Posts tagged 80
- By Taran Adarsh, August 7, 2010 – 07:55 IST
The sole release, AISHA, opened well at high-end multiplexes of metros, with the opening and noon shows performing to 70% to 80% occupancy. However, the response at some properties [single screens and small centres] was dull, with the opening being in 20% to 25% range. The evening shows at plexes of major centres showed very good occupancy. The film has opened at 550 screens and the plexes are expected to contribute the maximum on Day 1.
The factor that goes in its favour is its costing. The cost of production is around Rs. 14 cr. [excl. P. & A.] and the makers have recovered a big chunk of the investment from the sale of Satellite Rights [Rs. 9 cr.] and Music Rights [Rs. 1.5 cr.]. The balance amount [Rs. 3.5 cr. + P. & A.] is to be recovered from India theatrical + Overseas + Home Video.
- By Taran Adarsh, July 3, 2010 – 08:10 IST
The second half of 2010 has begun with a bang, with the first release of July, I HATE LUV STORYS, fetching a fantabulous start. The film took off in a big way from the morning shows itself, with big city multiplexes opening to 80% to 90% response. At places, the occupancy was 100% as well. At plexes of relatively smaller centres, the opening was in 60% to 70% range, while single screens, expectedly, were not strong. The opening at some single screens was good [it picked up at big centres during the course of the day], but at smaller centres, it was below average, in 30% to 40% range.
Looking at the tremendous response from the youth, several plexes decided to add more shows on Friday itself. Also, at several plexes, the film fetched one of the biggest starts of the year. The opening day figures at several plexes were at par with 3 IDIOTS and RAAJNEETI.
Imran’s second release, KIDNAP, which came right after the smash hit JAANE TU YA JAANE NA, had fetched approx. Rs. 4.85 cr. nett on Day 1 [Thursday; National Holiday], while LUCK had fetched approx. Rs. 3.5 cr. nett on Day 1. I HATE LUV STORYS, Imran’s fourth release after KIDNAP and LUCK sank at the box-office, is expected to fetch approx. Rs. 7 cr. on its opening day, which is fabulous.
The brand Karan Johar + fresh pairing + excellent music + terrific promotion have lured the youth in hordes, while the audience feedback ranges from good to excellent [the youth is loving it].
- By Taran Adarsh, May 8, 2010 – 07:58 IST
After HOUSE FULL opened to an excellent start last week, it was the turn of BADMAASH COMPANY to open to a heartening start at the box-office. Shahid Kapoor’s last major release CHANCE PE DANCE [not counting PAATHSHAALA] had fetched a below average start, so it was imperative that BADMAASH COMPANY fetch a good start at the ticket window. The opening numbers of BADMAASH COMPANY were an impressive 80% to 90% at places, while at places it ranged from 45% to 75%, which only improved towards the evening shows.
The opening weekend of BADMAASH COMPANY is expected to be better, given the fact that the film has tremendous youth appeal and that in turn should witness an escalation in business. Overall, the film should have a very good weekend, which reinforces Yash Raj and Shahid’s pull at the ticket window.
The second release of the week, IT’S A WONDERFUL AFTERLIFE, had a disastrous start at the box-office. The opening was in 5% to 10% range and since the reports are terrible, the numbers are not expected to show a major jump on Saturday and Sunday.
By Sunandan Lele (MUMBAI MIRROR; September 28, 2009)
| Lata Mangeshkar, who turns 80 today, tells Subhash K Jha about her journey
• How do you define the journey?
I feel God has sent me to earth to sing. I started singing when I was five, but I don’t think I’ve worked as hard as many other people.
• Why do you say you that?
After 1947 when I started playback singing, the work never stopped. Before that it wasn’t easy. I used to travel by train from Grant Road to Malad and then save money by walking instead of taking a tonga to the recording studios. I thereby saved 50 paise to Re 1 which I used to buy vegetables for my family. I was the sole bread-earner after our father passed away.
• That must have been really tough on an adolescent girl.
I missed out on my childhood. I had to work hard, but I was immediately given a place in playback. One of the earliest composers to support me was Master Ghulam Haider. When he was told that my voice wouldn’t suit the heroine in a Dilip Kumar saab starrer Shaheed, he gave me songs in Majboor. Then other composers like Anil Biswasji, Khemchand Prakashji and Naushad saab came forward to sign me. From 1947 onwards there was no looking back.
• There has never been a rough patch in your 65-year-long career?
