Showing posts with label Vikas Mohan. Show all posts
Showing posts with label Vikas Mohan. Show all posts
Gulzar's unreleased 1988 film Libaas to finally release this year
7:48 AM
Sonil Dedhia (MID-DAY; August 19, 2017)
Naseeruddin Shah, Shabana Azmi and Raj Babbar starrer Libaas, which was helmed by Gulzar, is finally getting a theatrical release, almost 30 years after it was made. Based on the short story Seema penned by the poet-lyricist, the film revolves around extramarital relationship and adultery.
Turns out, the film was not released upon its completion in 1988 as the producer, late Vikas Mohan wanted a different ending to the story. When Gulzar refused to alter the end, Mohan decided to can the film altogether. Now, the late producer’s sons Amul and Anshul Mohan, along with Zee studios, are planning to release the film by the end of the year.
Says Amul, “We’re in the process of locking a release date. We don’t want to clash with a big film, as the essence of Libaas will be lost.”
He further adds that the team intends to promote the film like any other new release. “We are planning a full-fledged marketing campaign, and hope to promote the film with the cast. There has been a huge section of the audience that has waited for this film to release. So, we also want to restore the original print and enhance the print quality when we release the film.”
Libaas was first shown at the International Film Festival of India (IFFI) in Bengaluru in 1992, followed by another screening at the same festival in 2014.
Trade analyst-filmmaker Vikas Mohan dies at 65
7:36 AM
MUMBAI MIRROR (June 1, 2016)
Veteran trade analyst and filmmaker Vikas Mohan passed away following a heart attack at Criti Care hospital in Mumbai on Tuesday morning. He was 65. "He was admitted to the hospital in a critical condition a few days ago," sources said.
Mohan who had produced Akshay Kumar and Madhuri Dixit-starrer film Aarzoo reportedly went into cardiac arrest on Monday evening.
His cremation took place at around 2 pm in the afternoon. Bollywood stars took to Twitter to condole the bereaved family.
Meanwhile, Amitabh Bachchan and TE3N director Ribhu Dasgupta cancelled a media interaction and the Housefull 3 team cancelled their promotional visit to Indore.
Firoz Nadiadwala, Anees Bazmee at loggerheads
7:36 AM
Bazmee claims he hasn't received dues; Nadiadwala says that FWICE is being misled
Sanyukta Iyer (MUMBAI MIRROR; February 9, 2016)
Producer Firoz Nadiadwala and writer-director Anees Bazmee have been at
loggerheads since August 28, 2015 when Nadiadwala filed a complaint at
the Amboli police station against Bazmee for forcefully stopping the
post-production work of their last collaboration together - Welcome
Back, which featured John Abraham, Anil Kapoor, Shruti Haasan amongst
other actors and made it into the 100-crore club, a week after its
release on September 4.
Five months later, Bazmee along with
the support of the Federation of Western India Cine Employees (FWICE)
accused Nadiadwala of fraud and theft and filed a complaint at the 63rd
Court of Andheri. There are also 12 other complainants who are claiming
that they have not received their fees. These include the film's writer
Rajeev Kaul, cameraman Kabir Lal and make-up artist Basharat Khan.
But Nadiadwala claims that Bazmee wants more money and wishes to tarnish his reputation. "The Federation is an honest governing body, which is being blind-sided by Bazmee. He has always wanted more money, but I've paid his full and final dues and owe him nothing," Nadiadwala informed Mirror.
Bazmee counters this by saying that several cheques, which have been submitted to the Federation and are not on his name, have bounced and that is why the Federation has also issued a 'Non-co-operative directive', which forces Nadiadwala to clear all his dues before he rolls with any other project.
Nadiadwala continues to maintain that he was repeatedly blackmailed and had even sent a letter via his lawyers to the Federation to not deposit those cheques. "These stories are being spun around so that Nadiadwala does not have to pay his dues," Bazmee argues.
Leading this debate from either side, Dilip Pithwa of FWICE informed Mirror that he was busy and could not comment at the moment, while Vikas Mohan, Vice-Chairman, Indian Film and Television Producers Council (IFTPC) stated that the battle is internal and will be settled by a joint-committee of both the parties. "I have to see to it that the interest of the producer is taken care of. I am not going to address this matter publicly,"
Sanyukta Iyer (MUMBAI MIRROR; February 9, 2016)
Producer Firoz Nadiadwala and writer-director Anees Bazmee have been at
loggerheads since August 28, 2015 when Nadiadwala filed a complaint at
the Amboli police station against Bazmee for forcefully stopping the
post-production work of their last collaboration together - Welcome
Back, which featured John Abraham, Anil Kapoor, Shruti Haasan amongst
other actors and made it into the 100-crore club, a week after its
release on September 4. 
Five months later, Bazmee along with
the support of the Federation of Western India Cine Employees (FWICE)
accused Nadiadwala of fraud and theft and filed a complaint at the 63rd
Court of Andheri. There are also 12 other complainants who are claiming
that they have not received their fees. These include the film's writer
Rajeev Kaul, cameraman Kabir Lal and make-up artist Basharat Khan. But Nadiadwala claims that Bazmee wants more money and wishes to tarnish his reputation. "The Federation is an honest governing body, which is being blind-sided by Bazmee. He has always wanted more money, but I've paid his full and final dues and owe him nothing," Nadiadwala informed Mirror.
Bazmee counters this by saying that several cheques, which have been submitted to the Federation and are not on his name, have bounced and that is why the Federation has also issued a 'Non-co-operative directive', which forces Nadiadwala to clear all his dues before he rolls with any other project.
Nadiadwala continues to maintain that he was repeatedly blackmailed and had even sent a letter via his lawyers to the Federation to not deposit those cheques. "These stories are being spun around so that Nadiadwala does not have to pay his dues," Bazmee argues.
Leading this debate from either side, Dilip Pithwa of FWICE informed Mirror that he was busy and could not comment at the moment, while Vikas Mohan, Vice-Chairman, Indian Film and Television Producers Council (IFTPC) stated that the battle is internal and will be settled by a joint-committee of both the parties. "I have to see to it that the interest of the producer is taken care of. I am not going to address this matter publicly,"
Associations set to take the sleaze out of trade magazines
8:05 AM
Roshmilla Bhattacharya (MUMBAI MIRROR; January 23, 2015)
On Thursday, a joint statement signed by the three producers' Associations-Indian Motion Pictures Producers' Association (IMPPA), Indian Film and TV Producers Council (IFTPC) and Western Indian Film Producers Association (WIFPA)—was sent to the editors of all trade magazines. The letter stated that they are not to print film posters of under-production or about-to-release films unless it is cleared by any one of these three bodies, "with no cost involved".
