‘Bhatukli’ plays mind game with audience
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Rating: ★★★
Studio / Presenter: Flower Film Family Producer: Sagar Ballary, Hemal Shah Writer, Director: Rohit Joshi Dialogues: Aniket Wakchaure Cinematographer: Bijitesh De Music: Jasraj, Saurabh and Hrishikesh Cast: Ajinkya Deo, Shilpa Tulaskar, Kiran Karmarkar, Sunil Barve, Smita Talwarkar, Tanvi Kishore, Sameer Paranjpe, Saieel Shelar, Shashant Shende… Movie Review by: Ulhas Shirke |
Sagar Ballary who made popular Bollywood films ‘Bheja Fry’ 1 & 2, has turned producer with his new Marathi film ‘Bhatukli’, allowing his assistant Rohit Joshi to direct this film on his own story. ‘Bhatukli’ explores the world of one such person Shrikant Deshmukh( Ajinkya Deo) ; who has achieved everything through his successful business; but, is still detached from his family.
Ajinkya Deo, Shilpa Tulaskar, Bhatukli, MovieThe film begins with the entire family of Shrikant Deshmukh, comprising of his wife – Janaki ( Shilpa Tulaskar), Mother( Smita Talwalkar), eldest son Aditya ( Sameer Paranjape), daughter-Bhargavi ( Tanvi Kishore) and the youngest son( Saieel Shelar), assembled at the holiday bungalow of Shrikant Deshmukh, at the request of Shrikant’s Personal Secretary Ramesh ( Shashant Shende). As they are all getting ready to celebrate the 51st birthday of Shrikant Deshmukh, he walks in a serious mood; to be welcomed by a huge birthday cake and a present from his youngest son. But, feeling annoyed with this gesture, he walks towards his room, without any reaction.
The family is soon joined by Shrikant’s brother Ravikant ( Sunil Barve),who is welcomed by Shrikant, offering him a drink. As the day progresses, we find Shrikant interacting with each and every family member independently, to understand them better ; but, finally has his say. His three children are seen uniting against his dominant attitude, till we notice the entry of a stranger, i.e. Shrikant’s old IIT’an friend Shantanu Atre, arriving to meet him on his short trip to India from USA, at the stroke of interval.
In the post interval session, we see the entire group proceeding for a day’s picnic, at a place of shrikant’s choice. Over here, we notice uneasiness of Ravikant, whom we notice making advances towards Janaki. It is only after the departure of Shantanu, that we notice the unfolding of the mystery. Actually, the film which has a unique story, has tried to present a mind game with the audience.
There are only two songs in this film, which have been used at the right places. Cinematography captures some beautiful outdoor locations very well. But, the highlight of the film are the performances from all the artistes. Very cleverly, they have been able to express their emotions, in every scene to their share. Ajinkya Deo looks a perfect choice for this role and he has done a good job. Shilpa Tulaskar, who has better scope, in spite of her character role of Shrikant’s wife, is impressive through her right expressions at every situation. Good support comes from Smita Talwalkar, Tanvi Kishore, Saieel Shelar, Shashank Shende and debutant Sameer Paranjape.
The film becomes slow, little before interval; but the entry of Kiran Karmarkar almost at the stroke of interval, brings some life into the screenplay, in the post interval session. There is no doubt that Kiran has found a good role in this film; and he has pumped in all his energy into the character, to make the film more lively. One wonders, as to why this talented actor hasn’t found suitable roles in Marathi films? As a writer-director, debutant Rohit Joshi, certainly makes his presence felt, through the screenplay of this film. However, few scenes in this film, are not very convincing, taking into account the target Maharashtrian audience. But, the presentation part is good.
If you are keen on solving this mind game, played by this film, watch every scene with total concentration. Check, whether you can find the clues , to avoid the unexpected surprise in the climax. So, give it a try. Certainly, a different subject for Marathi film viewers.
‘Hu Tu Tu’ offers average entertainment
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Rating: ★★ ½
Studio / Presenter: Harsh Films, Bhausaheb Bhoir Producer: Harshavardhan Bhoir Director: Kanchan Adhikari Writer: Aashish Pathare Cinematographer: Suresh Deshmane Music: Anand Raj Anand Cast: Ashok Saraf, Varsha Usgaonkar, Jitendra Joshi, Neha Pendse, Hemant Dhome, Manasi Joshi, Anant Jog and Sanjay Khapre, Atul Todankar, Pradeep Patwardhan Movie Review by: Ulhas Shirke |
After making three films with Makarand Anaspure, namely ‘Doghaat Tisra Aata Sagla Visara’ and ‘Baap Re Baap Dokyala Taap’ and ‘Tukya Tukavila Nagya Nachvila’, director Kanchan Adhikari has now directed the King of Comedy Ashok Saraf , in her latest released film ‘Hu Tu Tu’, produced by Harshavardhan Bhoir. For this film, she finds the story of Rajan Agarwal and screenplay & dialogues of Ashish Pathre almost going on the lines of some of the Bollywood comedy films.
So, you get the glimpse of Govinda-Chunkeyy Pandey starrer ‘Aankhen’ (except for the double roles), some of Sajnay Dutt-Govinda starrer films and a similar type of sequence on substitute mother from Ajay Deogan-Abhishek Bachchan film ‘Bol Bachchan’. And, if this borrowed recipe of Bollywood is now served to Marathi audience, it is only their choice, whether to appreciate this film or not. But, in the first half of the film, the plot just fails to pick up, as there are no major happenings in the screenplay. It is only at the stroke of interval that you realise that there is something left in the screenplay.
