KURUKSHETRA
Time Movies’ Kurukshetra (A) is the usual honest-cop-versus-corrupt-politicians story. A principled police officer, honest and utterly duty-conscious, chargesheets the chief minister’s son accused of raping a girl. That is the beginning of his (police officer’s) life turning hell. He and his family members are tortured mentally and threatened; he is suspended from his job; and an attempt is also made on his life. The opposition leader, who all along supports him and his mission to get the chief minister’s son punished for his crime, ultimately trades the chargesheet for the deputy chief minister’s post. The police officer, finding himself at the losing end in the political game, guns down the foes-turned-friends — the chief minister and his deputy.
By way of subject, the film offers no novelty and only repackages what one has seen in many revenge dramas of good versus evil. The routine script is, nevertheless, pepped up by some bold and, at the same time, entertaining dialogues (K.K. Singh) and a couple of good characterisastions (the chief minister and the corrupt police hawaldar who supports the principled officer).
However, the scripting as well as the making of the film look like jobs hurriedly done. The undue hurry at the scripting stage is clear from instances like the following: when the suspended police officer refuses to have faith in the opposition leader, the officer’s wife resents his suspicious nature, but when finally the opposition leader turns out to be a crook, the same lady, rather than cursing her lack of judgement and repenting for the same, walks in haughtily and almost throws proof of the leader’s crookedness to her husband’s face! So, there’s no co-relation between the wife’s stance before and after. Even otherwise, the wife’s constantly cribbing nature does not go too well with her character — a good wife of a conscientious police officer. Secondly, the principled police officer taking shelter in the local don’s house doesn’t quite go with the former’s character and makes him appear selfish. As far as the hurry in the film’s making is concerned, it is obvious because several scenes have less than the desired impact since they are better written than executed.
The first half is better but after interval, the film moves on a single track and gets boring at places. Too much use of swear-words will work both ways — it will go against the film’s interest in big centres and by keeping away family audience and ladies, but will appeal to masses in ‘B’ and ‘C’ class centres.
Sanjay Dutt does quite well as the principled police officer. Mahima Chaudhry, as his wife, gives a lovely account of herself despite a weak characterisation. Om Puri is the highlight of the film. His mouthing mild swear-words will be loved by the audience. He acts with aplomb and, despite playing a scheming politician, endears himself to the public. Shivaji Satam is effective in the role of the opposition leader. Radhika Rana is quite natural as Sanjay Dutt’s sister. Salil Ankola fails to score in a brief role. Sayaji Shinde is lovable and gives a good performance, aided by some wonderful dialogues. Mukesh Rishi is good as always. Pramod Moutho acts ably. Rajat Sharma (guest appearance), Mahesh Anand, Suman Ranganathan, Kashmira Shah, Sukhwindara Singh and the others provide adequate support.
Mahesh Manjrekar’s direction is fair and could have been better. Music (Himesh Reshammiya) is just about alright. The engagement song and the birthday party number are the better ones. Suman Ranganathan’s song-dance is for front-benchers. Action scenes are alright. Background music needed to be far better. Camerawork (Vijay Arora) is okay. Production and other technical aspects are alright.
On the whole, Kurukshetra is a routine fare which will do well mainly in Bombay, Maharashtra and small centres. It has taken an ordinary start in several circuits (like Delhi, C.P. Berar (M.P. belt), C.I., Rajasthan) and will, therefore, remain an average fare there.
Released on 10-11-2000 at Novelty, New Excelsior and 17 other cinemas of Bombay thru Tilak Enterprises P. Ltd. Publicity & opening: very good. …….Also released all over. Opening was average in many other circuits.
LATEST POSITION
MOHABBATEIN is rock-steady in its 2nd week too. Proves class ‘A’ in Bombay and an overflow film in other circuits. MISSION KASHMIR is good in 2nd week in Bombay (where it will fetch overflow) but dropped perceptibly in every other circuit. Should turn out to be average in most other circuits.
Chudail Ki Raat did poor in 1st week in Bareilly.
Godzilla 2000 (dubbed) ran for 1 week in Bombay, with dull collections; 1 week Pune 1,08,606 from 2 cinemas.
