AJNABEE
Film Folks’ Ajnabee (A), inspired by the English film Consenting Adults, is the story of two young Indian couples settled abroad. Being neighbours, they become friends and go to Mauritius on a picnic. The wife (Bipasha Basu) of one of the friends (Akshay Kumar) seduces the other guy (Bobby Deol) even as he shuns her. As if that were not enough, the friend (Akshay) puts forth a proposal to the other (Bobby) to swap their wives for one night. This disturbs the other friend so much that he snaps all ties with the couple for their behaviour but doesn’t reveal the reason to his wife (Kareena Kapoor). On their return, the couple apologises and the friendship blossoms once again. One night, the friend again puts forth the same proposal of exchanging wives for that night and twists things in such a way that the other guy, in an inebriated state, ends up sleeping with the former’s wife. In the morning, he is shocked to find himself in bed with the friend’s wife. A greater shock comes when it is revealed the same day that the friend’s wife (who he was supposed to be sleeping with) had been killed the very night they were together. The needle of suspicion for murdering his friend’s wife obviously points to the guy.
While it is clear that the guy has been framed for murder of his friend’s wife, the victim has no proof of his innocence. Even while his trial is on, he runs away from the foreign court to gather evidence to prove his innocence. From then on, it is a game of revelation of the suspense. Ultimately, the murderer is found but that is not the real suspense because all along, it is quite clear that it is the friend himself who has killed his own wife. The suspense is why and, to an extent, how he murdered her.
The suspense thriller has several plus points and several minus points, too. On the plus side is a novel angle (of swapping wives) to a suspense murder drama. But this very point has such shock value that when one considers ladies and family audience in small centres especially, it could be construed as a minus point.
Among the other pluses in the film are the huge canvas, excellent foreign locations, plenty of sex and youthfulness, superb camerawork, entertaining comedy and lovely music.
The main drawback, however, is that the story doesn’t hold the interest of the viewers for long, mainly because of inherent flaws. The second half, in particular, is quite boring. A major negative point is that other than the novel angle (which itself has a plus and a minus side to it), the film is a routine suspense thriller which has been burdened with extravagant spending (cost). There are also several flaws in the screenplay (Robin Bhatt, Neeraj Vora, Sanjeev Duggal and Shyam Goel). While several of these flaws reveal lack of effort on the part of writers and a recourse to writing according to convenience, some also give a feeling that the story (Neeraj Vora) has purposely been made confusing so that the suspense solving becomes more intriguing. An example of the latter: Akshay Kumar gets married to one girl (Mink) but gives the impression that another girl (Bipasha Basu) is his wife. Ultimately, while Mink is murdered, the world believes Bipasha to be dead. Considering that the entire murder is master-minded and planned meticulously by Akshay’s genius brains, wouldn’t it have been far, far more sensible to have not brought Bipasha in the open at all till Mink was murdered? But what Akshay does is, flaunt Bipasha while keeping Mink away from the world. Why? This point jars because the suspense begins to unfold only because of the knowledge about two girls in Akshay’s life. So one gets the impression that Bipasha Basu’s presence in the whole drama is only to make matters more complicated and to ultimately arrive at a starting point for the resolution of the mystery.
Bobby Deol’s statement in the court (before he flees) that he did go to his friend’s wife in an inebriated state, although not to sleep with her but to inform her of her husband’s indecent proposal (of swapping wives) seems ridiculous for two reasons: (i) By going to his friend’s wife, he allowed his friend, in turn, to go to his own wife. Wasn’t he concerned about his own wife’s safety? (ii) Why did he need to complain to the friend’s wife when she herself was hand-in-glove with her husband, a fact known to Bobby Deol? This appears like a clear case of convenient writing since the drama of framing Bobby begins only because he had rushed to his friend’s wife. The reason for his rushing to her should have been more solid or, in the alternative, he shouldn’t have gone to her. He could have only been shown to have slipped into sleep (due to sleeping pills mixed in his alcohol) and transported to the bed of the friend’s wife.
Therefore, the murder drama begins only because of a weak link in the story. The suspense also begins to unfold only because of another weak link in the story.
Bobby Deol’s imagination of an entire song sequence showing the bedroom romance between Kareena and Akshay has been handled a bit too casually. Intercuts of Bobby in the song make it look unintentionally funny. A better option would’ve been to show the entire song (which, otherwise, has tremendous sex appeal) in a flow and the revelation that it was in Bobby’s imagination, only at the end of the song.
