamir, not unlike other actors, offered suggestions. I’m very open to suggestions from my actors, especially if they are intelligent ones, like Aamir. More than just suggestions, it was a dialogue about his character in a particular scene. For example, there was one scene, where Aamir felt, Ice Candy Man (his character) is very upset. I felt, Aamir should underplay that bit of dialogue, while Aamir felt that he should not. We did it my way and, to this date, I regret not having listened to him. But very rarely did we disagree or get into long conversations about how to play a scene.” Did she say, she wished there were more like Aamir? Our thoughts exactly!

Enigmatic Karisma

Is Karisma Kapoor on a quitting spree? Not too long ago, she walked out of Sajid Nadiadwala’s Har Dil Jo Pyar Karega. News now comes that she is also not doing Deepak Shivdasani’s Yeh Raaste Hain Pyaar Ke. Preity Zinta has been signed in Karisma’s place for Shivdasani’s film. One hears that Karisma has also returned the signing amounts of a couple of other films. What’s cooking, Karisma?

TRISHAKTI

Bollywood Creations’ Trishakti (A) is about three street-smart young men who get embroiled between the two warring gangsters in the city. There are also a two-timing policeman and a home minister. The subject has nothing to thrill, inspire or entertain. The screenplay is made up of predictably contrived incidents, and the dialogues are good only at places. The drama becomes a little interesting towards the concluding reels and culminates into a climax which provides some shock value.

Milind Gunaji is okay. Sharad Kapoor is fair. Arshad Warsi is quite entertaining. Ashish Vidyarthi, as the dominating don, has done well. Govind Namdeo, as Ashish Vidyarthi’s rival, stands out with a lovely performance, giving his villainy a comic touch. Radhika, who plays the female lead, has an insignificant role and she is just about okay. Jatin Kanakia, Tej Sapru, Vishwajeet Pradhan, Shehzaad Khan, Tiku Talsania and Himani Shivpuri are average. Sadashiv Amarapurkar impresses as the two-timing police officer.

Direction (Madhur Bhandarkar) is a fair debut attempt. Musically, two of the four songs help to develop the drama. Action scenes are many but they lack thrill. Production values are okay. Cinematography and other technical aspects are passable.

On the whole, Trishakti, without the required support of face value, and devoid of novelty, is a weak fare.

Released on 6-8-’99 at Alankar and 16 other cinemas of Bombay thru Dilsa Distributors Combine. Publicity: average. Opening: dull. …….Also released all over.

‘TAAL’ MIXING COMPLETED TODAY MORNING

Mixing of writer-producer-director Subhash Ghai’s Taal concluded at 4 o’clock this morning (August 7) at Empire Audio Centre. The first copy will be out this evening. The film stars Anil Kapoor, Akshaye Khanna and Aishwarya Rai. Music is scored by A.R. Rahman and lyrics are penned by Anand Bakshi. The film, certified for universal exhibition, is due to release all over on 12th August.

‘SARFAROSH’ CELEBRATES 100 DAYS

Cinematt Pictures’ Sarfarosh, with which John Mathew Matthan made his debut as producer, director and writer, completes 100 days today (7th August) at Maratha Mandir and Metro (matinee), Bombay. The film stars Aamir Khan, Sonali Bendre, Naseeruddin Shah and Mukesh Rishi.

‘KACHCHE DHAAGE’ SILVER JUBILEE

Tips Films P. Ltd.’s Kachche Dhaage entered silver jubilee week on 6th August at Imperial (matinee), Bombay. Starring Ajay Devgan, Saif Ali Khan, Manisha Koirala and Namrata Shirodkar, the film marked the debut of director Milan Luthria. Late Nusrat Fateh Ali Khan’s music, Anand Bakshi’s lyrics and Tinu Verma’s action are the film’s high points.

N. CHANDRA ARRESTED, RELEASED ON BAIL

Producer-director N. Chandra was arrested on 3rd August by the Juhu police at his office at Juhu, Bombay, in a case filed by producer Milan Jhaveri under the Negotiable Instruments Act. The arrest warrant was issued by Justice Shalini Gaikwad of the Girgaum (Bombay) court following a suit filed by the producer.

Milan Jhaveri had alleged that he had made a payment to N. Chandra as signing amount about four years back. Since the project, for which N. Chandra was signed, could not make any headway, Chandra returned a part of the amount by cheques which were subsequently returned unpaid by the bank. Jhaveri, therefore, filed a suit against Chandra in the court. The court issued summons but Chandra failed to appear in the court which, therefore, issued an arrest warrant. Chandra was freed on bail the same day.

FIVE ‘A1’ FILMS AT GWALIOR

Chor Machaye Shor – 43 days – Filmistan – 1,10,233.40.
Gupt Gyan – 42 days – Roxy – 82,995.43.
Prem Nagar – 56 days – Yadav – 1,19,913.59.
Aap Ki Kasam – 45 days – Delite – 82,924.34.
Dost – 42 days – Krishna 84,636.34.

‘A1’ films are now not running for more than 6/8 weeks.

YOU ASKED IT

Sunny Deol starrer Pyaar Koi Khel Nahin did not take a very good start at most of the places. What about Sunny’s next, Arjun Pandit, which will be released on 20th August?

– The two films can’t be compared merely because they are Sunny starrers. The main difference between them is that the former has no action while the latter has a good dose of action — and this difference is evident in the promotional trailers of the two films, the titles and the overall packaging of the two. Since Sunny has an action image, ARJUN PADIT should take a flying start. More so, because its trailers are being loved by the audience.

What is the ratio of Mohabbatein likely to be?

– Even Yash Chopra may not have finalised the ratio of the film as yet. But he is one of the very few makers who doesn’t go overboard while fixing the ratios of his films. Even when he could have asked for 2.5 for DTPH, he sold it for 2.

Why do you keep saying that it is prices and not films which are failing?

– Because in the case of most of the big banner films, the ratios (prices) are unreasonably high. Producers demand (and get) prices which leave them with a profit margin of 6 to 10 crores a film and if such films are not able to cover their (high) price, it is perfect to say that it is the price and not the film which has bombed.

CENSOR NEWS

Mukta Arts P. Ltd.’s Taal was given C.C. No. CIL/1/39/99 (U) dt. 3-8-’99; length 5062.32 metres in 19 reels (cuts: 7.12 metres).

Ratan International’s Arjun Pandit was given C.C. No. CIL/3/36/99 (A) dt. 6-8-’99; length 4298.11 metres in 16 reels (cuts: 152.95 metres).

Navadarshan Productions’ Tu Hi Meri Ganga was given C.C. (in Hyderabad) No. CIL/36/43/99 (U) dt. 16-7-’99; length 3002.69 metres in 13 reels (cuts: 61.61 metres).

Victory Films Enterprises’ Aakhir Hai Kaun? was seen on 2nd.

Sachi Arts’ Dulhan Banee Daayan was seen on 4th.

N.P. International’s Khooni Mahal (revised; length 3076.33 metres in 14 reels), applied on 2nd, was seen on 5th.

Vishesh Films P. Ltd.’s Sangharsh (length 3849.65 metres in 15 reels) was applied on 6th.

DO YOU KNOW?

* Vasant Talkies, Amravati is the only cinema in C.P.C.I. Rajasthan where SARFAROSH has completed 100 days. The film’s distributors permitted the students of Tapovan, a leprosy mission in Amravati, to see the film at a concessional admission rate of Rs. 3 per head.

* The inmates of the home for the aged, widows of various mahila ashrams, deserted wives and orphans belonging to various associations/shelter homes in Gujarat are being notified by producers K.P. Patel and S.K. Patel that they do not have to pay a single naya paisa to see their Gujarati film, MAA TE MAA BIJA VAGDA NA VAA anywhere in Gujarat. The film, directed by Amar Kumar (Danny), is slated for release on August 13.

MIX MASALA

SOME JUSTICE, THIS!

The producer and the C.I. distributor of Nyaydaata are apt to cry, and cry out aloud, “Is this justice (nyay)?!?” The film was released on 5th August at Indore’s Chandragupta and in the first show, it could collect a paltry Rs. 452 against a capacity of about 20,000/-! With the audience verdict delivered, the film made an exit the very day it was released. Which means, the first day of the film proved to be its last day too! Like a batsman bowled out in the first ball!! The next day, Cheetah was released at the cinema.

Cut This Censor Problem!

Rightly had Shekhar Kapur launched a broadside against the Central Board of Film Certification (CBFC) which offered his Elizabeth three cuts. The rationale behind his fight against the censors was, in his own words, to break the jaane-bhi-do attitude of filmmakers. It is another thing that as an afterthought, Shekhar has chosen to tone down his ire against the CBFC.

Producers have for years now often been accepting the idiosyncrasies of the CBFC not because they agree with its (CBFC) thinking but because they’d rather let it pass simply as they either don’t have the time to get into a battle with the CBFC or don’t have the money for it or, in several cases, don’t have the inclination. Shekhar Kapur may not be right in arguing that since a film made by an Indian has been seen the world over, the Indian censors should also permit its screening in toto. But he was definitely right in saying that he would not accept any cut, howsoever small or irrelevant, simply because he was convinced that the interpretation of the censor guidelines was archaic. By saying so, Shekhar hit the nail on the head.

For too long now, the industry has been crying hoarse that the censor guidelines are outdated, but nothing seems to have come out of its protests. One must realise that censorship is and will always remain a subjective issue and the guidelines do give a free hand to those who view films for the purpose of censorship. The dictionary meaning of the word ‘guideline’  is ‘directing principle’. So the fault lies more in the interpretation and application of the guidelines by the powers-that-be than with the rules themselves.The industry needs to address itself to this problem of interpretation/application.

Mahesh Bhatt last year fought a lone battle to obtain a censor certificate for his Zakhm. That he finally succeeded may not have given him as much joy as the recent National Award his film received. The slap on the face of the CBFC must’ve bruised its ego more than anything else because the National Award to Zakhm was for the best film on national integration whereas it (CBFC) had straightaway referred the film to the home ministry as, in its esteemed opinion, the film could have served to incite communal feelings if it was allowed to be released. So much for the CBFC’s objective interpretation of censor guidelines! A pertinent point raised by Shekhar Kapur may be mentioned here. According to him, the problem arises because nobody in the CBFC wants to take responsibility for clearing a film that may seem even remotely controversial. If such films have ultimately to be passed by the courts because of this passing-the-buck game, why at all have the fare called CBFC?

Very often, producers are so hard-pressed for time that they’d rather accept the cuts offered by the CBFC, even if they don’t agree with them, than oppose them. Quite often, the rationale behind accepting the cuts is that they (cuts) may not be perceived to adversely affect the film’s box-office performance. A classic example of the jaane-bhi do attitude of filmmakers! Subhash Ghai’s acceptance of a cut ordered by the CBFC in Taal, perhaps, falls under the aforesaid category. The CBFC found the words ‘Manikchand Group’, visible in a song sequence of the film, as surrogate advertising for Manikchand pan masala and ordered their removal. At least a maker of Ghai’s calibre should have put his foot down and not given in to the prudish demand of the CBFC, simply because it doesn’t appeal to common sense or logic that Manikchand Group, which manufactures many other products, means the same thing as Manikchand pan masala. One did not expect Subhash Ghai to take things lying down like that.

The industry needs more Shekhar Kapurs and Mahesh Bhatts. May their tribe increase!

– KOMAL NAHTA

3-E
Education-Entertainment-Enlightenment

Roads To Hell

Agreed that the film trade is full of ups and downs, but need that fact be reflected so harshly in the roads leading to Naaz building? For years now, every road that leads to the building has been deteriorating at a consistent rate. The number of potholes on each road also seems to be growing at an alarming rate. Keeping in mind the rate at which films flop nowadays, someone very rightly remarked that, perhaps, the roads serve to remind the eternally hit-starved producers and distributors of the Khud-daar song: Oonche neeche raaste aur manzil teri door.