Mohabbatein should touch at least 7 to 7.5 crore in Bombay, 4 crore in Delhi-U.P. and 2.5 crore in C.P. Berar: 2nd week Bombay 65,03,642 (99.93%) from 13 cinemas, Vasai (gross) 4,43,579, Vashi (gross) 4,30,914, Panvel (gross) 2,82,770, (6 on F.H.); Ahmedabad 34,59,712 from 6 cinemas, Padra (21 shows) 3,70,253, Vapi (21 shows) 4,63,630 (99.94%), Rajkot (28 shows) 3,20,910, Jamnagar 2,35,870, Adipur (28 shows) 2,79,789 (78.20%), Bhuj 2,26,051; Pune 14,92,282 from 4 cinemas, Solapur 3,24,456 (100%), Barsi (21 shows) 57,898, total 1,30,783, Satara 2,94,706 from 2 cinemas (1 in matinee); Delhi 61,36,639 from 12 cinemas (1 on F.H.); Lucknow 5,66,800 (100%), Agra 2,73,387 (1st 2,81,316), Allahabad 3,06,429 from 2 cinemas, Jaunpur 60,000 (1st 84,771), Bareilly (6 days) 2,13,453, Dehradun (21 shows) 2,52,218; Calcutta 33,62,815 from 13 cinemas (8 on F.H.); Nagpur 12,10,104 from 4 cinemas, Jabalpur (6 days) 2,10,239, Amravati (22 shows) 2,88,660, total 6,04,875, Akola 2,16,427 (100%), total 4,54,069, Raipur (6 days, gross) 2,64,602, Jalgaon (21 shows) 2,32,782 (1st 2,62,306), Gondia (gross) 1,27,055 (85%), total 2,82,953, 1st week Wardha (21 shows) 1,80,627, 2nd Chandrapur 2,25,786, total 4,96,062, Yavatmal (21 shows) 1,68,357, total 3,68,109; Indore 4,00,743 from 2 cinemas (2 on F.H.); Jaipur 8,53,221 (81.45%) from 2 cinemas, Ajmer (21 shows) 1,44,347; Hyderabad (gross) 23,96,373 from 8 cinemas (2 in noon); 1st week Guntur (gross) 1,54,708.
Mission Kashmir drops. 2nd week Bombay 70,58,297 (81%) from 13 cinemas (10 on F.H.); Ahmedabad 25,31,666 from 7 cinemas, Vapi 3,02,677, Rajkot (28 shows) 2,24,290, Jamnagar 87,840; Pune 16,04,884 from 4 cinemas, Solapur 2,88,862 from 2 cinemas (1 in matinee), Barsi 27,714, total 96,702, Satara 1,96,944 from 2 cinemas (1 in matinee); Delhi 57,02,663 from 14 cinemas (3 on F.H.); Lucknow 6,00,584 from 3 cinemas, Agra 2,80,000 (1st 6,03,000), Allahabad 2,25,384, Jaunpur 40,000 (1st 79,617), Dehradun 2,50,000; Calcutta 18,53,998 from 14 cinemas (22 cinemas’ collections not recd.); Nagpur 3,99,016 from 3 cinemas, Jabalpur (6 days) 1,43,076, Amravati 1,97,383, Akola 1,40,312, total 4,45,735, Raipur (6 days, gross) 1,60,684, Jalgaon (6 days) 1,53,107, Wardha 68,782, Chandrapur 1,05,108, total 3,60,744, Yavatmal 41,894, total 1,87,633, Sagar 42,947; Indore 1,05,000 (2 on F.H.); Jaipur 10,97,041 (76.40%) from 2 cinemas, Ajmer (28 shows, gross) 1,75,781; Hyderabad (gross) 15,00,639 from 6 cinemas (3 on F.H.); Guntur (gross) 1,02,538, total 2,50,093.
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Mor Chhainha Bhuinya (Chhattisgarhi) 2nd week Raipur (nett) 2,00,980, record, going very strong.
ROSHANS’ SHOW IN CALCUTTA
The Roshans — Rakesh, Rajesh and Hrithik — are presenting a grand show — Roshans’ Show — in Calcutta this evening (11th November) at the Salt Lake Stadium which has a capacity to seat an audience of 1.5 lakh. The show is housefull in advance!
MULTIPLEX IN AHMEDABAD TO OPEN NEXT WEEK
A new multiplex, City Gold, will open on Ashram Road in Ahmedabad on 17th November with Kahin Pyaar Na Ho Jaaye. The 5-screen multiplex, constructed by architect Ashok Purohit (of City Pulse, Gandhinagar), has come up where once Dipali cinema stood. It is owned by Chimanlal Agarwal and controlled by Ashok Purohit and Nandu Bohra.
