CHORI CHORI CHUPKE CHUPKE
Emaar Films International’s Chori Chori Chupke Chupke is about surrogate motherhood. An affluent, young and handsome boy agrees to get married on being forced by his loving grandfather because he (the latter) pines for a great-grandchild. The grandfather’s dream is about to be realised but destiny intervenes in the form of an accident which kills the to-be-born child. There’s a greater shock in store for the couple when they are informed that the damage is so acute that the lady will never be able to conceive in future.
Looking to her grandfather-in-law’s yearning for a great-grandson, the lady asks her husband to sire a child through a borrowed womb and to keep this fact a lifelong secret between himself, herself and the surrogate mother-to-be. The husband, who adores his wife, agrees only very reluctantly. He hires a prostitute to sire a child and trains her to become presentable in society before he, his wife and the prostitute fly off to a foreign destination. Once there, the hired lady gets pregnant. The family in India is told that it is the guy’s wife who is pregnant. Needless to add, the family is ecstatic with joy.
Here, the hired lady slowly but surely falls in love with her master. As the date of delivery approaches, the bitter truth stares her in the face — that after some days, she’d de left with neither her child nor the man who has fathered it and whom she is now madly in love with. Overtaken by her emotions of jealously mixed with sorrow, she makes it known to the couple that she would not part with the child after its birth. Ultimately, of course, she keeps her word and hands over the new-born to the couple.
The film, inspired by Doosri Dulhan and Bewaffa Se Waffa, has an unusual story and has been stuffed with all commercial ingredients like emotions, comedy, drama, music, fantastic locations etc. It also has shades of the English film, Pretty Woman.
The first half abounds in light moments and also some heartwarming scenes. After interval, there are more of emotional sequences which draw tears. However, Neeraj Vora’s story and Shyam Goel’s screenplay do leave something to be desired. For one, the romantic track of the other woman, even though only in her imagination, looks a little ingenuine because of two reasons — one, she knows that she is contracted for the specific job of producing a child; and two, the guy never reciprocates her advances although he cares for her completely. Had he been shown, even in a single scene, to have reciprocated her advances, it would have made the other woman’s entire romantic story more plausible. The other woman sitting in the god-bharai scene in a ghunghat to hide her identity looks too contrived and seems to be incorporated only to further the story. For, the family has already been established to be so very modern and liberal in its lifestyle that the ghunghat appears completely out of place. Cinematic liberties like the above are not few. Resultantly, the goings-on look somewhat (though not totally) unnatural.
The climax is hurried and too simplistic and convenient. Just one request by the wife to the doctor — to save the other woman’s life even if it meant sacrificing the life of the child-to-be-born — is enough to change the attitude of the other woman. A far more tearful and dramatic climax was needed.
On the plus side are some heart-rending emotions and hilarious comedy. On the negative side is the absence of great music. Although Anu Malik’s score comprises some melodious songs (the title song, Dil tera mera dil number, the Punjabi song), lack of a hit score is sorely felt. The Mehndi song is lyrically very rich. The other woman’s club dance song is racy but a musically stronger number would’ve made a world of a difference. Another minus factor could be the concept of sharing one’s husband with another woman, which may not go down too well with the more traditional ladies. (Similar angles of willingly sharing one’s husband with another woman have been rejected in films like Doosri Dulhan, Bewaffa Se Waffa and Pati Parmeshwar.)
Salman Khan does a very fine job and gives a restrained and sober performance, never once going overboard. But it must be said that Salman’s fans expect him to be bubbly if not boisterous and fun-loving rather than serious. To that extent, they will feel a bit let down. Rani Mukerji excels in the first half but does not give her best shot in the pre-climax and climax. Preity Zinta delivers a performance that’s fantastic. Whether as a prostitute, an expectant mother or a romanticist, she is absolutely brilliant. Amrish Puri is terrific as the loving grandfather. Johny Lever evokes a lot of laughter and should have been given more scope. Prem Chopra does an able job. Farida Jalal is effective. Adi Irani leaves a mark. Dipti Bhatnagar is good in a song-dance. Ruby Bhatia, Sheela David, Dalip Tahhil, Amrit Patel, Manmaujee, Dinyar Contractor, Col. Kapoor, Ghanshyam, Charlie and Bhairavi Vidya are perfect in supporting roles. Razzak Khan has been hopelessly wasted.
