Tag Archives: bollywood

50 Years of Sholay

Posted on by
2

Sholay was released on the 15th of August 1975. Fifty years later it remains one of the most iconic, celebrated and loved films in the annals of Indian cinema. Let’s first check-out it’s box office impact which transformed the fortunes of Hindi cinema in the mid 70’s. Planned with an ambitious budget of ₹ 1 crore (2x the budget of a well-mounted Bombay produced film); but the shooting and processing span of 27 months cost GP Sippy Films a staggering ₹ 3 crores. After a dismal start over the first weekend, it gained momentum to become the all-time cultural phenomenon it now is. This happened in an era where there was no social media and with several newspapers and magazines giving mixed and even negative reviews. Indeed, the Emergency had been declared just 2 months earlier. It was word-of-mouth excitement that sparked the Sholay explosion.

Thereafter, even the main-stream media got onto the bandwagon to celebrate its massive collection of ₹ 15 crores in its first run. Sholay had a 50-week (hallmarked as a golden jubilee) run at 28 cinema halls. At Minerva Theatre in Bombay, it was featured for a continuous run spanning an astonishing 5 years. Over the next 7 years of releases and re-releases the film had minted a historic ₹ 35 crores. Many trade experts in 2024 projected the movie’s inflation adjusted earning at around ₹ 2,750 crores. Surpassing the ₹ 2,000+ crores of Dangal (propelled by its humongous success in China) and Bahubali 2 at around ₹ 1,900/ crores. One simple fact to end all debates- Sholay sold more than 25 crore tickets – the highest by any Indian film ever.

Let’s connect with the nay-sayers in August 1975. The country had 11 film circuits including 6 major territories. The Rajesh Khanna starrer, Haathi Meri Saathi (1971) had created a record of ₹ 90 lakh gross in a couple of major territories. But the ₹ 3 crore budget itself signaled disaster. The 198-minute-long film had too much of violence and action and no romance or family values to pull in the crowds; an unknown villain Amjad Khan was pitted against 3 big stars in Dharmendra, Sanjeev Kumar and Amitabh Bachchan. (by the time of the film’s release AB had become the Big B). To make matters worse, Gabbar Singh’s dialogue delivery was considered weak and that too in some rustic dialect; a similar story Mera Gaon Mera Desh with Dharmendra, Asha Parekh and Vinod Khanna had set the box office counters ringing in 1971. Indeed, the tall, well-built Vinod Khanna was impressive in the villain’s role as Jabbar Singh. (Sound familiar? What?). Writer Salim Khan’s father had been a senior police officer in Central India and had talked about a dreaded dacoit called Gabbar Singh in the Gwalior ravines who spread terror by slicing of the noses of those who went against him.

But why has Sholay become such a cultural phenomenon? Why has it become the subject of research for so many social- scientists? There are several dialogues which have entered the common spoken language. Audiences remember names of side characters who barely had screen time for a few minutes. Certain characters and dialogues have contributed to numerous viral and trending memes on YouTube and TikTok. The film itself does not look dated even today. The epic rail chase and encounter with dacoits and the sounds of horse hooves, the steam engine puffing and coaches rattling and rifle shots stunned audiences in 1975. The pulsating back-ground score added the X factor to the 70 MM spectacle as did the expansive lens of the cinematographer, Dwarka Divecha. Even today one wonders how they pulled it off. Delving into some of the back stories surrounding the making of the film may provide some answers about its stupendous impact beyond the darkened single-screen cinema theatres (Author’s note: These nuggets have been mainly consumed from various YouTube interviews of Ramesh Sippy, the director, and the writer duo Salim-Javed + a sprinkling of Sholay  trivia  stock-piled over the years)

What really stands out is the passion, confidence, commitment and teamwork of the entire Sholay unit. Let’s start with producer GP Sippy. Yes, the success of Andaz and especially Seeta aur Geeta (both directed by his son Ramesh Sippy) must have emboldened him. But a ₹ 1crore budget was unheard of in the Bombay film industry at that time. Salim-Javed had approached GP Sippy films with the complete script of what became Majboor which could be wrapped up in a reasonable budget and with limited schedules. However, the film mogul wanted to do something big and Sholay happened. The 27-month shoot in the rugged, rocky terrains of Ramanagara (near Bangalore) and the drastic spike in budget -spend to ₹ 3 crores did not deter the production-house, director, star-cast, technicians and crew from giving their very best. Nothing underlines this more than the fact that when the film’s obituary was being written in the early days after release, Salim-Javed took out full page ads in the Screen and other papers asserting that the movie would gross ₹ 1 crore in every major territory.

GP Sippy Films wanted to retain Dharmendra, Sanjeev Kumar and Hema Malini ( the endearing tangewali Basanti)for their next project after the super-hit success of Seeta Aur Geeta. Amitabh Bachchan was backed by the writer-duo and signed on by Ramesh Sippy after watching his performance in Anand and in the popular Kishore da bus song in Bombay to Goa. Jaya Bahaduri came on board for a small emotional role. Danny Denzongapa was the first choice for the Gabbar Singh character but did not have the dates as he was shooting for Feroz Khan’s Dharmatma in Afghanistan. Again, the just 26-year-old director and the writer team stepped in. Amjad Khan (the son of veteran actor Jayant) and having some theatre experience stepped in. Amjad Khan became Gabbar Singh. The rest, as they say, is history. The debutant actor, himself, gave credit to RD Burman for creating the eerie, unsettling background score when his character was first seen and then adding a palpable aura to his later scenes as well. The Avadhi dialogues became a smash hit with the masses and resonates even 50 years later. ‘Kitne aadmi the?’ (Translation: How many were there?), ‘Ab tera kya hoga Kaaliya?’ (Translation: What will happen to you now Kaaliya?), ‘Yeh haath mujhe de de Thakur!’ (Translation: Surrender your arms to me Thakur- with the implication of cutting his arms off), ‘Bahut yaarana lagta hai!’ (Translation: They look quite close! – said in an amused and calculative way), ‘Holi kab hai? Kab hai Holi?’ (Translation: When is Holi? When is Holi?) have all become part of the spoken lexicon. An interesting trivia is that the cassettes of the Sholay dialogues were specially released on huge public demand and sold more copies than the film’s hit songs.  And let’s listen to Javed Akhtar on why the Gabbar Singh character fascinated the public- ‘…he was pure evil with no back story to justify his cruelty; another reason was that the villain was not a pervert or lecherous, which would have undermined his impact.’

For me, one of the most intriguing aspects of Sholay power is that the names of small characters with limited screen time are still remembered after decades. Gabbar Singh’s side-kick Sambha (played by Mac Mohan) says only three words in the entire film’s run-time- ‘Purre pachas hazaar’ (Translation: A full ₹ 50,000) when the dacoit pointedly asks him about the bounty put on his head by the Government. That too, says Javed Saab, because a supreme egotist like Gabbar can’t boast of it himself. The faithful Sambha has to say it out loud for the other gang members to hear and remember why Gabbar is to be feared- an implicit psychological control over the rest. The venerable and blind Rahim Chacha is remembered for one poignant line, ‘Itna sanaata kyon hai bhai’ (Translation: Why is there so much silence?) when the village is aghast when the body of his dead grandson is brought to the village. The Hitler caricature, bumbling jailor (played by Asrani) has inspired hilarious memes especially with his ‘Aadhe idhar aao. Aadhe udhar jao. Baki hamare saath aao.’ (Translation: Half of you go over there. Half of you over there. The rest follow me- said in a petulant way by a tinpot dictator who is desperately trying to be in command). And who can forget Mausi (so naturally played by Leela Mishra)? And the one-and-only Soorma Bhopali (played by Jagdeep), who entertained us with scenes of situational comedy and flavored by his unique delivery of lines.

Another striking fact about Sholay is that the complete bound script, dialogues and even scene sequencing was handed over to the production house before filming. Only one scene was added and one scene changed. Veeru’s water-tank dramatics was added later to give Dharmendra more screen time, as the star was at the peak of his popularity. Also, in the original film Thakur (Sanjeev Kumar) stamped, kicked and trampled Gabbar Singh to death with his spiked footwear. The CBFC would have none of it and so the cops made their timely entry, arrested the villain and took him away, in a bid for a more palatable ending. When the movie was not doing well after its first weekend, Ramesh Sippy, Salim-Javed and Amitabh Bachchan met to discuss whether the ending with the death of Jai be changed. As by August 1975, Bachchan had become a bonafide superstar with a growing fan following. However, the original death scene remained, as does the legend of Sholay with the fake coin.

