Star ethics: No actor ever returns any money

Approaches CINTAA as he has no intention of returning the signing amount to 'Gandhi To Hitler' producers, thus starting a debate on 'star ethics'

The dispute between Anupam Kher and the makers of Gandhi To Hitler has now gotten murkier.

To counter the legal course taken by the film's producers to recover the signing amount paid to him after he backed out of the project, the actor has approached the CINTAA (Cinema & Television Artistes' Association) for a resolution, apparently claiming the makers (Anil Kumar Sharma and Anil Singh) are using him for publicity.

Raza Murad, chairperson of the joint dispute settlement committee, CINTAA, comes out openly in favour of Anupam: "In my 25 years with CINTAA, we've never received any complaint against Anupam Kher.

He is one of our most professional actors. Why didn't the makers of this film (Gandhi To Hitler) approach us earlier? Why didn't they complain when Anupam backed out?"

With regard to the issue of the signing amount, Murad says, "There's generally a mutual understanding between the actor and producer on this matter.

In this case, too, maybe there was an understanding that the signing amount would be adjusted for whatever preparation Anupam had undertaken for the role.

How else can you explain why the producers didn't ask him to return the money when he backed out?"

He makes it clear that using artistes' names negatively to promote a film would not be tolerated. "It's a small industry; there are no permanent friends or enemies here.

We don't approve of this kind of character assassination of an artiste just for publicity. We're here to protect our artistes, but if they are in the wrong we won't hesitate pulling them up, " he says.

Question of ethics

Should actors return or keep the signing amount given to them in good faith by filmmakers once they opt of their movies for whatever reason? The industry seems divided on the issue.

Unlike Murad, who seems to be backing Kher's decision not to return the signing amount, some in the industry think such acts by stars is unfair.

Maybe it's time for some strict guidelines on this issue given that it has been coming up time and again, creating rifts within the industry.

'No actor ever returns any money'

Should actors return the signing amount if they walk out of a project? Film makers react

Rakesh Roshan: Yes. But if the actor has blocked dates and the project is dropped a month before schedule as a result of which the actor's dates go to waste, then the producer and actor would have to settle the matter according to the terms of the agreement.

Subhash Ghai: Ethically, yes. If he/she has not spent a reasonable amount of time on the project development, he should not swallow up the money that rightfully belongs to the producer.

Vikram Bhatt: Most definitely. The entertainment industry has followed a simple rule: If an actor or a technician has been hired by a producer for a project which for some reason is called off, then the actor or technician has the excuse of being morally within his right not to return the signing amount.

But if an actor or technician walks out of a project, then he/she must return the money immediately.

Sanjay Gupta: Most certainly! A signing amount is a token payment made in good faith where both parties agree to work together. If it doesn't materialise, then the artiste is liable to return the advance money.

Sheetal Talwar: Yes. The monies are legally under a work-for-pay contract. If the workdays are not utilised, the payment should be returned. And I think most responsible actors do so.

Pritish Nandy: If a project doesn't happen, the actor must most definitely return the signing amount. No question about it.

Madhu Mantena: It's basically a questions of ethics involving two people, the producer and the actor. I wouldn't want to spoil my relations with any actor by asking back for a token amount of money.

But yes, technically if a project doesn't take off the signing amount should be returned.

Vipul Shah: No actor ever returns any money.

Bollywood's First Families

Bollywood is a place where, on a daily basis, thousands of aspiring actors strive to become actors but only few of them make it to the top. 

In an industry where most stars belong to families with a 'filmy' background some of them are lucky to be on top without any filmy background or a godfather.

However, the legacy of filmy families is still followed and it is not a hard task to land a film which is why, belonging to such a family really counts in Bollywood.

In this respect, we bring forth a list of some powerful families that seem to rule Bollywood.

The Kapoors

When it comes to famous Bollywood families, the first one to strike your mind would probably be the Kapoor family. The legacy was started by Prithviraj Kapoor who came to Mumbai to fulfill his dream of being a part of Hindi movies. After a successful run in Bollywood, his sons, the legendary, Raj Kapoor, Shashi Kapoor and Shammi Kapoor came forth and leterally ruled over it for almost three decades. Then came the turn of Raj Kapoor's sons Randhir, Rajiv and Rishi Kapoor of whom, Rishi was the most successful in the the industry.

Taking up the Bollywood reins after them was Karisma Kapoor who went on to become one of the top actresses of her time. After Karisma, its younger siblings, Kareena and Ranbir Kapoor who are currently the hottest properties of the Hindi film industry.

The Roshans

The man who gave birth to the Roshan family tree in Bollywood was erstwhile music composer Roshan Lal Nagrath, father of Rakesh and Rajesh Roshan. Better known as Roshan, he composed music for quite a number of films like 'Barsaat Ki Raat' and 'Taj Mahal', and was a successful music director of his time. His two sons carried forward his name with Rakesh Roshan taking up acting and Rajesh Roshan, stepping into his father's shoes as a music director.

