‘Dhag’ is a path breaking Marathi film
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Rating: ★★★ ½
Studio / Presenter: Jayashree Motion Picture Producer: Vishal Pandit Gaware Director: Shivaji Lotan Patil Screenplay: Nitin Dixit Cinematographer: Naagraj Editor: Nilesh Gavand, Cast: Upendra Limye, Usha Jadhav, Hansraj Jagtap, Nagesh Bhosale, Suhasini Deshpande, Neha Dakhinkar Movie Review by: Ulhas Shirke |
There have It is very difficult to know the reason for delay in releasing this path breaking Marathi film ‘Dhag’ during the year 2013, when the film had won National award for best direction and in best actress category, besides receiving special mention of the Jury for the child artiste, in March 2013. But, if this film was released last year, it would have made a big difference. However, it is always ‘better late than never’.
‘Dhag’ is now finally released this week. Produced by Vishal Pandit Gavare and directed by Shivaji Lotan Patil, the film was also highly appreciated by the critics at 2012 PIFF and Goa Int Film Fest. It also received the appreciation of Jury, including Academy awards winner Resul Pookutty. The film had also received appreciation from dignitaries like Saie Paranjape & Shabana Azmi. Last year, the film had won 6 awards in Ma Ta Sanman
Needless to say that ‘Dhag’ is an off beat Marathi film, which revolves around a teenager Krishna (Hansraj Jagtap), living in a village with his father Shripati (Upendra Limaye), who operates at the only crematorium in that village. Mother Yashoda (Usha Jadhav) a housewife, an old Grandmother and a younger sister are his other family members. Krishna doesn’t seem to be interested in carrying forward the family tradition of managing a crematorium and hence prefers to study at a village school. He even does a part time job at a juice centre, besides attending school, when he finds that his family is facing financial crisis. However, the harsh comments from his teacher about his family’s profession, forces him to drop out of the school.
The film goes on to show how Krishna’s family is solely dependent on the money earned during the last rites performed and hence, when there are no deaths in the village, Shripati has to find some temporary work at his friend- Mangya’s workshop. Still, he doesn’t get paid for his services, as his friend’s wife is ill and bed ridden. One day, Shripati dies of snake bite and the whole family is traumatized. Mangya takes care of the family; but, Krishna and his mother are hesitant to approve his help. Krishna’s grandmother also warns her daughter-in-law about Mangya’s intentions of being so generous. When Krishna hears their discussion, he realizes his duty at that time. So, he steps into his father’s shoes; and also starts attending school for a better future.
‘Dhag’ is a very realistic and thought provoking film. Director Shivaji Lotan Patil, who had earlier directed a sensational film ‘Vaavtal’, offers this sensible subject . The film has one national award winning actor Upendra Limaye and with Usha Jadhav also winning the national award for best actress, for her performance in this film; whatever praise about their performances will be less. Usha has already received compliments from Bollywood, with her selection in ‘Bhootnath 2′ in presence of Amitabh Bachchan. Upendra has limited scope; but, he has impressed through his role. Moreover the director also having won the National award for best direction, goes on to say everything about his excellent work. But, the talented child actor Hansraj, who also received special mention from the Jury at the last national awards, deserves all the praise.
The performance of this child artiste, is more appealing in the film. Good support also comes from supporting artistes Nagesh Bhosle, Suhasini Deshpande, and Neha Dakhinkar . Excellent presentation of Screenplay by Nitin Dixit, good cinematography by Naagraj, perfect editing by Nilesh Gavand, suitable music composition by Aadi Ramchandran and Amit Gupta’s sound design have added value to this thought provoking film, which is a ‘must see’ for all.
‘Akalpith’ presents a psycho thriller with a mind game
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Rating: ★★★
Studio / Presenter: Nought Creation Producers: Prasad Ugle, Harshal Ushir Writer, Director: Prasad Acharekar Cinematographer: Neeshank Mathure Backgroundscore: Saurabh Bhalerao Cast: Dr. Mohan Agashe, Nirmitee Sawant, Atul Todankar, Renuka Shahane, Abhinay Sawant, Rutul Patil, Ashutosh Patki, Sumedh Gaikwad Movie Review by: Ulhas Shirke |
Psycho thrillers are not new to Marathi film industry; but, a mind twisting psychological thriller with a gripping screenplay is really something new to Marathi cinema. Writer-Director Prasad Achrekar, who is the grandson of legendary art director M. R. Achrekar, has offered his debut film ‘Akalpith’, with the help of young Snehal Pendurkar, who besides writing this riveting screenplay, has also handled the graphic art of this film, during flashbacks very well.