Naresh Mohonot, an executive member of IMPPA and General Secretary of Filmmakers Combine, points out that the Information & Broadcasting Ministry has invested these associations with power to scrutinize all publicity material to ensure there's no vulgarity. "But today, with all the semi-porn ads, it's impossible to take some of these magazines home The editors have been told to follow the guidelines stated in the letter, with immediate effect," he states.
Vikas Mohan, Vice President, IFTPC, and the editor-printer-publisher of Super Cinema, insists that it was time to draw the line before the ministry withdrew the powers. "My magazine has never accepted such ads but others do and were giving the industry a bad name," he reasons.
His brother, Kumar Mohan, editor of Bollywood and TV Reporter, agrees with him but acknowledges that the small filmmakers who use these ads to lure in distributors will be badly hit in an already shrinking market.
Producer Sandeep Malani whose film Beyond promotes itself with a poster of a semi-nude woman, says, "Guidelines are good, but they shouldn't interfere with the creative process. Posters are promotional tools to grab eyeballs. The poster of a 'nude' Aamir Khan in PK went viral. Producers spent lakhs to book front pages of magazines. They wouldn't want to print boring ads?"
Newly appointed member of the Censor Board, Ashoke Pandit, points out that a producer can go to any of the trade bodies and get a NOC. The check-mate was necessary!
Producer slaps notice on IFFI authorities for screening Libaas without his consent
7:40 AM
Bharati Dubey (MID-DAY; November 28, 2014)
Producer Vikas Mohan has sent a legal notice to the director of International Film Festival of India (IFFI) and the I& B ministry for screening his film, Libaas, without his permission. The film, written and directed by Gulzar, was showcased at the ongoing fest in Goa on November 22 and is said to have been received well by the audience.
Mohan says, “Our lawyers have sent a legal notice to the IFFI management. We feel cheated. In spite of such strict copyright rules today, we have been completely baffled by this episode, especially since the IFFI did something like this.’’ The notice reads that even though the letter of authority was given to IFFI, it did not grant permission to screen the film after over 22 years of its first exhibition in 1991 without prior intimation to Mohan. It also states that subscription charges are demanded these days from attendees at film festivals, thus making the screening commercial which was not the purpose for which the letter of authority was granted.
Mohan adds that he had given a print of the film to festival authorities in 1991. He has now asked them to return the copy of his film apart from issuing a public apology.
Shabana Azmi, who stars in Libaas, rues, “Unfortunately, I wasn’t even informed about it.”
The producer says that he intends to release the film soon. “Its release got stuck 26 years ago though we were not at fault. At that time, two or three of Gulzar saab’s films failed at the box office and distributors didn’t want to release this one either. They had also demanded their money back but I had nothing to give then. I could pay them only after Arzoo released in 1999. But now the time for Libaas has come,” he adds.
Panchamda yaad aa gaye, says Gulzar as Libaas finally premiered at IFFI after 26 years
7:52 AM
Ankur Pathak (MUMBAI MIRROR; November 24, 2014)
Gulzar's Libaas a film
made in 1988 but never released finally premiered on Saturday at the
International Film Festival of India in Panjim, Goa. The
veteran poet-lyricist-filmmaker presented the film with Vishal Bhardwaj
and daughter Meghna by his side.
“I feel like a school kid appearing for an exam,“ the 80-year-old
Dadasaheb Phalke award winner confessed before the screening.
“The dubbing quality could be bad. Maybe we might not get to hear some
of the dialogue,“ he warned. Gulzar's words were
proven wrong as the film was screened without any technical hiccups. “What a relief!“ quipped the
filmmaker as the end credits rolled.
Set in Mumbai, Libaas stars Naseeruddin Shah and Shabana Azmi as a married couple working in theatre together. The marriage begins to crumble as the conflict on stage begins to seep into the reality of the duo's life. Things get worse when Naseer's wealthy, charming best friend, played by Raj Babbar, enters the scene and is attracted to the character played by Shabana, with whom he starts a relationship.
Although the film was in the cans for so long, its music found a way to the hearts of people and the film is today remembered for songs like Phir kisi shakh ne, Khamosh sa afsana and Silli Hawa Chhoo Gai, composed by RD Burman. “Pancham da yaad aa gaye,“ an emotional Gulzar said after receiving a fiveminute standing ovation.
He admitted that his biggest fear was that the film might look dated. “But whoever has written it did a bloody good job!“ smiled the writer-director of the film, pointing out that even after almost three decades, the themes it explores the disintegration of marriage, infidelity, the thin line that separates reality from fiction--remain relevant. “Human relations are so incredibly complex, there are several layers which you can keep uncovering. It will never go out of fashion. What excites me is the study of human nature it is something I draw from real life. It never fails me.“
Right from the producer not being able to secure a release, to the Censor Board deeming it too 'bold' for public consumption, there are several theories about why the film was in cold storage for so long. The film's producer Vikas Mohan says, “Gulzar's last few films had flopped. So we couldn't take the risk of releasing it then.“ But ask Gulzar about it and he ducks the question with his trademark wit. “Libaas was in the dry-cleaning. It took a while. I'm glad it's out now,“ he laughs.
Set in Mumbai, Libaas stars Naseeruddin Shah and Shabana Azmi as a married couple working in theatre together. The marriage begins to crumble as the conflict on stage begins to seep into the reality of the duo's life. Things get worse when Naseer's wealthy, charming best friend, played by Raj Babbar, enters the scene and is attracted to the character played by Shabana, with whom he starts a relationship.
Although the film was in the cans for so long, its music found a way to the hearts of people and the film is today remembered for songs like Phir kisi shakh ne, Khamosh sa afsana and Silli Hawa Chhoo Gai, composed by RD Burman. “Pancham da yaad aa gaye,“ an emotional Gulzar said after receiving a fiveminute standing ovation.
