FIZA
The Culture Company (I) Pvt. Ltd. and UTV Motion Pictures’ Fiza (UA) is the story of a homely boy who gets sucked into the world of terrorism, leaving behind his widowed mother and unmarried elder sister to fend for themselves. The film, set amidst the 1993 riots of Bombay, reminds of Mani Ratnam’s Bombay but minus its intensity, emotions, finesse and class.
Fiza and Amaan are two grown-up children living in Bombay and being brought up by their mother. Amaan, during the 1993 riots, one night accompanies his friends to a place near his house where a communal riot has broken out. Before he knows it, he, too, has become a part of the rioters. To save his life and the lives of other helpless people, he finds himself resorting to cold-blooded murder. Having committed such heinous crimes, he does not return home but instead joins a group of youth whose aim is to prevent such riots from erupting in the future. This group does not believe in communalism of any sort but it is always on the run from the police. After several years, the boy’s sister sets out in search of him and succeeds in pulling him out of the terrorist group. She brings him home but the restless boy rejoins the group he had left, as he feels that service through that group and only that group is his mission in life. In the end, after more barbaric killings, he himself is killed at the hands of his sister.
The film, besides being too grim, tragic and depressing, suffers on many other fronts. The screenplay has flaws and the narrative and techniques adopted to convey the story, too, are not without mistakes. For one, why does Amaan get sucked into terrorism? There’s no real instigation for the lad to leave his family and become a criminal overnight. This is, perhaps, the biggest minus point of the story because the audience, in the absence of a solid motivating factor for Amaan to turn a terrorist, is not ready to sympathise with a hero who picks up the gun so meaninglessly. Secondly, once he returns with his sister, why does he go back to the terrorists? This is sought to be explained through dialogues to the effect that he is being rejected by society and hence his return. But there are no scenes of his rejection! Yet another weak point is the time lag of about six years before the sister sets out in search of her brother. The impact of the tragedy of loss of a brother is diluted completely in the intervening period of so many years. A better way out would have been to avoid the use of so many flashbacks and to instead have kept a straight narrative — perhaps, the first half could have been devoted to the family life and romantic lives of the brother and of the sister, and the post-interval portion could’ve dealt with the sister’s search for her brother. As it is, romance is almost missing in the film and comedy is feeble. Emotions lack impact.
The first half is somewhat interesting but, after interval, the film becomes boring and often meanders directionlessly. The pace also becomes unbearably slow.
On the positive side, the film boasts of an excellent music score (Anu Malik and one song by A.R. Rahman), peppy song picturisations and excellent camerawork by Santosh Sivan, besides a fabulous performance by Fiza (Karisma Kapoor). But where the musical score is fantastic, song situations look contrived and, therefore, reduce the impact of the hit music. Karisma Kapoor’s dance in the discotheque can be easily deleted. The song picturised on Asha Sachdev, too, can be edited. The ‘Aaja Mahiya’, ‘Mujhe mast mahaul mein’ and title song are superbly tuned.
Jaya Bachchan does a good job as the widowed mother of Amaan (Hrithik Roshan) and Fiza (Karisma). But the suicide committed by such a strong lady is difficult to digest. Karisma Kapoor is first-rate as the suffering sister in search of her brother. She goes through her character with a rare understanding and with such aplomb that the audience’s hearts go out to her. Hrithik Roshan looks very charming and acts ably. His dance on the ‘Mere watan’ song and his muscles shown therein are a pleasure to watch. His fans, however, will feel a bit let down due to the limited scope he gets. Manoj Bajpai does well in a small role but his talent has been wasted. Bikram Saluja looks handsome but has no worthwhile role as Karisma’s boyfriend. Similarly, Neha, too, has no significant role and is average as Hrithik’s girlfriend. Sushmita Sen mesmerises with her sexy dance. Anoop Soni and Sabir Masani are impressive. Isha Koppikar is okay. Asha Sachdev does a fair job. Johny Lever raises laughter even though his entry looks contrived. Shivaji Satam, Sanjay Narvekar, Dinesh Thakur, Ravi Jhankal and the others lend fair support.
Khalid Mohamed’s debut as a director is confused. Along the way, he seems to have forgotten what he wanted to say and also how he wanted to say it. His over-dependence on tight close-ups gets too monotonous after a while. Just an example of how tight close-ups can mar the effect of a sequence is the climax where Hrithik is pleading with his sister to kill him even as the police force is charging towards him. Since Hrithik and Karisma are shown in close-ups, and the police’s movement is also shown in close-ups, the tension of the approaching police force is never felt — since all the characters are never shown in one frame! Dialogues (Javed Siddiqi) are very natural and appealing too. Action scenes are alright. Ranjit Barot’s background score is effective.
