Roshmila Bhattacharya (MUMBAI MIRROR; June 30, 2020)

On Sunday, June 28, Subhash Ghai rang in the 40th anniversary of Karz, tweeting that his first production had released in 1980 amid heavy rains. “We were looking 4 audience to come. Very few came. Disappointed.”

This confession from the showman about the film that he also directed, came as a surprise, because given the popularity of the chartbuster “Om Shanti Om”, one had always believed that Karz was a blockbuster. “Yeah, everyone believes that,” Subhash ji acknowledged, sighing that the downpour had washed away all their expectations. “Or maybe, as many of my distributors and exhibitors pointed out, the film came 10 years before its time.”

Conceived in the filmmaker’s living room of his two-bedroom apartment, which served as his office, he had ambitiously shot the entire film in cinemascope. But at the time of release, several distributors from Bengal, UP and other centres turned it down pointing out that out of the 200-odd theatres then, only 10 were equipped for cinemascope. “So, I had to spend more money converting it into a 35-mm print. Dejected, I hosted a preview show for some industry friends, among them Jeetendra and Salim Khan, who enjoyed the film but expressed doubts about whether it would be widely accepted given its subject and treatment.”

On Friday, June 27, 1980, Subhash ji and his assistant directors arrived at Bandra’s Galaxy cinema half an hour before the 3 pm show, expecting huge crowds. There were only a handful of people at the ticket window while Feroz Khan’s Qurbani, which had released a week earlier, ran to full houses. “We opened with 20 per cent collections,” he reminisces.

It got worse the next day, when his Delhi distributor admitted that the masses were not coming in as the characters were too urban and spoke more angrezi than comprehensible. The biggest shock came when the manager of a Uttar Pradesh theatre shared that people were walking out during the songs, even “Om Shanti Om”, put off by the psychedelic lights.

“It’s a good film, but people can’t understand why Rishi Kapoor needs to avenge Raj Kiran’s death. We know Monty is Ravi Verma reborn, but till now, in all Hindi reincarnation dramas, the hero returned with the same face. By going with another actor in the next life, you have merely compounded the confusion of rebirth,” he was told.

Subhash ji had tried calling his ‘hero’ on Friday and Saturday, but Rishi Kapoor didn’t answer the phone. “On Sunday, I learnt that he had been admitted to the hospital for depression. He had worked hard on every scene and was so proud of the film, requesting several preview shows for his friends before its release. The no-show came as a shock and I had to get Raj saab (his father Raj Kapoor) to reassure him that we’d made a good film irrespective of its commercial failure,” he flashbacked.

Collections picked up marginally on Sunday in cities like Mumbai, Delhi and Ahmedabad and many more after the Qurbani craze abated. But Subhash ji himself admits with refreshing candour that by 10-15 weeks, Karz’s run was over. “We stretched its life span in certain theatres so it could celebrate a silver jubilee, but paisa kuchh nahin banaye. It was Vidhaata with Dilip Kumar and Sanjay Dutt, followed by Hero with a new boy Jackie Shroff, that saved my production house,” he states.

Ironically, over the years, Karz , which was Tina Munim’s second film, attained cult status and four decades later, “Om Shanti Om” still reverberates in our collective memory. Its maker reveals that the song was always a part of the script and marked a turning point in the story. After his untimely death, Ravi Verma’s mother (Durga Khote) goes to the mandir and asks Kali Maa to give her son back. Soon after, pop star Monty is on stage singing “Om Shanti Om”. “As he stretches out the word ‘Om’, the oldest sound in human existence, which connects straight with the divine, he swoons and falls to the ground. In the hospital, he admits to seeing visuals of someone being killed, going on to realise that it was him in his previous birth. Since reincarnation is the work of God and not a human effort, I thought a song like ‘Om Shanti Om’ would be apt,” Subhash ji notes, adding that instead of a devotional bhajan during aarti, he worked with his composers, Laxmikant-Pyarelal, to make a pop song out of it. “Pyarelal ji gave me five-six haunting tunes from which I selected my theme music.”

Among its many hatke twists, Karz had a female antagonist at a time when villains were male and in the Gabbar Singh mould. “I decided on a love story which ends with the girl, Kamini, murdering the boy and going on to become Rani Sahiba. I wanted Simi ji (Garewal) to play her because she’s no ordinary vamp, but a sophisticated lady in a negative role. She finally agreed because I begged, but wondered if she was doing the right thing. It was only after watching the film, that she hugged me. Karz today is one of her most memorable performances,” says Subhash ji.