He admitted that his biggest fear was that the film might look dated. “But whoever has written it did a bloody good job!“ smiled the writer-director of the film, pointing out that even after almost three decades, the themes it explores the disintegration of marriage, infidelity, the thin line that separates reality from fiction--remain relevant. “Human relations are so incredibly complex, there are several layers which you can keep uncovering. It will never go out of fashion. What excites me is the study of human nature it is something I draw from real life. It never fails me.“
Right from the producer not being able to secure a release, to the Censor Board deeming it too 'bold' for public consumption, there are several theories about why the film was in cold storage for so long. The film's producer Vikas Mohan says, “Gulzar's last few films had flopped. So we couldn't take the risk of releasing it then.“ But ask Gulzar about it and he ducks the question with his trademark wit. “Libaas was in the dry-cleaning. It took a while. I'm glad it's out now,“ he laughs.
We are not in favour of hiring Pakistani actors-IFTPC senior vice president Vikas Mohan
7:52 AM
Bharati Dubey (MID-DAY; October 11, 2014)
Bollywood has been home to several foreign artistes, who have not only made successful careers but have won millions of fans, too. However, the Cine and Television Artistes Association (CINTAA) has recently decided to act tough on foreign imports working in India sans proper work documents. The latest development is that film and television producers, who had been urged to steer clear of such artistes, have mostly agreed to fall in line.
CINTAA had written to all the producers’ bodies stating that all foreign artistes who work in India should have employment visa; those carrying a business visa would not be allowed to be part of showbiz. The letter also clearly states that producers should discourage their members to work with Pakistani artistes as India does not have a cordial cultural relationship with the neighbouring country.
Vikas Mohan, senior vice president of Indian Film and Television Producers Council (IFTPC), agrees with the terms and conditions that CINTAA has laid down for foreign artistes, especially those from Pakistani. “When we go abroad, we follow their laws. Similarly, foreign artistes should abide by our rules. All of them should register with CINTAA. As for hiring Pakistani actors are concerned, we are also not in its favour. We don’t have a cordial relationship with Pakistan. Why should we allow them here when our artistes are not welcome there?’’ argues Mohan. The IFTPC plans to write to its members in this regard.
TP Agarwal, president of Indian Motion Picture Producers Association (IMPPA), too, has endorsed CINTAA’s stand on foreign artistes. He says, “We should avoid foreign artistes as much as possible unless it is compulsory to the story of the film. I am completely in favour of producers not signing up Pakistani artistes.
When we have so much of Indian talent why not give them a chance?’’
The Western India Film Producers’ Association, too, has decided to toe the CINTAA order. Its president, Sangram Shirke, says, “We should discourage producers from hiring foreign artistes. All the four producers’ bodies will hold a core committee meeting after which we shall be sending letters to our members informing them of our decision.”
However Mukesh Bhatt, president of Indian Film and Television Producers’ Guild states that he is yet to receive any request from CINTAA asking them to discontinue association with foreign imports. “I have not received any letter as yet but we will not allow this (disbarring foreign artistes from the industry) to happen,” he says. The Bhatts are known to introduce talent from Pakistan in their films.
VISA TROUBLE
CINTAA has decided that it will not allow foreign artistes to take up Indian films and television projects if they have not enrolled with them. Its general secretary, Gajendra Chauhan, says, “Only those who have come to India on an E visa, and not B visa, can enroll with us. Most Pakistani working in our industry of late are on a B visa.”
Akshay Kumar's films earn more than Shah Rukh-Salman-Aamir's films in a year?
8:18 AM
The Khans might brawl at the B-O over highest first day collections, but Akshay Kumar gets the highest collections every year because he has at least three releases per year
Harshada Rege (DNA; August 22, 2014)
A film’s first day collections have become something
of a big deal, of late. Like something of a benchmark, really. Earlier,
the talk would revolve around the weekend collections or total
collections of a film, but not anymore. With Singham Returns, Rohit
Shetty has given Ajay Devgn his highest first-day figures. Weekend
numbers are therefore crucial in deciding if a film will make it to the
coveted `100 crore club.
Actors and filmmakers fluff up the figures of their films by few crores to make it to the highest opening category. While the competition is largely between the three Khans — Salman, Shah Rukh and Aamir — one cannot ignore Akshay Kumar. The Khans have one movie a year, so their fans throng to the theatres in bulk to see them. But Akshay’s collections get divided because of his multiple releases. Getting the audiences to the theatres three times in a year is not an easy feat. Says producer Ramesh Taurani, “If an actor has four releases, it may make a bit of difference on the collections of the first day, but if you look at the yearly total, it does prove profitable for the producers. Though I did expect Entertainment to do more business, I am extremely happy with the way it has been received at the box-office.”
Trade speak
Vikas Mohan, editor of the trade magazine Super Cinema adds, “Akshay does a minimum of three movies a year on an average. By that account, he is one actor whose movies people watch the most in a year. Call this professionalism, passion to do movies or time management, they are factors which set him apart from his contemporaries. Obviously, other actors have the novelty factor working for them because they see them in one movie a year, and so they go in big numbers. Akshay opens at an average in the range of Rs10-15 crore while the rest of the actors are at an average of Rs 25-30 crore. So by that account itself, Akshay does decently when compared to the others. This is also the reason he is able to charge the high fees which makers happily pay because they know, at the end of the day even his bad movie ends up with some sort of a profit. Aamir has been the most profitable to the makers and the distributors in recent years given those movies’ high return on investment.”
The current trend
Earlier, all actors used to work on several movies a year. Aamir bucked the trend by concentrating on one movie per year. And soon his peers followed his lead. And today not just the established stars, but even the newcomers prefer to concentrate on one movie at a time. It is the Hollywood model. When it comes to established stars, many of them also part-produce their movies hence they want to be involved in the post-production of their project before starting a new project.
Wait for the holiday!
Releasing a movie on a holiday weekend is a huge bonus. With the smashing figures of Singham Returns, the fight for holiday weekend is going to get uglier. Salman Khan’s Kick released on Friday but it saw a huge jump again on Tuesday, on Eid day. If there’s a public holiday on the release day then the movie enjoys an uninterrupted weekend for three days instead of two before it has to face the Monday slump.
It’s about the look, too
Today, most actors opt for looks that are specific for that particular movie, it then becomes impossible for them to act in two projects at the same time. Filmmakers even want their actors to retain the look for the film’s promotions, making it difficult for an actor to shoot multiple films together. Actors are also made to sign contracts which make it mandatory for them to keep aside at least 40 days to promote a film.