On the whole, Fiza is a disappointment as far as its plot and narration go. It is too depressing to be liked by the audience. The Hrithik mania and the hit music have resulted in a bumper opening for the film but, given its slow pace and dull, dry and drab content, the appreciation will be forthcoming only from the class audience in ‘A’ class centres. Exhibitors, who’ve booked the film at crazy and fancy terms to cash in on the craze, will face losses. Business in Bombay and Maharashtra will definitely be better.
Released on 8-9-2000 at New Excelsior and 19 other cinemas of Bombay by Culture Company in association with UTV thru Shringar Films. Publicity: extraordinary. Opening: bumper. …….Also released all over. Opening was mind-blowing almost everywhere.
LATEST POSITION
It was a normal week…. The opening of FIZA this week is bumper.
……….
Hamara Dil Aapke Paas Hai is very strong in Gujarat and Saurashtra and steady in good cinemas of Delhi and in U.P., parts of C.P. Berar and Nizam. 2nd week Bombay 45,80,840 (68.87%) from 12 cinemas (8 on F.H.); Ahmedabad 24,61,542 from 7 cinemas, Surat 5,87,000, Anand 1,89,000, Baroda 4,01,000, Mehsana 84,493, Navsari 2,79,411, Ankleshwar 1,24,000, Bharuch 1,39,000, Palanpur 1,67,069, Vapi 3,16,666, Valsad 1,66,556, Rajkot 2,83,220 from 2 cinemas (1 in matinee), Jamnagar 1,36,925, Bhavnagar 1,77,608 from 2 cinemas (1 in matinee), Junagadh 1,02,980, Adipur 95,811, Porbandar 86,195, Bhuj 1,04,000, Morbi 46,176; Pune 8,74,005 from 3 cinemas, Solapur 2,08,503 from 2 cinemas (1 in matinee); Delhi 34,29,084 from 8 cinemas; Kanpur 2,84,016 from 2 cinemas, Lucknow 4,19,484, Agra 3,55,000, Varanasi 1,35,859, Allahabad 1,38,134, Meerut 1,71,407, Dehradun 1,42,715, Gorakhpur 1,09,582, Aligarh 1,60,000, Moradabad 1,13,598, Jhansi 99,799; Calcutta 12,66,366 from 15 cinemas; Nagpur 3,70,116 from 3 cinemas, Jabalpur 1,13,784, Amravati 1,76,410, Akola 1,20,961, Raipur 1,33,201, Bhilai 1,09,646 from 2 cinemas, Jalgaon 1,57,172 (1st 2,27,213), Chandrapur 1,17,996 (heavy rains), total 2,69,758, Bilaspur 72,948; Indore 2,39,278 from 2 cinemas (1 on F.H.), Bhopal 2,38,225 from 2 cinemas; Jaipur 7,03,741 (89.71%); Hyderabad (gross) 6,87,382 from 3 cinemas (1 in noon).
Tera Jadoo Chal Gayaa 3rd week Bombay 9,43,815 (59.38%) from 3 cinemas (11 on F.H.); Pune 4,23,438 from 3 cinemas (1 in matinee), Solapur 1,06,444; Delhi 4,72,477 from 2 cinemas (2 on F.H.); Muzaffarnagar 25,000 (2nd 35,000); Calcutta 1,86,389; Nagpur 1,19,803 from 2 cinemas, Jalgaon 47,786, total 2,80,762, Chandrapur 67,607, total 4,10,201; Indore 69,462, Bhopal 50,000; Jaipur 1,80,891 (26.03%); Hyderabad (gross) 2,94,515.
Dhadkan entered 5th week in Bombay at Eros and 10 other cinemas; 4th week Baroda (21 shows) 1,88,886 (3rd 1,99,632); Pune 3,60,175 from 4 cinemas (1 in matinee), Solapur 89,528 from 2 cinemas (1 in matinee); Delhi 18,77,615 from 10 cinemas (1 on F.H.); Muzaffarnagar 45,000, total 3,06,463; Calcutta 1,79,020; Nagpur 3,13,616 from 3 cinemas, 1st week Balaghat 90,233, 4th week Jalgaon 92,984 (3rd 1,05,058), Sagar 30,289, total 2,45,614; Jaipur 1,40,207 (27.27%); Hyderabad (gross) 7,52,449 from 3 cinemas (1 in noon, 1 on F.H.).
Deewane 4th week Bombay 5,82,492 from 5 cinemas (4 on F.H.); Pune 2,30,304 from 3 cinemas, Solapur (matinee) 15,631; Delhi 73,356; Bilaspur 35,890; Jaipur 79,395 (16.52%).