The climax involving use of computer, password, English language etc. is too classy to evince the thrill that should have come with it. Dialogues are very good at places. However, lack of fiery dialogues between the two heroes in the second half dilutes the impact and the thrill of the drama to an extent.
Akshay Kumar looks very handsome and does a fine job. Bobby Deol also looks pleasing and acts naturally. Kareena Kapoor has performed ably. She also exposes uninhibitedly. Bipasha Basu makes an impressive debut and exudes abundant sex appeal. She doesn’t get much scope for acting and does well in what is required of her. Johny Lever is excellent in a comic role. He is ably supported by Narendra Bedi, Amita Nangia and Sheela Sharma. Dalip Tahhil, Sharat Saxena, Mink and the others lend the desired support.
Abbas-Mustan’s direction is good and very stylish. The film has a lot of gloss and a very snazzy look. Of course, the flaws in the script and some lesser-handled scenes do irritate. Music (Anu Malik) is hit. Almost all the songs have excellent tunes. The pick of the lot are ‘Mehbooba mehbooba’, ‘Meri zindagi mein ajnabee ka intezaar tha’, ‘Mohabbat naam hai kiska’ and ‘Kasam se teri aankhen’. Song picturisations are superb. Camerawork (Rajan Kinagi) is par excellence. Action (Kaushal-Moses) is thrilling. Editing is sharp. Background score is effective. Technically, brilliant. Production values are grand.
On the whole, high-priced Ajnabee relies more on style than substance and will, therefore, do well in cities mainly. For its distributors of Bombay and South, it will prove a rewarding experience. For the rest, it will be an average fare, at best. A long run for the heavy-on-initial film is a far cry.
Released on 21-9-2001 at Liberty and 24 other cinemas of Bombay thru Devgan Entertainment & Software Ltd. Publicity & opening: excellent. …….Also released all over. Opening was very good everywhere.
KYO KII… MAIN JHUTH NAHIN BOLTA
Shri Siddhivinayak Films’ Kyo Kii… Main Jhuth Nahin Bolta (UA) is a comedy inspired by the English film Liar Liar. A young lawyer is in the habit of speaking lies. He uses the easy way out to become a rich man by marrying a famous and top lawyer’s daughter. For wooing the girl, he resorts to lies and only lies, but all long gives the family the impression that he is a very self-respecting man. His dream of becoming rich is smashed to the ground when his wife, in a bid to respect his ideals in life, refuses to take anything from her father as dowry. Frustrated, the young lawyer accepts a challenge to save the brother of an underworld don, involved in a murder case, from the clutches of law. He succeeds (by talking lies in the court) and the don gives him all the luxuries of life. In the meantime, he also gets physically attracted towards the don’s moll.
One fine day, his little son prays to God to free his father from his habit of speaking lies. The boy’s wish is granted and the lawyer finds himself talking the truth and only the truth, whether in or outside the court. This lands him in trouble in a case in which he is representing a widow against the don. For, he had (before he began talking the truth) promised the don (for a fee) to actually plead the case of the don even while representing the widow. Now choosing to speak the truth, he ends up pleading the widow’s case! Having become honest, he exposes the don and ultimately helps the widow win the case. He also gets rid of his girlfriend because of his honesty. His wife, who was on the verge of giving him a divorce, comes back to him following his change of heart.
The film suffers on account of a weak and faulty screenplay (Younus Sejawal and Imtiaz Patel). Even the characterisation of the hero is not uniform. He is shown as a funster and crook of the highest order, but suddenly becomes serious at the interval point. In all his seriousness, he even vows to become a big man soon, presumably, without taking recourse to unfair means. Post-interval, the same funster and crook hooks a girl and has an extra-marital affair with her. Since that was never his character, the entire track of the other woman sticks out like a sore thumb in the drama.
Again, the young lawyer is shown to be so brainy that he could have made it big by his sheer genius. He comes up with a solution in a murder case when even his would-be-father-in-law can’t think of one despite being a top lawyer. He wins the case of the don’s brother also so easily that the viewer gets the impression that either he is super-intelligent or the law is an ass. If the guy is very intelligent, the whole drama looks false; if law is an ass, the drama again falls flat albeit for a different reason — for, in such a scenario, the young lawyer does not need to hoodwink people.
The top lawyer’s (father-in-law’s) character is also weird. He behaves more like a buffoon than a respectable lawyer he is shown to be.