Why the first day matters
Trade analyst Taran Adarsh says, “The first day collections have become extremely important because it is a direct reflection of a star’s power. Your standing at the BO is decided by the number that you make on the first day as it shows how much crowd can you pull in at this early stage. In the ’70s and ’80s, either the star would claim to be a king, or a prince or the media would give them these titles, but now that’s changed. Your title depends on the numbers at the BO. As for the Rs 100-crore club, considering the amount of the screens and the ticket rates, Rs 200 crore will be the new Rs 100 crore. It has become important for a movie to make that much money as it has become a benchmark. But a movie doesn’t become a hit only by making that much money. If a movie made at Rs 120 crore makes Rs 110 crore, it’s a flop. It’s all about the pricing. Rs 100 crore is big deal for a movie like Ek Villain, which has been made at a considerable lesser cost. Also, a movie like Humpty Sharma Ki Dulhania, which made Rs 75 crore is a super hit just like 2 States, because of its pricing.”
Raja Natwarlal’s punchline is the same as my next film’s title-Bunty Walia
9:15 AM
Bharati Dubey (MID-DAY; July 21, 2014)
Film producer Bunty Walia has filed an objection with the Indian Film and Television Producers’ Council (IFTPC) over the tagline of UTV films’ Raja Natwarlal. In his complaint, Walia has said the tagline, Aisa Koi Saga Nahi Jise Isne Thaga Nahi, is the title of his forthcoming film, which will soon go on the floors.
Walia says, “When I saw the poster, I noticed the tagline which is, in fact, the title of my next film. I don’t know if a solution will be arrived at in my case. But I think that filmmakers need to check with producers’ associations before releasing the publicity material of their films. It is quite easy to check if there is any other film with the same title or tagline. I want the film producers’ associations to introduce strong guidelines to stop such overlaps as it affects the producer whose film is still in the making.’’
Vikas Mohan, senior vice president of IFTPC, confirms receiving a complaint from Walia. He says, “We have forwarded our Walia’s objection to UTV films; we have also requested them not to use the tagline.”
When contacted, the UTV Motion Pictures spokesperson denied knowledge about any such complaint. “We are not aware of any such objection; if and when it is brought to our attention, we will respond appropriately,” was the spokesperson’s reply.
Film producer Bunty Walia has filed an objection with the Indian Film and Television Producers’ Council (IFTPC) over the tagline of UTV films’ Raja Natwarlal. In his complaint, Walia has said the tagline, Aisa Koi Saga Nahi Jise Isne Thaga Nahi, is the title of his forthcoming film, which will soon go on the floors.
Walia says, “When I saw the poster, I noticed the tagline which is, in fact, the title of my next film. I don’t know if a solution will be arrived at in my case. But I think that filmmakers need to check with producers’ associations before releasing the publicity material of their films. It is quite easy to check if there is any other film with the same title or tagline. I want the film producers’ associations to introduce strong guidelines to stop such overlaps as it affects the producer whose film is still in the making.’’
Vikas Mohan, senior vice president of IFTPC, confirms receiving a complaint from Walia. He says, “We have forwarded our Walia’s objection to UTV films; we have also requested them not to use the tagline.”
When contacted, the UTV Motion Pictures spokesperson denied knowledge about any such complaint. “We are not aware of any such objection; if and when it is brought to our attention, we will respond appropriately,” was the spokesperson’s reply.
Film industry delegation presents its list of complaints to Mumbai police commissioner
7:58 AM
Bharati Dubey (MID-DAY; July 7, 2014)
On Saturday afternoon, an eight-member delegation of the film industry met police commissioner Rakesh Maria in order to discuss law and order issues being faced by film crews during shoots in Mumbai. They submitted a memorandum to the commissioner citing various issues, including bribes taken by local police and harassment by political parties.
Ashoke Pandit, president of the Indian Film and Television Directors’ Association, says, “The commissioner has told us that if a political party or a film union comes to know about someone working illegally on the sets, they can complain to the local police but cannot stop the shoot.” The members have cited recent instances when political parties would land up on sets and force producers to sign cheques thereby extorting money from them.
The members have also alleged that more often than not, the local police doesn’t co-operate with them; instead they demand an amount of Rs 50,000 to Rs 1 lakh within hours of a set being done up for a shoot in the city.
Pandit adds, “Producer Vipul Shah shot for Holiday in Mumbai over two months and he apparently spent Rs 1 crore in bribes. We have been promised that strict action will be taken against police officers who take bribes.”
Vikas Mohan, senior vice president of Indian Film and Television Producers Council, says, “We have been promised a beat chowki inside Film City where producers facing problems of interference — both by political parties and unions — can lodge their complaints.”
Producer Ramesh Taurani says, “Mr Maria has asked us to complain against policemen who extort money from film producers. We have been asked to immediately inform the control room which will then bail out the producer who is being harassed.”
The producers have also asked for a single window clearance for shoots and a nodal officer to address film industry’s grievances.
Ramesh Taurani, Ashoke Pandit, police commissioner Rakesh Maria, Vikas Mohan, TP Agarwal and JD Majethia
On Saturday afternoon, an eight-member delegation of the film industry met police commissioner Rakesh Maria in order to discuss law and order issues being faced by film crews during shoots in Mumbai. They submitted a memorandum to the commissioner citing various issues, including bribes taken by local police and harassment by political parties.
Ashoke Pandit, president of the Indian Film and Television Directors’ Association, says, “The commissioner has told us that if a political party or a film union comes to know about someone working illegally on the sets, they can complain to the local police but cannot stop the shoot.” The members have cited recent instances when political parties would land up on sets and force producers to sign cheques thereby extorting money from them.
The members have also alleged that more often than not, the local police doesn’t co-operate with them; instead they demand an amount of Rs 50,000 to Rs 1 lakh within hours of a set being done up for a shoot in the city.
Pandit adds, “Producer Vipul Shah shot for Holiday in Mumbai over two months and he apparently spent Rs 1 crore in bribes. We have been promised that strict action will be taken against police officers who take bribes.”
Vikas Mohan, senior vice president of Indian Film and Television Producers Council, says, “We have been promised a beat chowki inside Film City where producers facing problems of interference — both by political parties and unions — can lodge their complaints.”
Producer Ramesh Taurani says, “Mr Maria has asked us to complain against policemen who extort money from film producers. We have been asked to immediately inform the control room which will then bail out the producer who is being harassed.”