Rishi saab and he didn’t do another film but remained good friends. Today, Karz and “Om Shanti Om” are instantly associated with the late actor. “Even though Karz wasn’t a blockbuster, eventually it made us all proud,” he concludes.


Subhash Ghai, his leading man, Tina Munim and Simi Garewal at the film’s mahurat with Gulshan Rai, NN Sippy and Shatrughan Sinha, who gave the ceremonial first clap

Four months into the lockdown, and with cinemas unlikely to open before October, owners and trade pundits fear single screens may fold by year-end
Mohar Basu, Uma Ramasubramanian (MID-DAY; June 22, 2020)

Cinemas across Europe and the US may be opening their doors again, but a big-screen date with their favourite star remains elusive for the Indian audience. Even as the government is easing the restrictions in phases, reopening of theatres is likely to be among the last steps in the 'Unlock India' plan. The theatre business, currently in its fourth month of shutdown, has suffered a blow, with the single screens being the worst hit. Three landmark movie halls — Shanthala and Padma in Mysuru, and Maharani in Chennai — have bitten the dust in the past three months.'

With trade circles suggesting that cinemas will not re-open before October, exhibitor Akshaye Rathi worries that "about 250 to 300 single screens may be wiped out". He rues, "There's no support from any quarter, be it from the film industry or the government. By October, the number of theatres downing its shutters may touch 1000-plus."

Rathi adds that problems will continue to plague the humble single screens even after they resume operations. "The initial expenditure will be way higher than the revenue coming in," says Rathi, adding that they will witness high footfalls only when big-ticket offerings hit the marquee.

With rent, maintenance charges and staff salaries, the theatre owners' expenses have been rising with no revenue to offset them. Manoj Desai, executive director, Gaiety-Galaxy, notes that the government has offered little relief. "The government should do away with GST. We are paying the property tax, BMC tax and electricity charges. Ideally, these should be excused for the moment."

mid-day reached out to Regal Cinema owner Kamal Sidhwa Taraporewala, who declined to comment on the losses incurred due to the lockdown. Since 2018, rumours have been abuzz about the Colaba theatre struggling to stay afloat.

Gurmeet Singh Seble, MD, Seble Cinemas in Delhi, adds, "The Shaheen Bagh protests continued from December to February, and the lockdown came into effect in March. So, single screens here were affected even before the Coronavirus pandemic."

After paper brings to light how Gaiety-Galaxy owner has to take a loan to stay afloat amid lockdown, Akshay Kumar offers financial aid to help him tide over losses
Mohar Basu (MID-DAY; April 21, 2020)

Last week, mid-day reported that Manoj Desai, owner of Gaiety-Galaxy, had to take a bank loan to provide salaries to his employees amid the Coronavirus lockdown (How will the show go on?, April 16). Four days since, Akshay Kumar has come forward to ensure that Mumbai's much loved cinema does not suffer a harsh fate as the theatre shutdown runs into its second month. "Three days ago, I got a call from Akshay ji. He offered to provide financial assistance if the scenario continues. It was kind of him to offer help, but we should find a way to sustain ourselves. We have managed to collect enough funds to pay the salaries for this month, but the theatre shutdown will have long-term ramifications. Our focus is to ensure we don't trim staff or resort to pay cuts," says Desai.

Two weeks into the shutdown, Desai and business partner Arun Nair had decided to increase the ticket prices once the cinemas re-opened. However, with the lockdown being extended to May 3, Desai is aware that making up for the losses of 45 days is a pipe dream. "I will head to Gaiety and Maratha Mandir today to finalise our plan of action for May. We are reworking our plans to ensure that we don't have to seek support from the industry folk."



No Aid From YRF?
Desai is also the owner of Maratha Mandir that screened Dilwale Dulhania Le Jayenge (1995) for 25 years, thus making the Shah Rukh Khan and Kajol starrer the longest-running film in the history of Indian cinema. He laments that Yash Raj Films, the studio behind the love story, has not offered a helping hand. "We have been running the film for so long. I can't go begging to them; they should have spared a thought," he said in an interview to mid-day last week.