Red Tapism In Film Imports

The CBFC seems to be loving the prospect of duplication of work. Or rather, let us put it this way: the I & B ministry would like the CBFC to do the same work twice over. Don’t believe it? Here’s how. When a private importer wants to import a foreign film into India, he has to first obtain an NOC (no objection certificate) from CBFC’s administrative officer for the import. The administrative officer relies upon the application of the prospective importer and a review of the film printed in any foreign magazine. Based on these, he forms an opinion about whether or not the film is suitable for import and, if convinced, he gives the NOC to the applicant! Why should the NOC at all be necessary is something which one doesn’t understand because, in any case, the film cannot be released anywhere in the country before it is censored by the CBFC. Even if that may be passed off as one of the bureaucratic idiosyncrasies, the fact remains that getting the NOC from the administrative officer is quite often a Herculean task — especially when he is on leave. It appears that the CBFC rarely, if ever, deputes anyone else in the officer’s place while he is on leave. In such cases, the importer ends up waiting agonisingly for the officer to return to his duty. In any case, why should the CBFC decide twice whether or not the film can be imported — first, without seeing the film, and again, after seeing it. Besides, it is not rare for the CBFC’s administrative officer to issue an NOC (thereby certifying that the film is appropriate for import) and later for the same CBFC to ban the said film (implying thereby that the imported films is inappropriate for screening in India). This is India!

‘Manikchand’? Naapasand!

Yet one more example of how difficult the censors can act. The regional officer of the CBFC, Bombay, Sanjeevani Kutty, objected to the display of the word ‘Manikchand’ in a song of Taal, censored recently. Since the censor guidelines mention that scenes tending to encourage, justify or glamorise consumption of tobacco or smoking should not be shown in a film, the regional officer (RO) ordered the word ‘Manikchand’ to be deleted as Manikchand are the manufacturers of pan masala. When producer-director Subhash Ghai tried to reason out that the words shown on screen were ‘Manikchand group’ and that the group manufactured many other things besides pan masala, the RO declined to accept the argument. Kutty’s argument was that although the words pan masala or gutkha were not used, the very mention of ‘Manikchand’ was tantamount to surrogate advertising. Ghai reminded Kutty that Doordarshan had aired a film awards function sponsored by Manikchand group, in which the banner of Manikchand group was shown, but that argument too was sidelined. Ultimately, ‘Manikchand Group’ had to be chopped off in the name of surrogate advertising. Ridiculous, did you say?!?

News From Overseas

Some heartening and some not-so-heartening news from across the border:

The music of Subhash Ghai’s Taal is creating ripples in the USA and the UK. It is the no. 1 selling audio cassette abroad today.

And now the bad news: The stage show in London on 31st July had to be stopped midway because of tension that erupted while Sonu Nigam was singing the Sandese aate hain song from Border. The show had Karisma Kapoor, Akshay Kumar, Raveena Tandon and others performing.

Hit Music Score

One music that’s bound to click in a big way is A.R. Rahman’s score in Jhamu Sughand and Deepa Mehta’s 1947 Earth. The Rut aa gayee re song, rendered by Sukhwinder Singh and chorus, will soon become a rage in the entire nation. It has a very earthy flavour and a tune that could make one simply swing to it. The other number that should be lapped up by the audience in a big way is the Banno song. This one has Sadhana Sargam lending her mellifluous voice alongwith chorus singers. It is another excellent number.

A Couple Of Hat-Tricks

With the National Award for his lyrics in Godmother (1998), Javed Akhtar has completed a hat-trick. For, this is his third consecutive National Award. He bagged one in 1996 for Saaz and the next year (1997) for Border. The only other person to have completed a similar hat-trick is Javed’s wife, Shabana Azmi. She picked up National Awards for the best actress in three consecutive years in the ‘eighties — for Arth in 1983, for Khandhar in 1984 and for Paar in 1985. What’s that they say about it all being in the family? And what’s that famous saying which goes: Behind every successful man, there’s a woman. Rephrased, it could read thus in this case: Before every successful man, there’s an equally successful woman.

Pitting ‘Pardes’ Against ‘Taal’

Subhash Ghai is angry with STAR TV. For, the channel was planning to do something that they were well within their legal rights to do but which appeared too unethical to be true. STAR, which holds the satellite rights of Ghai’s Pardes, planned to air the film on 14th August, a day after the release of Ghai’s new film, Taal. Obviously, the intention was to cash in on the publicity of Taal, besides, of course, the relevance of the film to the Independence Day (15th August). But in cashing in on the publicity of Subhash Ghai’s Taal, the channel would, perhaps, also be cutting into the revenues of the same film because a free Pardes on television could pose a formidable competition to a paid-for Taal. Which means, in effect, STAR TV would be using Ghai’s own film, acquired from nobody but Ghai himself, to possibly harm Ghai. The filmmaker registered his objection to the telecast date and one hears that STAR may take cognisance of the same and postpone the telecast by two weeks. Not just Ghai himself, even the Producers’ Forum, of which he is a member, lodged its protest with STAR TV.

Aish Hi Aish

After a prolonged dull phase initially, Aishwarya Rai has definitely found a ray of hope after the release of Sanjay Leela Bhansali’s Hum Dil De Chuke Sanam. Her performance in the film has earned her widespread recognition as an actress of calibre. Now, even Yash Chopra has cast her, opposite Shah Rukh Khan, in his soon-to-be-launched Mohabbatein. If Taal clicks, Aishwarya would consolidate her position further in the coming months. Apart from Mohabbatein, her other films on hand include Rajkumar Santoshi’s as-yet-untitled film, director Deepak Sareen’s Albela (opposite Govinda), Raj Kanwar’s Dhai Akshar Prem Ke (opposite Abhishek Bachchan), Mansoor Khan’s Josh and Boney Kapoor and Satish Kaushik’s next (opposite Anil Kapoor). Interestingly, at least three of the above films — Mohabbatein, Rajkumar Santoshi’s next and Josh — have Shah Rukh Khan as her co-star.

It sure looks like smooth sailing for Aishwarya Rai then. Or shall we say, it’s aish hi aish for Ash?!!

Himesh On A High Note

Music director Himesh Reshammiya is in news these days because both the songs composed by him for Hello Brother — Gheoon tak and Teri chunariya — are absolutely racy numbers being loved by people who’ve heard them. Although Himesh is not in favour of sharing the credit for music direction with anybody as he used to in the earlier stage of his career, he has made an exception in Sohail Khan’s Hello Brother in which he shares the credit with Sajid Wajid. “That’s because Sohail Khan gave me a break in Pyaar Kiya To Darna Kya and so I will never say “no” to him even if that means one or more other music directors in the film, besides myself,” says a grateful Himesh. The other two prestigious films Himesh is scoring music for — and both these projects are solo — are Gordhan Tanwani’s untitled film being directed by David Dhawan and starring Salman Khan and Karisma Kapoor, and Pranlal Mehta’s Chalo Ishq Ladaye, being directed by Aziz Sejawal and with Govinda and Rani Mukerji in the lead. Another film to be launched shortly is Sohail Khan’s Aryan.

The Jinx Story

The Manisha Koirala – Khan jinx has now been fortified with the failure of Aamir Khan – Manisha starrer Mann. The previous examples, we repeat, have been Majhdhaar, Sangdil Sanam and Khamoshi (with Salman Khan), Guddu and Dil Se.. (with Shah Rukh Khan), and Akele Hum Akele Tum (Aamir Khan). As if to give an extension to this jinx story, a devil-mind has brought to our attention that Manisha was a jinx even for a film produced and directed by a Khan, the film being Feroz Khan’s Yalgaar! And one more point, which the devil-mind did not fail to point out, is that Manisha had formally released the music of Feroz Khan’s Prem Aggan which marked the debut of Fardeen Khan. Manisha had released the music cassette jointly with Sanjay Dutt. The fate of Prem Aggan at the box-office is too well-known to be mentioned here!

Why A Flop?

Heard this one at a filmland party.
“Why is Pyaar Koi Khel Nahin dubbed a flop?”
“Because film ke tickets ka koi sale nahin!”

PYAAR KOI KHEL NAHIN

Tri Star International’s Pyaar Koi Khel Nahin (UA) is a love triangle with a difference. Two brothers love the same girl in this story. The younger brother decides to silently sacrifice his love but the girl refuses to accept the elder brother’s proposal for marriage because she loves the younger one. When the elder brother gets to know of the younger’s sacrifice, he immediately and happily gets his reluctant family to give their nod for the marriage of the girl with the younger one. The family, which is angry with the girl for having earlier spurned the elder brother’s offer, has a change of heart when it soon realises that she is a girl with a golden heart. By a quirk of fate, the younger brother meets with a car accident and is presumed dead. His wife delivers his child after some months. The elder brother and the widowed daughter-in-law are forced by the elders in the family to get married to each other so that life can become easier for the widow and her new-born baby. All hell breaks loose when, after some months, the younger son surfaces again. Whom should the daughter-in-law now treat as her husband — the younger son or the elder one? The dilemma is resolved in the climax.

The film, which reminds of Deewana, has a weak first half. But the scene just before interval holds promise of a better second half. The first 30 minutes of the post-interval portion, in fact, live up to the promise. This part is full of ladies sentiments and a good drama, but after that, the screenplay resorts to clichés and convenient turns and twists to round up the film. So many are the happenings in the plot that after the interesting part is complete, it (plot) gets a bit tedious. Dialogues are good at places.

Sunny Deol does a praiseworthy job as the elder brother, adding the right amount of sensitivity to the role. But the audience in general and his fans in particular will still be disappointed because the role does not do justice to his action image. Mahima Chaudhry is splendid and acts with utmost confidence. She is especially very good in emotional scenes. If only she will be more tasteful in her make-up and choice of costumes, Mahima could go places because she has tons of talent. Apoorva Agnihotri looks weak and tired and also gives a weak performance. Reema, Dina Pathak and Bindu act ably. Mohnish Bahl, Dalip Tahhil, Nawab Sha and Aasif Sheikh play the bad men quite effectively. Ravi Gosain (Apoorva Agnihotri’s friend) leaves a mark with a natural performance. Kulbhushan Kharbanda, Alok Nath, Neha Pendse, Smita Kalpvriksh, Shama Deshpande and Ritu Narula lend fair support.

Debut-making director Subhash Sehgal handles the dramatic scenes competently. But the light scenes leave a lot to be desired. His editing is loose and the film could do with some trimming in the first half. Music (Jatin Lalit) is good. The title song and the hijra (eunuch) number are appealing, the second one for its emotional content. The Yaad piya ki aane lagi song, already a super-hit, should have had a much more exciting picturisation. The other songs are melodious. Camerawork is okay. Other technical values are alright. Production values are appropriate. Action is fair.

On the whole, Pyaar Koi Khel Nahin is good in parts only and will remain an average fare where it has taken a respectable start, but it faces bleak prospects at the ticket-windows where the opening was not really exciting. Should make some mark in West Bengal and C.I. on the strength of ladies and ‘class’ audience.

Released on 30-7-’99 at Dreamland, Eros (matinee) and 21 other cinemas of Bombay thru Veekay Enterprises. Publicity: very good. Opening: fair. …….Also released all over. Opening was excellent in Gujarat (due to Jaya Parvati vrat) and in Bengal and Nizam.

LATEST POSITION

It was a normal week except that rains adversely affected collections in several parts of the country. In Ahmedabad, the situation continued to be tense. But the Jaya Parvati vrat in Gujarat saw collections take a big jump.

Hindustani Ki Kasam has collected excellent in the first week in spite of a drastic drop from 5th day onwards in most of the centres. At places, collections have come down to 40% and 50% already. As expected, it is quite good in East Punjab, U.P. and Bihar. 1st week Bombay 77,99,894 (86.50%) from 16 cinemas (8 on F.H.); Ahmedabad 20,35,819 from 7 cinemas, Baroda 2,17,984 (100%), Padra 2,66,061, Jamnagar 1,49,093 from 2 cinemas (1 in matinee); Pune 14,05,307 from 5 cinemas (1 in matinee); Delhi 76,82,974 (85.88%) from 16 cinemas (2 on F.H.); Lucknow 4,71,049 (100%), Agra 4,36,929, Bareilly 3,05,337; Calcutta 28,55,047 from 16 cinemas (1 in noon); Nagpur 11,32,151 from 6 cinemas, Jabalpur 3,37,604, Amravati (6 days) 3,53,822 from 2 cinemas, Akola 3,25,694 from 2 cinemas, Raipur (6 days) 3,97,439 from 2 cinemas (1 nett and 1 gross), Durg 1,28,800, Jalgaon (6 days) 2,82,810, Chandrapur 2,35,101, Yavatmal (32 shows) 1,85,230; Indore 2,96,000 (4 on F.H.); Jaipur 17,49,803 from 5 cinemas, Bikaner (gross) 3,81,135; Hyderabad (gross) 28,01,859 from 11 cinemas (8 on F.H.), share including from cinemas on F.H. 27,30,000; Guntur (gross, 3 days) 56,805.