‘Akalpith’ begins with the special meeting of the Jury with the judge, where the public prosecutor seeks the help of a renowned female psychologist, to study the past history and the statement of the alleged psycho killer. As their proceedings go on, the film also shows the actual happenings that led to a situation, where the accused pleads ‘not guilty’ and poses himself as a sick person, suffering from a trauma; as argued by the defence lawyer.
Dr. Mohan Agashe, Renuka ShahaneThe actual argument and discussion on the case begins in post interval stage, after the audience witness the entire episode of the actual happening, till the accused is shown with a pistol in his hands, about to fire his shots at his wife and his cousin, who together had planned his murder at the cousin’s bungalow, located at a remote place.
The film begins with the Public prosecutor Ms. Saranjame, seeking the help of a renowned psychologist (Renuka Shahane) to study the case of a young murder accused, who is trying to prove himself innocent, with the help of a defence lawyer, in absence of the evidence. She wants the psychologist to help her to prove the heinous act of the accused; during the meeting of the Jury with the judge. Simultaneously, we witness on the screen, the actual happening of the event, as recorded by the accused Milind (Abhinay Sawant) in his statement. So, we find his wife Shweta (Rutul Patil) making quick phone calls to unknown persons.
When both husband and wife leave for a long drive on a weekend, they come across Milind’s cousin Vishal (Ashutosh Patki), who suggests Milind and his wife to spend the week end at his bungalow at a remote place, which is close to the place they meet . So, it is known to the audience that it’s a planned trap for Milind. A terrible looking watchman guarding the bungalow that night and warning them not to step out of the bungalow suggests the past history of that place with series of unsolved murders taken place around in the past.
As everything gets set as per the plan, a stranger with the name of Raj (Sumedh Gaikwad) walks into the bungalow, for shelter as his car goes out of order. He tries to make a phone call; but doesn’t get his line. Shweta misunderstands him as a hired killer; having arrived a day before and is confused. But, he turns out to be from the same college of Milind. So, both Milind and Raj come closer talking about their good old college days, that night. In the meanwhile, Raj comes to know about the affair between Vishal and Milind’s wife. He is asked to keep quite by Vishal. In the meanwhile, Shweta and Vishal’s plan to kill Milind, is foiled by Milind himself. Next day morning, when the real contract killer arrives, he too is confused about his target, after noticing three men around, instead of one.
Milind with the help of Raj, manages to convince the contract killer, offering more money and Milind acquires the pistol from the contract killer, aiming it at his wife Shweta first; when the film breaks for interval. In his defence, Milind claims that he could not remember anything after that scene; and that he had lost his memory. However, in post interval session, when the judge asks to present him before the jury, Milind is brought with his hands tied on a wheelchair. During this trial,( which is held in house, instead of the courtroom); he reveals the judge two new stories, recollected by him; while he was brought by Raj in a car back to Mumbai. The psychologist is almost close top grill Milind, on the basis of his past and recent paintings, when the judge gives his final verdict. The film ends with an unexpected climax, which is all about the mind game. So, watch each and every scene in this film, with full attention.
In the role of Milind , Abhinay Sawant finds a good lead role, to open his actual innings in Marathi films, though, he had appeared before in a small role through Kedar Shinde’s multi starrer film. Music director Ashok Patki’s son Ashutosh Patki also makes a good debut, in second lead, through the role of Vishal. In the role of Shweta, Rutul Patil makes an impressive debut. Having performed on stage, this Nashik girl looks very confident in every scene that she has to her share. Another newcomer Sumedh Gaikwad has also played his part like a true professional actor, though in real life, he is a still photographer. Among the supporting artistes, Dr. Mohan Agashe, Nirmitee Sawant, Atul Todankar, Renuka Shahane and others, have performed their roles with full conviction, and very naturally. Director Prasad Achrekar has handled the direction of this film very efficiently. It wasn’t an easy job; but having been influenced by the stories of Sherlock Holmes, he has received good support from Snehal Pendurkar in the screenplay.
Those who love to watch psycho thrillers, this film is a real treat for them. Young Cinematographers Amit Suresh Kudoth and Nishank Mathure, offer a visual delight, by generating interest, in every scene. Background score by Saurabh Bhalerao is well suited to this novel plot in Marathi cinema. The film does have few flaws, but looking at the sincere effort of the young team in presenting this psycho thriller, they can be ignored. Good work Prasad; keep it up..
