
Aamir Khan rejected Shah Rukh Khan's Swades because he found Ashutosh Gowariker's 3-hour narration boring: ‘It was titled Kaveri Amma'
Aamir Khan made history in 2002 when his blockbuster period sports drama Lagaan got nominated in the Best Foreign Film category at the Academy Awards. While the whole Hindi film industry warned Aamir against making a film set in a village, on cricket, and with him wearing a dhoti, Aamir chose to ride on the conviction of an unsuccessful director like Ashutosh Gowariker. He even turned producer for the film.
It was natural that Gowariker would make his next film with Aamir. And he did pitch his 2004 cult social drama Swades to Aamir, only for the latter to reject it. 'I found it very boring,' said Aamir. 'I had said this to Ashu when he narrated the story to me. In fact, I'll tell you Ashu narrated the story to me when we were making Lagaan. It was titled Kaveri Amma then. That's what he told me,' added Aamir.
Kaveri Amma was the name of protagonist Mohan Bhargava's foster mother in the film, and it was essayed by late Kishori Ballal. Aamir recalled what exactly happened then, in an interview with Zoom. 'I had liked the story very much. I said we'd make that one after Lagaan. After Lagaan released, we made Ashu sit with a writer. AKP (Aamir Khan Productions) was producing it,' said Aamir.
'When the story was ready, Ashu narrated it to me. It was a three hour-long narration. When he asked me how I liked it, I said I want to tell you my first reaction first. I said, 'I got bored. It's very important for you to hear this reaction. What you're trying to say is very correct, noble, and important, but if you say it in such a boring manner… I got bored, I don't know about everyone else.'' Aamir recalled.
He revealed he said no to Gowariker unless he can make Swades more interesting. 'I've actually not seen the film yet. Maybe he'd have corrected it and people would've liked it then. I did note that people loved Shah Rukh's work in it,' said Aamir. Mohan Bhargava was eventually played by Shah Rukh Khan, in what's considered one of his best performances till date.
Swades, eventually co-produced by Gowariker and UTV Motion Pictures, revolved around Mohan Bhargava, a scientist at NASA who returns to his native village in India and ends up reconnecting with his roots and relocating to his homeland. It also starred Gayatri Joshi in her debut role opposite Shah Rukh.
Also Read — Aamir Khan says he was asked to do an action film after Laal Singh Chaddha failure: 'I had many offers, but story of Sitaare Zameen Par entered my bloodstream'
Aamir recently also confessed he hasn't also watched Shah Rukh's last two blockbusters — Siddharth Anand's spy thriller Pathaan and Atlee's action thriller Jawan, both of which released in 2023. 'I really loved Dilwale Dulhania Le Jayenge. Kuch Kuch Hota Hai is one of my favourite films of his,' Aamir said of Shah Rukh's films at a recent event.
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The Hindu
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The Hindu
an hour ago
- The Hindu
Silent fall of single-screen theatres in Andhra
The narrow lane outside Navarang Theatre in Vijayawada's Governorpet was once abuzz with taxis and autorickshaws that brought an excited audience. On billboards, large posters caught the movie cast in the thick of action and drama, and in the air, hung faint snippets of dialogues and music wafting out from the hall. Opened in 1964, Navarang Theatre was a cultural landmark, where rickshaw pullers and taxi drivers took pride in watching Hindi and English movies alongside the city's elite. Blockbusters ran for months, with word of mouth doing its magic. Today, however, silence has shrouded the theatre, its empty seats and faded walls a stark contrast to the housefulls in its heyday. Navarang Theatre is one of the last few independently run single screens in Andhra Pradesh. Most of its contemporaries, including the State's first theatre Maruthi Talkies, Vijaya Talkies, Sri Durga Mahal, Mohan Das, all in Vijayawada, have shuttered, while many others have either leased out their theatres or rented them out as real estate properties. The decline began decades ago, when televisions became commonplace in households. Then came the internet revolution, the smartphone penetration and, finally, the proliferation of OTTs. These, along with an 'unreasonable' revenue-sharing model between distributors and exhibitors seem to have finally broken the back of this once-prosperous industry. Rolling with the punches For Navarang Theatre proprietor R.V. Bhupal Prasad, its 'passion' that keeps him in the business. His family used to own 13 theatres, including Saraswati Talkies, Saraswati Picture Palace, Leela Mahal and Navarang, across the State. Leela Mahal, which opened in Vijayawada in 1944, was the first theatre in the Andhra region of the Madras Presidency to screen English and Hindi movies. Today, he agonises over which movie to screen. 'It is exhausting; we don't know which movie will strike a chord with the audience. Sometimes, even a big-starrer tanks at the box office, and sometimes, a small movie makes waves,' he says. In a 2021 research paper titled Amplification as Pandemic Effect: Single Screens in the Telugu Country, authors S.V. Srinivas, a professor of literature and media studies at Azim Premji University, Bengaluru, and Raghav Nanduri say that around 90% of single-screen theatre owners in Andhra Pradesh have leased out their theatres. Dwindling business is one reason why they did it. 'These days, pirated copies reach one's smartphone even before the film's release. Why would anyone want to incur losses? So, they lease the theatre out to those who have the wherewithal to run it. That guarantees a stable income. These days, running a supermarket makes more sense,' says a veteran exhibitor, who sought anonymity. Across A.P. and Telangana, over 600 independently run single screens are haemorrhaging money. Srinivas, one of the authors of the research paper, says that leasing has helped single screens survive. 