Dada is a loser. 2nd week Bombay 3,84,916 (36.86%) from 3 cinemas; 1st week Pune 1,18,170 from 2 cinemas (2 unrecd.); 2nd week Delhi 1,75,304 from 2 cinemas (2 on F.H.); 1st week Lucknow 76,273, 2nd Agra 41,430, 1st week Bareilly 62,516; 2nd week Nagpur 46,181, Amravati (6 days) 29,214, Bilaspur 22,191; Jaipur 75,332.

Mann 3rd week Bombay 30,69,877 (71.17%) from 8 cinemas (8 on F.H.); Ahmedabad 55,000 (2 unrecd.), 2nd week Valsad 2,51,807, 3rd week Rajkot 1,52,690 from 2 cinemas (1 in matinee), Jamnagar 59,000 (1 in matinee unrecd.); Pune 7,59,882 from 4 cinemas (1 in matinee), Kolhapur 1,55,055; Delhi 28,00,336 from 9 cinemas (1 on F.H.); Lucknow 3,62,118, Agra 1,87,462, Meerut (6 days) 1,57,024, Bareilly (6 days) 54,043; Calcutta 14,71,892 from 14 cinemas; Nagpur 2,21,259 from 2 cinemas, Jabalpur (6 days) 80,242, Amravati (6 days) 1,11,468, Akola 77,000, total 4,53,500, Dhule 47,758, Raipur (6 days) 1,60,426, Jalgaon (6 days) 83,183, 1st week Wardha 94,964, 3rd week Yavatmal 45,466 (2nd 76,030); Indore 1,43,000; Jaipur 1,86,798, Bikaner 91,364; Hyderabad (gross) 9,52,289 from 5 cinemas.

Haseena Maan Jaayegi 5th week Bombay 15,47,610 (54.31%) from 7 cinemas (2 on F.H.); Ahmedabad 44,003 (1 unrecd.); Pune 2,39,400 (1 unrecd.), 1st week Barsi 57,002; 5th Delhi 11,26,901 from 5 cinemas (2 on F.H.); Lucknow 1,59,682, Agra 1,73,000; Calcutta 1,54,063; Nagpur 45,264, Jabalpur 31,394, total 5,77,973, Amravati 59,602, Akola 49,279, total 5,61,681, Jalgaon 47,000, 2nd week Gondia (gross) 76,384, Chandrapur 1,17,244, total 3,24,893; 5th week Indore 54,140; Jaipur 1,59,144; Hyderabad (gross) 3,60,829 from 3 cinemas (1 in noon).

Hum Dil De Chuke Sanam 6th week Bombay 43,22,792 (76.99%) from 10 cinemas (5 on F.H.); Ahmedabad 11,44,108 from 5 cinemas, 1st week Cambay 89,235, 6th Rajkot 97,580 (1 in matinee unrecd.), Jamnagar 38,680; Pune 6,06,732 from 4 cinemas, 2nd week Barsi 25,559 (1st 53,837); 6th week Delhi 6,29,498 from 2 cinemas; Lucknow 2,48,756, Bareilly (6 days) 23,000; Calcutta 3,69,257 from 3 cinemas; Nagpur 81,119, 4th week Jabalpur 1,30,411, total 8,58,691, 6th Amravati (6 days) 80,164, Akola 75,500, total 8,76,600, Raipur (6 days) 1,12,815, 5th week Chandrapur 36,387, total 4,39,221; 6th Indore 1,08,905; Jaipur 2,37,910; Hyderabad (gross) 5,87,498 from 3 cinemas (1 in noon); 2nd week Guntur (gross) 75,634, total 1,69,753.

SRIDEVI RETURNS TO FILMS

Sridevi is all set to face the movie cameras once again. She will play the female lead in Boney Kapoor’s next, to be launched soon.

INDUSTRY LOSES FIVE SOUND RECORDISTS IN TWO MONTHS

The months of June and July have been rather harsh on sound recordists. As many as five veteran sound recordists breathed their last in the two months.

K. Dashrath (68) passed away in the last week of June in Bombay due to heart problems. He had done the sound recording of more than 65 films. A. Rodrigues expired in June following a heart attack. He was in his seventies. Yashwant Mitkar, also in his seventies, died last month in Bombay after a prolonged illness.

Veteran Navin Zaveri, who had been hospitalised due to illness, passed away in the hospital in Bombay on 26th July. He was 67 years old.

Before that, veteran Ranjit Biswas died in Hyderabad on 16th July. He was in Hyderabad for the shooting of Champion.

CCCA TO HAVE BIENNIAL ELECTIONS

Elections to the executive committee of the Central Circuit Cine Association (CCCA) will henceforth be held every two years instead of annually, as at present. A resolution to this effect was passed at an extraordinary general meeting of the CCCA held on 30th July in Indore. Another resolution passed at the meeting stipulates that a maximum of four persons can be co-opted on the executive committee as advisors.

YOU ASKED IT

It is said that hit music is very essential for a film to command a great opening. Then how did Hindustan Ki Kasam open to bumper houses although it did not have hit music?

– Hit music is a pre-requisite, generally speaking, for love stories. HINDUSTAN KI KASAM, on the other hand, is an action film which managed a bumper initial without hit music.

Does Akshaye Khanna have a future?

– Reportedly, Akshaye is correcting his falling hair problem by going in for hair weaving. His sunken cheeks are another worry but correcting that should not be a problem. However, most importantly, the talented Akshaye needs a success badly and he hopes TAAL will do the trick. So basically, it’s a question of baal, gaal and TAAL for Akshaye! One success, and Akshaye’s future will be bright.

If banks do begin to finance films, will a bank be willing to lend money to a film titled Bank Robbery?

– Yes, so long as the bank is assured that the producer of BANK ROBBERY doesn’t loot the bank itself!

PRODUCTION NEWS

‘Champion’ Unit Returns

The unit of Shree Shiv Bhakti Films’ Champion returned from Hyderabad on July 26 after completing a month-long shooting stint at Ramoji Rao Film City. Many action and other other scenes were picturised on Sunny Deol, Manisha Koirala, Kashmira Shah, Rahul Dev, Vivek Shauq, Surendra Pal, Tom Alter, A.K. Hangal, Anil Nagrath, Krishna Mishra, Dina Pathak, Neha Sharad, Vikram Gokhale and Deepak Parashar. The film, now 90% complete, is being produced by Sujit Kumar and directed by Padam Kumar. Screenplay: N.K. Mahajan. Dialogues: Sanjay Masoom. Action: Tinnu Verma. Lyrics: Javed Akhtar. Music: Anu Malik.

Negative Cutting

The first negative of G.S. Entertainments’ Hello Brother was cut by Salim Khan last week. The film is written and directed by Sohail Khan and produced by him jointly with Bunty Walia. It stars Salman Khan, Arbaaz Khan, Rani Mukerji, Johny Lever, Neeraj Vora, Razzak Khan and Shakti Kapoor. Music: Sajid-Wajid and Himesh Reshammiya. Action: Mahendra Verma. Cinematography: Santosh Thundiyil. Dances: Ganesh Acharya. Editing: Yusuf Khan. Gautam Gupta presents the film.

ANNOUNCEMENT & LAUNCHING

Aamir, Shah Rukh, Aishwarya In Santoshi’s Next

Aamir Khan, Shah Rukh Khan and Aishwarya Rai have been teamed for the first time in Santoshi Productions’ Prod. No. 3, written and being produced and directed by Rajkumar Santoshi. The film has music by A.R. Rahman and lyrics by Javed Akhtar. Other cast and credits are being finalised. Bharat Shah presents it.

CENSOR NEWS

Tri Star International’s Pyaar Koi Khel Nahin was given C.C. No. CIL/2/22/99 (UA) dt. 23-7-’99; length 4558.43 metres in 16 reels (cuts: 37.17 metres).

Mehul Movies P. Ltd.’s Kohram was given C.C. No. CIL/2/23/99 (UA) dt. 28-7-’99; length 4106.01 metres in 17 reels (cuts: 76.86 metres).

Essel Vision’s Tune Mera Dil Le Liya was given C.C. No. CIL/3/35/99 (A) dt. 27-7-’99; length 4453.87 metres in 17 reels (cuts: 70.76 metres).

TRAILERS

Trailer no. 2 of Devgans Films’ Hindustan Ki Kasam was given C.C. No. CIS/2/13/99 (UA) dt. 28-7-’99; length 85.64 metres.

Trailer of Tri Star International’s Pyaar Koi Khel Nahin was given C.C. No. CIS/2/12/99 (UA) dt. 23-7-’99; length 102.11 metres (cuts: 3.62 metres).

MIX MASALA

KASAM SE!

It never pays to swear by Hindustan in the Hindi film industry. Chetan Anand realised it in 1973 when his Hindustan Ki Kasam was released. And now, it is Veeru Devgan who has realised the same!

MAHIMA’S NET FACE VALUE

Those who have seen Pyaar Koi Khel Nahin are apt to wonder why Mahima Chaudhry has worn (or has been made to wear) a funny-looking net mask on her face in the song, Chudi jo khanki haathon mein. The reason is the car accident she met with some time back near Bangalore. The car mishap left her with scars on her face. And, therefore, the net was used to conceal the scar marks. That should explain Mahima’s net face value in the film’s song!

TOPICALLY ‘STAGEY’

The Chudi jo khanki haathon mein song of Pyaar Koi Khel Nahin is a stage item. And the stage’s backdrop mentions that the show is in aid of war widows. The film’s subject has nothing to do with either the war or war widows but since the song had been picturised only very recently, a hurried attempt seems to have been made to cash in on a current topic viz. Kargil. Some topicality, this!

3-E
Education-Entertainment-Enlightenment

Hearty Integration

The subject idea first occurred to Rajkumar Barjatya about three years back. Thus the idea became a thought to ponder over for his writer-director son, Sooraj. Sooraj’s creativity gave birth to a plausible plot. And after two years of hard labour was a script born. This is how Hum Saath Saath Hain took shape on paper. The subject is about the benefits of a joint family. “We are not advocating living in a joint family. What we are trying to say is that our hearts should be together, should beat for each other,” says the shy Sooraj.

Script-Perfect

To say that Sooraj Barjatya is a stickler for perfection would be stating the obvious. But even as a director, he remains steadfast to the written script, right to the commas and dot till the last shot. When we asked whether he had followed the same policy even while shooting Hum Saath Saath Hain, Sooraj confessed that there was only a part of one scene which had remained unwritten because he was not able to work it out to his satisfaction during the scripting stage. Therefore, the entire film was shot exactly the way it was written except that one scene (or part of it)! This trait Sooraj shares with many great directors. As one such great — Alfred Hitchcock — used to maintain, “Shooting is a necessary evil for me. My film is complete the day my script is complete.”

The ‘Mohabbatein’ Brigade

Among the young brigade which has made it to Yash Chopra’s Amitabh Bachchan – Shah Rukh starrer Mohabbatein ‘Hall of Love’ are Aishwarya Rai (opposite Shah Rukh Khan) and the youngsters comprising Jugal Hansraj, Jimmy Shergill, Preeti Jhangiani, Kim Sharma and Shamita Shetty (sister of Shilpa Shetty). Besides, of course, Uday Chopra, who is Yash Chopra’s younger son, and the brother of the film’s director, Aditya Chopra.

Background Not In Background

What makes a film musically elevating these days? Did you say, just two-three super-hit songs (or more)? You are right, when you say that. But that’s a sad fact of film life today. Gone are the days when well-meaning filmmakers considered the background music also an integral part of a film. Today, the aspect of background music is literally relegated to the background. It needs only a few days to complete the recording of background music. In such a setting, Sooraj Barjatya, a man of great creative imagination and determination, has ventured to fastidiously work on the background score of his film, Hum Saath Saath Hain, for which he has booked Mehboob for one whole month! This should be an all-time record, in filmi parlance. At the end of it, the background score might truly proclaim with telling effect, “Hum (film and background score) Saath Saath Hain!”

The High And The Low

Mann may not have done well in India, but in the UK, it has managed to be among the ‘Top 10’ for three consecutive weeks. It was at no. 8 in the 1st and 2nd weeks, and at the no. 9 position in 3rd week. This is indeed a record. Of course, in the UK and the USA too, the film remains average.

Sights To Behold

A colleague of ours, who was on a tour, was struck by a ‘moving’ sight at a restaurant on a South Bihar road. The circular part of the pendulum of a clock was showing Raveena Tandon moving her head from left to right and vice versa just as she does in her dances in films! Another sight that amused him equally was an ad of a birth control device named after Mithun! This ad was on every available space throughout the highway in South Bihar.