As mentioned earlier, the humongous impact of Sholay went far beyond the box-office numbers. Barely a year after it was released, in 1976, Amjad Khan featured in the Britannia Glucose-D ad with the tag-line ‘Gabbar ki asli pasand’ (Translation: Gabbar approved!- Note how the evilest character became  a brand spokesman!). Kailash Surendranath (the admaker) himself remarked on this turn or events, ‘…from being the most feared villain, to the face and brand ambassador of a majorly children consumed product was really something?’ The marketing gold mine was tapped for government campaigns, by major corporates and even down to the Goli Vada Pav joint franchise- ‘Ab goli kha’ (Clever wordplay, where you don’t take the bullet but translation: Have the vada-pav at a Goli franchise) to resonate with the masses.

Even today 50-60 people buy tickets of ₹ 25 each to visit the Ramanagara village- the fictional Ramgarh (off the Bengaluru-Mysuru expressway) to see the rocky locations where the film was shot. On weekends the number of fans goes up to 250. The ticket is ostensibly for the Vulture Park entry, but all the tourists are flocking to see the sites where the iconic film was shot even though nothing related to the film set remains.

As I write this blog, Sholay is being re-released in a 4K restored version (204 mins) at the Toronto International Film Festival. When the film is re-launched in India (re-release is not the word), the senior citizens and the 50+ will throng the cinema halls in millions. The Millennials and the Gen Z may wonder what the buzz is all about and some may even go to end their FOMO (fear of missing out).

Movienomics

Posted on by
Reply

The trending news from Bollywood is that Reliance Jio Studios is in the final phase of discussions for buying the major stake in Karan Johar’s Dharma Productions. Earlier talks with Mr Sanjiv Goenka’s Saregama Group fell through because of valuation issues. Founded in 1976 by Mr Yash Johar with a resounding hit ‘Dostana’, the Company has produced 63 Hindi films with 3 on the floors. So why is this such a big deal.?! Karan Johar represents the centre of the elite and entitled Bollywood club; an omnipresent mover and shaker; other than his films, there is the much-watched, controversial TV show, fashion walks and his celebrity Emcee avatar at all the glittering film awards functions. His considered decision to offload much of his stake (90.7%) and his mother’s stake (9.3%) starkly reveals the tumultuous state of the Hindi film industry.

Listen to his comments also. How has the Mumbai film industry run itself to the ground? First, the stars demand high fees, but the films open poorly, creating unstable economics for producers. The budget structure is skewed so heavily in favour of stars (50%) that there is little left for the technical crew. Simply put, if A-listers cannot generate hits, how do they justify their high fees?! Saif Ali Khan has responded that movie stars should not charge exorbitant fees but…shrug…. shrug, this is a part of the economics of the industry. (Read- Dharma Productions itself is complicit in creating this unbalanced structure.)

The Bollywood mogul has also ranted about the high-ticket costs and F&B charges which have driven audiences away from cinemas. His take is that the average cost for a family of 4 works out to Rs 10,000/. Visits to the cinema have plummeted from 8-10 a year to just one or two. The Multiplex Association of India (MAI) has responded that cinema prices are dynamic and flexible depending on location, day of the week, seat zone, film format and star hype. Higher ticket prices also prevail in the first week, weekends and holidays and even night-shows. MAI has said that the average ticket price at PVR-INOX (1700 multiplex screen leader) is Rs 258/. Plus Rs 132/ as average cost for food and drinks- total expenses of Rs 1560/- for a family of 4. Methinks, the IMA has halved the normal expense for a family movie outing at a multiplex. Mr Ajay Bijli of PVR has said that only 14% of the tickets are priced at Rs 350/ with the rest between Rs 180/- and Rs 200/-. Experience suggests otherwise. The ATR for All India Theatres in 2023 was stated at Rs 130/.

Let’s shed some light on Mr. Vashu Bhagnani’s plight. He became Producer No 1 in the 90s with his rollicking David Dhawan- Govinda movies. His recent release, ‘Bade Miyan Chote Miyan’ made on a whopping budget of Rs 350 crores sputtered to a lifetime collection of Rs 64 crs at the BO. Mr Bhagnani had made tall claims of Rs 1000 crs collections at pre-release events. Alas, the film disaster has reduced him from Bade Miyan to Chote Miyan. With Rs 200 crores of debt he is selling his Juhu Office to, he says, redevelop the building into a luxury residential tower. The film’s director, Ali Abbas Zafar, has sued the producer for non-payment of Rs7.3 crs; accusations of unpaid wages to crew members are also doing the rounds. So, what about the 2 lead male stars, Akshay Kumar and Tiger Shroff? With reported paychecks of Rs 80 crs and Rs 40 crs they are laughing all the way to the bank.

Let’s delve into the Indian cinema ecosystem. We produce the largest number of films in the world- 1500 to 2000 every year- in 20 languages. Our huge country has only 9742 screens as compared to 65,500 in China & 35,280 in the USA. Hindi, Telugu and Tamil are the leading film industries, with Malayalam, Kannada and Marathi cinema also punching above their weight. In 2023, South Indian cinema surged ahead of Bollywood with 47% BO market share against 44%. South India also houses 47% of the cinema theatres. According to researcher Mr Hemant Chaturvedi, the number of single screens in India has declined from 25000 in 1990 to less than 6000, with many of them not operational. End of an Era. With the rising cost of real estate, many have been converted into malls and commercial complexes. Even a smaller theatre costs Rs 5 lakhs for monthly upkeep and maintenance plus the pressure of keeping the projection room, sound system and screen in the best condition. The GST on cinema tickets is 18%, but most States levy an additional entertainment tax of 20% to 30%, the highest tax ratio for any sector in India. Business uncertainties add to the gloom.

The Hindi film industry traditionally had 6 territories, which are now defined as 11 circuits. The profit-sharing ratio generally for a single screen owner/ distributor is 25:75; sometimes, it is 20:80 or even 30:70. The Multiplex owners have all the heft and clout—Week 1 is 50:50, Week 2 is 60:40, and Week 3 is 70:30.

For the Producer, the cost of the film is Budget + Promotion and Advertising expenses. They also sell OTT rights to streaming platforms like Netflix, Amazon Prime, Hotstar, Sony Liv… to help recoup their investment. Earlier OTT contracts were pre-sold, and even if a film performed poorly in its theatrical run, the contract was adhered to. This proved to be the lifesaver for the Kartik Aryan film, ‘Shehzada’ which mustered only Rs 32 crores at the cinema counters against a budget of Rs 70 crs. Reportedly, Netflix had paid Rs 40 crs for the streaming rights. Trade analyst Karan Taurani says that now there are clauses in the streaming deals regarding the theatrical performance of the film-where streamers say that only when a film reaches a certain threshold in theatres will the overflow or agreed additional amount be given.

It’s the distributor who takes significant risks when they purchase the rights to distribute a film. They hedge their bets by acquiring the satellite and music rights for the movie. T Series bought the audio rights for Pushpa 2-The Rule for a staggering Rs 65 crs. SRK’s Jawan’s rights had earlier been bought by T series for a record-breaking Rs 36 crs. Tamil-Nadu, Telangana and Andhra Pradesh have a large and passionate fan base for film music. Film songs become chartbusters and are played on a loop on FM stations and streaming platforms like YouTube, Spotify & Rasso. Flashback to the Iconic film ‘Sholay’. In 1975, its dialogues album sold 500,000 copies. By 1979, the platinum 1 million mark was crossed. The film exceeded its Rs 1 crore budget 3X. It grossed Rs 35 crs worldwide and brought in another Rs 35 crores in re-releases. Adjusted for inflation the box-office figures exceed Rs 3000 crores.

The ‘Adipurush’ disaster saga is a cautionary tale for distributors. People Media Factory bought and backed this Rs 550 crs budget film confident of a pan-India hit because of the Prabhas factor; the director Om Raut had delivered a hit with ‘Tanhaji’; plus the fact that it was inspired by the Epic Ramayan meant nothing could go wrong. Superficial performances, shallow storyline, poor VFX and cringeworthy dialogues scripted a mega-disaster. The character, ostensibly inspired by Lord Hanuman, was spouting tapori-style dialogues. Social media was outraged, and the distributors were looking at Himalayan losses of over Rs 150 crores.

The financial challenges for the Indian film industry have been cited as a big drop in audience footfalls, rising cost of production and the growing popularity of OTT platforms offering many options. The Covid lockdown has opened the eyes and sensibilities of audiences to better and more engaging cinema from all parts of India and worldwide. Reliance Jio Studios already holds stakes in Balaji Films and Viacom 18. The phenomenal success of the horror-comedy film Stree 2, which they co-produced with Maddock Films, must have propelled them on. The biggest Hindi film hit of all time with net collections of Rs 600 crores plus and riding on a budget of just Rs 40 crores. The lead actors Rajkumar Rao & Shraddha Kapoor don’t fall into the celebrity guest profile for’ The Koffee with Karan Show.’