The producers have also asked for a single window clearance for shoots and a nodal officer to address film industry’s grievances.
Ramesh Taurani, Ashoke Pandit, police commissioner Rakesh Maria, Vikas Mohan, TP Agarwal and JD Majethia
Censor Board plans to make stringent laws, thanks to some 'cheating' filmmakers
8:31 AM
Bharati Dubey (MID-DAY; June 19, 2014)
The Central Board of Film Certification (CBFC) has
decided to delete partially objectionable scenes rather than blur them,
as many filmmakers are not implementing them even after their
directives.
CBFC has also stated in its
communication addressed to film bodies that it will now mute
objectionable dialogues as opposed to beeping them out. On Monday,
producers’ associations shared this notification with their members.
Vikas Mohan, senior vice president of the Indian Film and Television Producers Council, says, “We have informed our members that due to non-compliance of suggestions by many filmmakers, the CBFC has stopped the practice of blurring objectionable visuals from now on. It means that if CBFC partially objects to a scene or part of a visual in a scene, it will no more be blurred but will be edited out completely.’’
It maybe recalled here that the Censor Board had asked the makers of Dedh Ishqiya to blur out Arshad Warsi in a brothel scene, but it later found out that its instructions were not being implemented. A similar thing happened with Himesh Reshammiya’s production, The Xposé as well.
Is legal action the solution?
Producer-director Vipul Shah, who is one of the most vocal filmmakers in the film industry, says that legal action should be taken against those who don’t follow the Censor Board’s directives. He says, “If filmmakers violate directives of the board, take legal action against them. But I also see that the CBFC is getting regressive for reasons best known to them.''
Background music v/s Muting
Filmmaker David Dhawan, who has never faced problems with the CBFC, feels that every time someone new takes charge, a fresh set of rules comes into play. “Blurring makes no difference and deletion should not disturb the film. Also, I would suggest that instead of muting the dialogues, filmmaker should be allowed to replace them with background music.”
Follow the rules
Vikram Bhatt’s film, Hate Story 2, faced problems with the CBFC over a song, but he agreed to make changes. Bhatt says, “Filmmakers should follow the Censor Board’s diktats once they have agreed to the cuts. You can approach certain forums if you don’t want to accept their cuts, but if you say yes, you can not cheat.”
Wanted: Clear guidelines
Anurag Kashyap says that the CBFC should have clear guidelines about blurring out things as opposed to cutting the whole thing out. “That is but a random rule; so if it’s a portion in the middle of a conversation, you can not cut it. Blurring is what they do worldwide,” he says.
Striking a balance
Anubhav Sinha’s films have faced hurdles when shown to the CBFC. He says, “The degree of exposure, that people who watch films under ‘U’ or ‘U/A’ certification have, has changed dramatically. We need to find a reasonable balance between what is allowed and where the society has reached today.''
Freedom of choice
Milan Luthria deleted and beeped out many scenes in the televised version of The Dirty Picture. He feels that the Censor Board and filmmakers should decide together about the audiences’ cultural maturity. “Films can be made accordingly. We are a young, aware country. Can the viewer not choose what they want to see?” he says.
CBFC has also stated in its
communication addressed to film bodies that it will now mute
objectionable dialogues as opposed to beeping them out. On Monday,
producers’ associations shared this notification with their members.Vikas Mohan, senior vice president of the Indian Film and Television Producers Council, says, “We have informed our members that due to non-compliance of suggestions by many filmmakers, the CBFC has stopped the practice of blurring objectionable visuals from now on. It means that if CBFC partially objects to a scene or part of a visual in a scene, it will no more be blurred but will be edited out completely.’’
It maybe recalled here that the Censor Board had asked the makers of Dedh Ishqiya to blur out Arshad Warsi in a brothel scene, but it later found out that its instructions were not being implemented. A similar thing happened with Himesh Reshammiya’s production, The Xposé as well.
Is legal action the solution?
Producer-director Vipul Shah, who is one of the most vocal filmmakers in the film industry, says that legal action should be taken against those who don’t follow the Censor Board’s directives. He says, “If filmmakers violate directives of the board, take legal action against them. But I also see that the CBFC is getting regressive for reasons best known to them.''
Background music v/s Muting
Filmmaker David Dhawan, who has never faced problems with the CBFC, feels that every time someone new takes charge, a fresh set of rules comes into play. “Blurring makes no difference and deletion should not disturb the film. Also, I would suggest that instead of muting the dialogues, filmmaker should be allowed to replace them with background music.”
Follow the rules
Vikram Bhatt’s film, Hate Story 2, faced problems with the CBFC over a song, but he agreed to make changes. Bhatt says, “Filmmakers should follow the Censor Board’s diktats once they have agreed to the cuts. You can approach certain forums if you don’t want to accept their cuts, but if you say yes, you can not cheat.”
Wanted: Clear guidelines
Anurag Kashyap says that the CBFC should have clear guidelines about blurring out things as opposed to cutting the whole thing out. “That is but a random rule; so if it’s a portion in the middle of a conversation, you can not cut it. Blurring is what they do worldwide,” he says.
Striking a balance
Anubhav Sinha’s films have faced hurdles when shown to the CBFC. He says, “The degree of exposure, that people who watch films under ‘U’ or ‘U/A’ certification have, has changed dramatically. We need to find a reasonable balance between what is allowed and where the society has reached today.''
Freedom of choice
Milan Luthria deleted and beeped out many scenes in the televised version of The Dirty Picture. He feels that the Censor Board and filmmakers should decide together about the audiences’ cultural maturity. “Films can be made accordingly. We are a young, aware country. Can the viewer not choose what they want to see?” he says.
Shocker: Kochadaiiyaan's morning shows cancelled in Mumbai due to low turnout
9:52 AM
Asira Tarannum (MID-DAY; May 24, 2014)
Kochadaiiyaan’s morning shows at Imax Wadala and Fun Cinema in
Chembur were apparently cancelled on Friday due to low footfall. At
Oberoi Mall in Goregaon, ahouseful show at 9am was cancelled due to
technical glitches and the money was refunded to the audience.Says a moviegoer, “I reached Fun Cinema around 9am but I got to know that the morning show has been cancelled due to a low turnout.” It is also being said that film’s distributors may have a meeting today to discuss the future shows of Kochadaiiyaan.