In Passing…

An example of how drastically times have changed: Producer K.P. Singh recalls the time, many years ago, when he had to go to Khandala to sign a very busy Dharmendra for his film, Patthar Aur Payal. “And it became such a big issue in the trade,” remarks Singh, “that I had gone all the way to Khandala to sign my hero. Compare this to today’s scenario and you will see that producers even travel to far-flung places like New York, that too, only to narrate their stories to the stars!” Obviously, the world has become a much smaller place. Or might we add — chamchagiri has become a much bigger game!

Title Of The Week

Main Chudail Tu Daayan.

HINDUSTAN KI KASAM

Devgans Films’ Hindustan Ki Kasam (UA) is a film which deals with the uneasy relations between India and Pakistan. The tension existing between the two countries is sought to be highlighted through the story of twin brothers who are separated in childhood. One brother grows up to become a writer in India, and the other dons the garb of a dreaded terrorist in Pakistan. The writer in India is endowed by nature with a quality which empowers him to dream of things that transpire in the life of his brother, thousands of miles away, even before he knows of his existence. He, therefore, writes novels about Indian armymen whose deaths are mysterious. In these novels, he reveals the circumstances which have led to their deaths because in all those cases, it has been his brother who has committed the crime. This arouses the suspicions of the Indian armymen who wrongly conclude that the writer is actually a terrorist. A retired army officer succeeds in establishing the writer’s innocence and the two of them together not only get the wayward Pakistani brother on the right track but also join hands with him to expose a conspiracy hatched by Pakistani terrorists to kill the Pakistani prime minister when he is on a goodwill mission to India.

The film actually has various tracks — the patriotic track which doesn’t really evoke patriotic feelings; the romantic tracks of the two brothers, which again lack in youthfulness or freshness; the track of fostering a feeling of brotherhood between the two countries, to identify a few. As a result, the drama often becomes hotch-potch. Little care has been taken of continuity and so the film appears jerky at times. The point of one twin brother dreaming of the deeds of the other may not be understood by all. Dialogues should have abounded in words of nationalistic flavour but such dialogues are few and hardly any of them are brilliant enough to deserve claps. Climax is too lengthy to be true. The portion of the climax in which Amitabh Bachchan goes on sermonising is irritating, to say the least. Further, the plea for brotherhood between inhabitants of the two nations may not find universal patronage in view of the recent animosity (Kargil).

Amitabh Bachchan suffers on account of a frivolous characterisation. He comes in and goes out of scenes from nowhere and his only job is to lecture. Although he performs well, the impatient audience of today will find it difficult to tolerate his sermonising. Ajay Devgan acts ably in a double role. He excels in stunts. Manisha Koirala looks disinterested. She impresses in her last scene and that’s about all. Sushmita Sen has a brief role and does a fair job. However, both the heroines need to improve their dress sense. Prem Chopra is quite good. Farida Jalal is natural but is getting repetitive. Gulshan Grover does a fine job. Kader Khan, Navin Nischol, Shakti Kapoor, Pramod Moutho, Salim Motu and Kashmira Shah lend average support. Shahbaaz Khan is effective. Mallika makes an average debut. The rest pass muster.

Veeru Devgan doesn’t impress as director half as much as he does as an action master. The script seems to have got too unwieldy for him to handle. Thrills (by Jai Singh) are excellent at places. The aerial stunts are exciting but the excitement wanes away after a while when realisation dawns upon the viewer that a lot of stunts are computer-generated also. Some special effects are good but some are rank shoddy. Music (Sukhwindara Singh) is a mixed bag. Jalwa tera jalwa is excellently-tuned but none of the other songs really stands out. In fact, so ordinary are most of the other songs that it would be in the film’s interest if they were shortened. Song picturisations (Raju Khan) could have been better. Sets (Bijon Dasgupta) are too loud and gaudy. Camerawork (Ishwar Bidri) is remarkable. Editing leaves a lot to be desired; reducing the film’s length by about 15 minutes can prove advantageous. Production values are grand.

On the whole, Hindustan Ki Kasam has hype and hoopla and, therefore, has taken a mind-blowing initial but once that dies down, the film will find it difficult to sustain at the box-office. Considering its high price, it will find the going tough except in Bihar and, perhaps, in circuits like East Punjab and parts of U.P., Maharashtra and Rajasthan. Exhibitors, who have paid fancy terms, will stand to lose even though a couple of distributors themselves may sail safe on the strength of the grand opening and the grander terms.

Released on 23-7-’99 at Novelty and 23 other cinemas of Bombay thru Devgan Entertainment & Software Ltd. Publicity & opening: extraordinary. …….Also released all over. Opening was historic everywhere.

LATEST POSITION

The sensational opening of HINDUSTAN KI KASAM this week has come as a shot in the arm.

Dada 1st week Bombay 13,49,559 (38.75%) from 10 cinemas; Ahmedabad 1,76,847 from 3 cinemas (3 cinemas unrecd.); Delhi 6,68,950 (39.38%) from 4 cinemas (3 on F.H.); Kanpur 1,44,353 from 2 cinemas, Agra 1,08,400; Calcutta 9,89,919 from 12 cinemas; Amravati (6 days) 86,826, Yavatmal (8 days) 94,140, Bilaspur 76,902; Bhopal 1,45,161 from 2 cinemas; Jaipur 1,88,915, Bikaner (gross) 2,15,030; Hyderabad (gross) 5,03,024 from 5 cinemas (1 in noon; 1 more in noon unrecd.).

Chudail No. 1 1st week Bombay 1,57,621 (33.31%) from 2 cinemas; Kanpur 60,374 from 2 cinemas.

Mann dropped further. It will entail heavy losses to its distributors. 2nd week Bombay 52,75,794 (81.03%) from 11 cinemas; Ahmedabad 14,88,155 from 4 cinemas, Krishna Padra, 1,29,674, Vapi 4,60,182, 1st Valsad 3,10,877, 2nd week Rajkot 1,93,865 from 2 cinemas (1 in matinee), Jamnagar 1,06,765 from 2 cinemas (1 in matinee); Kolhapur 1,73,718, Solapur 1,35,953; Delhi 45,37,666 from 11 cinemas (1 cinema was on F.H.); Kanpur 4,19,645 from 2 cinemas, Lucknow 4,69,174, Agra 2,56,481, Varanasi 2,04,505, Allahabad 1,19,190, Bareilly (6 days) 97,600 (1st 1,93,222), Dehradun 1,40,000, Hardwar 75,505, Saharanpur 1,26,000; Calcutta 22,62,098 from 18 cinemas; Nagpur 7,08,358 from 4 cinemas, Jabalpur (6 days) 1,38,591 (1st 2,17,787), Amravati (6 days) 1,63,284, Raipur (6 days, gross) 2,36,814 (1st week gross 3,89,561), Jalgaon (6 days) 1,38,475 (1st week 2,75,325), Chandrapur 1,09,377, Yavatmal 76,030 (1st 1,53,158); Indore 1,69,294, Bhopal 1,05,414 (1 cinema was on F.H.); Jaipur 4,16,484 from 2 cinemas, Bikaner 1,37,772, Udaipur 1,15,000 (1st 2,73,000); Hyderabad (gross) 12,44,265 from 6 cinemas (2 in noon); 2 weeks’ total from Vijayawada (gross) 5,10,205.

Benaam 3rd week Bombay 1,34,142 from 3 cinemas; Solapur (matinee) 11,381; 1st week Ghaziabad 1,06,734, 3rd Kanpur 56,743; 2nd week Nagpur 34,684, 1st week Raipur 50,198.

Haseena Maan Jaayegi 4th week Bombay 21,56,826 (70.62%) from 7 cinemas; Ahmedabad 54,000, Rajkot 55,740, Jamnagar (mat.) 7,338; Solapur 1,00,517 from 2 cinemas (1 in matinee); Delhi 20,11,426 from 8 cinemas (2 on F.H.); Kanpur 2,03,371 from 3 cinemas, Lucknow 2,03,028, Agra 1,56,938, Varanasi 1,08,939, Allahabad 87,500, Dehradun 87,066; Calcutta 1,91,197; Nagpur 1,06,922 from 2 cinemas, Jabalpur 58,904, Amravati 85,534, Raipur (gross) 99,714, Jalgaon 60,792, 1st week Gondia (gross) 1,33,012, Chandrapur 2,07,649, 4th week Bilaspur 58,732; Indore 95,663 (1 cinema was on F.H.), Bhopal 1,37,009 from 2 cinemas; Jaipur 3,18,343 from 2 cinemas; Hyderabad (gross) 7,31,993 from 5 cinemas (1 in noon).

Hum Dil De Chuke Sanam Bombay 5th week 47,18,206 (80.56%) from 11 cinemas; Ahmedabad 10,85,694 from 6 cinemas, Rajkot 1,34,104 from 2 cinemas (1 in matinee), Jamnagar 52,580, Bhuj 69,291, Adipur 85,478; Solapur 1,07,375 from 2 cinemas (1 cinema in 14 shows and 1 in matinee); Delhi 13,15,245 from 6 cinemas (1 cinema was on F.H.); Kanpur 1,80,364 from 2 cinemas, Lucknow 3,03,991, Agra 1,40,445, Varanasi 84,714, Allahabad 60,000, Bareilly (6 days) 36,578, Dehradun 74,094, Hardwar 20,000; Calcutta 4,94,808 from 4 cinemas; Nagpur 1,31,333 from 2 cinemas, 3rd week Jabalpur 2,02,219, 5th Amravati (6 days) 94,768, Raipur (6 days, gross) 1,40,085, 4th week Wardha (6 days) 30,942, 5th week Yavatmal (6 days) 34,942; Indore 2,02,895 from 2 cinemas, Bhopal 1,20,713; Jaipur 2,21,476; Hyderabad (gross) 8,45,769 from 5 cinemas (1 in noon shows and 2 on F.H.).

_____

Man Saayba Ni Mediye (Gujarati; tax-free) 1st week Ahmedabad 2,01,589 from 3 cinemas; affected due to heavy rains and curfew in parts of the city.

Senthi Nu Sindoor (Gujarati; tax-free) 1st week Ahmedabad 1,71,442 from 3 cinemas; affected due to rains and curfew.

Saadha Muqaddar (Punjabi; tax-free) has done average in Punjab in 1st week.

JATIN KANAKIA DEAD

Popular TV and stage actor Jatin Kanakia expired on 18th July at Lilavati Hospital in Bombay. He had been suffering from cancer. He was 46 and is survived by his wife and son.

Beginning his acting career on Gujarati stage nearly 20 years ago, Jatin Kanakia went on to make his mark in several popular TV serials like Shriman Shrimati, Kabhi Yeh Kabhi Woh and Maal Hai To Taal Hai. Do Aur Do Paanch (on Zee) and Hum Sab Ek Hain (on Sony) are two of his serials currently on air.

AAMIR KHAN RELEASES NASREEN MUNNI KABIR’S ‘TALKING FILMS’

Aamir Khan formally released Nasreen Munni Kabir’s new book, Talking Films, at a function hosted by its publishers, Oxford University Press (OUP), on 23rd July at Y.B. Chavan Centre, Bombay. The book consists of the author’s conversations with writer-poet-lyricist Javed Akhtar on Hindi cinema.

While releasing the book, Aamir Khan remarked, “Good books on Indian cinema are very much needed.” He also informed the gathering that even though he had read several books on Indian cinema, hardly any had impressed him. However, he was looking forward to reading Talking Films as Javed Akhtar was a very good writer and an intellectual, he added.

Shabana Azmi read out excerpts from three segments of the book viz. ‘Starting A Conversation’, ‘Dialogue’ and ‘Speciality of Indian Films’.

Addressing the gathering, Javed Akhtar revealed that he was reluctant, at first, to talk to Nasreen on the book, but relented after he was convinced about the author’s valuable thoughts on the subject.

Later, Nasreen Munni Kabir expressed her gratitude to Javed Akhtar for “his most valuable co-operation in bringing out Talking Films.”

OUP managing director Manzar Khan, who introduced Nasreen, Javed Akhtar and Aamir Khan to the gathering, explained that though OUP was a centuries-old publishing house and had started its publications in India at the beginning of this century, it had only recently begun commissioning books on Indian cinema. This was because Indian films had amply proved that they were a force to reckon with, he added.

The author, Nasreen Munni Kabir, has made a number of short films on Indian cinema and on some of its stars for UK’s Channel 4. Presently, she is a London-based independent film producer and director.