Mystery filled ‘Sau Shashi Deodhar’ is an absorbing fiction
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Rating: ★★★ ½
Studio / Presenter: Needle Drop Productions Pvt. Ltd., Orange Tree Productions Pvt. Ltd. Producers: Shilpa Shirodkar Ranjit, Kushna Shetty Writer, Director: Amol Shetge Dialogues: Kaustubh Savarkar Cinematographer: Suresh Deshmane Editor: Rajesh Rao Cast: Sai Tamhankar, Ajinkya Deo, Tushar Dalvi, Shilpa Gandhi, Avinash Kharshikar, Aniket Kelkar, Anushka Ranjit Movie Review by: Ulhas Shirke |
After a long time, there is a Marathi film, which has a good narrative story, filled with suspense. ‘Sou Shashi Deodhar’ is actually a mystery filled film, which is well presented by director Amol Shetge, who has himself written the story of this film. You may also call it a psychological thriller, which revolves around a middle class young married woman, who identifies herself as Ms.Shubhada Shashi Deodhar, after she recovers from a hit by the car driven by Dr. Ajinkya Vartak, during one rainy night.
Since it is a road accident, it involves police investigation and Dr.Ajinkya is held up in the hospital, till the young woman gives her statement to the police, after her recovery, admitting that it was her own fault, as she lost her balance. But, her real identity still remains a mystery; as Dr. Ajinkya, who has been asked by the police officer to drop her at the address given by her, turns out to be owned by somebody else. Even the description given by the lady about her husband, does not match with the person located. Finally, the police issue an advertisement in the newspaper, with her photo and till that time, the lady finds shelter at Dr. Ajainkya’s house. Being a bachelor and a psychiatrist, he not only takes good care of her; but, also does the job of police department, to locate Shashi Deodhar, with the help of a social networking site.
In the meanwhile, reading the advertisement, a young man Mr. Thakur( Aniket kelkar) with his one leg injured, walks into the police station, claiming the young lady as his wife- Nilima. But, the young lady refuses to identify him as her husband. So, the husband asks the police to take her to her father; who identifies her as his daughter. But, the lady claiming herself as Shubhada, is then brought in contact with Mr. Shashi Deodhar and his real wife Shubhada. Even after meeting them, the lady tells Dr. Ajinkya that she does not know them. Finally, Dr.Ajinkya, with her consent and taking the police officer into confidence, injects her with sodium pentothal drug, to make her confess the truth, in the concluding part of the film.
From start till the end, director Amol Shetge has cleverly kept the pace of the film, holding the grip on his story. Few scenes in the film look irrelevant. But, very cleverly, he has introduced new characters in the screenplay one by one, to keep the mystery. Even he has taken a break for interval, at the right time, in this little less than 2 hour length film. The concluding part unfolds the mystery in a very systematic manner, to make this film an absorbing fiction. suresh Deshmane’s cinematography is good. Music and background music is apt for this kind of mystery filled tale.
Sai Tamhankar, known for her glamorous roles, has found an opportunity to play a simple middle class married woman, suffering from a split personality disorder. She is highly impressive in a different role, through this film. In the role of Dr.Ajinkya Vartak, Ajinkya Deo has played his part very naturally. He seemed to be a perfect choice for this role. In the supporting cast, Aniket Kelkar, Avinash Kharshikar,Tushar Dalvi, Janardan Parab, producer Shilpa Shirodkar –Ranjit’s daughter Anushka, her husband Ranjit, director Amol Shetge himself and others have offered a good support. Tushar looks different in his new get up.
‘Sou Shashi Deodhar’ has certainly succeeded to bring in that desired change in Marathi films, with a new subject, which is socially so relevant. Thanks to Shilpa and her husband Ranjit for their debut offering. But, the kind of publicity done by the film, it failed to find the crowds at theatres on the first day. Growel- kandivali, witnessed just 10 people, for 1.10 pm show. Hope that the film picks up well, in next two days.
‘Fandry’ delivers a strong social message
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Rating: ★★★ ½
Studio / Presenter: Zee Talkies Producers: Nilesh Navalakha, Vijay Kajaria Writer, Director: Nagraj Manjule Dialogues: Nagraj Manjule, Bhushan Manjule Cinematographer: Vikram Amalaadi Editor: Chandan Arora Cast: Somnath Awghade, Suraj Pawarm Rajeshwari Kharat, Chaya Kadam, Pravin Tarade, Kishor Kadam, Nagraj Manjule Movie Review by: Ulhas Shirke |
Don’t mistake this film as an adolescent love story, witnessed in the Marathi films of recent past like ‘Shala’ and ‘Time Pass’. And, if you are confused with the name ‘Fandry’, please try to understand how, people got confused with the name of Aamir Khan’s film ‘Ghajini’, which ultimately turned out to be the name of the dreaded villain in the film. By the way, in this film, ‘Fandry’ is the name of a pig, which plays a spoilsport in the life of a school going boy Jabya, belonging to lower caste and living in a village Akolner, in Western Maharashtra.