As the theatre shutdown enters its second month, Manoj Desai, owner of Mumbai's iconic cinema Gaiety-Galaxy, says he is taking a bank loan to pay staff
Mohar Basu (MID-DAY; April 16, 2020)

A month into the shutdown of cinemas, the picture is not looking rosy for Mumbai's iconic theatre, G7, better known as Gaiety-Galaxy. While the top brass of several multiplex chains have taken voluntary pay cuts to ensure their business stays afloat, Manoj Desai, owner of the Bandra theatre, says he is struggling to provide salaries to his employees.

Talking to mid-day, Desai says, "I don't want to lay off anyone as per the directive of our Prime Minister. I am taking a bank loan to tide over the next few months. I want to retain all my staffers. How will they run their homes if I let go of them?"

In the face of the Coronavirus crisis, Bollywood has stepped up to provide financial assistance to the daily wagers and the needy across the country. But Desai rues that the stars haven't spared a thought to their favourite theatre in these trying times. "When their films release, they drop by at Gaiety to see the crowd. They give interviews saying that the crowd at Gaiety is the yardstick to determine a film's success, but no one has offered help so far."

Known for its dirt-cheap tickets, Mumbai junta's favourite multiplex Gaiety-Galaxy to hike its prices by Rs 20 to recover its losses from the ongoing shutdown
Uma Ramasubramanian (MID-DAY; March 23, 2020)

Ask any exhibitor in Mumbai, and he will tell you that summer is one of the most profitable periods in the business. With school and college students enjoying their summer vacations, coupled with big releases hitting screens, cinemas witness a significant rise in footfalls. Naturally then, the temporary shutdown of theatres from March 14 in the wake of the pandemic has caused a big dent in their revenues. In order to compensate for the losses, Gaiety Galaxy — one of Mumbai's iconic theatres known for its pocket-friendly prices — will increase its ticket rates by 14 to 18 per cent once it opens shutters again.

Manoj Desai, executive director of the G7 multiplex and Maratha Mandir, says, "This shutdown has created a huge loss for us. My theatres are the only ones that sell tickets at the lowest cost, but now, I am planning to increase the rates by Rs 20 [as soon as the shutdown is called off]." In an age when a multiplex ticket is priced upwards of Rs 300, the colourful Bandra theatre would offer a stall ticket for only Rs 110 while a balcony seat would set you back by Rs 140.

Desai states that his top priority is to stand by his employees in trying times. "No matter what the situation, I am paying my staff. Where will they go in such a crisis?"

Amid growing health concerns, he is well-aware that it will be a long wait before fans flock to theatres. "I don't see it get back to normalcy until the first week of May," he sighs.

Bollywood is going through a great phase at present. So many different kinds of subjects are being attempted and are getting commercial success. Masala films continue to do well and the era of single screens, whistles, claps et al is very much thriving, albeit only in certain parts of the country. But 10 years ago, things were gloomy for the industry. The films were getting success but there used to vast periods of drought in between two hit films. Also, while footfalls in multiplexes were steady, in single screens, it was poor. The multiplex strike of April-June 2009 had further crippled the business of single screen cinemas.

But then came Wanted, which ushered in a new era. In producer Boney Kapoor’s words, “It brought back the concept of hero, something which was in vogue years back when Amitabh Bachchan used to play such characters. Somehow such cinema had become extinct.” Superstar Salman Khan played the lead role who, just like the industry, was also going through a tough time. Wanted put him back in the big league. Till today, he’s following the ‘Wanted’ formula of making mass-friendly, action entertainers (and with him doing away with his shirt in the finale fight) and now not just single screens but even multiplexes are lapping it up.

10 months before Wanted, Aamir Khan-starrer Ghajini was also an attempt in reviving the testosterone-driven cinema. But it was not a complete action film and had other elements too. Wanted, meanwhile, had action in adequate doses and catered to the single-screen audiences who went crazy over the film and how. On the joyous occasion of Wanted’s 10th anniversary, we go down memory lane and bring back some not-so-known trivia about the film, including how Salman Khan’s father Salim Khan emerged as an angel for producer Boney Kapoor in times of crisis:

BEFORE RELEASE:

1. Wanted was earlier titled Wanted: Dead Or Alive. The makers were in favour of simply Wanted as the film’s title. However, a producer down South had the rights who asked for a huge amount of money to part with the title. According to unconfirmed reports, it was Salman Khan who paid for the title from his own pocket.

