Wednesday, January 5, 2022

 

Sunday, May 30, 2004


In search of solo hit
V. Gangadhar

Having been a Saif bet in supporting roles, Hum Tum is the film which is expected to prove his mettle as a solo hero. Saif Ali Khan undergoes the litmus test as the film hits the theatres.

Saif Ali  with Rani Mukherjee in Hum Tum
Saif Ali with Rani Mukherjee in Hum Tum

BOLLYWOOD actor Saif Ali Khan is a busy man these days— playing a soccer star and planning to shoot a ‘Ruffles Lays’ commercial in Spain to be directed by Kunal Kohli—even as his new film Hum Tum hits the theatres.

Hollywood star of the past, Deborah Kerr, after being passed over yet again for the Best Actress Oscar ruefully observed, ‘Always the bridesmaid, never the bride.’ Saif is in a similar position. A big name in the parallel hero/supporting actor category, he is yet to deliver as the solo hero of a film.

A jinx? The talented Saif was the hero in his debut film Aashiq Awara (1993) which was Hit . Since then, he has seldom figured as a solo hero. But as a supporting actor, he acted in films like Yash Chopra’s Parampara,  Sooraj Bharjatiya’s Hum Saath Saath Hain  and Milan Luthra's Kachche Dhaage

Bollywood directors admit that Saif has matured over the years. Says Umesh Mehra, who directed him in Aashiq Awara, “Saif has definitely matured as an actor and needs just one hit as a solo star. I hope this happens with Hum Tum”. The editor of a well-known trade journal observes, “Saif symbolises youth and exuberance. He has an eye for comedy. But he must prove he can pull in crowds on his own.”

The solo hero image is the ultimate stamp of success for an actor. Shah Rukh Khan, Salman Khan and Hrithik Roshan, to a lesser extent, Aamir Khan and Sunny Deol  have it in them. Hum Tum, a Yash-Raj film  is the litmus test for Saif. He plays the cartoonist in a leading newspaper and cast opposite Rani Mukherjee.

Director Kohli does not hide the fact that the role was originally meant for Aamir Khah. Realising the need for a more youthful hero, and the fact that Aamir had date problems, Kohli chose Saif. Saif, unlike Aamir or Shah Rukh, can play a 21- year old and a 29-year-old with as much ease. Hence, Kohli opted for him.

Hum Tum is all about love—its waxing and waning— in three stages of life. Though funny, it has its serious moments.

Rani has a high opinion of her co-star, Saif.  “He is really funny, but deep down, there is a serious element. He reads, keeps in touch with events and is well-informed. His approach to any role is intelligent.” Rani and Saif were seen together in J. P. Dutta’s LOC and Karan Johar’s Kal Ho Na Ho but not as a romantic pair.

Saif is taking no chances about this film. To promote his film, Saif even agreed to feature in popular serial Jassi Jaissi Koi Nahin as cartoonist Karan.  Jassi, who disagrees with the cartoonist’s views on men and women, writes to him. Finding her views refreshingly original, the cartoonist visits her office for a chat.

It’s remains to be seen whether the film makes room for yet another Khan in the firmament now dominated by Shah Rukh, Salman and Aamir.

Sunday, January 2, 2022

 

CLASSIFICATION: 1996
(Total 125 films, including 29 dubbed films)

Movie Marvel Of The Year
RAJA HINDUSTANI

AAA (Super Duper Hit)

BORDER

AA (Super Hit) 

DIL TOH PAGAL HAI

A1 (Hit)

HERO NO.1
JUDWAA (AA in Bombay)
JUDAAI
ZIDDI (AA in some circuits) 
GUPT

BB (Overflow)


PARDES (Losing in some circuits)
ISHQ (Losing in Delhi, Jaipur ) 
BHAI

Commission To Overflow

Masoom (‘A‘ in Maharashtra)
Loafer
Diljale 
(losing in some circuits)
Raja Ki Aayegi Baaraat (losing in some circuits; ‘BB‘ in Bihar & C.P. Berar)
Tere Mere Sapne (‘A‘ in Bombay & losing in Eastern Circuit)
Fareb (‘A‘ in Maharashtra)

B1 (Commission Earner)

Antim Yudh (dubbed; ‘BB‘ in South)

Coverage To Commission

Ek Bandar Hotel Ke Andar (dubbed)
Chaahat
Army
Mission: Impossible (dubbed)
Mita Doonga Naam-O-Nishan (dubbed)

Saturday, January 1, 2022

 Komal Nahta


In my last column, I spoke about producers raking in profits through the rights for their films.