Fandry’ is the story of a boy Jambuwant Mane alias Jabya (Somnath Avghade) studying in 7th standard, who like any other boy of his age in a village, aspires to do something else, rather than continuing with his traditional Kaikidi tribe work of catching the pigs or doing odd jobs. So, he studies hard; but his adolescence aspires to win the heart of Shalu (Rajeshwari Kharat) studying in his class. It is a one sided love known to his classmate (Suraj Pawar) and few well wishers like Charkya (Nagraj Manjule), a cycle shop owner and a true sympathiser of Jabya. However, his father – Kachru ( Kishore Kadam) who is an illiterate doesn’t realise the importance of education and wants his son to help him in his work.
Produced by Nilesh Navalakha and Vijay Kajaria and distributed by Zee Talkies, this debut film of Nagraj Manjule is certainly not a love teen age story; but a film making a strong statement on social injustice. Clearly hitting out at ‘untouchability’ that still exists in rural India, the film is an artistic presentation to show how the society prevents the people from lower caste to come into mainstream. Every scene in this film is well crafted, be it Jabya’s belief in hunting the black sparrow, his hard work of selling Pepsi-candy in a nearby village to buy a new pair of jeans, his efforts to impress Shalu or the family’s joint effort in catching the wild pig, at the request of the village head. It required skill, to understand the ground level situation. And, the director has succeeded in doing so.
There is a scene showing the marriage talks of Jabya’s sister, which goes on to show how a poor man like his father, agrees to negotiate on dowry issue. Through the character of a boy from upper business caste, it is shown how Jabya is humiliated in the school and in village. Very cleverly the director has tried to show the scene involving the entire family of Jabya catching hold of a pig , which causes nuisance in village and which is considered as bad omen, by the upper caste. During this chase, a villager shoots a video and posts it on a social networking site; which goes on to say everything about the exploitation of such poor class and their traditional work, in our society.
Through well written dialogues, the film does succeed in generating humour, in this otherwise thought provoking film. A metaphor has been cleverly used by the director, while showing simultaneously Jabya’s impossible hunt for a Black sparrow and his unachievable dream of coming closer to Shalu. The film concludes with a particular scene, which goes on to convey a strong social message. Only sensible film lovers would understand it. But, for those, who come to watch this film for happy ending, as seen in many commercial films; it will be a disappointment. No wonder, the film has won many awards at the international film festival .
In the role of Jabya, young Somnath Avaghade has lived up to the expectations of the director and the audience. Suraj Pawar supports him well, in his close friend’s role. Rajeshwari Kharat perfectly fits into her character of Shali; but there is no scope for her. She has very few dialogues and she doesn’t interact directly with Somnath, except for one dream sequence. Jabya’s family members look very realistic. Best performance comes from Kishore kadam, who plays his father – Kachru. This versatile actor deserves an award for his performance. Director Nagraj Manjule , who has played the role of Charkya, also invites attention. Beautiful photography by Vikram Amlady and suitable background music by Aloknanda Dasgupta, make this film more presentable.
‘Fandry’ is an artistic film with a social message. Only true film lovers would enjoy watching this film. Thanks to good marketing strategy adopted by the distributors, to invite a sizable young audience to theatres on the very first day of its release; which happened to be ‘Valentines Day’.
Action packed ‘Sangharsh’ has Bollywood flavour
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Rating: ★★★
Studio / Presenter: Panoramic Group Producer: Vidnyan Siddhi Films Ltd. Director: Saisparsh Executive Director: R. Viraj Writer: SaiSparsh Editor: Nilesh Gawande Cast: Rajesh Shurngarpore, Amita Khopkar, Madhavi Nimkar, Nakul Ghanekar, Arun Nalawade, Prajakta Mali, Dr. Vilas Ujawane, Anshuman Vichare, Sushant Shelar, Ajay Purkar.. Movie Review by: Ulhas Shirke |
Inspired by some of the Bollywood films of Dharmendra, Jitendra, Mithunda and Sunny Deol, released during 70s,80s and 90s; director Viraj Raje, presents his action packed Marathi film ‘Sangharsh’ with a team of talented artistes form Marathi film, television and stage. Set on the backdrop of slowly diminishing chawl culture in Mumbai, the film goes on to show the unity and strength of few youngsters living in such a colony; played by Rajesh Shringarpure, Nakul Ghanekar , Anshuman Vichare and young honest Police Inspector Devdatt Nage . Together, they not only go out of their way to help people in their neighbourhood; but also foil the plan of a cunning politician Rahu dada ( Sushant Shelar) , who is a link between the corrupt Home Minister( Dr. Vilas Ujawane) and the underworld; with an eye on their chawl, for redevelopment.