The post interval session and a twist after the item number has generated some interest for traditional comedy lovers, except for the climax, which again goes the Bollywood style of 80s. Music by Anand Raj Anand is average . It is only through the Hindi style item number, he has generated good music. Suresh Deshmane’s photography is neat and clean. But, the film certainly needed more editing from Anand Diwan , especially in the first half and initial part of second half. At a time when Marathi film lovers are used to watching 2 hour length film, the film’s stretch for 2 hours 25 mins, is felt little lengthy.
There is no point in revealing the story of this film, for obvious reason. But, Ashok Saraf who plays the central character in this film, finds one more meaty role in this film too, just following the success of ‘Aandhali Koshimbir’. And, he has played his character of a Businessman Dhanajay Dhanawade very well. In the roles of his two notorious sons Vaibhav & Aishwary, Jitendra Joshi and Hemant Dhome have genuinely tried to create humour in the company of their two girl friends Neha Pendse and Manasi Naik, who are sisters. But, the two girls find limited scope in this film, as the film belongs to Ashok Saraf. Offering a big surprise, Director Kanchan Adhikari finds herself playing the character of a Mother of these two sisters. And, she has done a good job. Playing Ms. Sadhana-a widow, she is also shown as the first love of Ashok Saraf, who in turn is required to marry another woman under strange circumstances.
The inclusion of characters like Hiral Seth and Ankush- the cunning nephew of Sadhana, are just namesake to represent two villains, played successfully by Anant Jog and Sanjay Khapre. Veteran director N.Chandra makes a surprise guest appearance in the initial scene of the film. But, the two renowned artistes-Varsha Usgaonkar and Atul Todankar have brought some life in the concluding part of this film, with their notable performances.
Having done two sensible films like ‘Manini’ and ‘Mokala Shwaas’, there were big hopes from Kanchan Adhikari; but, ‘Hu Tu Tu’ has turned out to be just an average comedy film. Through this film, she has just tried her best to create situation based comedy, with the available script. After all, this is not her own banner film.
‘Aandhali Koshimbir’ offers Sitcom, with a variety
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Rating: ★★★ ½
Studio / Presenter: Sudha Productions Producer: Anuya Mhaiskar Director: Aditya Ingle Writer: Pratap Deshmukh Cinematographer: Pushpank Gawade Music: Narendra Bhide Cast: Ashok Saraf, Vandana Gupte, Anand Ingle, Hrishikesh Joshi, Aniket Vishwasrao, Hemant Dhome, Mrunmayee Deshpande, Priya Bapat- Kamat Movie Review by: Ulhas Shirke |
Finally, a neat and clean comedy is back to Marathi cinema with the release of ‘Aandhali Koshimbir’. Set on the backdrop of Pune city, the film revolves around Bapu Sadavarte (Ashok Saraf) , a retired widower, living in his bungalow, in the company of his only young son Shrirang (Aniket Vishwasrao) ,who is yet to settle down in his life. Shrirang with his friend Vasant ( Hemant Dhome) who manages his family photo studio; attempts different businesses; but, does not succeed. He is indebted to Goraksha, a Don in all bad business.
In order to repay the loan of Goraksha, Shrirang on the advice of his friend Vasant, agrees to mortgage his father’s house to Goraksha; with the help of a cunning lawyer Dushyant Marne (Anand Ingale), who wants to marry a widow Shantibai( Vandana Gupte) , living as his tenant with her abnormal daughter Radhika (Mrunmayee Deshpande). With Goraksha himself failing to threaten Bapu Sadavarte, Shrirang and Vasant decide plan no. 2. In the meanwhile, Shrirang falls in love with Goraksha’s sister Manju ( Priya Bapat), who also joins their plan. They try to bring Shantibai and Bapu together, since both of them always open up fights with others, on small issues. But, Bapu and Shanti instead of fighting with each other; turn good friends and that spoils the plan of Shrirang and Vasant; which also angers Marne. With this drama, enough for the screenplay of the film, it takes you to an amusing climax, to show a happy end.
‘Aandhali Koshimbir’ is solely a director’s film and hence at every situation, you notice Aditya Ingale. By the way, he has also written the screenplay and dialogues of this film along with Pratap Deshmukh. His idea of using the three different age groups together in the film’s story, has worked very well. With the help of Ashok Saraf and Vandana Gupte, he has managed their chemistry very well. At the same time, using the characters of Hrishikesh Joshi and Anand Ingale, he has tried to generate the desired momentum into the screenplay.
And finally, using the two young pairs Aniket- Priya and Hemant-Mrunmayee, he has managed to keep the young audience happy, with their different approach to their respective characters. While Aniket and Hemat have timed their humour filled scenes very well, Priya comes with a good support. For the first time, Mrunmayee has attempted something different through her abnormal character. The film is not a non stop laughter film; but certainly enjoyable. The best thing about this film is that, it does not turn vulgar at any moment.
The entire film however belongs to Ashok Saraf, who has been so natural throughout the film. His real acting talent is however noticed in the climax scene, when he reacts, turning emotional. Vandana Gupte has offered a very good support and it was nice to see these two veteran artistes together, after a long time. Anand Ingale finds a good meaty role, and he has lived up to his expectations. Anand has proved that he can fit into any character role; be it a comedy or a villain. In this film, he gets a chance to play both together.
Another actor, who has impressed through his perfect body language in the film, is Hrishikesh Joshi. He has performed the role of Goraksha, very convincingly. Excellent support comes from the young team comprising of Aniket, Hemant , Priya and Mrunmayee. But, the surprise pack comes from late Shrikant Moghe, who is the role of a Judge, makes his presence felt, in the concluding part of the film. Just watch his expressions and a variety while delivering his dialogues. This film is certainly a tribute to him.