Content has become the King. The Vijay Sethupathi-helmed film ‘Maharaja’ is a stellar example. Made on a budget of Rs 20 crores it closed its theatrical run at Rs 107 crores. This masterpiece is jointly produced by The Route, Think Studios, and Passion Studios. Many large and mid-budget films are now following this joint production template. This highly emotional action thriller is a case study in moviemaking. Impactful performances, master-class direction, great screenplay and editing with jaw-dropping twists and turns, real dialogues and photography that make the visual experience so intimate. Since being released on Netflix in July 2024 and with an IMDb rating of 8.5, it has become the most-watched Indian film of 2024. Content is King. Whether it is the true, relatable and inspirational story of ‘12th Fail’ or the real survival and rescue thriller Manjummel Boys. It is the biggest Malayalam hit film ever without marquee names like Mohanlal or Mammootty. The Marathi classic ‘Tumbad’ became a cult film on OTT and is drawing large audiences on its theatrical re-release.

The assembly line productions of Akshay Kumar films- wrapped up in 40 days- no longer work at the BO. One of the greatest duds from the house of YashRaj Films is ‘Pruthviraj Chauhan’ where this star is said to have charged a whopping Rs 60 crores. Many shows were cancelled due to zero attendance. The film fans went hoping to see a glimpse of Samrat Pruthviraj; all they got was Akshay Kumar in every frame. The audience has become unforgiving; social media can influence the fate of a movie on the first weekend itself.

The Soft Power of Indian Cinema is immense. But again, it’s all about the quality of content and the entertainment quotient. Stories with human appeal and emotional connect, catchy music or well mounted large screen spectacles. RRR rode high at the Japanese Box office on all counts. In China, Aamir Khan’s ‘Dangal’ and ‘Secret Superstar’ minted Rs 1400 crores and Rs 810 crores—mind-boggling numbers. Strong storylines created social, cultural & emotional phenomena.

It’s time for Bollywood (and the Indian film industry) to acknowledge their self-inflicted problems. It’s time for them to recognize that good films are created out of collaborative teamwork – where writers, editors, cinematographers, music directors, production designers, and VFX specialists – all play a significant role. They must be recognized and rewarded for their creative contributions. It’s also time to acknowledge that audiences today will flock to the cinema halls in large numbers only if they feel that both their money and time is well spent.

Vijay Anand- The Master Film Maker

Posted on by
2

Vijay ‘Goldie’ Anand did not have to struggle for a break in the Hindi film industry. His elder brothers Chetan Anand & Dev Anand (13 & 11 years older) had established themselves as a filmmaker and leading man. Immersed in his theatre group at St Xavier’s College, Bombay, Vijay wore multiple hats as a director, writer, and actor. The Shape of things to come! Just emerging from his teens he wrote the script for the hit film ‘Taxi Driver’ (1954) directed by Chetan Anand and starring Dev  Anand and his bhabi-to-be Kalpana Karthik.

His innings as a director began with ‘Nau do Gyarah’ under the Navketan banner in 1957. For the next 15 years, his brilliance and versatility lit up the big screen. ‘Nau do Gyarah’ was a road movie; ‘Kala Bazaar’ a nod to neo-realist cinema; ‘Tere Ghar Ke Samne’ was a rom-com; ‘Guide’ a classic book adaptation of R K Narayan’s masterpiece; ‘Teesri Manzil’  a musical mystery; ‘Johny Mera Naam’ a caper film with the lost and found formula; ‘Tere Mere Sapne’ inspired by A J Cronin’s Citadel about an idealistic doctor in a coal town, his surrender to Mammon and a timely redemption.

Vijay Anand is not just regarded as a textbook in movie making but the entire curriculum. This genius’s grasp of the movie craft extended across direction, acting, writing, screenplay, and dialogues to the editing room. During his prime in the 60s, he is known to have shared draft ‘mukhdas’ of lyrics to his lyricists to embellish, improve and work upon. Simply to ensure that the songs became a part of the story. Later in his career, he penned a few lyrics himself. The Maestro was not done yet. A trained waltz performer he did a dance number with Bindu in ‘Chuppa Rustam’.

But 4 extraordinary films in a 6-year span built the Vijay Anand cult amongst his legion of fans and within the film fraternity. ‘Guide’, ‘Teesri Manzil’, ‘Jewel Thief’, and ‘Johny Mera Naam’ remain in the collective memory of an entire generation of movie buffs even after the passage of 5 decades.

‘Guide’ (1965) is regarded as one of the best Indian films of all time. The story of a charming tourist guide Raju (Dev Anand) who falls for a married woman Rosie (Waheeda Rehman), goes to jail for embezzlement and is mistaken for a sage and holy man in a drought-stricken place is superbly curated and directed by Vijay Anand. The film transcends into an experience for our minds and soul. In 1965, the story had controversial elements but the filmmaker did not pull any punches. Rosie walks out on her philandering archaeologist husband after a showdown in a cave and gets into a live-in relationship with Raju guide. Waheeda Rehman’s portrayal of the independent woman character with her own identity and dreams remains a landmark in the annals of Hindi cinema. Rosie’s ascent to fame as a talented dancer Ms. Nalini (with Raju as her Manager) is beautifully captured through an elaborate song number. She also has no qualms about breaking up with a drunkard Raju after she discovers that he has siphoned off some of her hard-earned money and hands him over to the police authorities. Then, the seamless screenplay takes Raju’s accidental redemption story to a spiritual level and a surreal ending. The audience exited the theatre in droves with the film imprinted on their minds.

Goldie Anand’s films are also known for their natural and conversational dialogues. Remember that in the 50s and 60s Hindi cinema was still in the throes of theatrical dialogues and posturing with words that were not in sync with the character. ‘Guide’ is a testament to his mastery over the spoken word. In an interview, Waheeda Rehman shared that her only disagreement with the director related to her dialogue during her angry parting with her husband. She felt that the words were ‘coarse’ and ‘harsh’ but Vijay Anand persuaded her that they were ‘in character’ and ‘in context’. After watching screenings later she acknowledged that these words were critical in her character’s arc. Dev Anand’s redemption chart from convicted swindler to an accidental savior is captured through heart-touching dialogues- ‘Shaurat use mili, sar mera ghoom gaya; jab hosh aya to paya salakhon ke piche’ (in jail). ‘In logon ko mujh pe vishwas hain aur abhi mujhe unke vishwas par vishwas hone laga hai’ (Raju Swami fasting to bring rain to the parched countryside). ‘Maut ek khayal hai, jaise zindagi ek khayal hai. Na sukh hai na dukh hai. Na deen hai na duniya. Na insaan na bhagwan. Sirf main hoon, main hoon, sirf main hoon.’ (on his deathbed as heavy rain falls outside).

In an interview, Vijay Anand said that he has always been an explorer and a student of cinema as it is an integrated art form. As a director, he would give a complete picture of what he wanted to all his technicians and collaborators. It is not surprising that he was not limited to any genre. ‘Teesri Manzil’ ( 1966) has been called a musical thriller. The film opens with a film noir scene where a woman rushes up to the third floor of a hotel before falling to her death. Suicide or Murder?  The first half is all about romance and foot-tapping songs and dance. Shammi Kapoor grooves and moves like Elvis Presley possessed. And it is with this film that our Pancham became RD Burman. Film is said to be the Director’s medium and this was brought out charmingly during the filming of the song, ‘Mere Sona Re’ where the buckle of a bag the hero was carrying broke. The filmmaker kept the cameras rolling and the lead man improvised adding a natural flair to the song. The second half of the film is full of twists and turns and new characters are introduced at a bewildering pace. Although it may not satisfy a whodunit purist with a thirst for clues, it evolves into a thrilling yarn.

One of the oft-spoken remarks about Goldie Anand is that ‘he was well before his time.’ In ‘Jewel Thief’ (1967) based on a story by KA Narayan, he created a doppelganger character for the hero, a cunning criminal who does not exist. Here his trump card was to cast Ashok Kumar as the real Jewel Thief. The thespian actor was reluctant to play the villain as it went against his well-accepted screen image. Vijay Anand convinced him that the surprise reveal would happen at the very end. The fast-track narrative was considerably enhanced by SD Burman’s score and compositions, and the film does not feel dated even today. The extent of his creative involvement is revealed when the opening credits roll. We see a profile of the jewel thief appraising the spoils in his gloved hands. Then you hear a chuckle and a short laugh. The Director’s laugh. The jewels are fake.  Shades of Nirav Modi and his diamond collection.