10-MINUTE JUDICIAL CUSTODY FOR DILIP KUMAR
Veteran star Dilip Kumar, who is a director in Mohan Meakins Ltd., Lucknow, which was charged with violating pollution control laws, was held in judicial custody for 10 minutes on 4th September, on charge of being the director of a polluting industrial unit. He was released on bail by special judicial magistrate, pollution, Vidushi Singh. The actor furnished a personal bond of Rs. 30,000 and two sureties of like amount. He remained in judicial custody for ten minutes after he surrendered in the special court. The court had warned him to appear before the court on the date fixed, either in person or through his counsel, failing which the surety amount would be forfeited.
The charge against the actor came up following U.P. Pollution Control Board’s allegations levelled in 1983 against Mohan Meakins Ltd. and its directors at Ghaziabad and Lucknow for violation of pollution laws.
DADASAHEB PHALKE AWARD FOR HRISHIKESH MUKHERJEE
Veteran director Hrishikesh Mukherjee will be the recipient of this year’s Dadasaheb Phalke award. The 79-year-old director has been conferred with the honour in the 55th year of his career in cinema. Reacting to the news, the director expressed, “I am happy and even surprised that this honour has come to me in the 55th year of my career in cinema. It’s nice to know that people still remember me. ….But I no longer feel like making films.”
Hrishikesh Mukherjee had his own distinctive style of providing entertainment on the big screen. He always narrated simple tales of simple people, like in Anuradha, Anupama, Abhimaan, Anari, Asli Naqli, Guddi, Satyakam, Anand, Chupke Chupke, Mili, Namak Haraam, Bawarchi and Khubsoorat.
Hrishi-da’s maiden film, Musafir, had won the President’s silver medal in 1958. His last released film was Jhoot Bole Kauwa Kaate, starring Anil Kapoor and Juhi Chawla.
Many top stars of the last five decades have worked under Hrishikesh Mukherjee — right from Ashok Kumar, Dilip Kumar, Raj Kaproor, Dev Anand, Dharmendra, Rajesh Khanna and Amitabh Bachchan to Anil Kapoor and Juhi.
KETAN ANAND, VIVEK RELEASED ON BAIL
Ketan and Vivek, sons of late filmmaker Chetan Anand, were released on bail on 7th September by a court in Bombay. Additional sessions judge H.S. Deshpande enlarged them on bail of Rs. 20,000 in addition to one surety each. The judge directed them not to leave Bombay without leave of the court and also not to contact witnesses. The judge was of the opinion that there were two possibilities in the case — the accused could have been either present or absent at the scene of the crime and, therefore, it would be too harsh to refuse them bail.
Ketan and Vivek, alongwith their servant, Mala Choudhary, and her relative, Ashok Chinnaswamy, were arrested on 4th April for their alleged involvement in the murder of former actress Priya Rajvansh who was a life-long companion of Chetan Anand.
RANDHIR KAPOOR HOSPITALISED
Randhir Kapoor was hospitalised at Breach Candy a few days back for severe infection in both his legs. While his infected right leg was responding favourably to the treatment, the infection in his left leg was slow in recovery.
Reportedly, the actor-producer-director will be discharged from hospital after some days.
MUKRI NO MORE
One of the finest comedians of Indian screen, Mukri, passed away on 4th September at Lilavati Hospital, Bandra, Bombay. He had been battling for life for over a month, suffering from respiratory problems and renal failure. He had been moved to the intensive care unit two weeks before the end came. Mukri was 78 and is survived by his wife, three sons and a daughter (Naseem Mukri who had co-written Dhadkan). He was buried the same day at the Yari Road crematorium, according to Muslim rites, in the presence of many film personalities. Dilip Kumar, a childhood friend who was his classmate at the Anjuman Islam School, was present by his bedside when Mukri breathed his last.
The pint-sized comedian, who made his debut in films six decades ago with Nadan (1943), rose to fame in Devika Rani’s Pratima, a Dilip Kumar starrer made in 1945 under the banner of Bombay Talkies and directed by Jairaj, who, incidentally, passed away last month (11th August).
Mohammed Umar Mukri, born on January 5, 1922, was a constant companion of Dilip Kumar in films like Pratima, Kohinoor, Aan, Ram Aur Shyam, Leader and his latest, Qila. He starred with Amitabh Bachchan in films like Amar Akbar Anthony (the song Taiyab Ali jaan ka dushman was picturised on Rishi Kapoor and, among others, Mukri who played Taiyab Ali), Sharaabi (Amitabh’s patent dialogue in the film — Moochhe ho toh Nathuram jaisi — referred to Mukri’s moustache), Coolie, Naseeb and Bombay To Goa. Some other notable films of Mukri, who worked in nearly 600 films in his 60-year-long film career, are Padosan, Mother India, Amar, Kala Pani, Mera Saaya, Milan and Himalay Ki Godmein. In the early fifties, the Shaikh Mukhtar-Mukri pair of Lambu and Chhotu proved a hit in films like Ustad Pedro, Dada, Qaidi No. 1, Barood and Dara.