'Under the lease system, where most lessees are bigshots in the industry, many single screens were renovated and received a multiplex feel. Moreover, re-releases, too, have become the lifeline for many theatres.' However, some in the business feel that small producers find it difficult to get their films released in theatres run by these bigwigs. On expenses, the veteran exhibitor explains that around ₹20,000 a day is needed to run a single screen in a city such as Hyderabad or Visakhapatnam. In smaller cities, it could be around ₹15,000. The power bill comes around ₹2.5 lakh a month and staff salary around ₹1.5 lakh. 'If we get ₹4 lakh a month, we can break even, but we rarely get it.' While Kamal Haasan's 2022 movie Vikram fetched him ₹7 lakh in the first week, the same actor's recent movie Thug Life barely scrapped together ₹7,000, opening to a 6% occupancy rate in his theatre. 'I incurred a loss of ₹3 lakh over the past four months,' he adds. Revenue sharing model While decreasing footfalls, piracy and OTT platforms are problems faced by multiplexes, too, their situation is slightly better, say some single-screen owners. And it is here, in the difference, that the chief concern of exhibitors comes to the fore: the revenue-sharing model. To understand the revenue-sharing model between the exhibitors and distributors, it is important to know how the system of buying-distributing-selling of a film works. 'The concept of exhibitor-distributor existed since the first movie,' says Grandhi Viswanath, who has nine single-screen theatres across the State. His grandfather, G.K. Mangaraju, became the first distributor and exhibitor in the State in 1927, when silent movies gave way to talkies. His distribution office, Poorna Pictures, is the first distribution company in the State. 'Earlier, it was a healthy system. A producer would inform the distributor about a new movie. A distributor would look at the casting, content and production cost and then invest in the movie to buy the rights. There used to be one distributor for an entire region for that particular film. The distributor would have links with a few theatre exhibitors, to whom the print of a film would be handed over. The ticketed revenue was shared on a percentage basis between a distributor and an exhibitor,' he explains. Because only one or two theatres screened a film, it would have a good run. The A. Nageswara Rao-starrer Devadasu ran for 140 days in Vijayawada's Maruthi Theatre, the State's first theatre opened in 1921. 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Moreover, these days, the new-age distributors help producers finance big-budgeted films. The distributors collect half the amount the producer requested from theatre owners. If the film fares well, the producers give back the advance amount to distributors, who, in turn, give it back to exhibitors. If the movie is a flop, then exhibitors do not get their money immediately, according to some exhibitors. This has resulted in exhibitors' money getting blocked for a long time. Depending on the locality and the film's potential, the advance may range anywhere from ₹5 lakh to ₹40 lakh. This, in addition to the current revenue-sharing model, has crippled single-screen theatres in the State. 'The distributors decide on the revenue sharing unilaterally. In the first week of the theatrical release of a movie, the distributors either give us a rent or a percentage system, whichever gives them more profit. If the movie is a hit, the distributors give us a rent. If it's a flop, they offer a percentage,' says Mohan. The way forward In May, film exhibitors in Andhra Pradesh and Telangana announced that they were not in a position to continue to screen movies. Mohan says that one of their chief demands is that the ticketed revenue be shared on a percentage basis, like how it is in multiplexes and other States. 'The percentage model can solve some of our problems,' he feels. According to the research paper, single-screen theatres continue to be important for box office collections and contribute up to 60% of ticketed revenue. Despite this stature, no new single-screen theatre has come up in the two Telugu States over the past decade, says the veteran exhibitor. Mr. Grandhi Viswanath feels that along with the overhaul in the revenue sharing system, the government should allow flexible admission rates (ticket prices) as well. Currently, ticket prices in the State are fixed in accordance to the Government Order (G.O. issued on March 7, 2022. In this order, the government had fixed rates for different type of theatres in municipalities and corporations. 'The exhibitors should be given the discretion to decide on the admission rate (ticket price) of a movie, depending on its potential. This will help get more patronage for smaller movies,' he says. Echoing this, Chandrasekhar (name changed), another exhibitor, points out that the exorbitant production costs of a film leads to higher ticket prices. Once a moviegoer spends ₹250 a ticket for a big-budget movie, they may not see another film in a theatre for, say, a month. 'Smaller movies, released after the big-budget movies, often get killed thus. The theatres, too, hence do not see much footfall,' he says, adding that the government should also ensure that a movie is released on the OTT platform eight weeks after the theatrical release. Chandrasekhar says that theatre owners like him never called for a bandh. 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Time of India
2 hours ago
- Time of India
'Thug Life' Box Office Collection Day 8: Kamal Haasan starrer mints Rs 43.37 crore
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