His song picturizations have become the stuff of film legend. Like Guru Dutt, Raj Kapoor, and Raj Khosla he believed that songs were part of a film’s storytelling process and should take the story forward. He fervently felt that songs were part of Indian culture and films and if captured well on reel would bring repeat audiences to the theatre. During his time most filmmakers left it to choreographers to film the song and dance sequences. Not Vijay Anand. ‘My characters should not become artificial when they sing. They are expressing their emotions through the song. The characters are not meant to be dancers in the film.’ The song ‘Hothon mein aisi baat’ from ‘Jewel Thief’ was shot at the royal palace in Gangtok, Sikkim. In this fast-moving song, the camera stays with the talented actress/dancer Vyjanthimala showing her anxiety and distress even as she performs exquisitely till the male lead Dev Anand surprises her with an exclamation in the course of the song. In ‘Tere Mere Sapne’ from ‘Guide’ the rising sun becomes the metaphor for the new love between Raju and Rosie.  The background shot the fastidious director wanted was available for only 15 minutes in the early mornings. So the unit was up and about each morning till he was satisfied. With his eye for detail and authenticity, Goldie scouted for the right locations- Chittor and Udaipur for ‘Guide’. ‘Pal, pal dil ke pas’ in ‘Blackmail’ (1973)is considered as one of the most romantically picturized songs in Hindi film history. It simply features a graceful Raakhee reading letters sent to her by the hero (Dharmendra) and imagining that he is beside her. In the same film Vijay Anand does the unthinkable of featuring the lead pair in an intimate love song situation (‘Mile Do Badan’) while they are being hunted down by villains with arms and dogs. His creative imagination amazes us to this day. ‘Ek Ghar Banega’ from ‘Tere Ghar ke Samne’(1963)had camera tricks where Nutan is seen in ice cubes in a glass of whisky. The song ‘Dil ka bhawar kare pukar’ was shot in the Qutb Minar (actually on a set as permission was not granted). In the song both Dev Anand and Nutan are shown climbing the narrow winding staircase as friends and come down as lovers. The lighting and camera work makes this a magical sequence.

Released in 1970, ‘Johny Mera Naam’ was the biggest hit of his career. This film is often touted as a must-watch for screenplay writers. Never a dull moment in a screen time of 2hrs and 45 mins. Kalyanji-Anandji’s signature car-chase tune which added to the mood and excitement of the movie also ‘inspired’ many composers later. Anita Padhye writes in her Marathi book, ‘Ek Hota Goldie’ about ‘Husn ke lakhon rang’, the raunchy number which became a highlight of the film. The back story of Padma Khanna gives the context- it’s not just another item number. ‘So real were Premnath’s expressions that Goldie was worried that Premnath might hug Padma Khanna out of sheer lust.’ This blockbuster launched Hema Malini towards superstardom and gave a new lease of life to Premnath as a major character actor.

A word about Vijay Anand’s notable screen roles which left a mark on the audience. From the soldier in ‘Haqeeqat’ to the disillusioned Dr Kothari in ‘Tere Mere Sapne’; the Professor husband in ‘Kora Kagaz’ to the Thakur of ‘Main Tulsi Teri Angan Ki’. To the popular TV crime series thriller ‘Tehkikaat’ in 1994 with Vijay Anand as private detective Sam D’Silva- directed by his nephew Shekar Kapur.

After 1973, his career went downhill due to personal and family issues; spiritual meetings with Rajneesh (Osho) and later sessions with UG Krishnamurthy also took him away from the film world. Still, for many Bollywood filmmakers, Vijay Anand is the Boss. Many are in awe of his technical finesse, storytelling skills, and his ear for film music. Shekar Kapur, Sanjay Leela Bhansali, Raj Kumar Santoshi, Madhur Bhandarkar and Rakesh Omprakash Mehra to name a few. Sriram Raghavan (of ‘Andhadhun’ fame) dedicated his ‘Johnny Gadar’ to the Master and peppered it with many hat tips to him. In one scene the hotel receptionist is shown watching ‘Johny Mera Naam’.

Surprisingly, this much-feted filmmaker received only 4 Filmfare awards-Best Director & Dialogues in ‘Guide’ (1966) and Best Screenplay and Editing for ‘Johny Mera Naam’ in 1971.

But his seminal impact and legacy endures through his work. In today’s times, he would probably have been referred to as Mr 360 degrees- the encyclopedia of filmmaking.

Why Bollywood’s Profits Are Going South?

Posted on by
4

Bollywood has long been considered as the Big Brother of the Indian film industry.  Today, the Mumbai based film world is synonymous with glitz and glamour; big money and scandals; pan-India reach and an expanding global footprint; some hits and many more misses; a well-oiled PR machinery to spin the make-believe; and of course the mellifluous appeal of Hindi film music and songs.

Indian cinema, in other languages, were dubbed as Regional cinema. Yes, there was recognition and awareness about the Titans- MGR and Sivaji Ganesan from the Tamil film world, NTR and ANR from Andhra Pradesh, Kannada film star Dr Rajkumar and the prolific Prem Nazir from the State of  Kerala. The last named holds the Guinness Book record for playing the lead in 520 films. But all these legends did not have an All India audience for their movies.

The other X factor or dimension was that Raj Kapoor with his ‘Laal Topi Russi’ (from the song Mera Joota Hai Japani– Shree 420) had won a lot of hearts in the erstwhile Soviet Union and China. Amitabh Bachchan wowed audiences across the Middle East and South East Asia and clicked with the Indian diaspora everywhere. But the Bollywood media did not acknowledge the fact that the Rajnikanth phenomenon was not confined to Southern India but had spread to Japan- with the release of his film Muthu in 1998- or as the Japanese called it – Odura Maharaja or Dancing Maharaja.

But now the landscape has dramatically changed. By 2020, the combined revenues of the South Indian film industry had surpassed the collections of the Hindi film industry, with Tollywood (Telugu) and Kollywood (Tamil) leading the pack. The game changer has been the release of Baahubali –the Beginning in 2015 and Baahubali 2 in 2017. Part 1 grossed Rs 650 crs at the global BO and the Part 2 collected a staggering 1810 crs. Pipped at the post by only Dangal with Rs 2024 crs, with 60% coming from the China market. But in the Indian market Baahubali 2 The Conclusion reigns supreme at the cash counters with a net lifetime collection of Rs 510 crs. It also registered the highest estimated footfall for any film in India since Sholay in 1975. The ambition, scale and sheer imagination of these S S Rajamouli movies are in sync with the title. They delved into both the Indian tradition and the Epics and hence resonated across the country. Even those generally not interested in the movies flocked to the theatres to soak in the experience.  Baahubali 1 & 2 did not feature any major Bollywood star but won a pan India audience.  Instead Prabhas, Anushka Shetty and the character called Kattappa became household names. Even more significantly, the Baahubali mania earned respect for South Indian film makers and the technicians.

Other movie makers from the Regions stepped in to break the mould. Shankar’s Tamil sci-fi opus 2.0 was made at a budget of Rs 400 crs, probably the most expensive Indian film ever. KGF cost Rs 80 crs to make and market, unheard of for a Kannada film. The recent super-hit Telugu film Pushpa The Rise worked on a budget of Rs 180 crs. All these producers and financiers have shattered the local barriers and dreamt on an All India and even global scale. All the films have been released, dubbed in 3-4 South languages plus Hindi. All have broken records and ejected the status-quoist and even patronising mind-sets.  The Rajnikanth starrer 2.0 with its special VFX effects comes in at no 2 on the Indian BO ratings and pulled in around Rs 190 crs on the Hindi circuit. KGF has broken ground on both counts- breaching the Rs 100 crs barrier on home turf and crossing Rs 250 crs in total collections. The slow burn gangster drama, led by the charismatic Yash, had mixed reviews but resonated with single screen audiences well beyond Karnataka.  Allu-Arjun’s Pushpa has scored a century in BO terms in the Hindi belt and again mostly through single screens. A story about red-sandalwood smuggling it has the smell of the soil and has appealed to cine-goers especially in the tier 2 towns.  Whilst many Bollywood producers are stuck in their multiplex ivory towers. Another key factor in the success story are the peppy songs and the dance numbers which have gone viral on You Tube. The Hindi film industry has lost its feel for even catchy songs and groovy dance numbers which had contributed so much to its growth and appeal.

The theatrical release of Rajamouli Garu’s next magnum-opus RRR has been deferred because of Covid restrictions. This saga of freedom fighters in the India of the 1920’s has created huge hype and expectations. How times have changed. This time around the Bollywood bigwigs will carefully plan the release of their films after knowing when RRR is going to hit the cinema halls.