In his condolence message, Dilip Kumar has expressed the following sentiments: “Our friendship was well over five decades old. Mukri was a man of crystal quality, loyal, outspoken and most affectionate at heart, with a wide circle of caring friends who held Mukri in astonishing admiration to his very end. As an actor, he had his own era and his global fans who never failed to greet him wherever they saw him. May God receive him in His abiding grace and eternal favour.
Comedian Johny Walker, who worked with Mukri in about a dozen films, paid tributes to him, saying, “Mukri had his own unique style, no one could copy him. He was a good worker and a good human being.” Another comedian, Jagdeep, who also worked with Mukri in about 18 films, said, “He gave a lot to India in a funny way. He was a wonderful person. I will always remember him as a jovial person even on the sets.”
MAMTA KULKARNI’S ALLEGATIONS AGAINST MAGISTRATE
Mamta Kulkarni’s allegations against additional metropolitan magistrate, Bombay, K.H. Holambe Patil has made the Bombay high court take serious note of them.
A division bench of the high court on 7th September directed the court registrar to place before Chief Justice B.P. Singh, certain averments made by Mamta Kulkarni, for appropriate administrative action, if he deemed fit.
The high court also quashed Mr. Patil’s order passed on July 19, 2000, levying a penalty of Rs. 15,000 on the actress in an obscenity case, regarding a cover page photograph in Stardust in 1993. The court was hearing a petition filed by the actress, seeking to quash the magistrate’s order. Significantly, the bench comprising Justices G.D. Patil and R.M. Lodha directed the state to refund to Mamta Kulkarni the fine paid by her as they observed, the magistrate did not have any legal jurisdiction to levy such a penalty.
The magistrate had charged her Rs. 15,000 as penalty when she requested him to cancel a non-bailable warrant issued against her. According to the petition, the magistrate had issued summons against her even though her name was not mentioned as an accused in the First Information Report. She was acquitted in the obscenity charge on August 25 by Mr. Patil.
Senior advocate Ramrao Adik and advocate Peter Lobo said, no court can levy a fine or penalty for cancellation of a non-bailable warrant. Additional advocate general P. Janardhanan conceded that there was no such provision under law.
The contentions made by Mamta Kulkarni in her petition included that the magistrate, while hearing an application made by her, allegedly “conducted himself in a manner unbecoming of a presiding officer of the court”. She alleged that the magistrate seized the opportunity of “insulting” her in the most “derogatory” manner. She said in her petition that when she begged to be pardoned by the magistrate for not being present once on a previous date, he allegedly said, “There are many beggars on the street near Gateway of India but alms are given to deserving beggars only.”
Mamta Kulkarni said the magistrate even questioned her motive behind wearing a black burkha to court. He allegedly said, she wore the black burkha to “deceive the police and evade arrest”. He allegedly said that the actress “did not care about the kind of clothes she wore on screen and while posing for photographs”.
Mamta Kulkarni further contended in her petition that when her lawyer submitted that her non-bailable warrant may be cancelled for a Rs. 500 fine, the magistrate allegedly replied saying that, taking into account her “attitude and status” even a Rs. 5,000 fine was “too little” and that even the peons and clerks attached to his court made more money by way of bakshish.
‘DULHAN HUM LE JAYENGE’ JUBILEE
Producer Gordhan Tanwani’s Dulhan Hum Le Jayenge, directed by David Dhawan, has entered combined 25th week at Naaz (matinee), Bombay. It stars Salman Khan, Karisma Kapoor, Anupam Kher, Paresh Rawal and Om Puri. Music: Himesh Reshammiya.
B.S. GROVER NO MORE
Producer B.S. Grover passed away on 2nd September at a hospital in Bombay following multiple organ failure. He was 60 and is survived by his wife, a son and a daughter. B.S. Grover was a noted industrialist and was the chairman of the All India Manufacturers’ Organisation (AIMO) for two consecutive years (1987 and 1988). As a producer, he made Bahu Ki Awaaz (1985).
‘KUCH KUCH HOTA HAI’ 100 WEEKS!
Yash Johar’s Kuch Kuch Hota Hai, which marked the triumphant debut of its director, Karan Johar, and which won the National Award for the best film providing wholesome entertainment, entered 100th combined week at Imperial (matinee), Bombay, on 8th September. It stars Shah Rukh Khan, Kajol, Rani Mukerji, Salman Khan (guest appearance), Farida Jalal, Anupam Kher, Archna Pooran Singh and Johny Lever. Music: Jatin Lalit.
YOU ASKED IT
Can you recall any art or class film which created such a craze in advance booking as Fiza did?