There are very few songs in this film; but Vaibhav Joshi’s lyrics, Narendra Bhide’s music, Avinash -Vishwajeet’s title music and Pushpank Gawde’s cinematography, certainly add to film’s good presentation. Above all, the film displays a good team work. Do not watch this film with very high expectations; and then, you will really enjoy it. One thing is sure, that it has offered a situation based comedy with a variety. ‘Aandhali koshimbir’ is certainly a good ‘Time Pass’ film for the entire family.
rating: 3.5
‘Bhakarkhadi 7 kms’ is a compliment to young doctors practising in villages
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Rating: ★★★★
Studio / Presenter: Panoramic Group, Vidyan Siddhi Films Ltd Producer: Dr. Dinesh Vaidya Director: Umesh Namjoshi Writer: Dr.Dinesh Vaidya Cinematographer: Prasad Bhende Music: Kamlesh Bhadkamkar Cast: Aniket Vishwasrao, Veena Jamkar, Suyash Tilak, Apoorva Nemlekar, Renuka Shahane, Dr. Girish Oak, Late Anand Abhyankar, Ashok Samel and Bharat Ganeshpure, Uday Tikekar Movie Review by: Ulhas Shirke |
Only last week we saw a Marathi film ‘Salaam’, which was a tribute to brave soldiers and policemen. Now, film maker Umesh Namjoshi presents his new Marathi film ‘Bhakharkhadi 7 km’, which is not only a compliment to young doctors practising in remote villages, but also an inspiring film to all those young doctors, who hate to practice in our country and aspire to go abroad.
‘Bhakharkhadi 7 km’ tells the story of a young doctor Sameer Deshmukh (Aniket Vishwasrao), who aspires to take up a career as a surgeon in USA after completing his fellowship with Boston Medical College. His dreams are shattered by his involvement in one emergency surgery in a hospital in Mumbai, when the dirty politics played by a Politician, makes him a scapegoat and he is sent to a remote village Bakharkadi off. Melghat, as a punishment.
At the primary health center of this place, he comes across an attending Nurse Renu ( Veena Jamkar), who tries to understand his frustration and reminds him of his duty as a doctor. In the process, the film highlights rural Marathi culture and lifestyle of the villagers, besides their blind faith ; as a result of which, there are sudden deaths of villagers. Using his common sense and medical knowledge, Dr. Sameer makes use of home remedy i.e. activated charcoal powder to treat the people for first aid, as they are poisoned in an epidemic, after drinking the so called holly water, from a particular well, which is not used throughout the year.
The entire film is based on the duties of a doctor and how people hold them responsible for death of a patient, during operation. In the film, we witness one such incident, where a junior surgeon has to attend to a post operation emergency, in the absence of his senior, whom he is out of station and unable to reach over phone. The patient dies during operation and the patient’s father, who is a Politician attacks the hospital, with the help of his goons. He also wants the junior doctor to be suspended. However, after an inquiry, the doctor is sent on a punishment posting for three years, to a remote village. It is at this remote village, he understands the real duty of a doctor. In fact, in the concluding scene, he does admit that he neither wants to go abroad nor wants to go to a village; but, is required to go, because the village needs his services.
Director Umesh Namjoshi has very effectively developed the story written by Dr. Dinesh Vaidya, into a presentable screenplay, with the help of Nandu Pardeshi, who has also written the effective dialogues of this film. Music has little scope; but the two songs played on the background on the music of kamlesh Bhadkamkar are picturised well. Also , the beautiful photography is captured by Prasad Bhende. The film has very cleverly highlighted the brain drain issue, besides throwing light on the corruption at the administrative level in Health department. But, it has also shown, how a young doctor overcomes all these issues, with the help of a Nurse and other assistants, who motivate him.
Aniket Vishwasrao who plays the central character of Dr. Sameer, in this film; has got a memorable role, which has exploited his talent. We have always seen Aniket as a romantic or action hero; but, this film has offered him a good role; where he has ample scope to display his emotions very efficiently. His performance in this film, is worth to be considered for nomination in best actor’s category, for 2014 awards. Veena Jamkar, who is known for playing a simple woman’s role, has offered good support in the female lead. The film also presents Apoorva Nemlekar in the parallel female lead, as Sameer’s associate and close friend from the Hospital. But, she has limited scope, though she has done a good job. Another important role is by Suyash Tilak, who plays Sameer’s close friend from media.
Renuka Shahane, ActressRenuka Shahane who has done a comeback into Marathi films, has done well in the role of Sameer’s mother and a businesswoman. She too has limited scope. Renowned artistes like Uday Tikekar, Anant Jog, Dr. Girish Oak, Late Anand Abhyankar, Ashok Samel and Bharat Ganeshpure have offered good support through their restricted roles of medical professionals.
Director Umesh Namjoshi has done a fairly good job, in presenting many important sequences in the film, like the emergency Tracheotomy performed by Dr. Sameer on the road; also Dr. Sameer’s frustration on reaching the village of his posting on punishment and his concern and risk taken while treating patients, during the spread of disease, due to consumption of contaminated water. However, he has not been able to show the reaction of people well, who attack the doctors house; when his mother also suffers an injury. This scene doesn’t look realistic. But, barring this lapse, he has handled the rest of the film very well.
‘Bhakharkhadi 7 km’ has a very strong message to convey and is a ‘must watch’ for all those young doctors in Maharashtra. It’s also a compliment to all those doctors, who are sincerely practising their profession in remote villages.