2. Not just Salman, but even his father Salim Khan made a major contribution to the film. The B4U group had filed a case against Boney Kapoor in the High Court and demanded a stay on its release. In September 2006, Boney had signed a MoU with B4U for a joint venture for which the latter had extended an advance of Rs. 10 crore to acquire rights of the former’s five films. The price of these films wasn’t fixed and moreover, B4U and Boney couldn’t reach an understanding. Meanwhile, Boney Kapoor was in a debt trap and in the absence of any funds from B4U, he joined hands with Sahara One Motion Pictures and produced Wanted. B4U hence moved the High Court which upheld that Boney can’t create third party rights to his films. It also directed him to furnish Rs. 10 crore as security deposit. Fearing that Wanted’s release may suffer, Boney moved the Supreme Court which allowed the film to release on its scheduled date. But it was told to deposit Rs. 2 crore within a week. Raising Rs. 2 crore was a difficult task for Boney and this is when Salim Khan stepped in. He immediately lent him Rs. 1 crore. Boney was moved to tears at this gesture. Salim saab however felt it was the most apt thing to do and stated, “I know people who have crores lying in Swiss banks and benaami accounts but they will not help you with even a lakh when it comes to the crunch. In fact, if you tell someone that you are looking for monetary help, that is the surest way of driving them away from your life. I think most of us are born selfish.”

3. Wanted began the trend of having Eid releases for Salman Khan. Barring 2013, Salman has had a release on this festival every year from 2009 to 2019 and is also scheduled to have a film coming on Eid 2020 as well. But it’ll be interesting to know that initially, Wanted was to arrive much earlier. The multiplex strike pushed it ahead, just like most films. Till April 2009, Wanted was to hit screens on July 3 and it was also to clash with Dulha Mil Gaya, which featured Shah Rukh Khan in a supporting role. Then it was moved to August 7. Later it got a release on September 18, 2 days before Ramzan Eid. The teaser was released with Love Aaj Kal, that came out on July 31.

4. Another minor jolt suffered by Boney Kapoor is when the Central Board of Film Certification (CBFC) gave the film an adults-only certificate. Several industry insiders, trade and even audience were left shocked since the film had violence but it was not too gory either. There were fears that it might restrict the film’s appeal. Even Salman in many interviews expressed his disagreement with Wanted’s ‘A’ rating.

5. Salman Khan promoted the film extensively. From the promotions itself, it was evident that Salman’s ‘re-birth’ has happened with Wanted. Even in the songs, he seemed in top form after a long time. His dance steps in ‘Mera Hi Jalwa’ was quite appreciated. He said in an interview, “It’s really amazing to see the dance steps I have done. I can’t believe that it’s me in the song, dancing like this, yakeen hi nahin hota ki aisa bhi kuch ho sakta hai!”

6. Salman Khan also used his game show on television, ‘Dus Ka Dum’ to promote Wanted. In a rare move, Boney Kapoor’s wife, the late Sridevi made an appearance in the memorable episode along with Boney, director Prabhudheva and actress Ayesha Takia. Without Sridevi’s knowledge, Salman sneaked in two of her paintings and presented in front of the audiences. Sridevi surprised one and all when she said that for one of the paintings, she used the tips given by Salman. What also made this episode special is that Boney and Sridevi’s daughter Janhvi, who is now also an actress, was present in the audiences’ section and Salman lovingly addressed her and her younger sister Khushi as two other beautiful creations of Sridevi.



AFTER RELEASE:

1. Wanted released in 1400 screens and its first day collections stood at Rs. 5.10 crore. It was the ninth biggest opener of the year but emerged as the fourth biggest grosser of 2009 as it collected Rs. 60.24 crore in its lifetime.

2. It was the massiest film of 2009 and after a long time, such a film had come in cinemas. As a result, his traditional fan base was out in full force. Around 70% of business in the first week was done in single screens, as per a report.

3. In Mumbai, Ankur cinema in Govandi had to paint a ‘Housefull’ board because they didn’t have one. Theatres in South Mumbai like Liberty and New Empire had to dig out the ‘Housefull’ board from their storage rooms as they didn’t need them for a long time. The scenario was similar in many single screens across the country.

4. Manoj Desai, executive director of G7 Multiplex in Mumbai, popularly called as Gaiety-Galaxy cinema complex, was heard saying, "Wanted has got the film industry and also the single screen cinemas out of the ICU. The film has got 100 per cent collections till now and it is only going to get better."