– Not really. FIZA had two trump-cards to create a pre-release hysteria — Hrithik Roshan and hit music! No other art or class film had such major highlights or plus points.
What percentage of a film production cost constitutes artistes’ remuneration in a big-budget project?
– About 20%-25%.
Which film trade association’s AGM and elections are expected to generate much heat this year?
– None at all!
DO YOU KNOW?
* MISSION KASHMIR has been booked for Surat at an unheard of price. The deadly combination of Sanjay Dutt, Jackie Shroff and Hrithik Roshan alongwith the impressive promotional trailer currently on air seem to have done the trick for the film directed by Vidhu Vinod Chopra.
* As many as 9 prints of HAMARA DIL AAPKE PAAS HAI have been added in the 2nd and 3rd weeks — 4 in Delhi-U.P., 2 in Bihar, 2 in C.P. Berar and 1 in Nizam.
* GALIYON KA BADSHAH may be among the very few small-budget films of which music rights have been picked up by a music company. Tarana Music Company acquired the audio rights of the film, directed by Kanti Shah, earlier this week. Music is scored by Jitin Shyam and lyrics are penned by Jalil Ahmed.
* C.P. Berar distributor Laloo Kabra (of Vishwajyoti Films, Bhusawal), who had distributed KN…PH in his territory, has 3 Hrithik Roshan starrers for distribution in C.P. Berar — MISSION KASHMIR, which is slated for release on Diwali; NA TUM JAANO NA HUM, early next year; and AAP MUJHE ACHCHE LAGNE LAGE, in mid-2001.
‘Hamara Dil Aapke Paas Hai’ Event In Baroda
The whole of Baroda was in a spin on the evening of 2nd September. And not without reason! Stars no less than Anil Kapoor, Sridevi, Boney Kapoor and Satish Kaushik had descended on the cultural city of Gujarat and, notwithstanding the almost 2-hour delay of the flight, the enthusiastic and joyous crowds waited with bated breath at the airport to welcome their favourites.
The Holiday Inn Convention Centre, Baroda, had planned an event around Boney Kapoor’s Hamara Dil Aapke Paas Hai on the night of 2nd September. It was for this event that producer Boney Kapoor had graciously consented to take his film’s unit to Baroda. Bombay distributor Ashok Ahuja, too, was a special guest (Vimal Agarwal and Nandu Ahuja could not make it to Baroda). The film’s runaway success not only in Baroda, but all over Gujarat and Saurashtra only added to the excitement in the air. The event was a dinner with the Hamara Dil Aapke Paas Hai unit. And boy! the response from the Baroda inhabitants was stunning, to say the least.
The Holiday Inn Convention Centre and Indian Express also put up a Hamara Dil Aapke Paas Hai contest. Participants have to, among other things, answer a series of questions relating to the film, in the contest running currently. The contest, open to people staying in Gujarat, has exciting prizes — the first being gold jewellery worth Rs. 75,000, sponsored by Baroda’s leading jewellers, C.H. Jewellers, and the second, a home theatre and a 21-inch colour TV by Crown TV. Other prizes include stays in BASS Hotels & Resorts, a hundred gift hampers from Coca-Cola and a host of stays from Holiday Inn Hotels in India. All these expensive gifts would, of course, be the winners’ for free. No statements like hamara bill aapke paas hai by the sponsors!
The unit zipped off in waiting cars to C.H. Jewellers before the members checked in at Holiday Inn. Paresh Soni of the jewellery showroom was only too glad to present a shining gold bracelet to Anil Kapoor. Hamara jewel aapke paas hai!
In the hotel, guests on the sprawling lawns accorded a thunderous and warm welcome to the unit as Boney, Sridevi, director Satish Kaushik and Anil Kapoor occupied their seats on the dais. Still photographers clicked merrily as the stars posed gamely for them, flashing their million-dollar smiles as myriad flash-guns brightened the night. Hamara still aapke paas hai!
Snehal Kulshreshtha, the young and dynamic general manager of Holiday Inn, made the most of the stars’ presence and hosted a live quiz show before dinner. Questions about Hamara Dil Aapke Paas Hai as also about the careers of Anil Kapoor, Sridevi, Satish Kaushik and Boney Kapoor were thrown to the distinguished guests of Baroda. The audience participation was both, heartening and enlightening. That the people of Baroda are so well-informed about films and their favourite stars was quite a revelation! The lucky winners of the on-the-spot quiz contest were given CDs and audio cassettes of HDAPH, specially autographed by either of Anil Kapoor, Boney Kapoor, Sridevi or Satish Kaushik. Gift vouchers of Holiday Inn were also handed over as prizes. Enthusiastic winners — girls and guys, men and women — personally received their prizes at the hands of the celebrities. An over-enthusiastic young girl, unable to control her emotions, even planted a kiss on Anil Kapoor’s cheek. Hamara kiss aapke paas hai!