Now, if there are such young handsome dynamic heroes, you need to have their girl friends too. So, you find a committed Journalist played by Sangeeta Kapure, secretly in love with Ravi Shinde- the Bhai of the chawl (Rajesh Shringarpure), a pretty girl Prajakta Mali living in the same chawl in love with Nakul Ghanekar, who aspires to become a dancer and Madhavi Nimkar (who plays the younger sister of Rajesh) in love with young well built Police officer played by Devdatt Nage. Tavlya played by Anshuman Vichare, is however shown without a girl friend, for obvious reason, as someone has to sacrifice his life; in the battle against injustice.
Then, to cook a commercial recipe, there is a kind hearted mother( Sulbha Aygurav) , whose operation is to be performed, during the period of crisis, a sincere president of the chawl committee and Tavlya’s father ( Arun Nalawade), who is always there to support the youngsters; one aunty( Amita Khopkar) , who reminds the residents of the chawl, about their duty, during the time of adversity, a corrupt Police officer( Ajay Purkar) , who tries to implicate the youngsters in a well planned criminal act, on the orders of the corrupt Home Minister and a honest duty bound Police Commissioner( Mohan Joshi) who cleverly tackles the situation, in spite of the political pressures. In this common man’s fight against corruption, finally, it is the victory of Good over the evil.
Now, with this typical commercial presentation, what is good about ‘Sangharsh’? It is the excellent team work. All these artistes, with the combination of young and experienced, have worked very hard to present their respective characters to create a strong impact of the clash for their survival. With his strong physique, gifted height and rich voice, Rajesh Shringarpure is impressive in the role of Ravi Shinde. Nakul Ghanekar perfectly fits into the role of an aspiring dancer. It is a good film debut for him. Prajakta Mali looks pretty in the song sequence; but, has very less scope to show her acting talent. Madhavi Nimkar has few emotion filled scenes, while Sangeeta kapure who plays the Journalist, looks different in every scene. To show her glamorous looks, the director has offered her a romantic song; which is picturised on both the pairs at a time. Anshuman Vichare finds his share of acting, through few emotion filled scenes.
But, as has been the practice in such films filled with conflict; there have to be strong bad men around. And, to meet that requirement, Dr.Vilas Ujawane, plays his character of corrupt Home Minister in his own style, very effectively. One fails to understand, as to why he uses a yellow cab, without any security, allowing someone to follow him; while visiting his so called sound proof place for all underworld activities? Sushant Shelar plays a comedy style of politician in a different style, impressively. In the role of corrupt police officer, Ajay Purkar looks very natural. Sulbha Aygurav, Amita Khopkar, Arun Nalawade, Mohan Joshi, have supported well through their respective roles.
Songs in this film have been picturised well with the help of a team of well known Bollywood choreographers like Saroj Khan,Raju khan, Rajiv Surti and Raju Warghese. Music and back ground music of Nishikant Sadaphule and Bapi Tutul respectively has added some flavour into this action packed emotion filled drama, neatly captured through his lenses by Sandy. Jayawant Waigankar’s art is noticed, during the dream song picturisation, involving both the couples. Dress design during the same song sequence is also worth appreciating. The second part of the film, is more gripping than the first part, for which due credit goes to clever editing by Nilesh Gawand. Action director Javed Ejaz has the same work as director Viraj Raje in this film; as it is more an action packed film, with Bollywood flavour. The fight scenes presented in this film, are no less than any Bollywood action film. Barring few errors, ‘Sangharsh’ is technically well made film.