The OTT platforms and the prolonged Covid lockdowns have played a seminal part in changing both audience expectations and awareness. Now, with just 2 or 3 clicks they are watching a regional film or a foreign movie with sub-titles or dubbed in their preferred language. Good films from the South have piqued the interest of millions of film buffs and have ticked a lot of boxes. The natural acting of the Malayalam film icon Mohanlal in Drishyam 2 has simply blown away the watchers and social media has kicked in to spread the good word. Fahadh Faasil has created a fan following outside Kerala on the strength of his performances and especially his chilling portrayal in Kumbalangi Nights. Audiences woke up to the talent of Vijay Sethupathi after watching his depiction of a trans-woman in Super Deluxe. Then there are the inevitable comparisons with some much –hyped Bollywood stars who are trapped in their comfort zone and keep repeating themselves.

 Film audiences are also raising the bar on content. Even a masala film has to be entertaining, not mindless fare. Like Jathi Ratnalu the rollicking Telugu film of the Andaz Apna Apna genre. Take Jai Bhim the social-legal drama based on a true story in Tamil Nadu- It has the highest IMDb ratings of any Indian film on an OTT platform-9.3.  And one of  the lowest IMDb rating goes to- Salman bhai’s Radhe at 2.1. Tamil star Suriya who produced and acted in this intense and controversial film had earlier backed Soorarai Pottru, a fictionalised version of the book Simply Fly by Capt Gopinath the founder of Air Deccan. It was the only Indian film eligible for the Best Picture Oscar nomination in 2021. The political satire made for television, Mandela, is worth watching on Netflix because of the sheer quality of filmmaking.

The Bombay/Mumbai film industry owes a lot to the Southern fraternity. Studios like Vijaya Productions and Devar Films bankrolled major films like Ram aur Shyam and Haathi Mere Saathi. Of course, Padmalaya Productions kept a fit Jeetendra going through his PT exercise dance sequences with Sridevi and Jayaprada in loud, family melodramas. Let’s take a dekko at the never ending list of remakes. Hrithik Roshan”s next is Vikram Vedha based on the Tamil hit of the same name. Shahid Kapoor’s career was resurrected by Kabir Singh, a remake of the Telugu film Arjun Reddy. Ajay Devgan has featured in 10 such projects, the latest being Kaithi. And lest we forget the roll call of honour for famous Hindi film heroines- Vyjayanthimala and Waheeda Rehman, Hema Malini and Rekha, Sridevi and Jaya Prada….

Other than the big producers and financiers, the people who really call the shots in Bollywood are the distributors and theatre chain owners. They have burnt their hands badly over the last few years with debacles like 1983, Radhe, Thugs of Hindustan, Zero and Bombay Velvet all featuring the elite stars of the Mumbai filmi duniya. The South has taught them umpteen lessons on how mega films can deliver mega results. It is not a coincidence that Karan Johar who invested in Baahubali 2 The Conclusion is backing the much awaited Brahmastra with Randhir Kapoor. They are also keenly aware that the Return on Investment ( ROI) is much higher and the Risk factor considerably lower on movies shouldered by the second-line star actors like Ayushman Khurana (Andhadhun) , Vicky Kaushal (Uri) and the late Sushant Singh Rajput (Chichore).  Made at modest budgets ranging from Rs 50 crs to Rs 35 crs they have grossed Rs 435 crs  Rs 285 crs and Rs 225 crs respectively.  Despite having limited screen release in the range of 800-1200 screens. These movie mandarins are also clued in to the big Hindi movie release formula- Eid-Diwali-Christmas. 4000 screens and hiked up multiplex ticket rates. The footfalls dropping dramatically in the second week. And those with their ears to the ground know that the days of the Super Star may well be over. Actors like Manoj Bajpayee in Family Man and Pratik Gandhi in Scam 1992 have created a large viewership, who eagerly awaits their next venture, albeit on a streaming channel.  

For Bollywood, the writing is on the big screen. The language barrier is no longer holding. Their hold on the pan-India market is diminishing. On the world stage, the Indian film industry has a long way to go to feature on the same page as Hollywood or the Chinese film industry. China with 70000+ screens grossed over $9.3 billion in movie revenue in 2019 (pre-Covid). The Hollywood North America box office gross was $11.4 billion in 2019 plus the rich overseas collections for their Superhero and Fantasy offerings. Movies like Spiderman and Avengers with their multiple language release have a huge market in India.  With 44,000 screens in the US of A there is a robust infrastructure for the cine-goers. One of the biggest challenges for our film industry is the paucity of screens-only 6327 single screens and 3200 multiplex screens for the approx. 1700 films made every year. Many of them do not even find a release date.  The overall revenue of Indian cinema reached $2,7 billion in 2019. That same year the global box office was worth $42.2 billion.      

It’s also just a matter of time before a Bengali or a Marathi film becomes an All India rage. Some of the best Hindi film classics have been made by masters like Bimal Roy and Hrishikesh Mukherjee. And Marathi movies have come of age with offerings like Tumbaad, a horror fantasy, Court, an intimate social-legal drama and Natsamrat which is influenced by Shakespeare’s King Lear and showcases Nana Patekar in the role of a lifetime. Also don’t be surprised if a Punjabi, Odiya, Bhojpuri or Gujarati film makes the breakthrough and punches far above its regional weight.

It’s a happening, exciting time for the Southern India film industry. Also a wake-up call for Bollywood to get its act together.

(Soures: Box Office Data/Stats/Figures  sourced from- Box Office Diary, Box Office Hungama, Indian Cinema-Wikipedia, SACNIK, Statista, Hollywood Reporter)

Cans of Worms

Posted on by
2
Pixabay

The mysterious deaths of the talented actor, Sushant Singh Rajput (SSR) and his one-time manager Disha Salian have created frenzy in the media space and in political circles. There are some who dismiss it as TRP sensationalism when the country is facing a COVID and economic crises. They do have a very valid point. The Lutyens group and their Bollywood cronies have derided it as the media trial of a helpless Rhea Chakraborty and her decent, middle-class family. A veritable witch-hunt.! A chorus of other reasonable people question why an actor’s apparent suicide is deflecting attention from a 23% drop in GDP and the tense confrontation with China at the LAC. Pause. The palpable panic which has gripped the Maharashtra coalition government tells a different story. B-town after the usual sarcasm from the usual suspects has gone deathly silent. That the Mumbai police is being played by their political masters is becoming more obvious by the day. What a fall from grace for the professional Bombay force of the Julio Ribeiro days.

There is something rotten in the state of Mumbai. The cover-up of SSR’s death has inadvertently opened up a can of worms.  A smelly, filthy, ugly can of worms. The Narcotics Control Bureau (NCB), Enforcement Directorate (ED) and the Central Bureau of Investigation (CBI) probe is haunting the powers that be- politicos, cops, Bollywood, drug cartels and the larger Mafia. The investigation has become an expose not only of possible homicides or abetted suicide but of a huge drug ring, hawala racket, narco-terrorism and even a deliberate undermining of our nation’s security and interests. The ‘Janata’ following the case for 3 months are keeping their fingers crossed.

It is my hope and prayer that this Trimurti effort be entrusted to the best professionals and be given a free hand.  Let the facts come out. Let the truth prevail. Let this not be an elaborate ploy just to get the BJP party back in power in the State. If the Aghadi Sarkar comes down be sure that the politicians will again show their true colours- cling on to whatever power or position they can. President’s rule for a couple of years will be the right decision. The BJP should not forget that this can of worms has taken a multi-dimensional life of its own.

I have long been convinced that political parties have a secret pact of their own. They may spew vitriol at each other in public but there is a tacit understanding in private. Whichever party is in power will not go after the big fish in the opposition ranks. There is a mutual protection agreement amongst the political elite. Please do not get misled by the occasional case of a Jayalalitha or Lalu Yadav spending some time in comfortable confinement.

The investigative dossiers may be there, so also the proofs. But nobody goes the whole hog. Mr Chidambaram spends sometime in the cooler on alleged corruption charges. Remember that he had sent the present Home Minister to jail when he was the Home Minister…?! This money laundering case too will linger on and the public will forget. Most intriguing was the ₹ 15,000 crore bogus stamp papers Telgi scam. His narco-tests were suddenly shown on some TV channels, whispering the name of a political strongman. The head of a national level party just sending a not so veiled message to a political opponent.?!!!

It must be emphasized that in all fairness such issues should not be kept simmering indefinitely. If there be no conclusive evidence, the government of the day ( the BJP led govt now) should give it a closure. It should not be raked up again for a hit job during the next election season.