Three of the five screens of the multiplex will be operational from next week. All the 3 screens will show Kahin Pyaar Na Ho Jaaye. Two screens are likely to open in December.
The multiplex has a total seating capacity of about 1,250. It has a parking space to house 300 cars. Its admission rates are Rs. 80 on weekdays in non-night shows and Rs. 100 on Sundays and in night shows on weekdays.
YOU ASKED IT
How much of Amitabh Bachchan’s popularity acquired due to Kaun Banega Crorepati contributed to the box-office success of Mohabbatein?
– I don’t think, it must have at all contributed. Yes, Amitabh’s new popularity must have been at the back of the audience’s minds, but that’s about all!
Many small-budget films are closed for Overseas while the home territories are open. This is indicated in your monthly chart of under-production and completed films. How come? Do small-budget films have a market in Overseas?
– Like in India, there are small distributors who deal in only small films in Overseas territory.
Devdas has been made once in the silent era and twice as a talkie film. What is so unique about this subject that even Sanjay Leela Bhansali is making Devdas? Will this romantic tragedy find acceptance today?
– As you too know, the story of Devdas has romance, pain, emotions etc. and so, makes for good material for a film. I’m sure, Sanjay Leela Bhansali must’ve thought of all what you’ve said and must have been convinced of its potential even today!
PRODUCTION NEWS
20-Day Shooting Spell For Ketan Desai’s Film
Director David Dhawan will commence another 20-day marathon shooting stint of M.K.D. Films’ Prod. No. 6 on Nov. 16 at Kamal Amrohi Studios. After shooting there for four days, the unit will move to Delhi for 12 days, shoot on locales and come back to picturise a romantic duet on Salman Khan and Amisha Patel at Famous Studios in Bombay from Dec. 1 to 5. A Manmohan Desai presentation, the film co-stars Rishi Kapoor, Rati Agnihotri, Rinke Khanna, Sharad Kapoor, Kader Khan, Kiran Kumar, Shahbaaz Khan, master Ajay Nagrath and Anupam Kher. Producer: Kanchan Ketan Desai. Co-producer: Ketan Manmohan Desai. Executive producer: Prakash Pange. Story-screenplay: Yunus Sejawal and Imtiaz Patel. Dialogues: Rumi Jafri. Cinematography: K.S. Prakash Rao. Art: R. Varman. Action: Mahendra Verma. Sound: Vinod Potdar.
ANNOUNCEMENT & LAUNCHING
Mehul Kumar Launches ‘Kitne Door…Kitne Paas’
Producer-director Mehul Kumar’s Kitne Door…Kitne Paas was launched with a muhurt on Nov. 6 at SNDT College, Juhu, Bombay on a massive and opulent set depicting a New York Opera theatre. Lead man Fardeen Khan faced the camera for the inaugural shot which comprised a song’s opening lines. Jayantilal Gada of Popular Entertainment Network (PEN), which presents the film, switched on the camera as CCCA president Santosh Singh Jain performed the coconut-breaking ceremony. Ramesh Taurani of Tips sounded the clapper-board. The muhurt is being followed by an 8-day shooting spell at the same venue where a song-dance number and scenes are being picturised, featuring Fardeen, Nasir Khan and dancers from abroad. Mahima Chaudhry plays the leading lady in the film which has screenplay and dialogues by Yunus Sejawal and Imtiaz Patel. Music is by Sanjeev Darshan and lyrics, by Anand Bakshi. All seven songs have been recorded. Choreography: Ahmed Khan. Cinematography: Mazhar Kamran. Art: R. Varman. Editing: Yusuf Sheikh. Audiography: Jagmohan Anand.
Being made under the banner of M.K. Pictures, the film is scheduled for completion in six months.
3-E
Education-Entertainment-Enlightenment
Not Just Marketing
“I’d be genuinely happy if Aditya Chopra’s Mohabbatein proves a hit.” Words of showman Subhash Ghai. He had told us before the film’s release two weeks back, “If Mohabbatein clicks, those producers, who’ve strutted around for far too long as marketing wizards, will have to rethink their strategies. For, Yash Chopra and Aditya Chopra have not resorted to crazy publicity campaigns like some producers who don’t even spare dust-bins on the streets to get their films’ names painted on! Although I love publicity, I don’t approve of publicity for the sake of hoodwinking distributors or the public.”
The point, according to Ghai, which is proved loud and clear now that Mohabbatein has hit the bull’s eye, is that it is not marketing alone that maketh a film. Subhash Ghai was referring to, what he calls, “the thaila producers” — those who send out thailas (bags) of gifts made around their films as a marketing gimmick. “These gifts are made only to lure gullible distributors into buying films,” said Ghai.