Too much emphasis on courtroom dramas makes the film dull and very technical, even confusing at times.
While the portion when the young lawyer starts speaking the truth is quite funny, even hilarious at times, the same cannot be said of the entire film. Although designed as a laugh-riot, many jokes in the film fall flat and some of them evoke half-smiles rather than loud laughter. Yes, there are some hilarious scenes too but the thread of hilarity breaks ever so often that the comedy begins to jar. Dialogues are very witty but only at places.
Climax is not at all satisfying. The silliest part is when the hero runs to the court with a video cassette and asks the judge to watch its contents and rely on them even though he himself doesn’t have the faintest idea about what is there in the video cassette. It is scenes like these which make the viewer feel that the writers and director are under-estimating his intelligence — something which no viewer likes!
Govinda does an excellent job and, despite a faulty characterisation, manages to shine in almost every scene. The guy is truly a genius but even a genius needs a cohesive drama to make a film work. Sushmita Sen acts ably but she is no match for Govinda in comedy as also energy. Rambha is so-so. Anupam Kher does not behave like a top lawyer. Satish Kaushik, as Govinda’s friend, is first rate. Satish, like Govinda, has a super-fantastic sense of timing and is just too lovable. Sharad Kapoor is fair. Kiran Kumar, Mohnish Bahl and Ashish Vidyarthi lend average support. Razak Khan and Nilofer add their bits of comedy. Shahbaaz Khan, Ananth Mahadevan, Jaya Bhattacharya, master Jibraan Khan, Ram Mohan, Ajit Vachhani, Ghanshyam, Guddi Maruti, Brij Gopal, Amit Behl, Vikas Anand, Mahavir Shah and the rest pass muster.
David Dhawan has tried to pack the film with comic punches but the imperfect script plays the villain. The lack of effort on David’s part also shows in some scenes as the director may have realised his helplessness due to poorly conceived scenes. Anand Raaj Anand’s music is good. ‘Ek ladki chahiye’, ‘Main kee karaan’ and ‘Sajan re jhooth mat bolo’ are very well-tuned numbers. Song picturisations do not have much variety. Camerawork (K.S. Prakash Rao) is very good. Action scenes are functional. Production values are of a high order.
On the whole, Kyo Kii… Main Jhuth Nahin Bolta is a comedy that will make its distributors cry. A heavy loser.
Released on 21-9-2001 at Minerva and 17 other cinemas of Bombay thru Raksha Distributors. Publicity: fair. Opening: below the mark. …….Also released all over. Opening was poor everywhere.
LATEST POSITION
The lovely opening of AJNABEE gladdened the heart but the dull initial of KYO KII… saddened the trade.
Ittefaq bombs miserably. 1st week Bombay 27,49,834 (40.61%) from 13 cinemas (6 on F.H.); Ahmedabad 4,36,416 from 6 cinemas (3 unrecd.); Pune 4,72,386 from 4 cinemas, Solapur 1,22,860 from 2 cinemas (1 in matinee), Satara 82,723 from 2 cinemas (1 in matinee); Delhi 9,32,571 (25.49%) from 6 cinemas (2 on F.H.); Kanpur 1,17,962, Lucknow 1,55,246, Agra 1,50,000, Varanasi 1,25,828, Allahabad 70,665, Jaunpur 50,000; Calcutta 3,99,798 from 6 cinemas; Nagpur 75,367 (3 cinemas unrecd.), Jabalpur (5 days) 58,680, Amravati 89,401, Raipur (6 days) 46,402, Jalgaon 77,611, Wardha 44,000; Jaipur 3,16,292 (23.38%) from 3 cinemas, Ajmer (29 shows) 40,629; Hyderabad (gross) 7,64,581 from 5 cinemas (6 on F.H.).