Abbas Mustan have handled a ladies-appealing subject efficiently, but their simplistic approach to the complex story reduces the overall impact. So sensitive is the subject that it needed much better writing and narrative skills to extract its fullest potential. Otherwise, the director-duo’s shot compositions and takings are sleek and stylish. Thomas A. Xavier’s camerawork complements the extraordinary locales. Editing needed to be sharper. Dialogues (Javed Siddiqi) are masterly. Choreography should have been better; the song picturisations are too ‘classy’ in nature. Sets (R. Varman) are rich and stylish.
On the whole, Chori Chori Chupke Chupke has appeal for ladies but not much for masses and children. It will meet with a mixed response. The film will do good business in big centres but not as good in smaller centres. It will fare the best in Bombay and South. Business in U.P., East Punjab, Bihar, Madhya Pradesh (C.P. Berar and C.I.) and Rajasthan will be average to good-average.
Released on 9-3-2001 at Eros, Minerva and 20 other cinemas of Bombay thru V.I.P. Enterprises. Publicity & opening: excellent. …….Also released all over. Opening was superb in Nizam and Mysore but less in other circuits due to pre-Holi, fear of tension in cinemas and delayed release.
KANPUR CINEMA REOPENS
Nigar cinema of Kanpur reopened on 9th March with Chori Chori Chupke Chupke. The cinema has been rechristened Movie House. Heavy renovation work was carried out at the cinema. It is now air-conditioned, with a generator set. The newly-opened cinema now has new furniture.
SPECIAL SHOW FOR POLICE
The top brass of the Bombay police, together with officials of the crime branch, viewed the controversial Chori Chori Chupke Chupke at a special screening at Bombay’s Eros preview theatre on 7th March. The 6 p.m. screening was organised by the director duo Abbas-Mustan, and Santosh Singh Jain who is the court receiver appointed in the matter of the release of the film. Earlier, speaking about the special screening, Santosh Singh Jain said, “We had promised to hold a special show for the police earlier. And we are only fulfilling that promise.”
ONE TOO MANY!
As of new, there is not just one, but two, rather three different release dates of One 2 Ka 4! The uncertainty over the film’s release date stems from disagreement on the issue between its producer and distributors. While the producer insists that the film will hit the screens on 30th March, some distributors say, it is not likely to come on 30th. Some opine that the film will be released on 6th April while some others are putting the release date as 13th April.
If the release of One 2 Ka 4 is postponed to April, it will put the releases of other big films in disarray. At least two big films are slated to open in April. David Dhawan’s Jodi No. 1 is due on 13th April. It will be followed the week after by Tips’ Albela. In such a scenario, there wouldn’t be enough breathing space for either of the films.
Given the present paucity of big releases, it would have been better for at least one of the aforesaid three films to make it to the cinemas on 23rd March or latest, on 30th March. Three biggies coming so close to one another may prove disastrous for the trade. Hopefully, better sense will prevail.
COUNTDOWN TO CINEMA CLOSURE IN WEST BENGAL BEGINS
About 100 cinemas in Calcutta and 650 others in different districts of West Bengal are expected to remain closed from 23rd March in view of the call for an indefinite strike, given by the Bengal Motion Pictures Employees Union (BMPEU). The Union is pressing for a number of things. Its 20-point charter of demands includes pay revision.
FICCI TO ORGANISE ‘FRAMES 2001’
The Federation of Indian Chambers of Commerce and Industry will hold its annual convention, FRAMES – Films, Radio, Audio-Visual, Music, Events & Shows, this year on 30th and 31st March at the Regent Hotel in Bombay. FRAMES 2001 will be attended by Union I & B minister Sushma Swaraj, among others.
CINEMA LICENCE CANCELLED
The collector of Jamnagar has cancelled the licence of Amber Talkies, Jamnagar, due to non-payment of entertainment tax amounting to Rs. 5,56,977. The licence has been cancelled for fifteen days from 2nd March.
Earlier, the cinema owners had managed to get a stay order against the order of suspension of licence. But when the owners failed to pay the tax within 15 days, the conditions of the stay order applied.
DONATIONS OF MUZAFFARNAGAR EXHIBITORS FOR GUJARAT QUAKE RELIEF
Eminent exhibitor M.P. Agarwal, president of the District Exhibitors Association, Muzaffarnagar, and vice president of the Uttaranchal Films Chamber of Commerce, handed over a draft of Rs. 52,000 to U.P. minister Hukam Singh for the Gujarat Relief Fund, on behalf of the Muzaffarnagar district exhibitors at a function held at Shamli (district Muzaffarnagar).