‘Pune Via Bihar’ follows Bollywood path
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Rating: ★★ ½
Studio: Shemaroo Entertainment Producer: Ketan Maru, Atul Maru Director: Sachin Goswami Writer: Sachin Mote, Sachin Goswami Cinematographer: Raja Satankar Cast: Umesh Kamat, Mrunmayee Deshpande, Abhay Bhargava, Sunil Kumar, Arun Nalawade, Bharat Jadhav. Movie Review by: Ulhas Shirke |
‘A’ and ‘B’ are friends from the same college for almost 4 years. ‘A’ loves ‘B’, but ‘B’ loves ‘C’. So, to make ‘B’ happy, ‘A’ goes out of his way to help ‘B’, to see that ‘B’ and ‘C’ are happily married. But, that doesn’t happen in traditional love stories. As, ‘B’ is meant for ‘A’ only. So, when ‘B’ comes to know about ‘C’ ditching her and knowing that ‘A’ really loved her through his heart; it is time for them to come together, in a typical climax. Haven’t we heard of such formula type stories in many Bollywood films? Now, through latest released Marathi film, ‘Pune Via Bihar’ we are subjected to see the repeat of that, with a touch of regional barriers.
Written by ‘Fu bai Fu’ TV show fame Sachin Mote and Sachin Goswami and directed by Sachin Goswami, ‘Pune Via Bihar’ is actually described as a love story of Abhijeet Bhosle (Umesh Kamat), a middle class Marathi student of engineering and Tara (Mrunmayee Deshpande), who is studying with him in Aurangabad. Tara is a daughter of Ramlal Yadav (Abhay Bhargava), a Central Minister from Bihar. Her father has fixed her marriage with a businessman’s natorious son, who is aspiring to become CM, with the blessings of Ramlal Yadav. Tara seeks help from Abhijeet, to run away from her home, as she wants to marry Baldev (Sunil Kumar), a final year student of MBBS. Abhijeet helps Tara to unite with Baldev, only because he is in love with her and wants to see her happy.
But, like a typical Bollywood film love triangle theme, Tara isn’t aware of his feelings for her. Abhijeet manages to release Tara from her house and brings Baldev and Tara to his home town Pune. Knowing about Tara escaping with Abhijeet, Ramlal asks Nishikant Nimbalkar (Bharat Jadhav) an encounter specialist from Maharashtra Police, to get Tara back to Bihar. Abhijeet seeks help from his father( Arun Nalawade) who is a Vada-pav vendor in Pune. When Nimbalkar reaches the venue of their marriage, Abhijeet and Tara run away from there. After this cat and mouse chase, finally Baldev is trapped by the Bihar Politician and is asked to return back, with a plan in his mind. In the meanwhile, Tara discovers Abhijeet’s love for her. All is well at the end, after witnessing a Bollywood style of climax.
From start till the end, the film does not look like a realistic gripping love story, as claimed by the film makers; for various reasons. Instead of showing a love story between a boy from Maharashtra and Girl from Bihar; the film goes on to display the love between the girl from Patna and the Boy from Ranchi. This goes on even in post interval session. It is only when, the girl tries to commit suicide, after disappearance of Baldev; that she comes to know about Abhijeet’s true feelings for her. In spite of that, she agrees to return to her home state with Baldev, who returns back. But, as we notice in majority of such love stories; there is always a last chance for the hero. And, that happens in the case of Abhijeet and Tara. The hero goes all the way to Bihar and dares to challenge the strong politician and his security, to marry Tara. ‘Everything is fair in love and war’ and that is what we witness at the end.
There are many illogical happenings in the film; such as travelling from Pune to Bihar and back by road, looks like travelling between Aurangabad and Pune. It is that easy for Abhijeet and his group and Tara’s father and brother; except for the last journey of Abhijeet by air. Then, Abhijeet’s college friends dodging and fighting with Encounter Specialist Nimbalkar and his two strong assistants, looks like a fight among their college colleagues. Even the chase scenes, where Nimbalkar and his men following Abhijeet and his group, looks like a humour filled chase noticed in comedy films. Also, Tara’s brother arriving in his car from Bihar with his goons and beating up Abhijeet’s father in his home town, looks like a typical Bollywood style action scene. At the same time, Abhijeet’s two friends stopping the mob from Bihar, entering a temple premises in their home state, in climax; looks unrealistic.
The film, however scores on account of the performances by few artistes. Both Umesh kamat and Mrunmayee Deshpande have given their best, through their respective roles. They look a perfect match for each other. Mrunmayee in particular, looks pretty good, with her mod looks. Unfortunately, it is all one sided love for the hero, almost in 75% length of this 133 mins long film. The love between two Biharis, has been stretched too long, with Abhijeet being just a mute witness to that. His character of Abhijeet looks confused, in major part of the film. In the role of PSI Nimbalkar, Bharat Jadhav suits well, but even his character looks confused on few occasions. Arun Nalawade, who has limited scope, however makes his presence felt, with his finest performance. Bhalchandra kadam and Kishori Ambiye have very limited scope, through the only wonderful musical song, in this film.