DO YOU KNOW?

* Most of the films these days have appendages like Cinemascope, 6-track sound, Dolby Stereo, DTS sound, Sensurround etc. But there is one film which boasts of an appendage of an ‘exclusive’ kind. The currently running Kannada hit, A.K. 47, proclaims itself (in its publicities) as ‘Kannada Scope Digital’, whatever that means or whatever scope it offers!

* The name Prakash has generally proved unlucky if the person with the name has been associated with film distribution in Bombay. No names need to be spelt out. An exception is Prakash Kokane of Shringar Films. The guy is moving from strength to strength.

* The audience at Kalpana Talkies, Kurla, Bombay, showered coins in the matinee show on the first day of HINDUSTAN KI KASAM during the song Jalwa tera jalwa!

* Police had to be called in to control the huge crowds in Satara at Krishna Talkies and Jayvijay Talkies on the opening day of HINDUSTAN KI KASAM!

* Police had to resort to lathi-charge in Patna and other stations of Bihar to control the surging crowds on the opening day of HINDUSTAN KI KASAM.

IN & OUT OF BOMBAY

Director Karan Johar, currently in New York, will first go to London and thereafter return to India (on 10th August).

Mr. Anil Thadani of Yash Raj Films, London-New York, will return to India in 7-10 days.

Producer Boney Kapoor will return from Madras in a day or two.

Delhi-U.P. distributor and exhibitor Brijesh Tandon will come to Bombay on 30th July.

Mr. Rajprakash Bansal of Jai Pictures P. Ltd., Jaipur, returned to Jaipur on 21st July.

INR Hire
INDUSTRY LOSES CASE IN SC

The Supreme Court has upheld the regulations under the Cinematograph Act by which cinemas are bound to show short educational/documentary films (Indian news reel) made by the Films Division, free of cost, as part of the licensing agreement. The court upheld the appeal filed by the Union government and the governments of West Bengal and Uttar Pradesh against the Delhi high court order quashing certain provisions under the Cinematograph Act and dismissed a writ petition of the Eastern India Motion Pictures Association, Calcutta, which had asserted that the regulations affected their right to freedom of speech. By this order of the SC, the statutory provision making it compulsory for cinemas in the country to screen educational and other documentaries prepared by the Films Division and also pay 1% of their nett weekly collections as rental to the Films Division has been upheld as valid.

According to a 1958 agreement between the FFI and the Films Division, the exhibitors have to pay one per cent of their nett weekly collections as rental for the short films, which they have to collect from the distribution centres. Screening of the short films was also made compulsory under the Cinematograph Rules.

The exhibitors challenged these rules, alleging that these regulations had affected their viewership and profits. They argued that they were facing tough competition from television, video and other audio-visual revolutions. Therefore, they could not spare time for the educational films nor pay for them. They also argued that as the government paid money to television channels for broadcasting these documentaries, the court should direct the government to do the same if the cinemas exhibited these documentaries.

The Supreme Court rejected their arguments. The judgement, delivered by a bench comprising Justice Sujata V. Manohar, Justice K. Venkataswami and Justice R.C. Lahoti, stated that there was no violation of the right to speech. When a significant part of the population is illiterate, it is important that every available means of communication, particularly audio-visual, be utilised to educate, inform and propagate scientific ideas. The best way to reach the large body of uneducated people is through the entertainment channel, the judgement said.

According to the court, instead of curtailing free speech, the provisions further it since they are intended to prepare a vast number of people for informed debate on important issues.

It also stated that the fees charged for the exhibition was nominal and only a small fraction of the cost incurred by the Films Division. Therefore, it was reasonable and did not infringe on the exhibitors’ right to trade. It was submitted by the government that Films Division was incurring heavy expenditure towards the production of about 125 films every year and took out about 400 prints of each film for distribution to over 13,000 cinemas across the country. The FD dubs the documentaries in 15 languages and retains about 50,000 prints at any given time, counsel for the government argued and added that FD incurred an expenditure of more than Rs. 12 crore per year for only taking out adequate prints while their recovery in the form of rentals is only Rs. 7 to 8 crore per year.

3-E
Education-Entertainment-Enlightenment

Heroes In New Territory

1999 may well go down in the history of Bollywood as a truly unusual year. For, at least four leading heroes and a heroine will have releases this year, which will get them into new territory — either producer or producer-director’s territory. Ajay Devgan’s Hindustan Ki Kasam has been released this week and although the official producer is Veeru Devgan, everyone knows how involved Ajay, too, has been in his maiden home production. Jackie Shroff’s Grahan is due for release later this year. Shah Rukh Khan and Juhi Chawla have stepped into production for the first time and are partners in Phir Bhi Dil Hai Hindustani which will hit the screens in November. The month of November will also see the release of Sunny Deol’s home production, Dillagi, with which he has also made his debut as a director. Of course, Salman Khan’s Hello Brother and Anil Kapoor’s Pukaar are also there but these aren’t their first releases. And yes, Aamir Khan will step into the territory of production by launching Lagaan this year.

Lucky Lady Lends Her Voice

Believe it or not but Kajol has dubbed for Taal. Kajol and Taal?!? It so happened that Kajol was at Audeus for the dubbing of her Dil Kya Kare when a voice was required for an announcement to be made in the pre-climax of Taal, also being dubbed then at Audeus. Subhash Ghai’s staff requested Kajol to lend her voice to the announcement, and the numero uno actress willingly obliged! And so, Taal will have the voice of Kajol though not her face. Which is the scene for which Kajol has dubbed? Try to figure out when you see the film.

Tid-Bits

And here are bits of non-film news. Since the news are connected to film personalities, they deserve mention in these columns.

– Like Rajinikanth has announced that he will not lend his support to any political party in the ensuing Lok Sabha elections. The Tamil film superstar had supported the DMK-TMC Combine in the ’96 elections and the front had won hands down, thanks to the Rajinikanth charisma.

– Like, a piqued Jayalalitha (AIADMK chief) has filed a suit in a Madras city civil court against former Tamil film actress Latha (who is affiliated to another political party). Latha had said in a recent public meeting that Jayalalitha, during her stay in New Delhi in April 1999, had beaten a bearer of a five-star hotel. Can you beat that?!

– And lastly, Span Aviation (Maharashtra), an airlines company which got grounded in May 1998 after suffering losses, is now hoping to stage a comeback with the help of a film personality. The airline has joined hands with Vinayak Mayekar, a trustee of V. Shantaram Foundation. It may be recalled that Span Aviation had begun operations in February ’95 with the support of former chief minister of Maharashtra, Manohar Joshi. The airline remained air-borne for a short span of three years. Happy soaring this time.

National Opposition

On Friday, July 23, while several cinemas in the country were screening Veeru Devgan’s Hindustan Ki Kasam, a film propagating national integration, it faced a national opposition in the last show, thanks to Doordarshan. DD telecast Chetan Anand’s Hindustan Ki Kasam that day. Very funny, kasam se!

Quote Of The Week

“Films cannot be made without money. And money alone cannot make a film.”

– Manoj Kumar

“….JAANEWALE KI YAAD AATI HAI“
RAJENDRA KUMAR BIDS ADIEU

Jubilee star Rajendra Kumar Tuli, who dominated the film scene from the mid-fifties to the seventies, passed away on 12th July at 3.30 a.m. at Breach Candy Hospital, Bombay, where he had been admitted ten days earlier for respiratory and cardiac complications and a blood ailment. He was 71 and is survived by his wife, son Kumar Gaurav and two daughters.

The funeral, held the same afternoon at the Santacruz crematorium, was attended by a large number of film celebrities, friends and relatives including Sunil Dutt, B.R. Chopra, Yash Chopra, Ramanand Sagar, Amitabh Bachchan, Dharmendra, Mohan Kumar, Naushad, Feroz Khan, Randhir Kapoor, Rishi Kapoor, Manoj Kumar, Rakesh Roshan, Rajesh Roshan, Dara Singh, Chandrashekhar and others.

“Jaanewale kabhi nahin aate
Jaanewale ki yaad aati hai.”

One remembered these memorable lines of late Shailendra, during the final journey of the gentleman star Rajendra Kumar on July 12.

A partition refugee from Sialkot (Pakistan), Rajendra Kumar’s transition to stardom would read like a story of a comic-book hero. Those were the days when Dilip Kumar was the undisputed star. Rajendra Kumar appeared as an extra with Dilip Kumar in Mela (1948) and Devdas (1955) while working as an assistant to director H.S. Rawail. His passport to the industry was a letter of introduction for Rajinder Krishen.

Devendra Goel spotted Rajendra Kumar’s talent for acting and ventured to cast him as lead man in Vachan (1955). Fate ordained him with a spate of jubilees and successes beginning with director Vijay Bhatt’s Goonj Uthi Shehnai (1959), followed in the same year by Devendra Goel’s Chirag Kahan Roshni Kahan, B.R. Chopra’s Dhool Ka Phool (directed by Yash Chopra), director Kedar Kapoor’s Do Behnen and director Jyoti Swaroop’s Santan. There was no looking back after that. The hits that followed in later years were Aas Ka Panchhi, Gharana, Kanoon, Mere Mehboob, Gehra Daag, Sasural, Hamrahi, Aayee Milan Ki Bela, Dil Ek Mandir, Arzoo, Sangam, Zindagi, Suraj, Ganwaar, Gora Aur Kala, Aap Aaye Bahar Aayee, Anjana, Talash and Geet. He had also acted in Mehboob’s Mother India (1957) and a Gujarati super-hit, Mehendi Rang Lagyo (opposite Usha Kiron). Rajendra Kumar turned a producer with Love Story (1981) and launched his son, Kumar Gaurav, as the lead main in it. He had also produced Naam, Jurrat and Phool.

Rajendra Kumar, also known as Jubilee Kumar because a large number of his films turned out to be jubilee hits, was a wise investor. He constructed the Dimple preview theatre and personally used to oversee its maintenance. He also invested in film shooting equipments like cameras and lights. However, due to his simple and unostentatious lifestye, he was dubbed “tight-fisted”.

A well-known fact about Rajendra Kumar is that he was repeated by his producers in Bombay as well as in South, like B.R. Chopra (Kanoon and Dhool Ka Phool), S.S. Vasan of Gemini (Zindagi, Gharana and Shatranj), Sridhar (Dil Ek Mandir and Dharti), Ramanand Sagar (Arzoo, Geet and Lalkar), L.V. Prasad (Sasural and Hamrahi), Venus Krishnamoorthy (Suraj and Saathi), Devendra Goel (Vachan, Pyar Ka Sagar and Chirag Kahan Roshni Kahan), O.P. Ralhan (Gehra Daag and Talash) and Raj Kapoor (Sangam and Mera Naam Joker). Mohan Kumar made five films with him — Aas Ka Panchhi, Aayee Milan Ki Bela, Aman, Anjana and Aap Aaye Bahar Aayee — and the two remained great friends till the end.

Among the many who paid fulsome tributes to Rajendra Kumar were Naushad who said, “He was a simple-hearted gentleman and a talented actor.” Producer S. Raamanathan described him as “a man of fine human qualities, who was a great favourite with South producers. He used to be very co-operative and never behaved like an arrogant star.”

Prime minister Atal Behari Vajpayee condoled the death of Rajendra Kumar and expressed profound grief. I & B minister Pramod Mahajan expressed his grief saying, “The world of cinema has become poorer by his death.” State minister for I & B, Mukhtar Abbas Naqvi, said, “The death of the veteran actor, who swayed the emotions of the cinegoers, is a great loss to the industry.” B.R. Chopra, who cried when he visited Rajendra Kumar’s house on hearing the news of his demise, said that he (Rajendra Kumar) gave very good performances in his two films, Dhool Ka Phool and Kanoon. Mohan Kumar, a close friend of Rajendra, said, “I had worked with him in five films and all of them were hits. He took success in his stride and never let it go to his head. He was a great person and was liked by everyone.” Ramanand Sagar said, “I am proud that out of 25 silver jubilee hits he gave, I had a share of four precious films.” Ashok Kumar, who worked with Rajendra Kumar in a number of films, had a very close relationship with him and began to cry on hearing the news of his death. He said, “I have no words to express my feelings for him.” Shammi Kapoor paid his respects saying, “He was a fine person and a fine actor. The film industry is indebted to him for his immense contribution.”

LATEST POSITION

MANN suffered a lot on account of its poor editing. Yet, first week collections at many places were brilliant. The makers have deleted scenes and two songs (total running time reduced is 29 minutes) but the re-editing seems to have been effected too late in the day.