Kamal Cinema, Muzaffarnagar separately donated its entire collections of one week to the Fund.
IDBI READY WITH FILM FINANCE SCHEME
The Industrial Development Bank of India has finalised a scheme to finance feature films. The scheme has been sent for approval to the Reserve Bank of India, the Union I & B ministry and the bank’s department for committees. It is expected to be formally approved by the IDBI board in a meeting on 16th March.
Under the scheme, the borrower would have to be a corporate entity promoted by producers with proven track records. While 50% of the estimated budget would be financed by the bank, the promoter would have to invest 30%. The interest on the loan will be charged at the prevailing rate. As security for the loan, the producer would have to assign to the bank all agreements, intellectual property rights and a trust.
IDBI intends to finance at least a couple of Hindi films during the current financial year. It hopes to extend the scheme to regional films later.
MITTAL, OTHERS DENY LEAVING B4U
Field Fisher Waterhouse, London, acting on behalf of B4U, has clarified that the three promoters of the B4U group, viz. L.M. Mittal, Kishore Lulla and Gokul Binani, “remain committed to B4U and none of the three has withdrawn or terminated his relationship with the B4U group”.
The clarification comes in the wake of widespread speculation and media reports that L.M. Mittal had withdrawn his support to B4U following the arrest of Bharat Shah in the Chori Chori Chupke Chupke case. Bharat Shah is a major shareholder in B4U.
BABY BOY
Actor-producer-singer Pankaj Goswami’s wife delivered a baby boy recently.
PREMPRAKASH CINEMA OF JAIPUR IS NOW ‘THE GOLCHA’
Premprakash cinema of Jaipur was rechristened The Golcha on 8th March amidst fanfare. The new name was formally given to the 53-year-old cinema, owned by the Golchas, by Rajasthan finance minister Pradyuman Singh. Ministers Bina Kak and Shanti Dhariwal as also celebrated painter M.F. Husain were present at the function which was largely attended.
The cinema has been extensively renovated and is now one of the poshest cinemas of the pink city. Chori Chori Chupke Chupke was screened after the renaming function.
‘CCCC’ CASE:
CHARGESHEET FILED
SHAH, RIZVI ACCUSED OF EXTORTION,
ATTEMPT TO MURDER
Even as Chori Chori Chupke Chupke released finally on 9th March, the crime branch of the Bombay police filed chargesheets against its financier, Bharat Shah, producer Nazim Rizvi and his assistant, Abdul Rahim Allah Baksh. While charges against Shah include extortion, abetting and conniving with the activities of the underworld, and conspiracy, Rizvi and Allah Baksh are charged with attempting to murder Rakesh Roshan last year.
The 1,156-page chargesheet, filed after 87 days of Rizvi’s arrest, contains statements of 90 witnesses, including Shah Rukh Khan, Salman Khan, Mansoor Siddiqui, Mahesh Manjrekar, Abbas, Mustan, Preity Zinta and Rani Mukerji. The charges framed are under IPC sections 120-B (conspiracy), 302 (murder) read with 115 (abetment) and 387 (extortion), besides sections 3 and 4 of the Maharashtra Control of Organised Crime Act. If convicted under the MCOCA, the accused will face a minimum imprisonment of five years and a fine of Rs. 1 lakh.
Following filing of the chargesheet, Shah’s lawyers urged the court to examine the documents in the case. It was claimed by Shah’s lawyers that Rizvi had filed an application stating that the police had used third degree methods to extract his confession and that he had been made to sign blank papers. The counsel for Rizvi, however, denied filing of any such application by his client. He also informed the court that Rizvi had retracted his confession in a letter sent to the registrar of prisons.
‘Mohabbatein’: Triumph Of One Man’s
Conviction Over An Entire Industry’s Anxiety
Aditya Chopra’s Mohabbatein, now in its 20th week, stands testimony to the conviction of one director against the anxieties of the entire trade — well, almost — which thought that it was suicidal to release a 3½-hour-long film and in 3 shows instead of the daily 4 shows. In almost all the territories, Mohabbatein has surpassed the business of Yash Chopra’s DTPH. In some circuits, Aditya’s new film is approaching the business of his first blockbuster, Dilwale Dulhania Le Jayenge. One must note that while DTPH and DDLJ were screened in daily 4 shows, Mohabbatein has been screened in daily 3 shows, with cinemas having charged rentals for 4 shows!
