Flashback 1970s and 1980s.
A number of films, remakes of either Tamil or Telugu blockbusters, hit the cinema halls.
SWARG-NARAK, MAANG BHARO SAJANA, HIMMATWALA, TOHFA, MAWAALI, JUSTICE CHOUDHARY, EK DUUJE KE LIYE… the list is endless. The success ratio of remakes was 90:10. Prior to that, reputed makers like B. Nagi Reddy and L.V. Prasad made films that are remembered to this date.
But the equations have changed in the current scenario. For, none of the remakes, barring MUJHE KUCCH KEHNA HAI (remake of Telugu hit THOLI PREMA), have worked at the turnstiles.
Post-GADAR and LAGAAN, an impressive number of films have been released; some 'inspired' by English films, others have been remakes of South Indian hits or even successful Hindi films.
LOVE KE LIYE KUCH BHI KAREGA was 'inspired' by two flicks – MONEY (Ramgopal Varma) and RUTHLESS PEOPLE.
PYAAR ISHQ AUR MOHABBAT was a poor cousin of THERE'S SOMETHING ABOUT MARY.
HUM HO GAYE AAP KE was a remake of the Tamil blockbuster GOKULATHIL SEETHAI and Kannada hit KRISHNA LEELE.
YEH RAASTE HAIN PYAAR KE was a mish-mash of three films – KHILONA, DUSHMAN and DAAG.
AKS was a dull xerox of FALLEN and FACE/OFF.
DIL CHAHTA HAI was, to an extent, inspired by REALITY BITES.
I need not elaborate on the box-office outcome of the above-mentioned films. It's known to one and all by now!
Last week witnessed the release of NAYAK, which was a remake of the Tamil smash-hit MUDHALVAN. But the outcome of the Hindi version hasn't been encouraging.
The premise of the story – a common man getting appointed the Chief Minister for a day – is without doubt interesting, but the screenplay is frivolous and far-fetched.
In the first half, when appointed the Chief Minister for one day, the protagonist goes all out to weed out corruption from the state, dismissing thousands of employees (there're no replacements for the vacant seats!) and even having the ex-Chief Minister (Amrish Puri) and his coterie arrested on corruption charges.
But when he does get elected for a 5-year term, all he does is sing and dance in the fields with his sweetheart (Rani Mukherji) or disguise as a vegetable vendor (or is he truck driver, one is confused) to nab a corrupt officer at the outer limits of the city.
This genre – an anti-politician statement – gained impetus in the 1980s with the success of the Jeetendra-Hema Malini-Parveen Babi hit MERI AWAAZ SUNO. Thereafter, a lot of films followed; some forgettable (AAJ KA MLA, INQUILAAB), some unforgettable (ANDHA KANOON). Over the years, there has been an overdose of such films.
Besides the script, NAYAK suffers in another important department – music. A.R. Rahman's musical score is passable, not great. Barring two numbers, the songs weren't appealing at all. What added to the woes was the fact that the placement of the songs was inappropriate.
Let's have a look at the box-office prospects of NAYAK. The outcome clearly indicates that NAYAK hasn't proved 'The Real Hero' at the cash counters.
The collections in Mumbai city-suburbs and Maharashtra are slightly better. The opening was nearly 95% and by Monday-Tuesday was around 87%. The film will be discontinued from a few theatres of Mumbai as the collections are not up to the mark, especially in the suburbs.
GUJARAT & SAURASHTRA:
In Gujarat and Saurashtra, the reports are mixed. In Ahmedabad, the collections at the multiplexes aren't hot at all.
DELHI CITY & UTTAR PRADESH:
The business in Delhi is not up to the mark. The first should end at around 65% to 70%, which is not an encouraging sign. Unfortunately, the collections in Uttar Pradesh are weak. In fact, the opening wasn't good at all.
The film hasn't created ripples here. A drop in the box-office collections was noticed on the second day of its release.
C.P. BERAR – C.I.:
At Nagpur, the opening has been good, but a drop was noticed from the third day itself. The reports aren't encouraging at all. At Indore too, the collections were steady for the first three days, but a drop was inevitable from the fourth day.
The opening was good at some theatres of Hyderabad, but average elsewhere. Ordinary.