Mann began to drop mid-week. It is dull in Bihar, C.I. and Rajasthan. 1st week Bombay 66,51,187 (95.75%) from 12 cinemas; Ahmedabad 22,11,239 from 4 cinemas, Padra 2,23,513, Vapi 6,49,904, Rajkot (mat.) 54,505 (1 unrecd.), Jamnagar 1,65,683 from 2 cinemas (1 in matinee); Pune 14,73,353 from 4 cinemas (1 in mat.), Kolhapur 2,56,519, Solapur 3,99,085 from 2 cinemas, Sangli 2,03,000 (95%), Miraj 1,26,000 (92%), Islampur 1,72,151; Delhi 60,89,610 (93.17%) from 11 cinemas (1 on F.H.); Kanpur 6,47,423 from 2 cinemas, Lucknow 5,19,606, full, Agra 3,62,222, Allahabad 2,41,950, Meerut 2,77,311, Bareilly (6 days) 1,66,297 (64.04%), Hardwar 1,26,206, Saharanpur 2,00,006; Calcutta 42,63,319 from 24 cinemas; Nagpur 13,42,667 from 5 cinemas, Jabalpur (6 days) 2,00,062, Amravati (5 days) 2,13,474, Akola 2,51,770, Raipur (6 days; gross) 3,47,886, Durg 1,22,661, Jalgaon 2,75,325, Rajnandgaon (6 days) 1,03,000, Chandrapur 1,99,391; Indore 3,12,084 (3 cinemas on F.H.), Bhopal 1,89,993 (1 on F.H.); Jaipur 11,17,674 from 4 cinemas, Bikaner 2,42,328; Hyderabad (gross) 45,28,309 from 18 cinemas (2 in noon), total share of 7 districts is over 40 lakh; Vijayawada (gross) 2,98,998.

Khaufnaak Raat 1st week Bombay 5,23,420 (42.29%) from 4 cinemas; 2nd week Delhi 86,231.

Benaam 2nd week Bombay 3,93,205 (47.29%) from 4 cinemas; Ahmedabad 28,157; 1st week Pune 2,72,329 from 3 cinemas; 2nd Delhi 1,64,420 from 2 cinemas (2 on F.H.); Kanpur 30,189, Agra 39,131, Allahabad 15,885, 1st Bareilly 55,087 (24.64%); 2nd Calcutta 70,300; 1st Nagpur 1,50,115 from 2 cinemas; Bhopal 82,765; Bikaner 40,171.

Haseena Maan Jaayegi 3rd week Bombay 28,66,379 (71.14%) from 8 cinemas; Ahmedabad 6,54,095 from 6 cinemas, Rajkot 89,313, Jamnagar (mat.) 9,566 (1 unrecd.); Pune 6,04,186 from 4 cinemas (1 in mat.), Solapur 1,39,261 from 2 cinemas (1 in mat.); Delhi 26,91,866 from 8 cinemas (2 on F.H.); Kanpur 2,95,750 from 3 cinemas, Lucknow 2,95,804, Agra 2,20,000, Allahabad 1,35,547; Calcutta 2,34,674; Nagpur 98,004, Jabalpur 92,412, Amravati (6 days) 1,09,722, Akola (27 shows) 1,00,007, Raipur (gross) 1,70,295, Durg (gross) 41,484, Jalgaon 94,000; Indore 1,18,874 (1 on F.H.), Bhopal 2,08,263 from 2 cinemas; Jaipur 2,69,398, Ajmer 87,958, Bikaner 1,25,210; Hyderabad (gross) 6,03,599 from 4 cinemas.

Hum Dil De Chuke Sanam 4th week Bombay 49,39,255 (84.34%) from 11 cinemas; Ahmedabad 15,65,941 from 5 cinemas, Vapi 1,62,326, Rajkot 1,75,560 from 2 cinemas (1 in mat.), Jamnagar 70,364, Adipur 1,34,103; Pune 8,25,378 from 4 cinemas; Delhi 21,50,359 from 9 cinemas; Kanpur (6 days) 1,68,240 from 2 cinemas, Lucknow 3,86,898, Agra 2,05,011, Allahabad 80,622, Bareilly (6 days) 46,033; Calcutta 7,70,466 from 7 cinemas; Nagpur 1,55,534 from 2 cinemas, 2nd Jabalpur 2,45,967, 4th Amravati (6 days) 1,28,255, Akola 1,05,512, Raipur (6 days; gross) 1,76,697, 3rd Wardha 39,905, 4th Chandrapur 48,234; Indore 1,16,217, Bhopal 1,44,860; Hyderabad (gross) 4,46,865 from 3 cinemas (1 in noon).

Mahashaktimaan (dubbed) is fair. (Its English version, The Matrix, is excellent.) 1st week Ahmedabad 1,34,387 (57%), Baroda 93,412 (82%); Kolhapur 86,536 (35%), Solapur 1,33,263 (89%), Sangli 84,686 (46%), Ichalkaranji 68,731 (50%), Malegaon 53,966 (48%); Belgaum 65,356 (82%); Indore 77,896 (40%); Aurangabad 1,20,990 (49%).

_____

Bindhast (Marathi; tax-free) 4th week Bombay 11,80,793 (52.46%) from 8 cinemas; Pune 1,15,678, Solapur 46,237.

ADITYA PANCHOLI ARRESTED, FREED ON BAIL

Aditya Pancholi was put in police lock-up at Santacruz (Bombay) on the morning of 15th July for injuring two police constables in a car accident at 1.30 a.m. According to the police, Aditya Pancholi was driving in an inebriated state. He is said to have first hit the motorcycle of the police constables, then an autorickshaw and then a dumper truck. Pancholi told the police that he had not committed any criminal act and that it was an accident. He was freed on bail the same day.

BHOOMI PUJA OF TWO CINEMAS IN SHIVPURI

Premnarayan and Radheshyam Rathod alias Munia performed bhoomi puja for two cinemas at Shivpuri. The puja was performed at the hands of Gajanand Patel. Munia already owns Shriram Smriti, Jyoti Talkies and Satyam Talkies at Guna; Laxmi Mandir and Mahesh Mandir at Ashok Nagar; and Laxmi Talkies at Aron.

The two cinemas at Shivpuri will come up within six months, according to Munia, who is also planning to construct some more cinemas at other centres of C.I.

ASHOK VASHODIA APPOINTED SECRETARY TO HRITHIK

Ashok Vashodia has joined as secretary to Hrithik Roshan. He can be contacted on phone nos. 631-4362 (residence) and 649-2352/605-0393 (office). Cellphone: 98200-45797. Fax: 605-0391.

YOU ASKED IT

Which is the most ideal and cost-effective medium for a film’s release publicity?

– The most cost-effective is paper publicity but the most effective is, of course, the television medium.

What is the difference between the Kargil war heroes and our film heroes?

– While the Kargil hero fights for defending the line of control (LoC), the film hero fights for his price and knows no line of control!

What do you predict for the second half of the year?

– It will be good, very good. So relax!

Among the old-time directors, who is still going strong?

– Only Yash Chopra. Who else?

DO YOU KNOW?

* The already big screen of Metro, Bombay, will assume a bigger dimension for the screening of Subhash Ghai’s TAAL. The screen will become bigger by 33% in keeping with the film’s grandeur. The screen is being changed by the cinema after a gap of 42 years.

* After playing football in New Delhi, cricket stars will take on the Bengali film stars for the benefit of army jawans’ welfare on August 8 in Calcutta. Organised by Eastern India Motion Pictures Association (EIMPA) in collaboration with the Federation of technicians and workers of Tollygunge, the match will feature Mithun Chakraborty, Prasenjit, Ranjit Mullick and company on one side and cricketers Kapil Dev, Ajay Jadeja, Laxmi Ratan Shukla and, of course, Saurav Ganguly and company on the other. In Calcutta, it will be cricket.

* In an effort to show solidarity with our jawans in Kargil, producer K.P. Singh and director Kundan Shah called off a day’s shooting of HUM TO MOHABBAT KAREGA last week in Hyderabad, to participate in a special rally arranged by the Andhra Pradesh Film Chamber of Commerce. The entire unit, including stars Bobby Deol and Karisma Kapoor, spent the day collecting funds for the noble cause.

* For the first time ever in the history of Gujarati films, a father and son are being pitted against each other at the box-office. This week’s Gujarati releases have father Naresh Kanodia (in MAN SAAYBA NI MEDIYE) and son Hitoo Kanodia (in SENTHI NU SINDOOR)!

MIX MASALA

ACHIEVEMENT INDEED!

The other day, we received a telephone call from a rather jubilant producer of a Mithun starrer. “God, I am so happy!”, he gushed over the phone. We would have thought that his film had become a hit at the ticket-windows or something, but then… So, what was the reason behind his ecstacy, we probed. “My film has not run into a single delivery problem,” he exclaimed, adding, “Saari deliveries smoothly ho gayee. That’s cause for celebration.” Yes, if it’s a Mithun starrer these days, we guess, smooth deliveries themselves are an achievement!

Many Important Awards For Hindi Films

‘KUCH KUCH HOTA HAI’ BAGS NATIONAL AWARD
‘Godmother’ Picks up Six

Yash Johar’s Kuch Kuch Hota Hai, with which son Karan Johar made a remarkable debut as director, has bagged the National Award for the best popular film providing wholesome entertainment. It has also won the best singer (female) award for Alka Yagnik.

Shyam Benegal’s Samar has been adjudged the best film. It has also bagged the best screenplay award for Ashok Mishra.

Ajay Devgan shared the best actor award for his performance in Zakhm with Mammootty for his enactment of the title role in Dr. Babasaheb Ambedkar (English), directed by Dr. Jabbar Patel. Dr. Babasaheb Ambedkar has also bagged the best art direction award for Nitin Desai.

Godmother, directed by Vinay Shukla, won the best actress award for Shabana Azmi. The film also won the best feature film award in Hindi in the language category. It has won four other awards: best lyrics (Maati re maati) award for Javed Akhtar; best music for Vishal Bhardwaj; best singer (male) for Sanjeev Abhyankar; and best editing award for Renu Saluja. In all, Godmother has bagged six awards.

The Nargis Dutt award for the best film on national integration has been won by Zakhm, produced by Pooja Bhatt.

The best supporting actor award has gone to Manoj Bajpayee for Satya, and the best supporting actress award, to Suhasini Mulay for Hu Tu Tu.

Mani Ratnam’s Dil Se.. has won two awards: for best cinematography (Santosh Sivan) and for best audiography (R. Sridhar).

It is after a gap of several years that Hindi films in 1998 have bagged most of the important awards.

OTHER AWARDS

Besides winning the best cinematography award for Dil Se.., Santosh Sivan has bagged an award for direction for Malli (Tamil) which has been selected as the best environmental film. Malli has also won an award for child artiste baby Amma (Shwetha).

Rajeevnath has won the best director award for Janani (Malayalam). The Indira Gandhi award for the first film of a director has gone to Venu for Daya (Malayalam) which also won the best costume award for S.B. Satheesan.

The best children’s film award has been won by Virendra Saini for Kabhi Pass Kabhi Fail. Raja Sen’s Atmiyo Swajan (Bengali) has won an award for the best film on family welfare. Chintavishtayaya Shyamala (Malayalam) has got an award for portraying a woman’s struggle.

The 46th National Film Awards were announced at a press conference in New Delhi on July 16. Information and Broadcasting minister Pramod Mahajan and chairpersons of the various juries addressed the conference. Minister of state for I & B Mukhtar Abbas Naqvi was also present.

A record number of 114 feature and non-feature films in different Indian languages and English were viewed by a jury headed by D.V.S. Raju. Shaji N. Karun headed the non-feature jury. M.T. Vasudevan Nair headed the jury to select the best book on cinema and best cinema journalist.

BEST BOOK

In The Forest Hangs A Bridge won the best non-feature film award while Dr. Kishore Vaswani’s Cinemaee Bhasha Aur Hindi Samvaadon Ka Vishleshan was adjudged the best book on cinema. Meenakshi Shedde was chosen the best film critic.

3-E
Education-Entertainment-Enlightenment

Cut Short

Following the release of Mann last Friday, producer-director Indra Kumar and producer Ashok Thakeria took off for London and New York for the film’s premiere shows there. But after reaching London, Indra Kumar had to cut his trip short and return to India — to shorten the film! In keeping with the general consensus, Indra Kumar went a-trimming. And he finally effected cuts to the extent of 29 minutes! Two songs have been completely chopped off and scenes/shots of a total running time of 19 minutes have been thrown off.