‘Salaam’ pays tribute to the families of brave Army Soldiers and Policemen
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Rating: ★★★ ½
Studio / Presenter: Calyx Media & Entertainment Pvt. Ltd. Producer: Sanjay Dawra Story, Screenplay, Director: Kiran Yadnyopavit Editor: Suchitra Sathe Cinematographyer: Abhijit Abde Music: Rahul Rande Cast: Girish Kulkarni, Sanjay khapre, Abhishek Bharate, Vivek Chabukswar, Kishore Kadam, Shashank Shende, Suhas Shirsat, Praveen Tarde, Siddheshwar Zadbuke, Savita Prabhune Movie Review by: Ulhas Shirke |
The foundation of a good Marathi film is in its story. Latest released Marathi film ‘Salaam’ offers one such unique story on the backdrop of a village off Pune, which is known for families of brave soldiers and policemen. The story of ‘Salaam’ revolves around two such families; i.e. of a soldier in Indian army deputed at the border and a Policeman with Maharashtra Police, posted in Mumbai.
‘Salaam’ has a sensible story, mixed with emotions; but supported by light humour filled into the screenplay. The film makes its intention very clear from the very first scene, very intelligently shot, while the credits of the film appear on one side. With light sound effect played in the backdrop, the film suggests its class. ‘Salaam’ is actually a festival kind of film, which has been released first and then intend to participate in various film festivals. Director Kiran Yadnyopavit has selected wonderful locations for this film, to give a realistic feeling to the audience.
More than the story of the Policeman (Girish Kulkarni) serving for Maharashtra Police and posted in Mumbai and an Army Soldier (Sanjay Khapre) posted at the border; it is the story of their families and in particular their two children Raghu (Vivek Chabukswar) son of a Policeman and Sada ( Abhishek Bharate) son of an Army Soldier The film goes on to narrate the story of these two children, who are good friends. But, goes on to show, how they develop differences, while making collections for charity purpose, considering it as a competition, to win a medal for maximum collections.
Very cleverly, the director takes the audience into their typical village lifestyle, to show their playful days and how they face the grave situation. ‘Salaam’ is a simple story which is very effectively passed on to the audience, through its well presented screenplay. Every situation in the film, has a message to convey; be it the doubt in the mind of Raghu, as to who is superior? A Policeman or an Army soldier? Then, the break up of friendship between the two little friends, doubting each other’s integrity over collection of funds for charity and finally, the realisation of friendship, by Raghu; in the concluding scene . All these incidences have been very cleverly sequenced in the film.
Director Kiran Yadnyopavit has rightly used Albert Einstein’s quote before the start of the film ” If you want your children to be intelligent, read them fairy tales. If you want them to be more intelligent, read them more fairy tales.” And, he has succeeded in conveying the actual meaning, through this film. At the end of the film, he goes on to remind you of Helen Keller’s quote, ” All the world is full of suffering. It is also full of overcoming.” Though, he hasn’t displayed the same on screen.
Best thing about this film is the coming together of three people, who have won national awards. Girish Kulkarni, who plays a Policeman is at his best, offering his natural skills; though he doesn’t have much scope for acting. But, Vivek Chabukswar has tried to do better, expressing his emotions well, through many important scenes in this film. He has turned out to be the real hero of this film. The third national award winner behind the screen, is a techie – Sound designer and mixing Engineer Anmol Bhave, who has also done a commendable job; which is clearly noticed in many outdoor scenes.
Among the other performers, Aatisha Naik as Raghu’s mother has played a totally different role of a kind hearted wife and mother in this film. Jyoti Chandekar as the grandmother, is impressive. Sanjay Khapre has played his limited role, with ease. Kishore Kadam as the head of the village school has done a good job, while Shashank Shende, Suhas Shirsat, Praveen Tarde, Siddheshwar Zadbuke, Savita Prabhune ( from Baramati) and the other six children have supported very well.
The film has only two songs; but the background music offered by Rahul Ranade is very apt for this type of film. All in all, ‘Salaam’ is a sensible film, and is a tribute to the families of those brave soldiers and policemen; who are used to face grave situations in their life and to overcome them.
‘Dhamak’ serves Bollywood recipe on Marathi platter
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Rating: ★★★
Studio / Presenter: Cs Films Producer: Suvarna Bandiwadekar Director: Rajendra Bandivadekar Editor: Ashish Mhatre, Apurva Motiwale Cinematographyer: Prasad Bhende Music: Nimal Kumar Cast: Aniket Vishwasrao, Girija Joshi, Ashok Samarth, Shoneel Shinde, Ajay Padhye, Jaywant Wadkar, Viju Khote, Girish Salvi, Dhanjay Mandrekar, Maushami Tondwalka, Vidhyadahar Joshi … Movie Review by: Ulhas Shirke |
After making a sensible film like ‘Zale Mokale Aakash’ , film maker Rajendra Bandivadekar now seems to be inspired by all those aspects adopted by commercial films, which are much needed to entertain the audience and reach out to maximum people . In his latest released film ‘Dhamak’, which has been independently written and directed by him, he has presented all those sequences, required for the recipe of a typical formula film. His inspiration comes from all those Bollywood films of the past, where the hero coming to city side from a village, poses as a big Boss of a company, though he works as a office peon.
When Morya ( Aniket Vishwasrao) returns to his village, to marry his maternal uncle’s daughter, he finds his would be wife – Gauri (Girija Joshi) , too childish and trying to keep herself away from him. He also faces resistance from the local goon, who resembles ‘Shakaal’ of ‘Shaan’ and does all those acts like Gulshan Grover, be it playing his violin in the rains or targeting young girls. This villain, called Vikram dada (Shoneel Shinde) , who is the son of a politician, believes only three ‘V’s; i.e. Violin, Violence and Victory. So, Morya takes on Vikram dada and his associates one by one , with the help of his village friend Javed ( Ajay Padhye) and three other friends from his town, who come for his marriage. Till interval, he manages to win Gauri’s heart and also dares to challenge the strongman Vikram dada and his group.