5. Boney Kapoor reported that in Rishi theatre in Uttar Pradesh’s Bulandshahr, a gun firing took place between two sections of Salman Khan fans. It led to a riot-like situation and police had to resort to firing outside the theatre to disperse the crowd.

6. In Paras cinema in Jaipur, the cops had to request the theatre management to sell 200 tickets less to keep the audience in control.

7. In the biggest theatre in Hubli, Karnataka, almost 5,000 people gathered outside to buy tickets.

8. Unlike the norm, Wanted was released in all 3 theatres in Kanpur and police protection was adequately provided.

A lot of films’s tenth, twentieth, twenty fifth anniversaries are celebrated nowadays and many of these at times seem unnecessary. However, Wanted deserves to be feted as it was the first step in making our industry bigger and better. Today, most of the films in the Rs. 200 and Rs. 300 crore club belong to the action masala genre. Hence, Wanted is responsible for opening the eyes of the producers that such films are not dead, as believed then by many, and that they’ll always have an audience. May we have many such pan-India flicks in the future too!

As a salute to the Mumbai's last surviving single screen theatres, we relish the simple and delicious snacks sold at their counters
Suman Mahfuz Quazi (MID-DAY; December 1, 2018)

The posters are peeling, the walls are leaking and the curtains may come undone. The counters are half-empty, the food aplenty, but we're all flocking to over-priced nachos anyway. Welcome to this stupid world.

City historian Deepak Rao is as unhappy as us. "We'd make sure to carry extra pocket money for the chicken rolls at Old Excelsior when we went to watch films as college students," he reminisces, adding, "Watching movies used to be an experience." And we attempted to relive it.

As Eros cinema remains shut behind large doors and Regal, a glittering hoarding in Colaba's iconic skyline, sits on the cusp of an uncertain future, we take a look at the humble and wholesome fare sold at near abandoned food counters of the city's single-screen theatres, before they disappear like the brightness from the Diwali lights you forgot to take down.



Hotel filmistan
In 1992, when Khuda Gawah, a Bachchan-starrer Bollywood drama, premiered in the now-ageing Maratha Mandir at Mumbai Central, actor Poonam Dhillon had brought along a box of pedhas. The staff ate it up when Dhillon wasn't looking and she let it go with a laugh. Umar Rasool Sunasra (right), 52, food and beverage manager at the theatre, tells us many stories while looking back at his 35 years of service.

"Dilip Kumar was also here. I served him tea," he recalls. Incidentally, the film's co-producer, Manoj Desai, is also the executive director of the movie hall. The canteen is as relevant to their patrons as the box office. And their in-house vegetable sandwich (Rs 20), a humble snack made with bread, tomato, cucumber and green chutney continues to be a favourite. Young moviegoers who are there to watch Rajnikant and Akshay Kumar's new offering, 2.0, flock to the counter for hot and crispy samosa (Rs 30), chips and sandwiches.

Popular among Mumbaikars for screening a daily show of the 1995 blockbuster Dilwale Dulhania Le Jayenge even today, the cinema hall continues to serve wafers at Rs 10. "If the ticket is Rs 20, the food has to be cheaper, right?" he reasons. And if you ask him what he thinks of multiplex fare, he shakes his head disapprovingly. "Galat baat hai. Nuksaan na humara na customer ka hona chahiye. Tab hi toh woh laut ke ayenge," he says even as he reminisces the golden days of packed shows and surging sales.

AT M M Marg, RBI Staff Colony.
CALL 23070119


En route Pune
Subhash Bhatia (right), F&B manager at Chitra Cinema on Ambedkar Road, remembers Pune-bound city slickers stopping by to hoard affordable-but-hygienic wafers, sandwiches, and softies, which were a hit during summers in the '50s and '60s, when air-conditioned cars were still a distant dream. Located in a prime location, they still get a decent footfall, but have had to add new snacks like burgers.

The mela-like popcorn machines are a new addition and they have brought on board a different distributor for sandwiches, who serves variants like Russian salad and cheese chutney (Rs 80 each). "The problem is, if it isn't a good film that's playing, customers don't show up, but with a multiplex, they can simply watch another film. Our generation was happy with very little. It's not the same anymore," he shares.