The question-and-answer session went on for a good 45 minutes to an hour and the people of Baroda were zapped at the enthusiastic way in which the stars participated in it. Before the spot quiz, Boney Kapoor formally launched the Holiday Inn – Indian Express contest revolving around his film. The series of questions about the film are being published in the Indian Express all over Gujarat every alternate day for one month. Slogans regarding Holiday Inn and Indian Express would be required to be filled in by the participants. The lucky winners will get their prizes at the time of 100 days’ celebration of the film in Baroda, declared Snehal before dinner. Hamara 100 days aapke saath hai!
Kanak Ghosh, general manager, Gujarat, and Vipin Pubby, editor, Gujarat, both of Indian Express, were present at the celebrations. Sanket Jhaveri of Crown TV also welcomed the Bombay guests with bouquets of flowers.
Before dinner could be served, Anil Kapoor, Satish Kaushik and Ashok Ahuja visited Apsara Theatre, Baroda, where HDAPH was being screened to a packed house. The guests at Holiday Inn waited for them to return for dinner. After all, hamara meal aapke saath hai! Anyway, the audience at Apsara and the crowds outside Apsara went wild with joy on seeing Anil and Satish in flesh and blood. Nimesh, the owner of Apsara, presented trophies to Anil, Satish and Ashok Ahuja and handed over trophies to Boney Kapoor and Sridevi later in the hotel. The excited crowds would not let Anil Kapoor and Satish Kaushik leave the dais before they obliged them by mouthing dialogues from their films or singing songs from their earlier hits.
After a very late dinner, the Bombay guests retired to their rooms as they had to board the early morning flight to Bombay. Boney Kapoor and Sridevi stayed back for the day and returned only in the evening. For, Boney had a stiff and painful neck that didn’t permit him to sleep all night. The doctor was summoned the next morning and Boney had to pop pills to get relief. Hamara pill aapke paas hai!
But the love and affection of the Baroda people in general and the Holiday Inn folks in particular was so much that all the pain in the neck (for Boney) must have vanished into thin air in no time.
– Komal Nahta
3-E
Education-Entertainment-Enlightenment
A Dream Come True!
Aatish Kapadia, the writer of the popular Gujarati serial, Sapnana Vavetar, and its Hindi version, Ek Mahal Ho Sapno Ka, and noted writer-director of Gujarati plays, Vipul Shah, always dreamt of one particular hit Gujarati play of theirs being made into a film. At long last, the film will be made by producer Gaurang Doshi (son of producer Vinod Doshi who had made Sachaa Jhutha, Blackmail and Nastik). But this was only half the battle won for Aatish and Vipul. The two had all along wished that Amitabh Bachchan would play the central role in the film. But the role was villainish. Would the Big B, a legend in his own lifetime, agree to do a negative role after having played the good and virtuous man all these years?, they wondered. Mustering enough courage, they did approach AB. Amitabh received them warmly, put them at ease and, after giving a patient hearing, said that he had liked the subject and gave his consent to do the negative role. However, Amitabh offered a suggestion, in fact, a premise for the negative character. It was “a great suggestion”, felt Aatish and Vipul. So, Amitabh Bachchan will be doing a bad man’s role after nearly three decades — that is, after Parwana (1972) and Gehri Chaal (1973).
When Good Is Not Good Enough
It is now hero Rajat Bedi’s turn to turn bad. Bad on the screen, that is! This six-footer has decided to do villain roles too, henceforth. Just recently, Puru Raaj Kumar, whose debut as hero in Bal Bramhachari did not do anything for his career, turned negative in Boney Kapoor’s Hamara Dil Aapke Paas Hai and played Mukesh Rishi’s evil brother. His villainy has come in for a lot of praise. Before that, Sharad Kapoor, too, found favour for his negative role in Josh. Jackie Shroff and Sanjay Kapoor are two more heroes who’ll be seen in negative light in two forthcoming films — Mission Kashmir and Koi Mere Dil Se Poochhe respectively.
Corporates Eyeing Filmworld
Some time ago, the Pantaloon people hopped onto the entertainment bandwagon by announcing that the company will produce a Hindi feature film, Na Tum Jaano Na Hum, under the banner of PFH Entertainment Ltd. The film, directed by Arjun Sablok and starring Saif Ali Khan, Hrithik Roshan and Esha Deol, is currently at an advanced stage of production (ready in 14 reels).