But, in the post interval session, the director has another hero in his mind. So, he presents Inspector Pratap Malvankar (Aashok Samarth), who not only beats up Vikram dada in public place, but also puts him behind the bars, with all evidences against him. So, Morya takes a break and allows Inspector Malwankar to tell his story. There is also a political fight in the form of assembly elections, with Morya’ s uncle Dr. Chachad ( Mohan Joshi) fighting against the corrupt Politician and Vikram dada’s father Bhausaheb Inamdar (Vidydhar Joshi) and winning the elections. All is well at the end; but before that you witness two item numbers by Bollywood dancers Meghna Naidu and Mumaith khan, a romantic song sequence picturised on Morya and Gauri in mod looks and a long action filled fight sequence in the rains between Morya and Vikram dada.
‘Dhamak’ has thus turned out to be a typical commercial formula film, on the lines of Bollywood action films. Watch the very first sequence in the film, where Morya dreams a ‘Deewar’ scene, imagining himself in place of Amitabh Bachchan fighting all alone with a group of criminals, locking them up in their own den .There is no compromise by the film maker on budget, while shooting the glamour filled dances, stunt filled action scenes and while displaying wonderful dress designs of Girija Joshi in a dream song sequence at picturesque location. The crowd scenes and dances are well handled, with good choreography by Umesh Jadhav and excellent camera work by Prasad Bhende. Music by Nirmal Kumar is just fine.
Aniket Vishwasrao does well as Morya, playing both comedy and action well. But, in the post interval session, he literally ceases to be the hero of the film. His role is taken over by Ashok Samarth, who has his own story to narrate, while displaying his well shaped body & walking style, besides narrating his plans to trap Vikram dada. Girija Joshi has good scope to display her acting skills, as a typical innocent village girl, in the first session of the film. But, in the post interval session, she looks more glamorous, with her changed appearance, especially in the dream song sequence with Aniket. Mohan Joshi as Dr. Chachad and Morya’s maternal uncle, does a good job, like a versatile actor. He gets good support from Uma Sardeshmukh, who plays his wife in the film.
Bad man Shoneel Shinde has got ample scope to display his muscles, but the Hindi theatre artist who makes his debut in Marathi, finds less scope to display his acting potential. Most of the time, he is at the receiving end, being beaten up either by Morya or Inspector Malvankar. So, it is Ashok Samarth, who finds a good scope in post interval session. He seemed to be favourite of the director, for the manner in which he has been projected, in this film, with a lot of soft corner towards his character. Jaywant Wadkar, Viju Khote, Girish Salvi, Dhanjay Mandrekar, Maushami Tondwalkar and others offer good support. Vidhyadahar Joshi arrives almost towards the concluding part of the film, to display his typical style of a selfish politician. But, Ajay Padhye, playing a Muslim youth and a family friend of Chachads, invites attention with his notable performance in this film.
‘Dhamak’ has served a typical Bollywood recipe for the masses. It is certainly not the kind of film to receive appreciation from critics. One can understand the desperation of the film maker, to make such a commercial film, only to receive recognition, after attempting a sensible film like ‘Zale Mokale Aaakash’ last year and going unnoticed. Not a bad idea, Mr. Bandivadekar. But, we expect a better film from you next time. Not a Bollywood formula, again.
‘Campus Katta’ offers formula of traditional entertainment
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Rating: ★★ ½
Studio / Presenter: Sharp Eye Production Producers: Prathamesh Gadwe Writer, Director: Sanjeev Kolte Cinematographyer: Jitendra Acharekar Music: Pravin Kuwar Cast: Santosh Juvekar, Namrata Gaikwad, Sheetal Dabholkar, Vikram Gokhale, Milind Shinde, Arun Nalawade, Swati Chitnis, Kishori Shahane, Rahul Dongre Movie Review by: Ulhas Shirke |
Come election time and it’s the time for the youth of Maharashtra to come forward and fight corruption by Politicians in the society. This seems to be the motive of some of the film makers today. And, director Sanjiv Kolte is nowhere behind, in presenting such a timely subject through his latest released Marathi film ‘Campus Katta’. Set on the backdrop of a college at a district place of Maharashtra, owned by the politicians Annansaheb Gunthe Patil (Arun Nalwade) and Kolse Patil (Milind Shinde). The ultimate aim of these two politicians is to make quick money, through donations for admissions, through the few educational institutes owned by them, making profits in catering services and selling the extra land meant for recreation purpose. But, they face stiff opposition from College student’s leader Raja Shinde (Santosh Juvekar), who prefers to remain in the same college for years, fighting corruption at administrative level in the college.
Being a dynamic leader, Raja has his own followers from the college, who are always there for staging demonstrations every time, when ever there is a need to pressurise the management. He has a well wisher girl friend Rasika (Sheetal Dabholkar), who also poses as a journalist for a TV channel, besides being member of his college katta. In comes Sakhi (Namrata Gaikwad), daughter of new college principal Kochrekar (Vikram Gokhale); who also becomes a great admirer of Raja Shinde, watching his fight against injustice. As the time progresses, we see the love blossoming between Raja and Sakhi, disappointing Rasika, who is also close to Raja’s mother. But, like a good friend, she accepts Raja’s decision and remains by his side, like a loyal friend.
Raja’s methodology is not acceptable to the new principal, who feels that he is nothing but a hot headed irresponsible leader with no future. But, looking at the way the trustees putting pressure on college management, he later realises the presence of Raja in dealing with such corrupt people. But, in the process, he has to sacrifice the life of his own daughter, who marries Raja; but cannot make him happy. So, it’s a happy end after a tragic turn, in the concluding part of the film.