Distributor Vikas Mohan says that since Rajinikanth is not a superstar throughout Mumbai, some shows of the film were cancelled due to low bookings. “In some areas, the film is running to packed houses but overall, Heropanti and X-Men have got good openings,” he says. Rajnikanth fan Tarun Naidu says, “Eleven of us went to watch the film at Oberoi Mall but the manager told us that the show has been cancelled due to technical glitches.”
Distributor Manoj Nandwana says that Kochadaiyaan did not get a proper release in Mumbai and Delhi. “The makers had postponed the film’s release from May 9 to May 23, while X-Men had booked its screens six months ago. Also, there were some technical issues with Kochadaiiyaan, which has affected the film’s release.”
Girish Wankhede, spokesperson of Cinemax, says, “I am not aware if morning shows were cancelled because of low footfalls, but I am aware that one show was cancelled due to technical issues.” Producer Krishika Lulla says that it’s just a matter of time before the film finds its audience. “The film has been met with an unbelievably encouraging response in South India. It will gradually pick up here as well.”
Producers seek cop protecton; want Mithun Chakraborty to resolve workers’ issue
7:54 AM
Bharati Dubey (MID-DAY; May 16, 2014)
"Mithun Chakraborty needs to wake up and smell the coffee,” said Vikas Mohan, senior vice-president, Indian Film and Television Producers Council at a press conference called by all producers’ bodies on Thursday.
These producers’ bodies had gathered in order to condemn the workers’ strike. Given that Mithun Chakraborty is the chairperson of Film Studio Settings and Allied Mazdoor Union, producers demanded that he take strict action against erring members of the workers’ organisation.
Ashoke Pandit, who heads the Indian Motion Pictures Producers’ Association, said, “So many of our members have gone and met Mithun Chakraborty in order to complain about association chairman Gangeshwar Srivastav’s extortionist behaviour but he does not seem to listen to us. We want Mithun to replace Srivastav with some one else.” TV producers too pointed out how they were incurring huge losses due to this strike.
Producer NR Paschicia said, “Even if one day of shoot is lost, it makes a big difference to us as we have strict deadlines that need to be followed.” Producer J D Majethia added that TV producers suffer the most and that such workers’ problems were only adding to their woes.
On the other hand, Dharmesh Tiwari, president, Federation of Western India Cine Employees (FWICE), reiterated that shoots should not extend beyond 12 hours. “We need to set up an enquiry into Monday’s incident where workers were allegedly assaulted by a production team. We should do so by calling both the parties but stopping shoots is no solution. I also request producers to work with the union and not with other political parties that are trying to make inroads into the film industry.”
Writer Kamlesh Pandey, general secretary, FWICE, says that their organisation has debarred Gangeshwar Srivastav for 15 years. “We issued several warnings to him for forcibly extorting money from producers. In fact, when co-member, Prem Singh Thakur, asked to look at the book of accounts, Srivastav had him ousted from the body. We want this racket to stop or else producers will be forced to declare free trade where they will work with people outside the union.”
---------------------
Rachana Dubey (MUMBAI MIRROR; May 16, 2014)
Following the disruption of shoots at Kilick Nixon Studios and Film City earlier this week, producers' bodies includ ing the Federation of Western India Cine Employees (FWICE) have joined forces to condemn the Allied Mazdoor Union (AMU). Speaking against the union's secretary, Gangeshwar Shrivastav, they even named the producers who've bribed him in the past to avoid violence or disruption at shoots. A group of TV and film producers have also decided to meet with the police commissioner early next week and demand protection for their sets.
Ashoke Pandit, the official spokesperson, on behalf of the bodies, said, “We have to go to the cops. And maybe even move court and approach the CM. Gangeshwar was banned months ago but it didn't affect him. He's backed by actor Mithun Chakraborty, the Chairman of the AMU, who despite being informed about this nuisance, didn't act on it. The Federation (FWICE) has now suspended him and launched a non-cooperation movement against the AMU."
The AMU secretary had been suspended days before the incident at the Balaji Telefilms' set where he was bashed up by the Balaji staff when he disrupted the shoot. In response, he stalled shoots in Film City the following day which didn't agree with the producers' bodies. “In the guise of helping workers, he extorts money. A few days ago, he tried the same stunt with Sajid Nadiadwala who was shooting Kick at Mehboob Studios. Sajid seeeked help from MNS workers and resumed his shoot. Following that, J D Majethia has said that if Gangeshwar is not controlled now, the producers will have to resort to free trade whereby they will be free to use workers from any union which can politicise the industry unnecessarily,“ adds Ashoke.
Gangeshwar, who is unperturbed by his suspension, says, “Our demands are basic: food, safety and wages on time. But the producers bodies aren't addressing these concerns or even willing to discuss it. If need be, even we will move court for our rights"
Filmmakers changing release dates of their films due to elections?
9:01 AM
Bharati Dubey (MID-DAY; March 24, 2014)
With the country heading to polls this April and May, it’s not just the Indian Premier League (IPL) that has had to make changes in its schedule.
Bollywood films have not been immune to the election
fever either. With all eyes on the elections, filmmakers, whose films
are slated to release between April and May, are looking at alternate
release dates.
Sajid Nadiadwala’s film, Heropanti, starring Tiger Shroff, has been pushed from May 16 to May 25. Speaking to hitlist, Nadiadwala says, “We had initially planned to release the film on May 16, but since it is a counting day, we have decided to push the film ahead to May 23. We have also requested Karan Johar to release his film Ungli on another day. He has gracefully agreed to do the same, just so that Tiger’s film gets a solo release.” Himesh Reshammiya’s film, The Xpose, where the musician- turned- actor plays a role inspired by yesteryear hero, Raj Kumar, will also release on another day. This film too was slated to release on May 16, but it will now hit the big screen on May 23.
Rakesh Upadhyay, Reshammiya’s business partner, says that their film has been pushed ahead for the same reason as Heropanti. “On May 16, the whole nation will be watching election results, so it does not make sense to release our film on the same day.” Trade analyst Vikas Mohan feels that election days are a big threat to films. “Moreover, May 16 will see the release of the Hollywood film, Godzilla. What if this film, like 300, eats into Bollywood films’ box office collections?” he points out.