AT Dr Baba Saheb Ambedkar Road, Dadar East.
CALL 24182264


A galaxy for cinephiles
"Yahan sab gareeb log aatein hai, madam," Babu Shaikh (right), food counter manager at Bandra's Gaiety-Galaxy Complex points out, speaking about why they continue to sell affordable eats, despite a decline in footfall. Their samosa, sourced from Sion's popular street food joint Guru Kripa (who, along with A1, caters to seven single-screens including the ones mentioned here), were once selling like hot cakes. Now, Babu says, "It's hard to sell even 50."

He thinks allowing patrons to bring their own food has lent itself considerably to the fall in sales. Even so, he stands by keeping costs low. "Poor people should have a place they can go to, to enjoy films as well," he argues. At one end of the movie hall's expansive cafeteria, an ice cream counter continues to sell Pastonji's chocolate ice cream (Rs 30) served in old-school wafer cones.

AT Swami Vivekanand Marg, Bandra West.
CALL 26558285


A forgotten landmark
Ganpati Eesan (right) has been working as the F&B manager at Regal Cinema's counter for 15 years. In a little corner behind the counter, he has set-up a table where he makes the theatre's popular sandwiches. "Back in the day, customers would purchase a ticket only to try the veg exotic sandwich [capsicum, tomato, cucumber and mayo]. We discontinued it three years ago because the ingredients became costlier but we couldn't hike our prices."

Now, they serve only cheese and chutney sandwiches (Rs 70). Looking back at some of the weirdest moments from his time behind the counter, Eesan recalls, "Once a foreigner brought urchins inside for a movie and raided our counter. We thought it was sweet, but didn't know how to respond."

As the PVRs and Cinepolises of the world took over, Regal relegated to the background, forgotten in all its vintage Art Deco splendour.

AT Colaba Causeway, Shahid Bhagat Singh Road.
CALL 22021017

Mohar Basu (MID-DAY; October 2, 2017)

Of late, it has become a norm for Bollywood stars to go cinema theatre-hopping over the opening weekend to gauge audience reaction to their latest release. However, Varun Dhawan, whose Judwaa 2 opened on a strong note across screens last Friday, has refrained from making rounds of theatres after his Saturday night outing at a Juhu cinema went awry. It wasn't out of the ordinary when Dhawan headed to the multiplex along with a few friends on Saturday night, to see the audience reception. However, things quickly spiralled out of control when fans heard of the actor's presence. In a matter of minutes, he found himself mobbed by overenthusiastic fans. An onlooker reveals, "It was impossible for his security guards to get him out of there and escort him to the car."

The production team had planned theatre visits across the city as a post-release promotional strategy. However, as soon as word about the mob incident spread, owners of multiplexes as well as single screens dropped the idea. A source close to the actor informs, "The owners of several theatres — including Chandan, Gaiety and a few multiplexes — reached out to the film's marketing team and advised them against it. They told them that the security team at the theatres was not equipped to handle crowds."

Another source from Chandan says, "Single screen crowds can get aggressive. Hypothetically, if Varun visited the place, there would be a major rush among fans to see him. This could have resulted in damage to property. We wanted to avoid something like this. So it was in everyone's interest to cancel the visit." Shaken after Saturday's episode, Dhawan too agreed to cancelling further theatre visits. He spent the weekend at Shoojit Sircar's office discussing their next.

Rajinikanth's Kabali has frenzied fans flocking to theatres at 3 a m, bathing his cut-out in milk and organising a blood donation drive in Matunga
Sanyukta Iyer (MUMBAI MIRROR; July 23, 2016)

While considerate companies in Chennai and Bangalore declared Friday, release day of Rajinikanth's latest screen outing Kabali, a holiday, the Aurora theatre in Mumbai's Matunga claimed its own share of the Thalaiva mania with much pomp and show.

An ancient single screen ensconced in King's Circle, Aurora, screens South Indian films amidst hoots and wolf whistles. But the jubilation truly assumes its most magnificent form around a Rajinikanth release. On Friday, the theatre's facade was decked up with the 64-year-old superstar's larger-than-life cut-outs.

At Bandra's Gaiety Galaxy (the screen territory of Bollywood's demigod Salman Khan) where the Hindi version of the Pa Ranjith-directorial released, special prayers were conducted for the film's success. Flexes were bathed in milk and offered cake. Fans filed in as early as 3.30 am for the first day first show. There were shows as early as 6am and 7am to mark the festive occasion of near-mythical proportions. It was only natural that the action-drama was trending worldwide on Twitter, ranking number one in nine countries and 53 cities.