Abhijeet and Tara’s college friends have offered good support through their natural performances in this film, besides few artistes from Bihar. There is nothing much noticed in the performance of Sunil Tiwari, who has been projected as Baldev Thakur, the boy friend of Tara. Except for being at her side in few romantic scenes and few confused scenes; he is just shown by her side, in almost more than 60% of the film. And that has failed to create the desired impact of the so called love story between Abhijeet and Tara. There were lot of expectations from this film, to be an intense love story, from both the sides; depicting the culture of both the places. But, that does not happen much. Only the item song and the Fisher folk’s song, represent the culture.
At a time, when Marathi films are handling ‘out of the box’ themes; this borrowed Bollywood formula, offers a typical love triangle. Just check, whether you find any similarity with Bollywood film ‘Rangrezz’ which was also adaptation of a Tamil film. Or does it resemble with the plot of any other Bollywood film? However, Cinematography by Raja Satankar and Art Direction by Santosh Phutane are two worth appreciating factors . Music by Amir Hadkar sounds good for two songs. ‘Pune Via Bihar’ is just another love story, following the Bollywood path.
‘1909’ is a real tribute to Unsung heroes from Maharashtra
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Rating: ★★★ ½
Studio: Shree Venkateshwara Movies International Producers: Ajay Kambli, Abhay Kambli Writer: Abhay Kambli Director: Abhay Kambli Cinematographer: Raam Allam, Imtiyaz Bargeer Music: Pradeep Vaidya Cast: Akshay Shimpi, Shrikant Bhide, Rohan Pednekar, Shreeniwas Joshi, Shubhankar Ekbote, Chetan Sharma, Amit Vaze, Sunil Inamdar Movie Review by: Ulhas Shirke |
Through our history books, we have only heard of few freedom fighters from India, like Martyrs Bhagat Singh, Sukhdev Thaper, Shiram Rajguru and Madanlal Dhingra, who during the period of 1920s and 30s fought with the Britishers; like real soldiers and willingly went into the gallows, after they were declared death sentence. But, there are few other unsung heroes from Maharashtra, way back in 1909, who were also hanged for assassinating the British Collector Jackson, from Nashik.
New Marathi film ‘1909’ is set on the backdrop of India’s pre independence struggle, during the same year in Nashik district of Maharashtra. Already oppressed by the rule of District Collector Nashik, there was already a movement initiated by Babarao Savarkar, elder brother of India’s Great freedom fighter Veer Savarkar and Anna alias Krishnaji Gopal karve, under the organisation Abhinav Bharat . The film shows in detail, how the youth from surrounding districts got attracted to this freedom movement .
‘1909’ actually talks about the sacrifice of a young collegian Anant Kanhere, who jumps into India’s freedom movement, inspired by the editorials of Lokmanya Bal Gangadhar Tilak through his newspaper ‘Kesari’ and Veer Savarkar’s translated version of Giuseppe Mazzini’s ‘Young Italy’ a political movement in Italy. He moves to Nashik, to take the revenge of the arrest and punishment given to Babarao alias Ganesh Damodar Savarkar,. He makes up his mind to eliminate Jackson, the collector of Nashik, the man behind suppressing the pre independence movement in Nashik.
When young Anant manages to join the group, through his friend from college, he comes close to the leader Krishnaji Gopal Karve and his young associate Vinayak Narayan Deshpande, a disciple of Savarkar brothers. They plan to assassinate Jackson, with their proper planning, during a play staged at a theatre, especially to honour Jackson. They do succeed in their mission; but, three of them are served death sentence. They willingly go to the gallows, turning martyrs.
There are no big stars in this film. All those who have performed, are debutants. But, they have performed their roles like experienced artistes, with perfect understanding of the situation in the story. It is a very good effort by director Abhay kambli, who is also the producer of this film along with Ajay Kambli. They have managed to rebuild that historical period on the screen. Very cleverly they have recreated the atmosphere of that period, selecting proper locations and using the right costumes for the characters.
Instead of making it a loud film, the director has paid more attention on the dialogues and actual situation arising out of a happening of an event, be it, the arrest of respectable people from the district and attaching their properties or the oppression of the rulers . In short, it is all about the youth being inspired to take part in the freedom struggle. And, he has succeeded in presenting that pre independence movement ,when the actual preparations had begun to raise the funds and import of arms.