After Rakesh and Rajesh Roshan, the responsibility of keeping the Roshan flag flying in Bollywood lies solely on the shoulders of Rakesh Roshan's son, Hrithik Roshan. Hrithik is not only a successful actor but one of the most sought after superstar in the industry.

The Bachchans

The Bachchan family is considered to be the first family of Bollywood despite not having a huge line-up of Bollywood stars like the Kapoors. The Bachchan family, initially, comprised of actors Amitabh Bachchan, Jaya Bachchan and their son, Abhishek Bachchan. However, this family got a huge boost after Aishwarya Rai became a part of this clan after her marriage to Abhishek Bachchan.

Now, with the announcement of her pregnancy, we're guessing that another generation of the Bachchan family is on its way to take Bollywood by storm.

The Deols

Dharmendra started his very own family tree in Bollywood with his children following in his footsteps very easily. His sons, from his first marriage, took up acting and tasted success. 

However Sunny Deol was much more successful than younger brother Bobby Deol. Esha Deol, his daughter from his second marriage to Hema Malini, is also an actress but not a successful one. In fact, Esha is making her comeback in her mother's directorial, 'Tell Me O Khuda'.

Also a part of the Deol family is Abhay Deol, who is the nephew of Dharmendra. Despite being a part of the family, Abhay is totally different from the rest of his cousins. Instead of action oriented roles and commercial films, Abhay opts for unconventionality in his roles and films. We can easily say, that Abhay Deol is the best actor that the Deol family has produced.

The Mukherjees

When we talk about the Mukherjee family, we instantly think of Kajol, her sister Tanisha and Rani Mukherjee. However, the Mukherjee family goes a long way down in Bollywood history. The family's tryst with Bollywood began with Sha Mukherjee, the founder of the famed Filmistan studios.

His five sons followed him into the industry, one of whom was 60's actor Joy Mukherjee. Shomu Mukherjee, who was a writer/producer/director, married Tanuja who, on the other hand, belonged to the Samarth family and was the younger sister of one of the most celebrated actress of Bollywood, Nutan.

Tanuja's daughters, Kajol and Tanisha also went on to act in movies with Kajol achieving superstardom. Her cousin, Rani Mukherjee is also a sought after actress in Bollywood and like Kajol, she too has created a niche for herself.

The Khans

No, we're not talking about the 'Khans' of the industry but only one family that has contributed to and gained from Bollywood to a great extent. The Khan family being mentioned here is the one started by noted script-writer Salim Khan, more famous as Salman Khan's father today. In collaboration with Javed Akhtar, Salim Khan churned out massive hits like 'Sholay', 'Zanjeer', 'Seeta Aur Geeta' and 'Mr. India'. His second marriage was with yesteryear dancer/actress Helen.

All sons, Salman, Arbaaz and Sohail took to acting but only Salman Khan made it big in the industry. Presently, he holds the record of churning out some of the biggest hits in the past few years and is also the highest paid actor in Bollywood reportedly. After an unsuccessful run in the industry, Arbaaz Khan struck gold with his first production 'Dabangg'.

Another member of the Khan clan who is quite a hot property in the industry is Arbaaz Khan's wife, Malaika Arora-Khan. Her item numbers are always a rage and she is a leading fashionista in the film industry. Apart from being a fully filmy clan, this family is a tight-knit one. (MensXP.com)

Train citizens in anti-terror acts: Amitabh Bachchan

Megastar Amitabh Bachchan has urged people to act as policemen and suggested initiating an anti-terror training programme that would help them to fight terrorism and protect themselves.

The actor said he would be the first one to join the anti-terror training programme. His comments come in the wake of the three serial blasts that killed 17 people and injured 131 in Mumbai Wednesday.

"Each one of us will have to become a 'policeman' .. look, notice, observe, feel, sense the danger in every step and report," the 68-year-old posted on microblogging site Twitter.

"Yes the security forces will always be needed, but when vulnerable, let each one of us know that we are being watched and monitored. There are many vulnerable nations in the world ... knowing this they have made each citizen of theirs a watch dog, a fighting force!"

"Let there be private or state professional units that take up the job of training citizens in anti-terror acts... make it compulsory. Make that training programme mandatory for every citizen, every national of the country ... I shall be the first to join," he posted.

I don't expect any gratitude: Mahesh Bhatt

Filmmaker Mahesh Bhatt gave actresses like Sushmita Sen, Kangana Ranawat and Mallika Sherawat their first big break in the Hindi film industry, but they never worked with him after their first films. The filmmaker is not complaining because he doesn't expect them to continue to work with him out of gratitude. 

If Sushmtia got her first break with Bhatt's 1996 directorial venture Dastak after winning the Miss Universe crown, Mallika and Kangana made their Bollywood debuts with his production ventures Murder (2004) and Gangster - A Love Story (2006) respectively. 