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Nayak drops badly. Will entail losses of about 50 to 75 lakh per major territory. Is not as bad in Bombay. 2nd week Bombay 35,54,933 (58.77%) from 12 cinemas (5 on F.H.), total for 2 weeks 85,62,066; Ahmedabad 5,92,307 from 3 cinemas (4 unrecd.), Rajkot 1,96,000, Jamnagar 80,591 from 2 cinemas (1 in matinee); Pune 9,97,252 from 5 cinemas (1 in matinee), Solapur 2,89,895 from 2 cinemas (1 in matinee), Satara 1,02,637 from 2 cinemas (1 in matinee); Bijapur 90,800; Delhi 20,03,496 from 9 cinemas (2 on F.H.); Kanpur 3,00,255 from 2 cinemas, Agra 3,26,000, Varanasi 1,65,744, Allahabad 1,63,430, Jaunpur 40,075, total 1,27,856; Calcutta 3,03,570; Nagpur 2,77,844 from 2 cinemas, Jabalpur (6 days) 85,049, Amravati 2,24,727, Raipur (6 days) 1,42,083, Jalgaon 1,62,913 (1st 2,32,151), Wardha (5 days) 55,143, Chandrapur 2,06,179, total 4,68,900, Yavatmal (5 days) 49,375; Jaipur (6 days) 3,37,664 (49.71%), Ajmer (gross) 1,06,661, Bikaner (5 days) 1,23,168; Hyderabad (gross) 3,54,830 (1 unrecd.).
Lajja also drops further. Is quite good in C.P. and Eastern U.P. 3rd week Bombay 13,45,379 (49.87%) from 5 cinemas (4 unrecd., 10 on F.H.), total for 3 weeks 1,24,99,636; Ahmedabad 2,88,212 from 3 cinemas, Rajkot 1,07,150, Jamnagar 34,445 (1 in matinee unred.); Pune 5,39,353 from 3 cinemas (1 in matinee), Solapur 85,720 from 2 cinemas (1 in matinee), Satara 85,202; Bijapur 26,531; Delhi 19,36,602 from 9 cinemas (2 on F.H.); Kanpur 2,40,509 from 2 cinemas, Lucknow 4,04,423, Agra 1,25,000, Varanasi 1,34,785, Allahabad 1,82,470, Bareilly (6 days) 61,060; Calcutta 5,35,079 from 4 cinemas; Nagpur 2,57,000 from 2 cinemas, Jabalpur (6 days) 1,15,119, Amravati 1,66,524, Raipur (6 days) 1,82,892, Durg 58,298, Jalgaon 92,075, Wardha 45,344, Rajnandgaon (6 days) 40,000, Yavatmal 47,481, total 2,62,792; Jaipur 6,48,915 (76.63%), Ajmer 50,286, Bikaner 71,299; Hyderabad (gross) 5,81,963 from 2 cinemas.
Dil Chahta Hai dropped in Bombay too. 6th week Bombay 29,71,796 (49.62%) from 13 cinemas (3 on F.H.), total for 6 weeks 3,21,12,482; Ahmedabad 1,36,495 (1 unrecd.); Pune 11,33,448 from 5 cinemas, Solapur 57,700; Delhi 20,95,794 from 7 cinemas; Lucknow 2,26,491, Varanasi 38,722, Allahabad 1,70,005, Bareilly 21,000; Calcutta 4,00,482 from 2 cinemas; Amravati 52,391; Bhopal 53,201; Jaipur (6 days) 56,196 (10.85%); Hyderabad (gross) 5,09,515 from 3 cinemas (1 in noon).
Gadar Ek Prem Katha 14th week Bombay 6,04,332 (37.06%) from 4 cinemas (5 on F.H.), total for 14 weeks 5,09,35,184; Ahmedabad 58,149 from 2 cinemas, Rajkot (matinee) 12,800; Pune 1,22,063, Solapur 24,581; Delhi (TF) 23,06,068 from 9 cinemas (1 on F.H.); Kanpur 1,19,135 from 2 cinemas, Lucknow 1,60,972, Agra 1,05,000, Varanasi 67,871, Allahabad 38,000, Bareilly 49,732; 2nd week Puri 100%; 14th week Jabalpur (6 days) 50,369, Amravarti 42,990, Raipur (6 days) 29,887, Jalgaon 60,330, total 23,75,870; Indore 71,379, Bhopal 85,193; Jaipur 1,35,657 (23.18%), Ajmer (gross) 1,01,768; Hyderabad (gross) 1,87,161.
RAJARAM CHAVAN DEAD
Rajaram B. Chavan, proprietor of Sheetal Cinema at Kurla, Bombay, passed away in a city hospital on 19th September. He was 73 and had been ill for a short time. The cinema remained closed on 19th and 20th.
Rajaram Baburao Chavan’s other business interests included Bombay Motor Training School & Automobile Mechanical Institute.
TAX-FREE SERVICE CHARGE DOUBLED IN CHHATTISGARH
The tax-free service charge per ticket sold by cinemas in Chhattisgarh state has been doubled with effect from 21st September. The Chhattisgarh Cine Association, Raipur, led by its president, Inderchand Dhariwal, had been pressing the government of the newly-formed state to increase the service charge from the present Re. 1.