Instead of presenting a strong conflict, the film has just remained representative about the different characters; be it the protagonist Raja, the two corrupt selfish politicians, a straight forward college principal, a typical young villain, a so called name sake female journalist and the team of forty loyal students, always with Raja.
Except for the character of Santosh Juvekar and Vikram Gokhale, there is no force noticed in the other characters. The confrontation of Sakhi with her parents for siding Raja, sounds very unnatural, than being realistic in the screenplay. The two politicians played by Arun Nalawade and Milind Shinde are neither funny nor terrifying. Even the new villain – Rahul Dongre playing their right hand to counter Raja, looks very unimpressive, with the kind of weak role entrusted to him.
The two girls Namrata Gaikwad and Sheetal Dabholkar are just namesake, though they have few songs to their share. It is Santosh Juvekar, who dominates, throughout the film. There are other characters like Raja’s mother played by Kishori Shahane, Sakhi’s mother played by Swati Chitnis and others around. But, they have very less to their share, except for being part of emotion filled scenes. The film has failed to define the roles of certain characters, like the one who is always with Raja and whom Rasika calls ‘Sir’. Even, it is not clear, what exactly Rasika does? If she is a student of the college, what way, she is associated with a TV channel? A freelancer or a full time journalist?
Barring these lapses, the film still manages to present the subject of united fight of the youth against the corrupt education system, in director Sanjiv Kolte’s style; using lot of emotional content in this otherwise action filled film. There is good scope for music by Pravin Kunwar, using the songs at festive occasions. As a result, the film appears as an ordinary formula entertainer, filled with emotions.
‘Yellow’ inspires with ‘You can do it’ message
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Rating: ★★★★
Studio / Presenter: Viva In En, Mumbai Film Company Producers: Riteish Deshmukh , Uttung Hitendra Thakur Cinematographer, Director: Mahesh Limaye Story: Ambar Hadap, Ganesh Pandit Music: Kaushal Inamdar Cast: Upendra Limye, Mrunal Kulkarni, Hrishikesh Joshi, Aishwarya Narkar, Usha Nadkarni, Gauri Gadgil Movie Review by: Ulhas Shirke |
Rob Liano, the Rock Star Success Coach & Sales Strategist has rightly said, “Nothing is born into this world without labour.” And, if we can recollect Walt Disney’s strategy, ‘If you can dream it, you can do it'; then, there is nothing impossible in this world. Based on this philosophy, producers Riteish Deshmukh and Uttung Thakur have offered a sensible Marathi film ‘Yellow’, which is directed by renowned cinematographer Mahesh Limaye. By the way, Mahesh also makes his debut as a director with this film.
Only last year, we saw director Manohar Sarwankar’s film ‘Maat’, which was also debut of Eshaa Koppikar in Marathi and which talked about the success story of a ‘deaf-mute’ girl, who turns a Chess Champion, with the support of her mother; who has been deserted by her selfish husband; only because the child is born with a handicap. However, through this film – ‘Yellow’, director Mahesh Limaye presents a real life success story of a girl, born with ‘down syndrome’. And, he has done a commendable job, as presenting a real life character – Gauri Gadgil, who has already won two silver medals in Special Olympics; has made ‘Yellow’ more appealing than ‘Maat’.
Mugdha (Mrunal Kulkarni) and Shekhar (Manoj Joshi) give birth to a girl – Gauri, who is born with ‘down syndrome’. Mugdha , who is already a teacher, wants her daughter to study in the same school, with normal children. But, when she finds her score in IQ as 65, the principal suggests her to admit Gauri to a special school. However, Shekhar is unable to accept Gauri as his daughter and suggests Mugdha to go for second child. One day, Mugdha gets the biggest shock in her life, when she witnesses Shekhar let Gauri drowned in a water tank at a resort, instead of running to help her out. Taking an immediate decision to leave her husband, Mugdha arrives at her brother Shree’s (Hrishikesh Joshi) house, who being a bachelor, offers all the love and affection to Gauri, besides managing his ‘tent house’ business.
When, Mugdha admits Gauri to a school for special children, Prinicipal (Aishwarya Narkar) suggests her to join the school, as a teacher. On the advice of the principal, Mugdha is advised to admit Gauri for swimming, noticing her keen interest and especially for improving her ‘hand and eye’ coordination. It is at this place, Gauri interacts initially with a good elderly coach and later with a strict coach – Pratap Sardeshmukh ( Upendra Limaye), training at advanced level. It is at this stage, the film goes on to describe how such children are to be treated, to extract the best out of them.
Director Mahesh Limaye, has beautifully captured the emotion filled moments through his camera lenses, besides directing the most difficult sequences, in an efficient manner, generating humour at short intervals, through light humour filled scenes. Ambar Hadap and Ganesh Pandit have really worked hard, to present an engaging screenplay with the support of wonderful performances from all the artistes. Mrinal Kulkarni, who has played Gauri’s possessive mother, has been able to display perfect emotions of a worried mother, while Manoj Joshi has cleverly presented a selfish husband through his limited role.
There is no doubt about the brilliant natural performance given by Gauri Gadgil, as this was her own real life success story; but the little girl performing her childhood role, also looks very natural. In fact, Gauri actually appears on the screen only few minutes before interval, when her coach for advance training – Upendra Limaye also arrives on the screen, around that time. Upendra has also given a fantastic performance, understanding very well the given situation and more particularly, the attitude of all such Indian coaches in different games, at competitive level. However, the most impressive performance comes from Hrishikesh Joshi, who looks very natural, in the character of Gauri’s real well wisher and caring uncle. It is because of his presence, there is some humour generated, in this otherwise thought provoking film.