Independent India’s first official scam was the Jeep scam. Krishna Menon, High Commissioner to UK, bypassed protocol in 1948 and ordered around 2,000 refurbished jeeps from a little known foreign company for our military use. A substantial amount of the then ₹ 80 lakhs deal was paid upfront. Only 155 jeeps were delivered but did not pass the Defence Ministry tests. Pandit Nehru’s patronage ensured that even the judicial inquiry was dropped in 1955. In Jan 1956, Mr Menon became a member of the Union Cabinet ending with his glory days as Defence Minister in the disastrous Indo-China war of 1962.

1957- The Mundhra scam. The Calcutta industrialist was given ₹ 1.26 crores from the LIC to bail out his six troubled companies, without the approval of the LIC investment board. Further, Mr Mundhra had just had a forged shares episode in 1956. Government pressure prevailed. Till one Mr Feroze Gandhi, MP, raised the issue in the Lok Sabha.  A one man inquiry committee in MC Chagla was appointed and he submitted his report in only 24 days (he was later one of India’s best External Affairs Ministers).  TT Krishnamachari had to resign as the Finance Minister and Mundhra was sentenced to 22 years imprisonment.  Feroze Gandhi had hit a home run. He was the son-in-law of PM Nehru. Their rift continued to grow.

The Nagarvala case of 1971 gets curioser and curioser. He called up Mr Malhotra, Manager, SBI, in presumably Mrs Gandhi’s voice asking for Rs 60 lakhs for a mission of national importance. He got the money!! and disappeared for all of a day. On 22nd May he was picked up at the airport. On the 26th May 1971 after a day’s trial and a confession he was sentenced to 4 years in jail. He died a few months later. So did the police officer assigned to the matter- in a road accident! Was Nagarvala an ex-RAW agent and a fraudster or simply a courier with things going awry? As the Mitrokhin papers have revealed India had been infiltrated by the KGB by this time. Ministers, bureaucrats, journalists, professors did their bidding. Or were these secret funds for a geo-political purpose?

On the late night hours of the 2nd December 1984, the ghastly Bhopal Gas tragedy happened. Lethal gas leak from the Union Carbide plant. 20,000 died. Lakhs more developed severe health complications. On December 7th 1984, their CEO Warren Anderson was quietly airlifted from Bhopal to Delhi at the orders of the CM.  Mr Rajiv Gandhi, the PM, allowed him a free pass to the USA. It is speculated that this was done as a quid-pro-quo for a US Presidential pardon for Adil Sharyar, a close friend of the Gandhis, who had a long prison sentence ahead. Finally in 1989 the Supreme Court ordered a $470 million compensation. One of the legal eagles consulted by Union Carbide – Mr Arun Jaitley.

In 1982, there had been the HDW submarine $300 million deal with the West German Company. Fat commissions and middle-men were involved. 6 people including the Secretary in the Defence Ministry and Mr GP Hinduja, industrialist in London were under the scanner. VP Singh later said that he resigned as Defence Minister in 1987 because of this corrupt arrangement. No money trail. No closure. No notable convictions.  Just political capital for VP Singh, Mr Clean, as he became the PM in 1989.

This was also the fall-out of the famous Bofors scandal in 1987 when a Swedish whistle-blower exposed the money sleaze in this ₹ 1,500 crs contract for 410 field howitzer guns. The middleman was Ottavio Quattrochi, an Italian citizen, said to be close to India’s first family. But again a lot of noise and confusion signifying nothing. The CBI botched up everything- delaying lodging the FIR, dragging their feet on the Interpol Red Corner notice, de-freezing Quatrocchi London bank account, shoddy extradition follow-ups…Sounds very familiar doesn’t it?

After the Mumbai bomb blasts in 1993, the then CM added one location to the 12 actually impacted by the blasts. He said that he did this to avoid a communal conflagration by fictitiously bringing in a minority dominated locality into the picture. His presence of mind was lauded by some in the media and also by the SriKrishna commission. The CM also repeatedly stated that the LTTE may be behind the blasts. But was this an attempt to deflect attention from Pakistan and Dawood Ibrahim. The Vohra Committee was appointed in July 1993 and gave its 100+ page findings by October 1993. Some in the know say that it contains explosive revelations of the nexus between senior Maharashtra politicians and babus and D company. The report has never seen the light of the day and the Home Ministry now says that it has been misplaced. Connect the dots. A sense of dejavu.  Almost 30 years later we are again talking about the same underworld links. If only the Vohra Committee report had been tabled and discussed responsibly and in the national interests.

The 26/11 attacks have been categorically tracked back to Pakistan and the ISI by the Indian intelligence agencies under the UPA regime and fully corroborated by the international intelligence community. But Digvijay Singh and Mahesh Bhatt presided at the launch of the book ‘26/11- A RSS Conspiracy” in December 2010. The former to please his political masters in Delhi as a loyal courtier and to counter the growing threat of the BJP. The latter’s son Rahul hobnobbed and moved around with David Coleman Headley, the ISI agent and mastermind for almost a year- a recce of all the spots where the terror attacks took place. A rattled and fragmented Indian government gave this B town scion a surprisingly easy pass. It did not matter that innocent foreigners and Indians, hotel staff and police had been brutally killed in a terror attack managed from Karachi. In 2020 also, these insidious elements and manipulators who have hollowed out India into a soft country, continue to thrive. If only it were not so disgraceful, it could have been shrugged off as ridiculous.

In 2009, Ramalinga Raju admitted to a ₹ 14,000 crore fraud. Falsifying accounts, inflating company revenues, raising false invoices, diverting money to real-estate. He was fined ₹ 5 crore and finally sentenced to 7 years in jail. In 2011 itself, he was on bail as the CBI had still failed to file a charge-sheet. He has done a total time of just 35 months and is now involved with his family’s successful health-care and agri businesses. Not even a slap on the wrist. The rich and the connected are above the law.

The Sahara scam of ₹ 24000 crore is well known in the public domain. With full political backing Subrata Roy was going great guns in 2011 with 3 crore ( mostly fictitious) investors. From 2008 he had been raising money without complying to the Regulatory framework. SEBI stepped in and stood its ground and finally the Supreme Court brought him to book in 2014. But Sahara Shree has been enjoying regular parole since 2016 . After all, he has had such close associations with several big time politicians.

Breaking news is that civil courts in Hyderabad and Patna have granted an injunction restraining Netflix from airing its new web series Bad Boy Billionaire from the 2nd Sept 2020. Mr Raju and Mr Roy say that it is an invasion of privacy and tarnishes their good name. Holy Shit!!!

The Saradha Chit Fund rip-off in Bengal has also hit the headlines. A Ponzi cum Pyramid scheme where more than ₹ 20000 crore has been siphoned off from mainly 1.7 million lower income investors lured by the promise of high returns. In 2014, the Supreme Court had to order a CBI investigation as nothing was moving at the State level. Two TMC MP’s and one State Minister have been arrested. Sudipto Sen, the MD, turned out to be a former Naxalite who had undergone a complete identity change. Recently, the high profile Kolkata Police Commissioner Rajeev Kumar has been grilled by the CBI for tampering with evidence to protect the accused and also some TMC politicians The West Bengal CM gallantly protected him from the Central investigators for as long as she could. Resonates with what is happening today in Maharashtra, what??

In 2002, a drunk Salman Khan is alleged to have killed one and injured 4 other pavement dwellers in a hit and run. Consider what happened afterwards. Singer and friend Kamaal Khan who was also in the vehicle catches the first flight back to London. But Ravindra Patil, the constable bodyguard sitting next to the star reports to the Bandra Police station that Salman was driving the vehicle in a drunken state. This police eye-witness, officially assigned, is repeatedly threatened and driven into hiding. He misses 5 hearings and the police issue a non-bailable warrant against their own. He is even thrown into jail. His testimony is dismissed as not reliable. The broken guy, without a job, dies in 2007, an alcoholic and TB patient. The powerful can get away with just about anything. The much-vaunted Mumbai police had started showing its true colours many years back.

The 2017 Unnao (UP) gang rape case starkly shows the criminalization of politics. At the centre, the BJP MLA Kuldeep Singh Sengar, touted as the Bahubali in these parts.!! The 17 year old victim tried to immolate herself in front of the CM’s residence in April 2018. Thankfully, the media and the activists jumped into the fray.But the Supreme Court and the CBI had to step in for this hardened criminal to be sentenced for life behind bars in Dec 2019.In this shameful case, the father of the victim was wrongfully accused of being the perpetrator and died in judicial custody. In another sinister incident in July 2019 a truck rammed into a car causing serious injury to the victim and the death of two of her relatives.Eerily reminiscent of the movie-‘ Article 15’. Outrageously, the BJP continued to support the goon till the shit hit the ceiling.