The following facts have emerged from the various territories:
In Bombay, Mohabbatein has in 18 weeks crossed the 3 years’ business of DTPH.
In East Punjab, in centres like Ludhiana and Jalandhar, it has surpassed the shares of DDLJ.
The Eastern circuit may be the first to report that Mohabbatein has crossed the business of DDLJ. At Metro, Calcutta, the first 10 weeks’ gross of DTPH was Rs. 37.05 lakh while the corresponding gross of Mohabbatein is Rs. 55.20 lakh. Bihar is much like West Bengal.
Nagpur, Chandrapur, Amravati, Dhule and other centres in C.P. Berar are recording such collections that Mohabbatein has already surpassed DTPH in C.P. Berar and may ultimately even cross DDLJ!
Like in C.P. Berar, the business of Mohabbatein in Rajasthan is more than that of DTPH.
At Maheshwari cinema of Hyderabad (Nzam), the share of DDLJ in the first 10 weeks was Rs. 17.44 lakh, of DTPH was Rs. 23.30 lakh, and of Mohabbatein is Rs. 28 lakh!.
Mohabbatein recorded the largest initial in the history of Indian films in the first 2 weeks in Overseas. This, in the face of DVD piracy!
Fifty lakh units of Mohabbatein music have been sold in the first five months and the figure is expected to grow to 60 lakh by the month-end. Perhaps, the fastest audio sale ever!
‘Chori Chori Chupke Chupke’ Finally Sees The Light Of The Day
Disturbances Affect Release, Opening At Places
Arrested producer Nazim Rizvi’s Chori Chori Chupke Chupke opened all over the world on 9th March. Although the release was uneventful in most parts of India, there were incidents of the Bajrang Dal and other political parties disrupting shows of the film at some places. There was heavy police bandobast and tight security in several cinemas in different parts. The political parties had declared that they would not permit the film to be screened in view of the alleged nexus of its producer and presenter, Bharat Shah, with the underworld. It is because of this alleged nexus that both, Bharat Shah and Nazim Rizvi, were arrested under the Maharashtra Control of Organised Crime Act (MCOCA) and are still in judicial custody.
The special court had appointed Santosh Singh Jain as the court receiver for the purpose of ensuring the film’s release. While Jain managed to clear all maters splendidly and effected deliveries to all the distributors in time, there were minor glitches in the delivery to the Bombay distributors, V.I.P. Enterprises, a firm owned by Bharat Shah. The delivery to V.I.P. was finally effected on Thursday night.
Screening of the film was disrupted in Thane district, Ahmedabad and Vapi in Bombay circuit. While the film could open at Dombivli (Thane district) only in the 6 p.m. show, it was not allowed to open at all at Malhar, Thane. In C.I., Ujjain’s Nirmalsagar and Sunderam cinemas bore the brunt of the agitation by the Bharatiya Jana Yuva Morcha and the Bajrang Dal which did not allow the film to open in the 12 noon show on 9th. The political parties had on 7th March also created disturbances at Sunderam cinema. The film opened in the 3 p.m. show at both the cinemas.
In Ahmedabad, the police is reported to have ‘advised’ some cinemas to refrain from releasing the film in view of the threats from some political parties!
The opening of CCCC was excellent in Bombay, Nizam and Mysore. In other circuits, it was adversely affected because of pre-Holi and fear of untoward incidents, in the minds of cinegoers.
YOU ASKED IT
Does releasing a film on an odd day (other than Friday or Thursday) make a difference to its opening?
– It may be counter-productive to a good opening because the audience is not used to an odd-day opening. Still, if there’s a bumper holiday advantage, it would be worth releasing a film on an odd day.
I am planning to buy a film which is ready for release. Since there have been no major releases which have done well of late, exhibitors are offering me very good terms. Is it worth paying a few lakhs more for the distribution rights because of fancy terms from exhibitors?
– That would definitely be an advantage to you in your recovery. But this, only if the film proves successful. In case it flops, the advantage would be very marginal.
Why did this week’s release, Chori Chori Chupke Chupke, not take an absolutely flying start despite so much hype and controversy surrounding it?