A dozen fans arrived in a white limousine, wearing tees with their idol's face printed on them for the 7am show at Imax Wadala. A few admirers sported Rajini masks. Worshippers came from as far as Japan and Malaysia. "One fan had booked the entire theatre for the 9am show on Friday. In another show, over 500 revellers watched the film together, dancing inside the hall every time a song came on. The show was followed by a 'Thalaiva Blood Drive' with every viewer donating blood for charity," informs Nambi Rajan who owns Aurora. "Most fans watch the film 11 times because that's an auspicious number."

A Rajini bhakt who owns an electronic shop in Mumbai, led the procession from Shankara Mutt, to the temple of Astika Samajam in Matunga, ending the journey with a pooja at Aurora cinema. He shut down his shop five days ago to prep up for the film's release. A delighted Rajan whose box-office counters have not stopped ringing since Friday morning says that some fans have booked the multiplex for two-three weeks. "The Rajini festival will go on for a while," he beams.

Sonali Joshi Pitale (MID-DAY; August 18, 2015)

Like most actors these days, Sidharth Malhotra visited a suburban theatre on Sunday evening to gauge the audience’s reaction to his latest outing, Brothers. But if sources are to be believed, it turned out to be a harrowing experience for him.

Some of his fans apparently got too close to him, pulling and pushing him around, all for a selfie.
An onlooker says, “As news spread about Sidharth visiting Gaiety Galaxy along with his film’s director, Karan Malhotra, people started gathering outside the theatre. Several mediapersons had also been invited to cover the event. Bouncers were present on the scene, but the situation became a bit chaotic. The crowd kept surging and a group of youngsters pushed Sidharth as they wanted to click pictures with him.”

It is said that the bouncers controlled the situation, but the actor did not stick around for more than 20 minutes. “It was a post release event and we were not expecting that people will mob him. He regained his composure and was happy to interact with his fans,” a source close to Sid says.

A similar incident had taken place on Friday outside Chandan cinema when a fan forcibly hugged the actor, taking him by surprise.

Sidharth remained unavailable for comment.

Maratha Mandir owner Manoj Desai upset by Vinod Chopra over hiked PK ticket prices, refuses to release the film in single screens
Subhash K Jha (DNA; December 19, 2014)

Three of the oldest and most strategic single-theatres in Mumbai have decided to forgo the grand privilege of releasing the 'film of the year'.

We're talking about Rajkumar Hirani's PK. Regular patrons of Gaiety-Galaxy and Maratha Mandir (the latter being the venue for Dilwale Dulhaniya Le Jayenge for a 1000 weeks now) will be deprived of watching the new Aamir Khan-starrer.

Reason? Producer Vidhu Vinod Chopra wants a substantially increased price for the film which means a hike in the ticket rates of nearly a 100 per cent for the theatres.

Ostensibly angry Manoj Desai, the owner of the three theatres, says, "That's right we're not releasing PK. The reason is Mr Vinod Chopra is demanding an unreasonable price. We've been trying to reason with him for three days. But to no avail. So now I have no choice but to reluctantly move on. We're screening the superhit Telugu film Lingaa instead."

Does Desai regret not screening PK? "This is one business that goes on regardless of the films that come and go. Mr Chopra doesn't think so. He told me, 'Dekho tum kitne nuksaan mein jaate ho'. But I firmly believe no one loses out by not releasing one film. I tried to reason with him. But he's blinded by the impending success of PK," he says.

In any case Desai thinks it's time someone belled the cat. "Someone had to take a stand. It's painful to see films starring the Khans being pitched at double the normal price. These people should understand that you need to chew on food a little at a time. If you gobble it all up at once you get indigestion. I'd just like to remind them no one is infallible. And no one's shop closes down just because one customer walks away."

Desai feels Aamir with his image of a man of the masses should not be a part of this avaricious practice of ticket price hiking. "Aamirji does a show about the nation's conscience like Satyamev Jayate. It is saddening to see him talk like this."

Aamir Khan and Rajkumar Hirani’s much awaited collaboration, PK is finally set to make its big release tomorrow, the 19th of December The advance bookings have already begun but maybe you didn’t see this showdown coming, the high shot ticket prices are being a major spoiler for the film.

The ticket fares for PK are alarmingly high following the celebrated tradition of Aamir’s previous release, Dhoom3. Hence, some of the leading single screens of Mumbai like Maratha Mandir and Gaiety Galaxy are banning PK from their hub.