The government finally heeded the trade’s request and hiked the charge to Rs. 2 per ticket.
ADNAN SAMI WEDS
Singer and music director Adnan Sami got married to Sabah on 15th September in Dubai. The couple is currently on honeymoon.
‘LAGAAN’ UNAUTHORISED PRINT SEIZED
Acting on a written complaint by Radhika Films, Amravati, the SDOP (Harda) on 10th September raided Priti Talkies, Khirkiya (C.P. Berar) and recovered an unauthorised print of Lagaan being screened there. Upon investigation, it was discovered that the cinema management had procured the print from Indore. The cinema has been sealed indefinitely and a case has been registered against the management in Harda police station. The proprietor and the staff of the cinema have been absconding.
It may be mentioned here that Priti Talkies, not being a member of the CCCA, has reportedly been screening illegal prints of new releases on a regular basis. Not only that, the cinema hall also advertises the film being screened there in local newspapers!
The menace of no. 2 prints has been assuming killing proportions, eating into business of legitimate distributors.
ACTOR YOGRAJ SINGH IN JUDICIAL CUSTODY
Punjabi film actor Yograj Singh, facing criminal charges in model Jessica Lal’s murder case, was on 19th September remanded to judicial custody for five days by a Delhi court for his repeated failure to appear before it. The court rejected Singh’s appeal for cancellation of warrant and remanded him to judicial custody till 24th September.
AIFEC PROTESTS LIMITED QUOTA AT IFFI
The All India Film Employees’ Confederation has, in a strongly-worded statement, decried the allotment of only 200 technician-delegate cards for this year’s International Film Festival of India. The AIFEC, which has been clamouring for an independent quota for some time now, had been assured this year by I & B minister Sushma Swaraj that its demand would be granted at the ensuing festival. Till now, it is the FFI which gives 200 passes to the AIFEC for its members from out of the 1,200 received by it.
The AIFEC has returned the packet containing forms for the IFFI to the FFI and informed the Directorate of Film Festivals of the same.
‘LAGAAN’ RELEASED WITH POMP AND SHOW
Lagaan opened this week at Sangeet Cinema, Bhopal after being screened at other city cinemas. The cinema management held a puja to mark the release. Grand publicity has been done at the cinema. The film’s banner in the cinema premises was garlanded on the opening day.
‘GADAR’ 100 DAYS
Zee Telefilms’ Gadar Ek Prem Katha entered the 100th day of its run today (22nd September) at scores of cinemas all over. Produced by Nitin Keni for Zee and directed by Anil Sharma, the film stars Sunny Deol, Amisha Patel, Amrish Puri, Lillete Dubey, Vivek Shauq and others. It is written by Shaktimaan and has Anand Bakshi’s lyrics, set to tune by Uttam Singh.
‘LAGAAN’ STRIKES A TON
Aamir Khan Productions’ Lagaan entered the 100th day of its run today (22nd September) in Bombay and some other stations. Directed by Ashutosh Gowariker for producer Aamir Khan, the film stars Aamir Khan, Gracy Singh, Rachel Shelley, Paul Blackthorne, Suhasini Mulay, Kulbhushan Kharbanda, Raghuvir Yadav, Rajendra Gupta, Rajesh Vivek, A.K. Hangal and others. It has story by Ashutosh Gowariker, screenplay by Ashutosh Gowariker, Kumar Dave and Sanjay Dayma, and dialogues by K.P. Saxena (Awadhi) and Ashutosh Gowariker (English). The lyrics of Javed Akhtar have been set to music by A.R. Rahman.
YOU ASKED IT
Why did Jeetendra’s Kyo Kii… Main Jhuth Nahin Bolta not take even a fairly good opening?
– Its publicity was insipid, its music was not promoted to the desired level (three songs are good) and Govinda has lost his popular appeal quite a lot, after the TV game show, JEETO CHAPPAR PHAAD KE, which he hosts. Further, Govinda appearing in down-market TV commercials has also adversely affected his standing among the gentry audience.
Were songless films made in the good old days too?
– The first film without songs was J.B.H. Wadia’s NAUJAWAN, released in 1937. There were no songs as the film was meant to be a thriller. A special trailer was made to explain this to the audience.
If a good opening is half the battle won, what is a poor opening?
– 75% of the battle lost!