I’m blessed. Nowadays I’ve almost stopped singing film songs but I enjoy singing and I continue to do the work I’m comfortable with like the recent Hamuman Chalisa and my forthcoming project with my brother. When I look back I see nothing I’d like to change.
• What about your infamous rift with Mohd Rafi?
I’ll tell you what happened. We had a Musicians’ Association in the 1960s . Mukesh bhaiyya, Talat Mehmood saab had started a campaign for artistes to get royalty so that they would have a comfortable old age. Main to leti thi royalty but I also wanted other artistes to get it. Rafi saab was instigated into opposing my campaign. In a meeting among musicians he said, ‘We get money for what we sing from producers and that’s the end of what we get.’ When he was asked his opinion Rafi saab turned to Mukesh bhaiyya and said, ‘I guess this Maharani here will say whatever has to be said.’
• He meant you?
Yes. I said, ‘Of course I am a Maharani. But why are you calling me that?’ He said in front of everyone at the meeting that he won’t sing with me. I turned around and said, ‘Yeh kasht aap kyon kar rahe hain? Main hi nahin gaaongi aapke saath.’ I stormed out of the meeting and called up every music director to inform them that I would thereafter not sing with Rafi saab. We didn’t sing together for almost three years.
• What about the alleged differences between you and your sister Asha Bhosle?
We’re sisters. The fights were because of her husband who was against me.
• Composers gave all the heroines’ songs to you and all the supporting actresses’ songs to Ashaji…
• That’s because you and SD Burman had a fight.
• Who was your favourite composer?
I liked singing for Salilda (Salil Chowdhury) because his compositions were very challenging. I also loved singing for Sajjad Husain saab, then definitely SD Burman dada and RD. But in my opinion the biggest achievement was by Shankar-Jaikishan. With Raj Kapoor’s Barsaat they changed the way we looked at playback singing.
• At one time you were accused of indulging in a melodious monopoly?
Once I was even asked if I tampered with the equipment during other singers’ recordings. Bataiye main kyon aisa karun? I never bothered with what other singers were doing. When Runa Laila came to India for the first time, I went to her first recording and everybody said I was just indulging in dikhawa, that in fact I had gone to see how she sang. Runa Laila met me with lots of affection. Later she too was poisoned against me. Even some male singers accused me of trying to stop them from singing.
• Which heroines did you enjoy singing for?
Nargis, Meena Kumari, Madhubala, Nutan. I’d modulate my voice according to their personality.
• Among today’s actresses for whom do you enjoy singing for?
I like Rani Mukerji and Kajol but I miss the camaraderie that I shared with the earlier heroines. I miss that mahaul. I really miss Kishore Kumar, also Rafi saab, Mukesh bhaiyya, Shankar-Jaikishan and Madan bhaiyya who fought with me when I couldn’t be with him for raksha bandhan. That sense of apnapan is gone.
• Any unfulfilled dreams?
• Do you miss having your own children?
Sunil Gavaskar on Lata Mangeshkar
Sunil Gavaskar says, “All of us know that Lata didi is a cricket fan. In the same way cricketers adore Lata Mangeshkar. That is why when a major cricket tournament is happening here in South Africa I would like to wish her happy birthday. I have had many opportunities to meet her. I admire her so much that once I told her, ‘Lata didi, we as a batsman go through a bad patch. We get out on zero too. But in your case you are so perfect that you always score a century and double century in each and every song. You never face a bad patch like us. That is why we respect you so much’. And she was embarrassed to hear that.”
Sunil relates another anecdote. “In 1982, at the end of our Pakistan tour, our team manager Maharaja Fateh Singh Gaekwad decided to organise a thanksgiving party in Lahore. Maharaj and yours truly were there at the gate to welcome guests and dignitaries. When Lataji walked in, Maharaj introduced me to Lataji by saying, “Aayiye… aayiye inko to aap jante hoge, ye hamare kaptan saab hai…’ To that Lataji replied in jest, ‘Nahi jee hum to sirf Imran Khan aur Zaheer Abbas ko jante hai…’ Then I was formally introduced to Lataji as the Indian team captain.
Then Maharaj turned to me and said, ‘I hope there is no need to introduce Malika-e-Tarannum Noorjahan to you’, that’s when I immediately retorted, ‘Nahi jee… hum to sirf Lata Mangeshkar ko jante hai’,” recalls Sunil with a chuckle.