Some readers misunderstood my point about the Khan starrers.


My point was the Khans are hot overseas, hence overseas rights of their starrers fetch hefty prices. I did not, it must be clarified, say that their films were hits abroad. Several Khan starrers have bombed overseas as they have in India.


Distributors acquiring rights for films from producers comes much before the BO perfomance of a film. My article was about the former.


THIS time round, let me acquaint you with the many circuits or territories.


To get his film to reach out to cinegoers like you and me, producers need distributors and exhibitors. Exhibitors, as you all know, are the cinema-wallahs -- either owners or controllers of cinemas


And distributors are the link between producers and exhibitors. They acquire films from producers and screen them in different cinemas.


Save for Rajshri Pictures, no other production house has a chain of distribution. All other producers need to sell their films to distributors.


Top producers are now emulating the Rajshri example but, of course, they have a long way to go.


For while Rajshri has distribution offices all over India, producers like Yash Chopra and Subhash Ghai have distribution offices in some circuits only.


THAT brings us to the circuit. A circuit is a territory for which rights are purchased by distributors.


India is divided into the following circuits (one or more of which distributors acquire films for):


Bombay. This includes Bombay city and suburbs, Thane district, parts of Maharashtra, Gujarat, Saurashtra and parts of Karnataka.

Delhi-UP. Includes Delhi city and suburbs and Uttar Pradesh.

East Punjab. This covers Punjab, Haryana, Himachal Pradesh and Jammu and Kashmir.

Eastern circuit. This is further sub-divided into four sub-circuits. A distributor may acquire the entire Eastern circuit rights or he may acquire one or more sub-circuit rights:

West Bengal

Bihar and Nepal

Assam

Orissa


CPCI Rajasthan. This, too, is actually divided into three sub-circuits.

Years ago, distributors acquired films for the entire circuit. Today, deals are usually struck for three sub-territories with three different distributors:


CP (or CP Berar), which stands for Central Province and comprises parts of Maharashtra (Amravati, Akola, Jalgaon, etc), and parts of Madhya Pradesh (Raipur, Jabalpur, etc)

CI - which stands for Central India. This consists of part of Madhya Pradesh (Indore, Ratlam, Gwalior, Ujjain, Bhopal. etc.

Rajasthan covers the entire desert state.


South. This territory is today broken up into four sub-territories:

Nizam -- consisting of parts of Andhra Pradesh and parts of Maharashtra.

Andhra -- consisting of parts of Andhra Pradesh

Mysore -- comprising stations like Bangalore, Davengere etc - the part of Karnataka which is not the portion of Bombay circuit.

Tamil Nadu and Kerala .

WHEN we talk of film prices or film ratios, we generally mean the price for one major circuit.


At one time, Bombay, Delhi-UP and Eastern Circuit were the three major circuits.


But, today, Bombay is the real major circuit. That means a film's ratio is the price for which it is sold for the Bombay circuit.


Given that Bombay is a major circuit, the prices of other circuits are calculated as percentage of the Bombay prices. By and large, these percentages are fixed.


Broadly, they are:


Bombay: 100%

Delhi-UP: 80-85% (but if it is an action film, Delhi-UP is also 100% - or, in other words, it is a major circuit for an action film).

East Punjab 40%

Eastern circuit

West Bengal 25-30%

Bihar-Nepal 40-45%

Assam - 10%

Orissa - 10-15%

CPCI Rajasthan

CP (or CP Berar) - 40%

CI - 20-25%

Rajasthan - 20-25%

South

Nizam - 25-27 ½%

Andhra - 7 ½-10 %

Mysore - 10-15%

Tamil Nadu-Kerala - 5%

APART from the above Indian territorial rights, the producer sells audio rights for his film to a music company, overseas rights to an overseas distributor, satellite rights to a satellite channel, DVD rights, Doordarshan rights, etc.


A lot of money? Sure it is, but only if a film is an exciting proposal. Otherwise, the monies obtained from sale of all these rights may even be less than the total cost of production of a film.


In that tragic case, producers make a table loss. Examples are many.


Recently, Mohabbatein lost money in the most of the center's but it's an huge Superhit in overseas market. 


Top producers can generally rake in profits of upto Rs 15 crore to Rs 20 crore (even more!) per film, unlucky producers could end up losing a couple of crores (or more) in a film. Pukar was an exception because of the long time it took in the making and also because it went grossly over-budget.


Himesh Mankad informative Danish Raza