Replacement Rumbles
Karisma Kapoor is on a replacement spree! First, she replaced Kajol who herself had stepped in in place of Sridevi in Boney Kapoor’s production venture, as yet untitled, a remake of the South hit, Anthapuram. And now Karisma has stepped into the shoes of Aishwarya Rai. The ex-Miss World was paired opposite Anil Kapoor in Indra Kumar and Ashok Thakeria’s Rishta. The film was to be launched but Aish pleaded inability to do the film. Indu and Ashok had no alternative but to cast another heroine in her place. Actually, the film has two heroines and Indu-Ashok were planning to sign Yukta Mookhey as the second heroine. “Not any longer,” remarked Ashok Thakeria. “We were considering Yukta but only if Aishwarya was doing the film. With Karisma, we will sign another girl.”
Meanwhile, Karisma herself has been replaced by Shilpa Shetty in another film — Anil Kapoor, Satish Kaushik and Subhash Ghai’s joint venture, Badhai Ho Badhai. Karisma recently opted out of the project. The film co-stars Amisha Patel, besides Anil Kapoor, of course!
Interestingly, Karisma has passed on her dates of Badhai Ho Badhai to Boney’s film!
While on the heroines’ merry-go-round, here’s one more: Shilpa Shetty has replaced Tabu in Sunny Deol’s latest production, Indian, being directed by South’s writer-director, N.K. Maharajan.
Dé-Dreaming
It is by now a well-known fact that columnist Shobha Dé does not like what the aam janata likes (or, rather she likes to dislike what ordinary mortals prefer to like) where films and film people are concerned. But it would be better for her to keep her likes and dislikes to herself rather than fill her daily columns with carping and sweeping statements. A daily columnist need not always have a supercilious attitude towards people associated with glitz and glamour.
For instance, just when Kaun Banega Crorepati went on air on Star Plus, the aam janata went ga ga over it. But Shobha Dé denounced it as if an epidemic had broken over the whole nation. And what’s more, she heaped on Amitabh Bachchan all the invectives that only she could think of (imagine, calling AB a telephone operator!). But at the end of the day, what? She had to chew her own words when viewers wrote in the ‘letters to the editor’ column in the very newspaper which carried her column, denouncing Shobha Dé and canonising the hero of the day, Amitabh Bachchan. However, she chose to maintain silence. Why did she not admit the failure of her judgement in her daily column then?
And now, she has dubbed the two Diwali releases, Mohabbatein and Mission Kashmir, as flops. And this is not her personal review. Had she said in her column that she had not liked the films, it would have been fine — to each his or her opinion. But Dé says authoritatively that the films have flopped at the box-office. To quote her: “Now let’s hear it from aam janata. The reactions range from “so-so” to “bore-bore”. The good thing, of course, is that both the Diwali Dhamakas have bombed at the box-office.” Hello, whoever is Shobha Dé to decide what the box-office says. And how does she think that she is equipped enough to say what she says? Shobha may not like to know that at least Mohabbatein is doing extraordinary business. Shobha further says, “Yes, the distributors have got the money back… and more.” Hello again, can Shobha Dé explain how a film can be termed a flop when distributors have got their money back and more? Maybe, according to Dé, Dil Pe Mat Le Yaar and Nidaam were box-office hits because their distributors lost money! By referring to Mohabbatein as a flop, Shobha has only exposed how arrogantly ignorant she is! Come on, Shobha dear, it’s about time, you understood before you wrote!
India Is The Best
Who among the three young and successful directors — Sooraj Barjatya, Aditya Chopra, Karan Johar — is the odd man out? Sooraj, where shooting on foreign locations in concerned. Sooraj is yet to develop a taste for foreign locations. But then, may be, he does not feel it necessary to do so. Though Sooraj has directed three films so far, Maine Pyar Kiya, Hum Aapke Hain Koun..! and Hum Saath-Saath Hain, in none of the films has his hero or heroine been transported to a foreign land in either a dream sequence or in reality!
Besides, it has been a policy with the Rajshri banner to always choose locations that are apt for the story. Says P.K. Gupta, production manager of Rajshri Productions, “We have never thought of shooting on locations abroad. We, at Rajshri, go by the dictates of the subject. Our subjects have always been India-based and, therefore, we prefer to shoot here. For us, East or West, North or South, India is the best.” Well said.