It seems that while cricket and cinema have slowly started to co-exist, they may not be able to compete against the elections. It is also being said that promotions of upcoming films will now get affected. Anand Vishal of Fun Cinemas says, “With IPL and elections round the corner, the films releasing in April are going to face stiff competition. More than IPL, it’s the Lok Sabha polls that are expected to hog the limelight.” He reveals that in April, big films such as Main Tera Hero, Bhootnath Returns, Revolver Rani, Kaanchi and 2 States are up for release. “The good thing is that election date falls on Thursday, but sadly these films stand the chance of being overshadowed by elections and IPL. No wonder then, a lot of producers are looking at alternate dates. This move is aimed at maximizing collections for the makers and exhibitors,” he adds.
Shailesh Kapoor, cofounder and CEO, Ormax Media, agrees with film producers’ decisions to shift their release dates. “If films like Heropanti and Xpose are rescheduling, it is a wise move. Since there will be a lot of media noise surrounding the elections, movies releasing in this period will have to spend an additional 15-20 percent on their promotions to create the required amount of buzz. However, a film like Bhoothnath Returns will benefit strongly during this period, as it has a thematic connect with the elections and the makers are aggressively promoting the same.” But not all filmmakers are worried about elections.
Mukesh Bhatt’s film, Citylights, which is being
directed by Hansal Mehta, was initially scheduled to release on May 1;
its release date has now been shifted to May 23. But Bhatt says
that their date has been moved ahead only because ‘they don’t want to
hurry the film’. “We won’t be ready by May 1 and there’s no point in
releasing it in a hurry. I am not really worried about the elections,” he says.
However, he agrees that more often than not, it’s the small and medium budget films that get released during elections and IPL. Trade pundits predict some more reshuffling of dates by filmmakers. Taran Adarsh says that this year’s election has the country hooked on to it. “To add to it, filmmakers today want their movie to rake in the moolah in the first week itself. So producers will have to rethink their release dates,” he says.
Trade analyst Amod Mehra chimes in, “When election fever is at its peak, all work comes to a standstill and cinema comes last on people’s priority list. So it is better to release your films alongside another film rather than release it during elections.”
With the country heading to polls this April and May, it’s not just the Indian Premier League (IPL) that has had to make changes in its schedule.
Bollywood films have not been immune to the election
fever either. With all eyes on the elections, filmmakers, whose films
are slated to release between April and May, are looking at alternate
release dates.Sajid Nadiadwala’s film, Heropanti, starring Tiger Shroff, has been pushed from May 16 to May 25. Speaking to hitlist, Nadiadwala says, “We had initially planned to release the film on May 16, but since it is a counting day, we have decided to push the film ahead to May 23. We have also requested Karan Johar to release his film Ungli on another day. He has gracefully agreed to do the same, just so that Tiger’s film gets a solo release.” Himesh Reshammiya’s film, The Xpose, where the musician- turned- actor plays a role inspired by yesteryear hero, Raj Kumar, will also release on another day. This film too was slated to release on May 16, but it will now hit the big screen on May 23.
Rakesh Upadhyay, Reshammiya’s business partner, says that their film has been pushed ahead for the same reason as Heropanti. “On May 16, the whole nation will be watching election results, so it does not make sense to release our film on the same day.” Trade analyst Vikas Mohan feels that election days are a big threat to films. “Moreover, May 16 will see the release of the Hollywood film, Godzilla. What if this film, like 300, eats into Bollywood films’ box office collections?” he points out.
It seems that while cricket and cinema have slowly started to co-exist, they may not be able to compete against the elections. It is also being said that promotions of upcoming films will now get affected. Anand Vishal of Fun Cinemas says, “With IPL and elections round the corner, the films releasing in April are going to face stiff competition. More than IPL, it’s the Lok Sabha polls that are expected to hog the limelight.” He reveals that in April, big films such as Main Tera Hero, Bhootnath Returns, Revolver Rani, Kaanchi and 2 States are up for release. “The good thing is that election date falls on Thursday, but sadly these films stand the chance of being overshadowed by elections and IPL. No wonder then, a lot of producers are looking at alternate dates. This move is aimed at maximizing collections for the makers and exhibitors,” he adds.
Shailesh Kapoor, cofounder and CEO, Ormax Media, agrees with film producers’ decisions to shift their release dates. “If films like Heropanti and Xpose are rescheduling, it is a wise move. Since there will be a lot of media noise surrounding the elections, movies releasing in this period will have to spend an additional 15-20 percent on their promotions to create the required amount of buzz. However, a film like Bhoothnath Returns will benefit strongly during this period, as it has a thematic connect with the elections and the makers are aggressively promoting the same.” But not all filmmakers are worried about elections.
Mukesh Bhatt’s film, Citylights, which is being
directed by Hansal Mehta, was initially scheduled to release on May 1;
its release date has now been shifted to May 23. But Bhatt says
that their date has been moved ahead only because ‘they don’t want to
hurry the film’. “We won’t be ready by May 1 and there’s no point in
releasing it in a hurry. I am not really worried about the elections,” he says.However, he agrees that more often than not, it’s the small and medium budget films that get released during elections and IPL. Trade pundits predict some more reshuffling of dates by filmmakers. Taran Adarsh says that this year’s election has the country hooked on to it. “To add to it, filmmakers today want their movie to rake in the moolah in the first week itself. So producers will have to rethink their release dates,” he says.
Trade analyst Amod Mehra chimes in, “When election fever is at its peak, all work comes to a standstill and cinema comes last on people’s priority list. So it is better to release your films alongside another film rather than release it during elections.”
Katrina Kaif knocks out Deepika Padukone as No 1 actress in Bollywood?
9:00 AM
Industry
experts believe that with the historic success of 'Dhoom 3' and her
sensational act in the blockbuster, Katrina Kaif has stormed back to her
Numero Uno position.
Sarita Tanwar (DNA; December 27, 2013)
Katrina Kaif, out of choice, did not have a single release for over a
year. There were some who questioned that decision, considering Deepika
Padukone had managed to make a mark with three successes in Kaif’s
absence. But the unparalleled success of Dhoom 3 has changed
the equations all over again. The film is on its way to be declared as
Bollywood’s biggest hit ever. And Kat’s sensational act in the film has
dwarfed the competition. Looks like Kat saved the best for the last — no
wonder industry experts now believe that with D3, she has reclaimed her position as the undisputed Numero Uno actress in the country.
When Kaif chose not to do any film until Dhoom 3 released, there were skeptics who believed she was making the wrong move. Industry watchers felt that this gamble wouldn’t work because ‘what would she have to do in an Aamir Khan film anyway?’