Now comes the news that another Indian corporate honcho, B.L. Saboo, a Delhi-based industrialist whose main business is manufacturing LPG cylinders, has also plunged into filmdom. He is jointly producing — with Mrs. Rahul Rawail — the Indianised version of Parent Trap, titled Kuch Khatti Kuch Meethi, being directed by Rahul Rawail. The film stars Rishi Kapoor, Rati Agnihotri, Kajol, Sunil Shetty and Pooja Batra in stellar roles.
It may be recalled that a while ago, corporate giant, Reliance, had also announced plans of investing in the entertainment industry. Even though the company has no plans of getting into film production, it is certainly eyeing the entertainment sector. Its immediate plan is to create infrastructure for broadband transmission.
The total revenue generation of the film industry in India is expected to grow from Rs. 6,215 crore in 1999 to Rs. 33,984 crore by 2005. The export earnings from film software are expected to grow from Rs. 665 crore in 1995 to Rs. 14,700 crore in 2005. Little wonder then that corporates, too, are bidding for their share of the pie.
A Festival Of Three Patis
Whose statues are the hot favourites in the Ganesh pandals erected for the Ganpati festival in Karnataka? Giving company to one pati (Ganpati) are two other patis! Occupying a pride of place in many Ganpati pandals are Amitabh Bachchan as seen in Kaun Banega Crorepati and jungle pati Veerappan.
INFORMATION MEETS
“My tunes are born out of warmth, passion and love. That’s all I need to make good music!”
– ANU MALIK
GAJAA
Anu Malik seems to have turned over a new leaf in the present-day scenario of music. His common refrain these days is, “I am updating myself to survive amidst competition.” But then, he is also back-aging himself when he says, “Even though I am touching forty, I feel like I am only 30 years old.” Anu came on the music scene in 1981 with Harmesh Malhotra’s Poonam. Despite good music in his first film, Anu’s quality work could not get much recognition and he got just a few assignments till he finally came up with some distinctive melodies in F.C. Mehra’s Sohni Mahiwal. He was thereafter backed by F.C. Mehra in films like Ek Jaan Hain Hum, Jaal, Mujrim, Chamatkar and Ram-Jaane as well as by Manmohan Desai in Mard, Allah-Rakha and Toofan. After a brief lull in his career, he hit back with Phir Teri Kahani Yaad Aayee (a telefilm), Baazigar, Maa and Sir, which heralded Anu Malik of a musically different kind. He slowly but surely became a seasoned music director and has been going steady since then. In recent times, Anu has hit really big time with films like Border and Soldier. And this year, it is Badal, Josh, Refugee, Har Dil Jo Pyar Karega and, of course, Fiza.
With Subhash Ghai selecting him for the music of Yaadein and Badhai Ho Badhai, Anu Malik is surely on a roll and can well afford to declare to the world the sentiments expressed by Vivian Y. Laramore:
“I’ve shut the door on yesterday
And thrown the key away —
Tomorrow holds no fears for me,
Since I have found today.”
Excerpts from a conversation with the hotshot music director:
With so much of competition among music directors, how do you manage to keep yourself in the front ranks?
– I keep updating myself. I don’t rest on my past laurels. If you keep on harping on your glorious past, you will not be able to break new grounds. If I have to survive, I have to be different. And how can I be different? By being melodic. Every composer today sticks to a single form or pattern. But as against those days, when there were just four or five music directors in the reckoning, today, there are fifty-five to hundred so-called music makers because everyone has access to various sounds, CD-ROMs and downloaded music. One day, when I was surfing the various television channels, I realised that all the music was sounding the same. I felt, we are all sound factories. In this kind of a scenario, I thought to myself, ‘How will Anu Malik survive’? The answer I got was: ‘By giving original music which is sheer melody’! Fomerly, there were fewer music critics. Today, there are a lot of them. So, how do I make original music to impress the critics and the people alike? I kept thinking about it and I thought of drastically updating my work. That resulted in Josh, Refugee, Har Dil Jo Pyar Karega and now, Fiza. All these are entirely different musical scores from one another.
I remember the fabled Pied Piper story in which the rats of the town followed the Pied Piper who played a tune. With due respect to all other music directors, I felt, we were all behaving like rats. I was one of the rats who left the pack! I refused to follow a certain set pattern. Today, everyone seems to know how to make music, almost anybody pops out an album!
You said a while ago that you now make original music. But one recently got to know that the Aaja mahiya song from FIZA has been lifted by you from an album already released in the UK about six months back.
– That’s balderdash! Some of my friends heard that music album and they found the two songs to be poles apart. The word Aaja is the only common word in both the songs. I had this word even in a song in Sohni Mahiwal. Does that mean, every song with Aaja is plagiarised from my Sohni Mahiwal number?
It’s now that you are claiming to be original and updated. But at one time, you were being accused of lifting tunes. What would you say to that?
