Success of Dhoom, Hum Tum
“That’s my son Aditya Chopra’s domain. He handles the creative side of our productions. I handle the financial aspect. When Aditya or I make film then we discuss everything in detail.”
“But a film like Dhoom is orchestrated entirely by him. Being a romantic film Hum Tum wasn’t so costly. But Dhoom being an action film was very expensive. We had to import 8-9 mo’bikes. Australian stuntmen participated. Production costs shot back. But when I saw the end-product I knew it was going to be successful. I never thought it’d be this successful. Without major stars — Abhishek, John Abraham, Esha Deol and my younger son Uday aren’t really big stars – the film is doing unbelievable business. I think Dhoom worked for its young international look. Though I’m the producer I don’t have anything to do with Dhoom’s creativity.”
What do you feel about the films being made these days?
“We’re making all kinds of films—English, Hinglish, sex, horror… this and that. It’s a healthy trend. But for a film to run it has to have Indian values. For a film to be a blockbuster it has to be rooted to our culture.”
How do you explain the long-running success of DDLJ?
“There’re some phenomena which defy explanation. How do you explain Lataji’s voice? How do you explain the fact that at 75 she sang like an angel in my Veer-Zara? Dilwale… is another miracle. Bhagwan ki kripa hai. I don’t deserve the success I’ve got. Yes, DDLJ has broken all records to become the most successful Indian film ever. In 20 weeks it’ll be completing ten years.”
How do you explain that?
“When it completed 200 weeks I though we had had our innings. But DDLJ kept growing. Now after 500 weeks the general-manager of Maratha Mandir tells me it can easily go on for six more months. It still goes houseful during weekends! Aditya was only 23 when he made DDLJ. I still remember the first time when he narrated the story to me. I had tears in my eyes for two reasons. Firstly, it was because my son had written it. And secondly because it was such a heartwarming story. I knew it was going to be a hit film. But to this extent?! Never. It touched a chord in Indians all over the world. It prompted them to go back to their country, traditions and roots. DDLJ was the first romance where the boy takes the girl away only with the parents’ consent. The whole process of winning over the girl’s family was unique.”
How do you rationalize its continuing success after so many years?
“Log pagal nahin hain jo roz DDLJ dekhne jaate hain. Adi ne dil se banayee yeh picture. I feel the films being made today have no heart. Most of them are superficial in content. I was amazed by the depth and emotions in Sanjay Leela Bhansali’s Black. To my pride Yash Raj Films has the privilege of distributing this unique film overseas. Hats of to Sanjay for his conviction courage and confidence. He never thought of what money it would make. He did what came naturally to him. Black is a rarity today.”
Did you have an inkling of DDLJ’s success?
“The first time I really realized the film’s potential was when we took the print to Prasad Lab in Chennai to record the Dolby sound. The technicians there asked me to dub it in Telugu. I did so. It was super hit in Telugu. Never in my life have I seen such reactions to any film. It became a landmark thanks to my son’s honest and sincere effort.”
It’s also become a liability for Aditya.
“Yes, it has become a benchmark for him. He can’t make DDLJ again, though I’m sure he’ll always make good films. But success cannot be guaranteed… Would you believe Shah Rukh was at first hesitant to do DDLJ?”
Are you serious?
“Yes, he didn’t want to do more mushy romance. Adi convinced him. He predicted that every viewer from the age of 6 to 80 will love him after DDLJ. Sure enough his fan-following multiplied manifold. Every member of the cast was perfect. I remember the late lyricist Anand Bakshi saying, even if Adi puts half of his ideas on screen he’ll make a historic hit.”