Through this film, the director has also presented the attitude of a typical sports coach, who always demand more from their students, without paying the required attention on sports psychology and the much desired counselling, expected from them. At the same time, he has also shown how the parents interfere with the training methods of the Coach, by showing their regular presence, at the practice venue of the sport. ‘Yellow’ is certainly an inspiring film and a must watch for all. There are very few errors noticed in the film; as it is otherwise a technically well presented film, with good background music provided by kaushal Inamdar.
‘Taptapadi’ sets the best example of a good period film in Marathi
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Rating: ★★★★
Studio / Presenter: Aryaman Publicity Producer: Sachin Baliram Nagargoje, Hemant Bhailal Bhavsar Screenplay, Direction: Sachin Baliram Nagargoje Cinematographer: Santosh Suvarnakar Music: Sumeet Bellari & Rohit Nagbhide Cast: Kashyap Parulekar, Veena Jamkar, Shruti Marathe, Neena Kulkarni, Sharad Ponkshe, Ambarish Deshpande, Ashwini Ekbote Movie Review by: Ulhas Shirke |
Script plays a very important role in the success of Marathi films. And, when you come to know that the script of a Marathi film is inspired by Ravindranath Tagore’s story; obviously, there will be lot of curiosity about the film. Young film maker Sachin Baliram Nagargoje has dared to present this sensible period story, through his new Marathi film ‘Taptapadi’.
Set on the backdrop of pre independence days period, the film revolves around Meera (Veena Jamkar) who has been brought up by her paternal aunty and her husband (Ashwini Ekbote and Sharad Ponkshe) since her childhood, after the sudden demise of her mother. At her Aunty’s place little Meera becomes friendly with her cousin Madhav (Kashyap Parulekar) who is later sent for his higher studies to Pune. When Madhav returns after a long period, while doing his graduation in medicine; he develops intimate relationship with Meera and the relationship turns into their marriage.
Both live happily, till Meera has a miscarriage. Madhav and Meera shift to Pune, where Madhav is studying in medical college. Not understanding the growth of Glaucoma in Meera’s eyes, Madhav treats her for general irritation. In the process, her trouble aggravates, with poor vision. Finally, when Madhav’s medical college surgeon examines her and suggests immediate operation, it is too late. Meera turns blind. Her aunty, uncle, brother and father suggest Madhav to let her go along with them, so as to take good care of her. But, Madhav feeling the guilt of neglect, wants Meera with him. He takes good care of her.
One fine day, his paternal aunty Durvabai (Neena Kulkarni) arrives at his place, with a plan in her mind. She wants her own well educated niece Sunanda (Shruti Marathe) from Mumbai to marry Madhav. She even invites her to Madhav’s place. And, then begins the real drama. Though, Sunanda becomes friendly with Meera, the negative thoughts running in the mind of Meera makes her more uncomfortable and she displays her anger and frustration., After taking Madhav into confidence for second marriage, Durvabai leaves with her niece. But, destiny has something else to decide. The climax scene of the film, says it all.
Director Sachin Nagargoje has handled this sensitive love story very well. Having written the screenplay himself, he has been able to present the emotion filled scenes very well. Being a period film, he has cleverly avoided outdoor scenes. But, with the support of good cinematography by Santosh Suvarnakar, he has handled the intimate love scenes very well. Considering Ravindranath Tagore’s love for poems and keeping in mind his love for art; both music and art direction have been well executed in the film. The locations and use of bullock cart, horse carriage and the old styled car used by Madhav, clearly remind you about the old period. Singer Savani Shende, lyricist Vaibhav Joshi and music directors Sumeet Bellari & Rohit Nagbhide have done a good job.
However, the director hasn’t paid attention on miniature details of the make up of Meera, especially after she suffers burn injuries. The healing of wounds on her right hand and face, haven’t been followed in continuity properly. But, barring this small error, he has succeeded in presenting this film very well. Wonderful performances by all the artistes, makes the film more realistic. It is almost like listening to the story of Meera, who is also a narrator in this film.
No wonder, Veena Jamkar has put in her heart into the role of Meera. Even otherwise, she has always been a great performer; but, this role is something special for her. In the character of Sunanda, Shruti Marathe does look a perfect choice. She has played this bubbly cheerful Sunanda with complete understanding of the importance of her role. Kashyap Parulekar, has played his most difficult looking character of Madhav very well. He has cleverly displayed the quick change of emotions, at every important situation, be it, his guilt after his wife turns blind or his reaction while confessing the truth before his wife. In short, he too has proved his selection right.
In the role of Durva atya, Neena Kulkarni has once again proved that she is still the best; no matter whatever type of role comes to her share. The selection of Sharad Ponkshe and Ashwini Ekbote for their respective roles, is just namesake. At least Ashwini has two scenes to display her acting; but Sharad Ponkshe has been wasted, just as an onlooker in few scenes to his share. Ambarish Deshpande has done a good job, in the role of Meera’s brother, though he has little to his share. All others in the supporting cast, including the kids in initial part of the film, look very realistic in their respective costumes, suited to the era.
‘Taptapadi’ sets the best example of a good period film in Marathi; and does succeed in leaving an impact of its tale on the audience. It is certainly a worth watch.
Feature film on Yashwantrao Chavan is a tribute to the iron man of Maharashtra
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Rating: ★★★ ½
Studio / Presenter: Yashwantrao Pratishthan, Essel Vision Producer: Maharashtra Shasan Director: Jabbar Patel Screenplay: Arun Sadhu Cinematographer: Sikandar Sayyad Music: Anand Modak, Cast: Ashok Lokhande, Om Bhutkar, Lubna Salim, Vaishali Dabhade, Meena Naik, Rekha Kamat, Supriya Vinod, Satish Alekar, Rahul Solapurkar Movie Review by: Ulhas Shirke |
Yashwantrao Balwantrao Chavan was a big name not only in Maharashtra Politics but also in the Indian Politics. Having served as the Chief Minister of Bombay state, then being the first chief Minister of independent Maharashtra, followed by the various cabinet ministries, he represented at the centre; he was highly respected politician in the state. But, after becoming the third chief minister of then Bombay state in 1956 and little before that when he was in the cabinet of Morarji Desai; he was targeted by the opposition leaders and few media persons, for not joining the United Maharashtra Movement.