– In those days, I did it in majboori because I had to survive. But none of the lifted tunes worked as much as my original tunes did, and that’s why, I would not advocate lifting of tunes. From now on, I have decided not to work with any director or producer, howsoever big or small, who comes to me with suggestions to flick tunes for their songs from here and there. I have decided to give my own kind of music.
There’s another resolve which I have made. And that is to not work for films which would need me for just two-three tunes. I did not accept Vidhu Vinod Chopra’s Mission Kashmir for this very reason. He needed me for only two songs while the other songs were to be composed by other music directors. So, I told Vinod a polite ‘no’. However, in Fiza, there is only one song of A.R. Rahman. It is a naath devoted to Haji Ali Baba of whom I am an ardent devotee. This devotional naath was recorded long back, even before I was signed. Why, in my success too, I believe there’s definitely some divine intervention.
What would you call this change in your attitude to go original? Rennaisance or reformation?
– No rennaisance, no reformation. It’s simply an exercise in updating — to survive in a competitive world.
What inspires you to update?
– There is an English quote: ‘Either you have it or you don’t.’ I know, I don’t have it without God’s will. It is God who guides me and steers me to my goal. Music comes to me in a flash. I am able to update myself because I believe in feeling young. Even though I am touching forty, I feel as if I am 30. I feel romantic at heart and that keeps me going.
Romantic? Have you been having affairs lately?
– By ‘romantic’, I mean that I am romancing my career. I am not having a fling with anybody.
Today, I am recording for Gulzar Saab’s film, Filhaal, which is to be directed by his daughter, Meghna. I am also scoring the music for Shah Rukh Khan’s Asoka, Abbas-Mustan’s next, Rakeysh Mehra’s Aks and Subhash Ghai’s Yaadein, as also the one being presented by him, Badhai Ho Badhai, and one more film of his, to be directed by Prakash Jha. So, you see, this is what I mean by ‘romancing my career’. In any case, I have seen the pitfalls in having flings. More the harmony at home, more the pleasantness in life.
Now that you are scoring music for Subhash Ghai in YAADEIN, do you think, you have reached the crescendo of your career? How has your experience working with Ghai been?
– It’s been a refreshingly different experience! With due respect to my other director-friends, Subhash-ji gives me the complete due respect where money and name are concerned. He knows so much about music that he makes me feel like a beginner. I feel blessed to be working under him. I am learning a lot of things from him. One great quality of his is that he encourages his technicians a great deal and puts them at ease. In this way, he extracts the best out of them.
Here, I will narrate you an incident. Once, after we had had a sitting with Anand Bakshi-ji at his (Anand Bakshi’s) house, we finalised a tune. Then, while we were leaving, Subhash-ji said that he would accompany me till my home. He told his driver to trail my car. While I was driving, I noticed from Subhash-ji’s body language that he was not at peace with himself. I told him, “Subhash-ji, I think you have not liked the song.” He agreed. I had left my home far behind and we almost reached his Audeus. At Audeus, Subhash-ji, restless as he was, hit his finger on the synthesiser just for the heck of it. That set off the sound of a rhythm patterm. It had an inspiring beat. That got me into the mood and I began singing a line with it. I had altered a word here and there. That did it! Subhash-ji was ecstatic! Inspired as he was, Subhash-ji and I went straight back to Bakshi-ji’s place. He explained the change of words to Bakshi-ji who also liked it. And a song was finalised.
It is said that music can make or mar a film. In that case, do you think, music directors are paid much less than what they deserve?
– Yes, they are. But there are two sides to a coin. If a certain music director has fifty films, he cannot demand what he desires or deserves. But the one who opts for fewer films and, more importantly, the one who gives quality music can ask his price. In future, I plan to cut down further on my assignments and ask the price my music deserves.
Supposing you work hard on a tune and the good tune gets rejected, how do you feel?
– I get upset. At such times, I feel that the director or producer rejecting the tune does not know what good music is all about. Once, a hero — I won’t name him — butted in after I had recorded a song, to say that the song should have been like this and like that. I told the director that if his hero knew so much about music, he should let him only compose the songs. The hero then came and apologised. He added that he would not make any unnecessary comments. After that, it was all okay.
But don’t you believe in that Rig Vedic thought, ‘Let noble thoughts flow from all sides’?
– Of course, I do believe in such a noble thought. I would love to have good ideas coming, but only when the tune is being made, that is, during the sittings. But certainly not after the song is recorded!
What do you need to set a good tune? A good imported CD, a good mood, an inspiring situation or a good night’s sleep?
– None of these! I need to have an inspiring director. And peace of mind, which is very important. There should be someone who almost says, ‘Look, Anu, I have come to you because I believe that you will come up with something really good’. That’s enough to inspire me. After all, my tunes are born out of warmth, passion and love. That’s all I need to make good music!