Curiously enough — well, actually, not so curiously, after all — some distributors did not even wait for Indra Kumar’s advice. They exercised the cuts, apne mann se!

Operation Oppositions

Producers are wary of releasing their films in the face of oppositions. And what exactly constitutes an opposition? Well, for decades now, anything and everything, so to say, is construed an opposition to the box-office. Ramzan is an opposition, rains are an opposition, so are examinations, so is television, so are pre-Diwali days, so are Navratri days (especially in Gujarat and Maharashtra) and so also Ganpati festival (in parts of Maharashtra and, these days, in other states too). There are plenty of other oppositions too. But actually, after Vashu Bhagnani braved the World Cup cricket and brought his Biwi No. 1 in direct opposition of the event, is any opposition really an opposition? The collections of Biwi No. 1 were phenomenal all through the cricket days. That India did not enter the final could be one reason, but what about the days when India was still in the race? It would, therefore, be in the fitness of things if producers and distributors did some rethinking on the issue of oppositions and deduced whether it is actually right to keep their films away from the so-called oppositions and select release dates that don’t clash with the oppositions.

The ‘Taal’ Tale

When will Taal see release? And when should it be released? The answers to both the questions cannot be given definitively as of now because of the following given situation:

Subhash Ghai was in a fix whether to get Taal on August 6. His distributors insisted that Ghai should release Taal on 6th. That’s because if Taal were to be postponed, the distributors would have to let go of the chain of cinemas booked in their circuits and would, obviously, not be able to get a new chain that would be good enough, because of the line-up of releases.

So, Subhash Ghai, as of now, is determined to release Taal on 6th.

But exhibitors and others, who wish well for Subhash Ghai, are strongly of the opinion that Taal should not come on 6th. Why? They think that the promotion of ‘the beat of passion’ is yet to reach a crescendo which may not be possible till 6th August.

Many voices and whispers in the trade seem to strongly suggest, “Let the promotion be in sur and taal with the big canvas of the film!”

Dimple Luck

Rajendra Kumar’s daughter, Dimple, was undoubtedly his lucky mascot. And this can be proved by two examples. Before he built himself a new bungalow on Pali Hill, Bandra, he used to live in a bungalow on Carter Road, which was known as Dimple House. Till the time he lived in Dimple House, he rolled in great luck. One after the other, his films used to click and, as an actor, he was in great demand. It was only after he reluctantly sold the bungalow to Rajesh Khanna that Rajendra Kumar moved to his new bungalow at Pali Hill. Incidentally, when Rajendra Kumar sold the bungalow to Rajesh Khanna, he laid down a condition that the bungalow’s name be changed. Rajesh Khanna, therefore, changed it to ‘Aashirwad’. As fate would have it, Rajesh Khanna was to ultimately marry a girl named Dimple.

Much later, Rajendra Kumar constructed, with great love, the ultra-modern preview theatre, which he named ‘Dimple’, in his bungalow premises. This preview theatre is a great favourite of the industry folks even today.

It was a common sight to see the man taking a round of his preview theatre every evening and inspecting every nook and corner of the floor. If he found anything littered there, he would himself pick up the litter and throw it in the dustbin. Why, one even remembers seeing him keeping the bathroom slippers in their place! So much did he care for ‘Dimple’, the name that spelt luck for the jubilee star!

Title Of The Week

Bhooton Ka Honeymoon!

What The Left Hand Does…

So often do we observe — quite hilariously, might we add — how different government agencies take ridiculously contrasting stances on the same issue. Mahesh Bhatt’s Zakhm has bagged the Nargis Dutt National Award for 1998 for the best film on national integration. But wait a minute! How can that be? After all, wasn’t it another government agency — the CBFC, of course — which had not so long ago objected to the communal angle in the same film? Perhaps, there is some logic in the manner in which the government thinks, but try as we may, we fail to see any. Quite often, as in this instance, it seems to be just a case of — what the left hand does, the right hand does not know!

Gujarat Ma Hit Ne Halol Ma Jalso!

Lucky Studios at Halol (in Gujarat) looked decorated for a marriage. The excitement in the atmosphere was no less than what one witnesses at a weddinig. Well, in a way, the occasion was also a celebration of a marriage — top Gujarati film producer-director Govindbhai Patel’s marriage to success! For years now, the two — Govindbhai and Success — have lived like man and wife, inseparable, made-for-each-other.

After producing several hits almost in a row, Govindbhai delivered his biggest hit last year when his Desh Re Joya Dada Pardesh Joya hit the screens and simultaneously, the bull’s eye. The film went on to write new box-office history not just in Gujarat and Saurashtra but in Overseas, too. Not just the masses which usually patronise Gujarati films, this one, for the first time, also brought classes by the bulk to the cinemas. If the film became a blockbuster, its music, too, made the cash registers jingle as never before.

It was the celebration of the golden jubilee of Desh Re Joya Dada Pardesh Joya for which Lucky Studios on 13th July was bedecked like a bride. Govindbhai Patel, who turned a director with DRJDPJ, was a picture of humility as he, with his equally humble family, welcomed the guests who had come from all over Gujarat and Saurashtra to partake in the jubilee function which was preceded by the muhurt of Govindbhai’s next, Gaam Ma Piyaryu Ne Gaam Ma Sasaryu.

Rajeshbhai of Galaxy Pictures, Rajkot, sounded the clapper-board for the muhurt shot as Jeevanbhai Patel and Mrs. Govindbhai Patel cracked the auspicious coconuts, and Komal Nahta, editor of Film Information, switched on the camera. Govindbhai himself directed the first shot — a dramatic one — on Roma Manik and Hiten Kumar. The film stars four more heroes (Sameer Rajda and three others) and four other heroines of which one, Nandini, will be introduced in the film. Another new face in the film will be Heera alias Hiralal Thakkar who is a name to reckon with on Gujarati stage. Govindbhai had approached Alok Nath and Paresh Rawal for the role but, unable to get their bulk dates, he ultimately opted for Hiralal Thakkar and is more than happy with his choice.

Muhurt and lunch over, the latter part of the day was devoted to the jubilee celebrations. Govindbhai had got made trophies for every cinema where the film had had a meritorious run (and they were plenty) and every music shop which recorded outstanding sales of DRJDPJ audio cassettes, besides the film’s artistes, technicians and spot boys. Most of the trophies were presented by the lead pair of DRJDPJ, Roma Manik and Hiten Kumar. Govindbhai made an exception in the case of the trophy of late actor Narayan Rajgor who died last year following a freak accident on the sets of Desh Re Joya Dada Pardesh Joya. In fact, the function started with Govindbhai paying tributes to his “dear friend Narayan Kaka”. He could barely complete two sentences of his opening address when he burst into tears. In a quivering voice and with tears rolling down his cheeks, Govindbhai managed to convey to the audience that he would start off the trophy distribution function by personally presenting Narayan Kaka’s trophy to his son, Manish. A tearful Manish Rajgor came up on the dais and accepted the trophy even as several persons on the dais and in the audience were seen wiping their moistened eyes.

After the function, Govindbhai explained how thrilled he was because God had showered blessings on his new film in the form of rains which poured as soon as the muhurt shot was canned! Govindbhai also let us in to the secret of his success. “I do my home-work thoroughly before shooting begins,” he revealed and added, “God is great. He has been very obliging towards me.” And for GMPNGMS, Govindbhai will be immersed in its shooting for 50 days now. Before the shooting, he has had his script (story and screenplay are by Govindbhai himself, while the dialogues have been penned by Arvind Barot who is also the film’s lyricist and music director) cent per cent ready. Why, Govindbhai even plans to mix the film in Dolby sound, which will make this as the first Gujarati film in Dolby sound. For this, he has had detailed technical discussions so that due care may be taken while shooting. It was exhibitors D.Y. Pattani, Balaporia and Girishbhai, who prevailed upon Govindbhai to make his new film with Dolby sound. “The three of them volunteered to lend me some lakhs for the Dolby mixing and were willing to forgo the amount if the film did not do well when released!”, disclosed an ecstatic Govindbhai.

GMPNGMS will also be made in Marathi but Govindbhai will shoot the Marathi version after about 20 days of completing the Gujarati version’s shooting. And then, he will make the Rajasthani version of Desh Re Joya Dada Pardesh Joya. And one fine day, Govindbhai might just make a Hindi film too. “If I ever do so, it will be with Aamir Khan,” he smiles.

– Komal Nahta

‘Taal’: A Beat And A Treat Of Passion

Subhash Ghai is in great form if the songs and some scenes of his new magnum opus, Taal, are anything to go by. Information saw glimpses of the film this week and came out mighty impressed.

That the music of Taal is doing extremely well is common knowledge. What isn’t known as yet is that Ghai has once again made his songs a treat for the eyes too. Their picturisations are grand. Ramta jogi may well have the audience on their feet. Aag lage lag jaave has Aishwarya looking bewitching; the sets on which it has been picturised are an eyeful. The Ishq bina kya jeena yaaron dance has the unmistakable Saroj Khan stamp; its climax version, choreographed recently in Toronto by Shiamak Davar, is also reported to be a masterpiece. Taal se taal mila is melody and nature’s (Chamba’s) beauty at its best.

Both the heroes of Ghai’s Taal come across as extremely honest protagonists. Anil Kapoor is a practical man of the fag end of the 20th century; he believes in principles like ‘dishonesty, and not honesty, is the best policy’. He is so open about his philosophy in life that there’s a likeable honesty to his dishonesty too. As for his performance, the couple of scenes one saw suggest that Anil is out to grab awards with this one. Ghai has made Anil’s character so mass-appealing (his lines of dialogues are remarkable, to say the least) that it is natural to be reminded of the lovable ‘Lakhan’ of Ram Lakhan. Akshaye Khanna is so brutally honest that his philosophy in life seems to be: ‘Honesty is the only policy’. He acts with a rare confidence, sincerity and simplicity. Aishwarya Rai follows up her acting calibre seen in Hum Dil De Chuke Sanam and impresses with a natural performance. Alok Nath and Amrish Puri are also brilliant.

Ghai’s direction is masterly. The man with the Midas touch is once again in perfect sur, perfect taal.

But just two points of caution here: the second promotional trailer of Taal, currently on air on satellite channels, is being found too ‘class’-appealing by the public. Since the film has so much ‘mass’ appeal, Ghai should change the trailer — quick! Secondly, Ghai should ensure that by the time Taal is released, the Ishq bina kya jeena yaaron number becomes a rage. The song has the merits. What is required is hammering. Because that can make a world of a difference to the film’s opening.

– Komal Nahta

INDER KUMAR BEREAVED

Narendra Kumar, youngest brother of actor Inder Kumar, expired on 8th July in Agra due to an electric shock. He was 18.

JEETENDRA, PRASAN BEREAVED

Producer and Bombay distributor Amarnath Kapoor, father of actor Jeetendra and producer Prasan Kapoor, passed away on 9th July at his residence in Bombay following cardiac arrest. He was 84 and is survived by his wife, two sons, two daughters and grandchildren.

ROHIT ROY WEDS

A reception to celebrate the wedding of actor Rohit Roy with Mansi Joshi was held last week at Royal Palms, Goregaon, Bombay.

TAX-EXEMPTION FOR ‘SARFAROSH’ IN U.P.

John Mathew Matthan’s Sarfarosh has been granted entertainment tax exemption for a period of two months by the Uttar Pradesh government with immediate effect. Incidentally, Sarfarosh has already been granted tax exemptions in Delhi and Maharashtra.

INDORE EXHIBITORS, DISTRIBUTOR HOSPITALISED

C.I. exhibitors Anil Pahuja and Chandu Goyal and distributor Aditya Chowksey met with a serious accident when the car they were travelling in from Dewas to Indore on 7th July collided head-on with another car coming from the opposite direction. The three had gone to Dewas in connection with checking video piracy. Anil sustained multiple fractures on his left hand and foot. Chandu Goyal’s nose was fractured and he also sustained injuries on his eye. The doctors have been able to save his eye. Aditya sustained minor injuries only. The skin on his forehead has had to be grafted. All the three were hospitalised immediately and are recuperating.

Both the cars were completely damaged.

NEW CINEMA AT PHALODI

A new cinema, N.K. Cinema, opened at Phalodi (Rajasthan) on 4th July with Sooryavansham. The cinema was inaugurated at the hands of Rajasthan health and information minister Rajendra Choudhary. It is owned by I.D.U. Khan and managed by Abdul Majid. The cinema has a seating capacity of 894.