Just 2 small rotten nuggets to add to this unpalatable fare being served. For the list is long and growing. The Harshad Mehta stock-market scam, Coalgate, Irrigation Ghotala (scam) , DHFL collapse, ICICI Bank-Videocon corrupt deals, the Nirav Modi super swindle…The $2 billion dollar diamond fraudster runs away from the country in Jan 2018 under the watch of the BJP led Centre. Taking the cue from the ‘King of Good Times.’ Vijay Mallya, an independent Rajya Sabha MP with friends across the political spectrum, coolly chatted with them on the 1st March 2016. The next day, this defaulter of ₹ 9000 crore from 17 Indian banks flees to London. Have the authorities been napping at the wheel? Or well-wishers told him to move on? Take your pick.

A few days back we all celebrated Teacher’s day – the birthday of our second President Dr Radhakrishnan. His mentee for Doctorate, Jadunath Sinha filed a case against him in the Calcutta High court in 1929. For infringement of copyrights and plagiarism from his published and thesis material for the Professor’s books. The case was settled out of court three years later. Radhakrishnan was a close of friend of Mr Nehru and his left leanings endeared him further to the PM. Hence, Ambassador to the Soviet Union, Vice President and President of the Republic in 1962. The first Teacher’s day was commemorated that year. We should move it to the 15th October every year as homage to Dr Abdul Kalam, our only great President.

Corruption, Inefficiency and Cabalism hurts the poor and the middle-class the most. 70+ years after independence we have to shed our feudal regard for politicians and bureaucrats. Not foolishly adulate some as modern day Chanakyas. We have to demand accountability. Performance. Delivery on promises. They are counting on our short public memory span. Divide and Rule still works for them. Manipulating and distracting is their modus operandi. And to paraphrase GB Shaw, “Politics is the first refuge of the scoundrel”. We have to stop joining them in kicking all these cans of worms off the roads and out of sight.

Use the power of genuine public activism and an effective social media to make things uncomfortable for these so-called leaders. Give them no place to hide. Persuade & Influence the Prime Minister to use his majority to push through these structural reforms before the end of 2021. Indeed, the NDA has been paying lip service for many years. (a) the police reform Act to make the force independent, autonomous and totally professional. Ditto for the Central Agencies.  (b) Make political financing transparent. (c) Keep criminals out of political positions.  (d) bring in one-third reservation for women at the Lok Sabha and Rajya Sabha. The States will have to follow suit. (e) Finally, strengthen and enable the judiciary that critical cases are fast-tracked over a few months. Justice has to be seen to be fair and impartial with nobody above the law. Justice has not only to be done but also seen to be done.

The Bollywood Bazaar

Posted on by
4
Image by dan123ny from Pixabay

Behind the glamour and glitz of Bollywood is the Hindi film industry. It churns out 350-400 films a year. Most go unnoticed and do not recover their costs. Some quality movies get very limited releases but then hopefully a fresh lease of life on the streaming OTT platforms. A few do well in the C & D centres. A significant data point is that there are only 6,700 single screens + around 2,400 multiplex screens in India for 1,600+ films a year, compared to the 40,000 in the US and 55,000 in China.

With the Mumbai film world also in a lockdown, let’s look at how the real business works. Brush aside the myths and make-believe narrative about the mega-stars and the celebrity film makers. After all, these are tales spun by PR agents, TV anchors, critics and trade people on their pay-roll. Social media facilitators take the hype and hero-worship to another level.

Glorify, hype, manipulate, seduce, deflect, misinform are all tricks of the trade. Add snuff- out competition.

The big production houses, superstars, media outlets and the social media apparatus have together created powerful cabals which dominate B-Town.

Let’s look at some real numbers. Sushant Singh Rajput’s Chhichhore grossed ₹ 200+ crore last year on a budget of ₹ 45 crore. It managed to get a 1200 screen release in September last year and the audience lapped up the content. Uri-the Surgical Strike, with Vicky (who??) Kaushal in the lead, garnered ₹ 245 crore in domestic collections alone, on a budget of ₹ 25 crore only.  Again a 1200 screen opening. A smash hit, wouldn’t you say. The chatter media has largely kept quiet, even played it down.

Salman bhai’s magnum opus Bharat, has a 2,000 plus screen grand release. Just touches ₹ 200 crore with inflated ticket prices at the multiplexes. Production costs are touted at ₹ 80 crore. But it is the time to go ga-ga. This is the tried and tested formula for Mr BO. His films come out on a major festival which along with week-end gives it a 7 day free run with no competition to speak off. His die-hard fans plus the holiday mood kicks in. All the moolah is raked in over the first week. Then it is all down-hill.  The average cine-goer forgets the movie as soon as he/she steps out of the theatre. Tubelight and Dabangg 3 have flickered briefly and flopped. No industry insider dares to say so. The Sultan continues to walk with a swag.

Take the case of King Khan. A disappointing run for the last 6-7 years but his stardom has not dimmed. A few average movies and some big duds. Remember Zero. Fades in comparison to Kamal Hassan’s Appu Raja and AB’s Paa. A critic for a leading paper panned it with a 1 star rating. But couldn’t resist saying that it was not worthy of the SRK talent. I naively thought that he had the clout to command scripts, choose directors and co-stars… In fact the works. Mainstream actors like Matt Damon and Tom Hanks use their stardom to get better projects and quality content. Jab Harry met Sejal was a disaster. The critic in another leading English paper drooled, “SRK is like old wine. The more he matures, the better he romances.” Are these guys made of Teflon? Nothing sticks to them. Is it too much to hope for a Swades again!!!

You can now see why we wallow in such mediocrity. The eco-system pampers the stars and the so-called show-men. There is no reality check. The camp culture keeps them in a comfort zone. They have become lazy and repetitive and are taking all of us for granted.

Only politicians and movie stars get away with such trash in India. A 2 time world cup winning captain like Dhoni is asked if he is past his shelf life. Take another analogy. Will investors be gung-ho about a corporate which has given average or negative results over the last 12 quarters.

Let’s move on to the accomplices- like celebrity critics Rajeev Masand & Anupama Chopra, whose bias and fandom is there for all to see. Fortunately, independent You Tube reviewers and Netizens are pushing back and calling a spade a spade. Both these big names refused to review a significant film, The Tashkent Files presumably as the filmmaker is a BJP supporter.  Based on a validated expose of how from the late 50’s the KGB had infiltrated and possibly compromised people at the highest levels of the Indian government, academia, media and even the film fraternity. It was this stuff which was difficult for their ideological gut to digest. And the mystery of Shastriji’s death was too much to handle.

The A-list filmmaker, husband of one of these reviewers released Shikara on the streaming platform, billed as ‘the Untold Story of Kashmiri Pandits’. Sadly the story remains untold. The film makes little mention of the genocide, violence and rape which led to the exodus of half a million of this community from their centuries old homes. If anything, more screen time is given to justifying the cause of the militants- funded and armed by our ever friendly neighbour State.

A few more examples- Tanhaji (₹ 200 crore club) was treated by these intellectuals with some disdain. A Maratha warrior taking on the Emperor Aurangzeb. Really? Research and history be damned. Ajay Devgns third film on unsung Indian heroes may calm their nerves. It celebrates the great football coach- Syed Abdul Rahim- and the golden period of Indian football from 1952-62. I look forward to this homage to a sporting icon.

Akshay Kumar’s terrific run at the box-office is shrugged away as hyper-nationalism.  Mission Mangal, Kesari and Airlift are inspiring, true stories and make for good cinema. I recall that their take on Uri was punctuated with the word ‘Jingoism’.

Bollywood is loath to admit the superior quality of films from other regions, esp. the South and Maharashtra in recent times. More movie buffs are discovering the same on Netflix or Prime. Consider Kumbalangi Nights and Virus (Malyalam), Super-Deluxe (Tamil) or  Tumbbad (Marathi). They ooze with creativity and story-telling.

The Hindi films award shows are a farce.  Gully Boy getting ten! LOL!  An engaging film. Not an all-time classic. Think of the opportunity missed in hailing some real actors and technicians. It must be great to belong to this close-knit clique.

Their inflated egoes will never acknowledge the biggest box-office bonanzas which have been helmed at other centres. Bahubali 2 tops the India box office with a staggering ₹ 1400 crore collection. Surprise, Surprise-its Hindi version topped ₹ 570 crore. Rajnikanth’s 2.0 follows with ₹ 564 crore (multiple language release). Then Dangal with ₹ 538 crore and Bahubali – the Beginning at ₹ 516 crore. KGF (Kannada) scored a BO century on home turf itself. Sairat (Marathi) made at a modest ₹ 6-7 crore breached the historic ₹ 100 crore mark. It was immediately remade in Hindi with star kids.