Justifying why, here’s what Executive director of Maratha Mandir and Gaiety Manoj Desai had to state. He argued, “I was not allowed to open the advance booking for PK and was asked to increase the ticket price from Rs 80 & 100 to Rs 150 & 250 for stall and balcony respectively. I was given a condition that unless I increase the ticket price I won’t be given the film and hence with due respect to Aamir Khan and Rajkumar Hirani, I preferred shelving the film instead of taking undue advantage of my patrons, my public coming to my theatres by increasing the ticket rates. The discussion continued for two days with Mr. Vinay Choksi of VIP Enterprises who book my theatres, and he was not ready to give me the film if I did not agree to their terms of hiking the ticket rates. Hence, after an unsettled meeting last evening, I decided to shelve the film.”

Confirming the news, PK representative Vinay affirmed, “Yes! PK will not be released in Maratha Mandir Cinema and Gaiety Galaxy – G7. They contribute highest collection only amongst the single screens and not overall. If the exhibitor is ready to let go business and few lakhs does not bother them, then we cannot stop their mind."

BOLLYWOOD LIFE

Vickey Lalwani (MUMBAI MIRROR; August 20, 2014)

Madhubala was known to often slip into her burqa and catch a movie. And now, Vidya Balan is following in her footsteps. However, she is not as good as her predecessor when it comes to masquerading in public.

Recently, the actress went to catch a show of Sajid Nadiadwala's Kick at a single screen theatre in a burqa. However, her arm candy hubby Siddharth Roy Kapur gave her away.

The couple walked into the theatre unnoticed and settled in a cosy corner at the back. They were undisturbed till the interval as everyone's undivided attention was on Salman Khan. But as the lights came out, a few among the audience spotted Siddharth and were curious to know who was the lady in burqa sitting besides him. Some even walked up to Siddharth to enquire, but before things could turn chaotic, the lights started to dim, forcing everyone to return to their seats.

However, a few specators, who were bitten by the curiosity bug, couldn't contain themselves for too long. Half an hour before the movie ended, they came back to quiz Siddharth on the identity of the mystery woman.

By this time, the couple sensed that the situation might get out of hand and to avoid any untoward incident, they chose to leave early.

Says an eyewitness, "About four or five people chased after them but they were not allowed to leave the auditorium."

Vidya had informed the theatre officials before turning up for the show and they had a safety net in place. The owner of Gaiety-Galaxy-Gemini, Manoj Desai, said, "We rushed them out of the back door. There was an elevator ready to whisk them off. "

When contacted, Vidya confirmed the news, saying, "Haan, aisa hua tha but it was fun."

This is not the first time that Vidya has ventured out to see a film enveloped in a burqa. When The Dirty Picture released, she had gone to the same theatre to gauge the audience reaction. That time she blew her cover by unveiling her face during the intermission to talk to her father.

Some spectators, who were returning to their seats, spotted the actress and she had to be whisked out of the theatre to avoid being mobbed. "This time, it was slightly better. She at least got to see much of the second half," added the source.

Sonali Joshi Pitale (MID-DAY; July 28, 2014)

On Saturday evening, Emraan Hashmi went to G7 multiplex in order to promote his upcoming film, Raja Natwarlal. But the actor witnessed a rather unpleasant situation as the crowd gathered there got out of control.

An eyewitness says, “Emraan was supposed to come at around 8pm but he was a little late. In the film he plays a conman, so the idea was to have him sell tickets of Salman Khan’s film, Kick, in black. But since it is a solo release and Bandra is the hub of Salman Khan fans, there was a big crowd at the venue.”

It seems that when Emraan came in, he was flanked by bodyguards, but the crowd at the theatre was uncontrollable. A source says that Emraan could stay there only for fifteen minutes. “When the actor entered the venue, one fan threw a polythene bag full of wrappers at him. Fortunately, Emraan saw it coming and turned away just in time; the bag hit his bodyguard’s hand instead. Some other people were eager to watch Salman’s film and after they bought tickets from Emraan, they got to know that those tickets were for a late show and not the immediate one. This upset them and they wanted Emraan to leave the venue. Soon after, the actor realised that the situation was getting out of hand, so he left the place much earlier than he had planned to,” says the source.

The actor remained unavailable for comment.

Priya Gupta (BOMBAY TIMES; July 26, 2014)