"They were never mine who left me. They came to make their career and went ahead through me. I was never their destiny. It's a planet Bollywood. I don't expect any gratitude," Bhatt, who doesn't direct movies anymore but just produces them, said.

"I don't let anyone stand in front of me if he or she doesn't have the potential. So I don't expect them to be grateful and come and work with me," he added. 

Known for directing critically acclaimed films like Arth (1982), Saaransh (1984) Naam (1986), Daddy (1989), Dil Hai Ki Manta Nahin (1991), Sadak (1991), Naajayaz (1995) and Zakhm (1998), the 62-year-old will continue making films with fresh talent. 

"I have not retired but have said no to direction. Direction is part of life not the entire life. I have sung my song. I have done more than 50 films. How many more? You know every hero becomes a bore, every filmmaker has time, frame when he sings the song then he becomes repetitive. Before people say get out, you should yourself stand up and leave the auditorium 

"I have the desire to make feature films and I am enjoying what I am doing now. I like creating people, pushing them, find the potential. If they excel, the film will excel," said Bhatt.

'Mani Kaul was, by far, our most original filmmaker'

NEW DELHI: His entire vocabulary of cinema was astonishingly unique; his concept of the narrative both radical and original. Director Mani Kaul, whose films such as Uski Roti, Ashad Ka Ek Din and Duvidha are signposts in off-beat Indian cinema, succumbed to cancer at his Gurgaon residence on Wednesday. He was 68.

"For me, Uski Roti (1969) is as much a landmark as Pather Panchali. Mani Kaul was, by far, our most original filmmaker," says film director Shyam Benegal. Film critic Aruna Vasudev maintains that the moviemaker "forged a totally new path." And actor Mita Vashisht says, "He was a master of the frame, of his craft."

Kaul's substantial ouvre spanning four decades also includes some of the most intense docu-features in Indian cinema, works that blur the invisible lines separating the two genres. Satah Se Uthata Admi (1980) was based on the writings of Gajanan Madhav Muktibodh, a pioneer of modern poetry in Hindi. Mati Manas (1984) mapped out the life and art of terracotta artisans. "I wanted to know the anguish of the potter through my own anguish as a filmmaker," Kaul once said. And Siddheshwari (1989) recast the life of the thumri singer from Benaras. All three are powerful and moving works - shot through the mind's eye with honesty and passion. Also a Dhrupad aficionado, music rippled through his later movies. Not in songs but in the way the camera moved, the lights changed.

A master film theoretician, Kaul's movies weren't easy to log on to. Critics as well as filmmakers were often furiously divided on their artistic merit. The popular press lambasted Uski Roti, based on Hindi litterateur Mohan Rakesh's short story. Many viewers found it sluggish. But the movie's narrative style and the camerawork were merely devices in director's overall cinematic vision. As Ashish Rajadhyaksha and Paul Willemen point out in Encyclopaedia of Indian Cinema¸ "The film integrates the characters into the landscape, evoking an internalised yet distanced kind of realism reminiscent of Robert Bresson."

Similarly, after watching Kaul's Duvidha, distinguished moviemaker Satyajit Ray wrote, "Kaul has wilfully adopted a very special and very private mode of expression, and his impatience with conventional narrative methods leads him to a visual style, replete with cliches of another sort." But the movie was widely appreciated in Europe.

Born in Jodhpur, Kaul was taught and hugely influenced by the famous director Ritwik Ghatak (Ajantrik, Meghe Dhaka Tara) at the FTII, Pune. One of his classmates was Kumar Shahani (Maya Darpan, Kasbah), who ploughed a similar school of filmmaking. Later Kaul also taught at the same institute; quite a few students later became key members of his film unit. During Emergency, the master director also showed political spine. "He refused to sign the documentary Historical Sketch of Indian Women doing the Emergency when its producers, Film Division, wanted him to change the last shot and the commentary," write Rajadhyaksha and Willemen.

Vashisht, who worked with Kaul in Siddheshwari recalls how Kaul would constantly challenge her during the shooting. "As a director, he challenged every faculty in your body, your imagination. But when you were in his frame, you felt beautiful. Siddheshwari was one of the most powerful and moving experiences of my life," says Vashisht. The film earned the best documentary prize in the 1989 national film awards.

Renowned film critic Derek Malcolm once called Kaul, "the stern poet of the Indian cinema, who goes his own way regardless." To the end, the director remained true to that abstract.

Mani's memorable movies:

1. Uski Roti (1969): Kaul's debut feature.

2. Ashad Ka Ek Din (1971): Film adapted from Hindi litterateur Mhan Rakesh's play of the same name

3. Duvidha (1973): Adaptation of a Rajasthani folk tale. Won a silver medal at Milan (1970)

4. Satah Se Uthata Aadmi: The docu-feature interprested Hindi poet Muktibodh's writing

5. Idiot: Based on Fyodor Dostoevsky's novel, the film also starred a young Shah Rukh Khan.