But Katrina followed her mentor Aditya Chopra’s belief in her. And her confidence bore fruit. No actress in the franchise (Dhoom) has benefited as much as Katrina. Aishwarya did make a huge impact in Dhoom 2 but the star of the show was easily Hrithik Roshan. However, in the latest instalment of the series, Katrina is very much a factor for the repeat audience. Says a leading distributor from the North, “You have to see the reactions to Katrina’s introduction song. Yash Raj did the best thing by not revealing much of the song on television.”
The year was tough for Katrina. She didn’t have any release; her personal life was under scrutiny. And then there were people who tried to hit her professionally by speculating about her marriage. The last big voice to resonate that was Kareena Kapoor’s on Koffee With Karan. Needless to add, Katrina quickly corrected that stating that she had no such plans in the immediate future.
It has been a good year for Deepika and one cannot ignore her successful run at the box-office. Maybe if Dhoom 3 hadn’t created history like it did, Deepika would have been on a stronger wicket. But Adi Chopra’s all-time blockbuster just keeps getting bigger with every passing day. Most importantly, Katrina has a larger role to play in its success and that’s something that the audience as well as critics have agreed upon.
Trade analyst Taran Adarsh cannot believe how strongly Katrina has struck back. “She has certainly got back with a vengeance,” he says. “One hit benefits everybody and changes the whole box-office popularity of a star. Katrina is definitely one of the main reasons, apart from Aamir and the Dhoom franchise, that D3 is such a big hit. Katrina is still super hot.”
“It’s difficult for Deepika or any actress for that matter to have another year like the year gone by — where you have three successes,” says a top exhibitor. “And then one film that is so huge, so beyond reach and so striking comes along and changes everything. Deepika will never have a year again when her closest contemporary, Katrina Kaif, won’t have a single release. That time has come and gone.”
The year 2014 will see the battle of supremacy getting fiercer. Katrina is well settled at the top once again. She has Bang Bang with Hrithik and Kabir Khan’s next with Saif as her next big ones.
But it’s not just her. Deepika now has to watch her guard from even Parineeti Chopra and Anushka Sharma, who’re tremendous performers and have a good slate of films coming up.
Trade speak
Komal Nahta
It was presumptuous and wrong of people to write off Katrina Kaif just because she didn’t have any releases this year. She was always in the top bracket and with the huge success of Dhoom 3 she has shot up even more. Apart from breaking records like the fastest Rs100 crore bracket etc the film will soon cross Rs200 crore and estimated to gross Rs300 crore in its lifetime figures.
She will then become the first and only heroine till now to have a Rs 300-crore film. While many things contributed to the success of Dhoom 3, including Aamir Khan, Katrina’s song Kamli has tremendous repeat value. I have had many people tell me that after watching Kamli they were ready to walk out kyun ki unka paisa vasool ho gaya!
Vikas Mohan
Whatever Katrina has done it’s a tremendous job and she has given 100 per cent to her performance. If people had been writing her off it’s because of her own stupidity! She wasn’t seen on screen the whole year. She has signed some good films next year — they become hits and she will be right back on top again!
When Kaif chose not to do any film until Dhoom 3 released, there were skeptics who believed she was making the wrong move. Industry watchers felt that this gamble wouldn’t work because ‘what would she have to do in an Aamir Khan film anyway?’
But Katrina followed her mentor Aditya Chopra’s belief in her. And her confidence bore fruit. No actress in the franchise (Dhoom) has benefited as much as Katrina. Aishwarya did make a huge impact in Dhoom 2 but the star of the show was easily Hrithik Roshan. However, in the latest instalment of the series, Katrina is very much a factor for the repeat audience. Says a leading distributor from the North, “You have to see the reactions to Katrina’s introduction song. Yash Raj did the best thing by not revealing much of the song on television.”
The year was tough for Katrina. She didn’t have any release; her personal life was under scrutiny. And then there were people who tried to hit her professionally by speculating about her marriage. The last big voice to resonate that was Kareena Kapoor’s on Koffee With Karan. Needless to add, Katrina quickly corrected that stating that she had no such plans in the immediate future.
It has been a good year for Deepika and one cannot ignore her successful run at the box-office. Maybe if Dhoom 3 hadn’t created history like it did, Deepika would have been on a stronger wicket. But Adi Chopra’s all-time blockbuster just keeps getting bigger with every passing day. Most importantly, Katrina has a larger role to play in its success and that’s something that the audience as well as critics have agreed upon.
Trade analyst Taran Adarsh cannot believe how strongly Katrina has struck back. “She has certainly got back with a vengeance,” he says. “One hit benefits everybody and changes the whole box-office popularity of a star. Katrina is definitely one of the main reasons, apart from Aamir and the Dhoom franchise, that D3 is such a big hit. Katrina is still super hot.”
“It’s difficult for Deepika or any actress for that matter to have another year like the year gone by — where you have three successes,” says a top exhibitor. “And then one film that is so huge, so beyond reach and so striking comes along and changes everything. Deepika will never have a year again when her closest contemporary, Katrina Kaif, won’t have a single release. That time has come and gone.”
The year 2014 will see the battle of supremacy getting fiercer. Katrina is well settled at the top once again. She has Bang Bang with Hrithik and Kabir Khan’s next with Saif as her next big ones.
But it’s not just her. Deepika now has to watch her guard from even Parineeti Chopra and Anushka Sharma, who’re tremendous performers and have a good slate of films coming up.
Trade speak
Komal Nahta
It was presumptuous and wrong of people to write off Katrina Kaif just because she didn’t have any releases this year. She was always in the top bracket and with the huge success of Dhoom 3 she has shot up even more. Apart from breaking records like the fastest Rs100 crore bracket etc the film will soon cross Rs200 crore and estimated to gross Rs300 crore in its lifetime figures.
She will then become the first and only heroine till now to have a Rs 300-crore film. While many things contributed to the success of Dhoom 3, including Aamir Khan, Katrina’s song Kamli has tremendous repeat value. I have had many people tell me that after watching Kamli they were ready to walk out kyun ki unka paisa vasool ho gaya!
Vikas Mohan
Whatever Katrina has done it’s a tremendous job and she has given 100 per cent to her performance. If people had been writing her off it’s because of her own stupidity! She wasn’t seen on screen the whole year. She has signed some good films next year — they become hits and she will be right back on top again!
Subscribe to:
Posts (Atom)