Global BO numbers of Hindi films are largely driven by the Indian diaspora. Very few have made the cross-over and resonated with foreign audiences. Dangal has smashed records in China pulling in over ₹ 1,000 crore. Earlier 3 Idiots had really connected with audiences in South Korea, China, Japan & South East Asia.  Secret Superstar (made for ₹ 15 crore) had an India score of ₹ 75 crore and a China tally of ₹ 750 crore.  Andhadhun also hit the ₹ 300 crore jackpot in China. But this also is not trumpeted in the media domain.

The Bollywood kitty of the world box-office revenue of $40 billion is just under 5%.

Some earlier films to make the breakthrough were Awara & Shree 420 ( Soviet Union & China), Mughal-e-Azam,  Naya Daur,  Anand, Sholay, Deewar, Trishul, DDLJ, Lagaan, My Name is Khan…..Disco-Dancer had Russians and East Europeans dancing to its tunes. Rajni’s Muthu touched the hearts of the Japanese. Satyajit Ray’s films created a loyal, niche audience especially in Europe.

Let’s turn the clock back for another interesting take. How much would the blockbusters of yesteryears taken at the ticket counters today. An eye-opener for today’s movie nut clued into the ₹100/200/300 crore clubs instituted by the trade people. Adjusted for inflation, Sholay and Mughal-e-Azam would probably rub shoulders with Bahubali and Dangal in the ₹ 2,000 crore stratosphere. Mother India would have set the cash registers ringing for say ₹1,300 crore. Awara would be in the ₹ 1,000 crore club. Mass entertainers like Johnny Mera Naam, Amar Akbar Anthony & Disco Dancer would have crossed the ₹ 700 crore mark. To be fair, DDLJ and Hum Aapke Hain Kaun would also have pole vaulted into the ₹ 1,000 crore collection zone in today’s times. But the perspective to take here is that Raj Kapoor, Dilip Kumar and Amitabh Bachchan would have featured in the top grosser list many times over. (These are estimate numbers sourced from articles on the internet by cinephiles, journalists and pundits.)

Those were also times when this abject sycophancy did not exist. Raj Kapoor’s Mera Naam Joker was called out as a flop. In contrast SRK’s ambitious Ra-One was quietly laid to rest. In the mid-70’s itself Rajesh Khanna was being discussed as a super-star in decline. I recall reading in a popular magazine that his mannerisms had become stale. Indeed, trade papers and critics had dismissed the multi-starrer Sholay as a dud in its first week itself. They had to eat their words for the next 5 years and more.

Till the end of the seventees it was not all about the stars. Technicians were given their due. DOP’s like Dwarka Divecha and Fali Mistry were feted and lauded. Musicians and lyricists had their names on hoardings and posters. The legendary singers-Mohd Rafi & Kishore Kumar, Lata Mangeshkar & Asha Bhonsle…. could pack concert halls on their own. Today they piggyback on a star tour. Everybody had their place in the sun- the directors, character actors, editors, choreographers, production designers.

The raw business truth is that today it is the distributor and exhibitor who are taking the real risk. The star packaged product is sold out to all the 11 territories by the big production house. Plus they rake in the big bucks from the overseas markets, the music rights and deals made with other media and streaming outlets.

Finally, it is upto the audience to demand better value for money. The success of Andhadhun, Chhichhore, Uri, and Article 15 shows that there is a large and growing market for good content films. The distributors and exhibitors should wake up to the fact that this involves lesser risks and higher margins and ROI. More screens and shows is the only way for good talent to show what they are capable of.  The creative juices will then really flow in the Mumbai film world. A good story, well told, will carry the day.

The show must go on. But it is high time that we as consumers call for a more fulfilling experience.

INDIA’S Soft POWER

Posted on by
8

Soft Power is the ability of a nation to positively influence, attract, seduce, and persuade peoples of other geographies, cultures, and societies to their ideas, values, and way of life.

This creates a positive perception and image of the country on a global scale.

India’s soft power is unique in the sense that it has flourished not through colonisation, occupation or high-octane marketing. It has found acceptance over the years in a subtle manner.

The sheer magnitude of the elections process in the world’s largest democracy is stunning and the subject of many documentaries. Mahatma Gandhi’s clarion call for a non-violent revolution has been emulated by great leaders like Martin Luther King and Nelson Mandela. It has resonated in the Arab Spring movement and even the recent Hong Kong protests. Also the incredible diversity that is India with its multitude of languages, religions, and sub-cultures continues to stand-out in an increasingly polarised world.

Bollywood is often seen as the flag-bearer of this soft power. Raj Kapoor’s “Laal Topi Russi” in Shree 420 doffed his hat to the Soviet Union and China where his films were enthusiastically embraced. Amitabh Bachhan, Shah Rukh Khan, Aamir Khan have become household names across Arabia, South East Asia, the Gulf, Africa, Eastern Europe, parts of Latin America, Israel , China, and even Germany. Uncle Khan aka Aamir has such a huge following in China that their strongman Xi Jingping made a special mention of him in a meeting with our PM. The Thailava, Rajnikanth holds a cult appeal in Japan since the release of Muthu in 1998. The Japanese even have a name for him-Odori Maharaja or the dancing Maharaja. And the waves created by the Bahubali films are there for all to see.

The emotional connect with many nationalities never ceases to surprise. A Hindi soap “Kyunki Saas Bhi Kabhi…” dubbed in Dari became an obsession in Afghanistan during its most troubled times. SRK’s love affair with white Germans and esp. the womenfolk curiously dates back to the screening of his melodrama “ Kabhi Khushi….” on prime time TV.

The melody and appeal of Indian film songs know no boundaries. You-Tube is full of contests in East Europe, SE Asia and South America with the winners crooning or dancing to Hindi film numbers. Flash mobs in Europe revel in it and the song and dance items have even become a staple at wedding events.

Classical Indian music also holds overseas audiences in thrall. The sitar, santoor, veena, tabla and, flute have all found international expression. From Pt. Ravi Shankar to Ustad Amjad Ali Khan, Pt. Shiv Kumar Sharma to Ustad Zakir Hussain – all have performed to packed houses. Fusion music with top western artists have hit appreciative notes. The baton has passed on to the likes of A R Rahman today.

Dance forms like the Bharatnatyam, Odissi and Kathak are expanding their footprints. The beats of the exuberant Bhangra can be heard across many western countries.

Indian cuisine is being lapped up across the urban centres. Butter chicken, Rogan Josh, Biryani, Dosa, Samosa, and the Chaat servings are in gastronomic demand. The Indian Vegan diet is finding its place on dining tables around the world.

Medical tourism has grown into a huge industry. An appreciative nod to the corporate health care infrastructure and the professional expertise available. Patients from the Gulf, Middle-East, South Asia, Pakistan and Bangladesh come to India for the complex cardiac and transplant procedures not easily available in their lands. From UK to Europe , we get visitors keen for a quick, efficient, cheaper coronary or orthopaedic surgeries. Not for nothing it is said that the UK Health service would close down if India origin doctors exited.

Of special interest to the health-care and wellness fraternity in the developed nations are the age-old medicinal practices of Ayurveda and Siddha and Yunani . These work without side-effects. The formulations are extracts from herbs and spices like neem, turmeric and cinnamom. This data base runs into thousands and India’s fight to protect and patent these herbal remedies is now being acknowledged by the global health care eco-system. Reinforced by IPR wins against biggies like Colgate, Unilever and L’Oreal.

Yoga, a traditional rejuvenation technique , with a global appeal has become synonymous with India. Meditational therapies like Vipaasana are also finding many takers amongst stressed-out homo-sapiens.

Our country also exudes a spiritual mystique. It is the fount of great religions like Buddhism, Sikhism and Jainism. A well organised Buddha circuit around Bodh-Gaya and Sarnath will attract thousands of devotees from Japan, South Korea, Taiwan, Sri-Lanka, Vietnam, Cambodia, SriLanka, and even China.

The ancient faith of Hinduism has its own allure for seekers and believers on a spiritual quest and journey.

ISRO’s Mangalyan and Chandrayan missions have excited the international space community and captured the imagination of millions of Cosmos buffs. All this at a fraction of the cost incurred by NASA. How do these Indian scientists pull it off!

The widespread and successful Indian diaspora has added to the positive narrative. Satya Nadella as the top honcho at Microsoft and Sundar Pichai as CEO of Google have personified this perception. Along with many other marquee names in industry, science, law, academics, entertainment and even politics.

The US and China are the world’s leading economic and military powers. The Indian economy is projected to be in the top 3 within the next 15 years. India is recognised as a major nuclear and military power.

However, it is this expanding soft power which has enhanced the country’s image and aura. It is this creative buzz which is travelling all around the world.