– The benefit due to the controversy and hype surrounding the film was, to a large extent, offset by the disadvantage of a delayed release. Besides, the absence of a bumper opening was due to pre-Holi release and the fear of trouble at cinemas screening the film, as threatened by a couple of political parties. This fear mostly kept ladies away from the cinemas.
3-E
Education-Entertainment-Enlightenment
Shankar — The Real Showman
One has heard of two- and four-camera set-ups. But ever heard of a 30-camera set-up? That’s going to be the scene on Sunday (11th March) in Madras on the sets of Shankar’s Nayak – The Real Hero. For an elaborate and exciting action scene, to be picturised on Anil Kapoor, Shankar will employ as many as 30 cameras! It is because of such a large requirement of cameras that the celebrated filmmaker took special permission to shoot his film on a second Sunday which is otherwise a no-shooting day.
It’s All In The Genes
Late Uttam Kumar, thespian of Bengali cinema, was the highest-paid actor of his times. Yet, he always felt that a film star’s life was invariably ridden with insecurities. It was this belief that prompted him to forbid his son, Goutam, from pursuing a career in films. He is said to have literally forced Goutam, who was otherwise keen to take after his dad, to make a career in medicine. When the great actor failed to generate his son’s interest in medical studies, he opened a medical store for the son! Today, thirty years hence, Goutam is still in the same business and is still not even remotely connected with films.
But the acting genes seem to have been transferred to the next generation too. For, both of Uttam Kumar’s grandchildren from Goutam, Nabodita and Gourab, have plunged into the acting arena. While Nabodita has already appeared in some stage-plays and is awaiting the right break to switch to films. Gourab is said to be considering a couple of offers. What if someone were to sign him to play the lead opposite either Riya or Raima Sen, who are the grand-daughters of one of the most popular leading ladies ever of Bengali screen, Suchitra Sen? That would surely be a casting coup. At least for Bengali films.
Double Trouble
In a case of real life following reel life (Seeta Aur Geeta), it was reported last week that Shikha, sister of Southern film actress Sakshi Shivanand, has been standing in for the latter for her shooting whenever there was a date hassle. The reports first surfaced when Yogeswar, hero of Kannada film Sainika, spilled the beans about how Shikha had, on occasions, donned make-up and participated in the film’s shooting in place of Sakshi who was the actual heroine of the film. The mystery deepened when there was no denial forthcoming from the sisters. Meanwhile, a few filmmakers, who had worked with Sakshi before, corroborated Yogeswar’s story.
The Sakshi-Shikha revelation took the Kannada film industry by surprise, drawing as it did a parallel from a similar case of actress-sisters Pramodini and Prashantini. The look-alike twins had on record admitted that they had often worked in each other’s place whenever either of the two had a date problem.
Had Sakshi and Shikha also taken a leaf out of Pramodini and Prashantini’s book then? Not quite. The truth was finally revealed days later when Sakshi’s mother flatly denied Yogeswar’s and others’ claims, saying, it was not possible for the situation to arise since both, Sakshi and Shikha, looked completely unlike each other. She further informed that at 5′ 7″, Sakshi was a full three inches taller than her sister.
No prizes for guessing, that ended the double trouble.
Title Tattle
Khaya Piya Kuch Nahin Glass Toda Bara Aana…. No, we are not commenting on the box-office outcome of most of the recent big releases. Khaya Piya… is actually a title for a TV serial, registered with the AMPTPP. The list of film and TV serial titles registered with the AMPTPP always makes for hilarious reading. Here’s the customary look:
Perhaps, the two senior citizens in these two films could trade places with each other: Joroo Jawan To Buddha Pareshan and Buddhe Ko Chadhi Jawani! Everyone’s heard of Insaaf Ka Tarazu, but have you heard of Tarazu Ka Insaaf?! The British may have had their pop sensation, Spice Girls, but we have a bigger sensation in Punch The Indian Spice Girls! Can’t think of an original title for your film? Worry not! Just pick up a title of an old hit or the mukhda of an evergreen hit song and change a word here or there. Here’s how: Saheb Biwi Aur Saali or, perhaps, Padosiyon Se Na Ankhiyan Milana!
And the award for the ‘best’ film title registered with the AMPTPP goes to (and this one needs absolutely no comment) Rose Mary Marlo!!!