Mr. Yashwantrao Chavan passed away in 1984, at the age of 71, when he was serving as the Chairman of the 8th Finance Commission of India. But, his contribution as a leader of Maharashtra and India certainly needed a detailed biopic on his life. And, the Yashwantrao Chavan Pratishthan and Government of Maharashtra thought that it was the right time to pay him tributes, besides making the new generation aware of his political journey. ‘Yashwantrao Chavan – Bakhar Eka Vadalachi’ distributed by Essel Vision, is the most suited title of this film, directed by Dr. Jabbar Patel, which is released today. Unfortunately, in spite of the heavy advertising campaign on Zee Marathi channel, the film has not received the desired response at multiplexes in Western suburbs. At one of the multiplexes, for 3.15 pm show, there were just 12 people, which was unfortunate.
The film begins with two Political science students doing research and taking keen interest in the political career of Yashwantrao Chavan. They request one senior History Professor (Nana Patekar) to share with them the political journey of this eminent leader from Maharashtra. Beginning with his funeral, he takes them down memory lane, narrating his childhood, full of struggle, and then explaining how he became part of the Quit India movement as a youngster, immediately after his marriage.
Giving a complete account of his poverty and motivation from mother and Uncle to offer him good education; the film goes on to show the biggest storm in his life, during the United Maharashtra Movement , when the opposition leaders and section of Marathi press criticised him for not resigning from the Ministry, in protest against the killing of 105 people in police firing on the orders of Morarji Desai and Centre’s delay in announcing Maharashtra as a separate state with Mumbai as its part. After showing this crisis, even after becoming the chief minister of independent Maharashtra, the film takes you to Delhi, in the second part of the film, to show his progress in the Indian cabinet and at the same time how he had to make adjustments with Mr. Jawaharlal Nehru and Ms. Indira Gandhi, during his tenure as minister with important portfolios in their cabinet.
The film has also shown how he had difference of opinion with Ms. Indira Gandhi, over the selection of candidate for the president of India and also due to interference of Sanjay Gandhi in Centre’s politics. His joining Congress(U) after the defeat of Indira Gandhi and later returning back to Indira Gandhi’s Congress(I) after her return to power with victory. But, the film clearly shows how he was treated after that, offering just the post of Chairman of Planning Commission.
In short, this film is a complete biopic of the strongest leader from Maharashtra, who had risen to the heights in Indian politics, just missing the prime minister’s chair, because of his big heart. The film has however, tried to make critical remarks on great freedom fighter Vinayak Damodar Savarkar, for his ‘Hindutva’ principle, which was not necessary. But, it clearly indicated that through this film, the producers took a chance to criticize the biggest opposition party, with the same belief. Isn’t that a clever timely move by Maharashrta Government? The film has also conveniently avoided to show Balasaheb Kher, the first Chief Minister of Mumbai state, though his cabin has been shown in a scene where Mr. Chavan goes to meet him. But, in his absence, meets then Home Minister of Bombay state, Mr. Morarji Desai, in the next cabin.
In the post interval session, the film almost takes bilingual form in dialogues in English and Hindi, as the scene shifts to Delhi. There are Marathi dialogues, but Mr. Chavan’s interaction with Pandit Nehru and Indira Gandhi are in English and Hindi. In the role of Jawaharlal Nehru and Indira Gandhi, Benjamin Gilani and Supriya Vinod have given satisfying performances. Yashvantrao’s role during his younger days has been played by actor Om Bhutkar with total commitment; but actor Ashok Lokhande who portrays senior Yashwantrao Chavan, gets an opportunity to skilfully present his cool attitude and changes in his political career, right from the period 1946 till his death in 1984. And, he has done a good job. In the roles of his wife Venutai, Vaishali Dabhade, plays the part during his younger days; which is later taken over by Hindi stage actress Lubna Salim, who finds a major part as his companion. Both have given good performances; but, Lubna Salim’s dialogue delivery is not very impressive. Her different accent in comparison to Vaishali Dabhade, who played her younger day’s character; could be easily noticed.
Good performances come from Meena Naik, who plays Yashwantrao’s mother and others in the supporting cast. However, it is not known, why Meena Naik has been replaced by other actress, to play the old mother of Yashwantrao? When there was a reputed award winning make-up man like Vikram Gaikwad as part of the crew, he would have certainly make her look more older. There are many meaningful songs rendered by many popular singers in this film, including a lavani, picturised on Bhargavi Chirmule; but, they are not lengthy and are suited just for the right occasion. Camera by Syed Layauet Ali, art direction by Shyam Bhutkar & Mohan Ratnaparakhi, editing by Nitin Rokade and music by Anand Modak are worth appreciating.
As a director Dr. Jabbar Patel has presented the film well, with good support coming from the screenplay of noted writer Arun Sadhu, not forgetting to mention all those politicians of his time and giving due credit to Yashwantrao for some of his crucial decisions taken during his tenure as Defence, Finance and Home minister of India. More importance has been given to the political leaders, with whom Yashwantrao was closely associated, besides his family members. Don’t treat this film as a documentary. But, watch it, considering it as a feature film. It is certainly an inspiring film for today’s young politicians, coming from district places. It’s also a tribute to Iron man from Maharashtra.