YASH CHOPRA STARTS HOME ENTERTAINMENT DIVISION

Yash Chopra has started a home entertainment division called Yash Raj Films Home Entertainment. The first release of the company is the video cassettes and DVDs of Dil To Pagal Hai.

TULSIDAS BHATIA BEREAVED

Jaswanti, wife of financier Tulsidas Bhatia, expired on 8th July in Bombay at Breach Candy Hospital where she had been admitted two days earlier. She was 70.

MARATHI FILM COMEDIAN VASANT SHINDE DEAD

Veteran Marathi stage and screen actor Vasant Shinde, who witnessed the evolution of cinema from silent era to the present, died in Pune on 4th July following a massive heart attack. He was 87 and is survived by a son and two daughters.

Vasant Shinde was a comedian par excellence and worked in around 225 films. His prominent films were Lavani Bhulali Abhangala, Prem Sanyas, Ram Joshi and Sangtye Aika.

BANK FINANCE FOR FILMS LEFT TO INDIVIDUAL BANKS’ DISCRETION

The working group constituted under the aegis of the Indian Banks’ Association last year to study in depth the need, mode of financing, security and other aspects pertaining to bank finance for film industry, and to suggest suitable financing methodology, filed its report recently with the IBA after three meetings. The report was later examined by the IBA’s managing committee which observed that so far, film production has not been granted an industry status by the government. It was also observed that the working group report attempted to codify the circumstances prevalent in the film industry and it was a piece of guidance to the member-banks. Subsequently, it was decided to accept the report and leave it to the member-banks to decide the course of action to be taken. It was further decided to forward a copy of the report to RBI and to circulate the report among member-banks for information.

It may be recalled that a special session to discuss institutional financing for the film industry was held during a national conference on ‘Challenges before Indian Cinema’, jointly organised by the Federation of Indian Chamber of Commerce & Industry (FICCI) and the Film Federation of India (FFI), in Bombay on 10th May last year. It was during that session that the working group had been constituted. The working group was chaired by IBA deputy chairman and Bank of Baroda managing director K. Kannan. The other members included K.C. Chowdhary, S. Rajagopal, T.S. Raghavan, P.S. Sheldenkar, C.B. Mouli, A.R. Kher and FFI representatives Pahlaj Nihalani and B.G. Dave.

IMPPA CANCELS CELEBRATION, DONATES TO ARMY

The IMPPA, which was to celebrate its 60th anniversary this year with a grand function, has decided to cancel the celebration. Instead, it will contribute Rs. 1,01,000/- to the Army Central Welfare Fund, for the Kargil victims. This will be IMPPA’s contribution over and above the individual contributions being made by producers.

In the meantime, IMPPA has requested producers and their family members to send in their contributions at the IMPPA office for onward submission to the Army Central Welfare Fund.

YOU ASKED IT

Which actor and actress, according to you, have delivered award-winning performances of the year so far?

– Even though this year is only half-way through, there have already been several performances that deserve to be awarded. Among these are actors Aamir Khan (for both, SARFAROSH and MANN) and Ajay Devgan (for HUM DIL DE CHUKE SANAM); and actresses Kajol (for HUM AAPKE DIL MEIN REHTE HAIN) and Aishwarya Rai (for HUM DIL DE CHUKE SANAM).

There have been several successful films in the first half of 1999 but none has proved an all-India hit. Why so?

– Because some of the hit films did not have universally appealing subjects, and those that did have universally acceptable subjects weren’t hit subjects.

Why did Mann not take as great an opening in the rest of the country as in Bombay?

– That’s not surprising at all. For one, Aamir Khan starrers have never had great openings in North India and so also MANN. Secondly, the film has good music but not one that can be termed exceptional which is what is necessary for a grand opening.

PRODUCTION NEWS

‘Refugee’ 15-Day Spell In Bhuj

Producer-director J.P. Dutta will start a 15-day shooting schedule of J.P. Films’ Refugee from July 11 in Bhuj. Two songs and scenes will be picturised featuring all the artistes. The film introduces Abhishek Bachchan and Kareena Kapoor in the lead. It co-stars Jackie Shroff, Sunil Shetty, Anupam Kher, Kulbhushan Kharbanda, Reena Roy, Sudesh Berry, Padmini Kapila, Punit Issar, Ashish Vidyarthi, Mukesh Tiwari, Shadab Khan, Vishwajeet Pradhan, Arif Zakaria, Avtar Gill and Amit Ghanshyam. It has music by Anu Malik, lyrics by Javed Akhtar, dialogues by O.P. Dutta, cinematography by Bashir Ali, action by Bhiku Verma, dances by Saroj Khan, sound by Buta Singh, and editing by Deepak and Vilas.

‘Har Dil Jo Pyar Karega’ In East Africa

Producer Sajid Nadiadwala’s Har Dil Jo Pyar Karega, being directed by Raj Kanwar, will be shot from July 25 to August 15 on locations in East Africa. Three songs and many scenes will be picturised on Salman Khan, Rani Mukerji and Preity Zinta. Four helicopters and three small aircrafts will also be employed in the shooting. Being made under the banner of Nadiadwala Grandson Entertainment, the film has music by Anu Malik and lyrics by Sameer. Screenplay: Rumi Jafri. Cinematography: W.B. Rao. Choreography: Farah Khan.

REGIONAL FILMS

GUJARATI

Govind Patel To Launch ‘Gaam Maa Piyariyu…’

Following the phenomenal success of Desh Re Joya Dada Pardesh Joya, producer-director Govindbhai Patel will launch his 13th production, titled Gaam Ma Piyariyu Ne Gaam Ma Sasaryu on July 13 with a grand muhurt at Lucky Studios, Halol. The film’s story and screenplay is by Govindbhai Patel himself. Music is scored by Arvind Barot who has also penned the lyrics and dialogues. The film stars Hiten Kumar, Roma Manik, Firoz Irani, Kalpana Dewan, Devendra Pandit, Devyani Thakkar, Nimita, Bharti Sharma, Hiralal Thakkar, Manhar Thakkar, Sameer Rajda, Dinesh Hingoo, Indumati Rajda, Manisha Purohit, Trambak Joshi, Usha Lakod, Jeetu Dwarkawala, Hina Upadhyay and Hina Rajput. Being made under the banner of G.N. Films (Keshod), this will be the first Gujarati film to be made in Cinemascope with digital sound.

BHOJPURI

Moushumi In Title Role

Moushumi Chatterji has been signed to play the title role in Manoranjan Films International’s Badki Bhauji. The film is being produced by Manoranjan Sinha and directed by Prabhat Pandey. Also in the cast are Salil Sudhakar, Girija Shankar, Madhu Sharma, Kripa Shankar, Manoranjan Sinha, Girish Kumar and Rakesh Ranjan. Cinematography: F.R. Khan.

CENSOR NEWS

Pinnacle Entertainments P. Ltd.’s Sar Ankhon Par was given C.C. No. CIL/1/36/99 (U) dt. 7-7-’99; length 4263.02 metres in 16 reels (no cut).

Well Makers Films’ Chudail No. 1 (revised) was given C.C. No. CIL/3/30/99 (A) dt. 9-7-’99; length 2847.49 metres in 15 reels (cuts: 348.70 metres).

S.A.S. Movies’ Shaitan No. 1 (dubbed) was given C.C. No. CFL/3/51/99 (A) dt. 7-7-’99; length 2258.68 metres in 5 reels (minor deletion in sound only).

Warner Brothers’ Mahashaktimaan (dubbed) was given C.C. No. CFL/3/50/99 (A) dt. 6-7-’99; length 3862.73 metres in 7 reels (minor deletion in sound only).

REGIONAL FILMS

Gangani Film Productions’ Man Saayba Ni Mediye (Gujarati) was given C.C. No. CIL/1/35/99 (U) dt. 7-7-’99; length 4610.96 metres in 17 reels (cuts: 3.01 metres).

S.C. Entertainment’s Dracula 2000 (Telugu, dubbed; length 2542.24 metres in 6 reels), applied on 7th, was seen on 8th.

Devanchal Pictures’ Sat Manglya (Garhwali; length 4171.22 metres in 18 reels), applied on 8th, was seen on 9th.

Paramount Films’ The Prince Of Egypt (Egyptinte Rajkumaran) (Malayalam, dubbed; length 2712.76 metres in 10 reels), applied on 8th, was seen on 9th.

Aditya International’s Bhairavadu (Telugu, dubbed; length 2121.50 metres in 5 reels) was applied on 9th.

TRAILERS

Trailer of Devgan Films’ Hindustan Ki Kasam was given C.C. No. CIS/1/161/99 dt. 8-7-’99; length 52.57 metres.

Trailer of Vishesh Films’ Yeh Hai Mumbai Meri Jaan was given C.C. No. CIS/1/159/99 dt. 7-7-’99; length 73.10 metres.

Trailer of J.K. Movies’ Agni Putra was given C.C. No. CIS/3/26/99 (A) dt. 7-7-’99; length 88.42 metres (cuts: 1.49 metres).

Trailer of B. Gupta Creations’ Admi Aur Aurat was given C.C. (in Delhi) No. CIS/1/18/99 (A) dt. 14-6-’99; length 95.30 metres (cuts: 2.50 metres).

Trailer of Gangani Film Production’s Man Sayba Ni Mediye (Gujarati) was given C.C. No. CIS/1/160/99 dt. 8-7-’99; length 104.74 metres.

IMPORTED FILMS

Paramount Films’ The Mummy was given C.C. No. CFL/3/52/99 (A) dt. 8-7-’99; length 3418.20 metres in 14 reels (no cut).

Superfine Films’ The Possession: Witchboard 3 was seen on 5th.

20th Century Fox’s Star Wars: Episode I – The Phantom Menace was seen on 7th; Never Been Kissed has been passed with UA certificate, with cuts.

DO YOU KNOW?

* Sujit Kumar’s ANUBHAV has been revived in Bombay this week at Super and 6 other cinemas with an imaginatively amusing publicity campaign. The posters all over the city scream, “BIWI NO. 1 Ho Ya BIWI NO. 2, Donon Ko Pyar Ka ANUBHAV Chahiye”!

* MANN is the first film in Nizam which has been released in 7 districts simultaneously with Hyderabad and Secunderabad — at Aurangabad, Nanded, Parbhani, Gulbarga, Raichur, Warangal and Nizamabad.

* Playback singer Jaspinder Narula’s brother, Micky Narula, will make debut as a music director with Rashtriya Productions’ WOH BEWAFA THI. He also plays a lead role in the film.

3-E
Education-Entertainment-Enlightenment

‘Taal’ Release On The Beat

Finally, the speculation over the release date of Taal has ended. The film, according to Subhash Ghai, will definitely hit the screens all over on 6th August. Accordingly, premieres of Taal will be held from 5th August onwards in London, New York, Los Angeles and Toronto. Organised by the film’s Overseas distributors, Eros International, London, each premiere screening will be preceded by a grand event. Currently, an extensive media plan to promote Taal through display of vinyl hoardings on the streets of London and New York is being carried out. It would be a first for a Hindi film. Meanwhile, A.R. Rahman is recording the background score at Audeus. And Ghai — well, he is working day and night literally. Shooting (patch-work scenes) in the day, sitting on the background score with Rahman and editing in between.

…Another One On ‘Mann’

Mann publicity continues to feature in this column this week, too. The latest is a striking replica of Sun Vista, the luxury cruise on which Mann has been shot, which is placed on display in the foyer of Bombay’s Eros cinema. The replica has been attracting a great deal of attention of cinegoers. Moreover, the entire interior of Eros has been repainted in the lavender shade — the colour of the logo of Mann! As if this weren’t enough, a special live band has been hired to play the film’s music in the cinema’s foyer, before and after each show and during the interval.

Meanwhile, Mann magic also continues, if the public reaction during the first show on Friday at Eros, Bombay, is anything to go by. A group of people in the audience took to dancing in the aisle during songs and the music piece in the film.

Gola Ka Mann Bola

Hyder Gola (Gola Bros.), a Bombay distributor of dubbed Hindi versions of English films of the horror and sexy kind, has been inspired by Mann so much that he has decided to turn a producer with all his tan-mann-dhan! Know how? He has announced his maiden production venture as Tan-Mann! He has also announced the title of its English version as Mind And Body. And mind you, this is no mindless exercise. For, the film will be shot in a 15-day schedule (till completion) in Bombay and Jaipur.