In the role of young martyr Anant Kanhere, Akshay Shimpi has given a good performance, while Rohan Pednekar and Shrikant Bhide have given fitting performances in the roles of Vinayak Deshpande and Krishnaji Gopal karve. Others in the supporting cast, like Amit Vaze, Shrinivas Joshi, Chetan Sharma & Shubhankar Ekbote have also done well as a team. Raam Allam’s cinematography and Ashwin Vanjare’s art direction are noteworthy. ‘1909’ has turned out to be a real tribute to Unsung heroes from Maharashtra. It is a pity that this film could not find sufficient theatres in Maharashtra. Thanks to the already occupied theatres by hit film ‘Time Pass’ and those blocked by Bollywood film ‘Dedh Ishquiya’. Never Mind ! Good work is always appreciated, with a ‘word of mouth’. And, this one is from Marathi Movie World.
Last but not the least, the maker of this film, should seriously consider presenting the same theme by staging a Marathi drama with same artistes.
‘Time Pass’ offers entertainment with a timely message
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Rating: ★★★ ½
Studio: Zee Talkies Producer: Essel Vision, Athansh Communication Writer, Director: Ravi Jadhav Screenplay, Dialogues: Priyadarshan Jadhav, Ravi Jadhav Music: Chinar- Mahesh Lyrics: Guru Thakur Cast: Prathamesh Parab, Ketaki Mategaonkar, Vaibhav Mangle, Bhalchandra (Bhau)Kadam, Urmila Kanetkar- Kothare, Meghana Erande-Joshi Movie Review by: Ulhas Shirke |
Is teenage love affair a real love or a time pass? How many such teenage love affairs have been successful in the long run ? These are few a valid questions, posed by director Ravi Jadhav, who has in the recent past, given three hit Marathi films – ‘Natarang’, ‘Balgandharva’ and ‘Balak Palak’. In fact, his last film ‘Balak Palak’ ( BP) based on the lives of teenagers, was released in the beginning of year 2013 and now ‘Time Pass’ almost opens the new year 2014 account of Marathi films, with a neat and clean presentation of teen age love. Just two years ago, we saw a film ‘Shala’ also on teenage love; but it was more one sided. ‘Time Pass’ goes one step further, to show how love happens from both sides, without thinking much about the future prospect.
‘Time Pass’ begins with happening of love between a girl Prajakta, who has just joined college and a 10th class failed boy Dagadu, who delivers newspaper at Prajakta’s place. Prajakta’s father who works as a clerk in Central Government office, is a very strict person and keeps close watch on Prajakta’s activities after college hours. He sends his daughter for Classical Singing classes to Spruha (Urmila Kanitkar-Kothare). Prajakta who is impressed by Dagadu’s open nature and his way of living a free life, starts liking him. She even begins dating with him, only to be caught by her father one day. Besides being scolded by her parents, she is kept under strict vigilance. Prajakta is also advised by her singing teacher to give a full stop to her affair, after she comes to know about her affair.
The film ends with a valuable message, clearly indicating that good education is very important to bridge the gap between “Have’s and ‘Have nots” about teenage love lasting till marriage time. More than this simple story, it is the screenplay of this film, written by Ravi Jadhav and Priyadarshan Jadhav, that makes the film more interesting in the first half. Even some of the situations in the film, like interaction of the young boy and girl in a Library, at a roadside hotel, during the wedding preparations at the marriage of Dagadu’s friend’s sister and one near the temple; are well captured to show the progress of their love.
There is a good humour filled scene, involving Dagadu and Prajakta’s father during the small birthday party of Prajakta’s brother, where Dagadu is invited by Prajakta’s brother. Similarly, the climax scene at Prajakta’s place with Dagadu being cross examined by Prajakta’s relatives, has been well presented. The film concludes giving a clear hint of ‘Time Pass 2′ displaying the words ‘to be continued’ instead of ‘The End’.
Besides presenting the humour filled teenage love story of two youngsters, very effectively, the film does leave some questions unanswered. Such as, why Prajakta’s father had continued to oppose the love between his son Vallabh with Spruha, even after both of them completing their education? If he was so much opposed to Spruha, why did he send his teenaged daughter to her place, for tuitions? How is a 10th failed student like Dagadu allowed inside the college premises ,wearing shorts and that too his friends passing comments at girls, in the college premises? In the film, there is nothing very special done by the character of Dagadu – a boy with typical poor class looks, to impress a good looking girl like Prajakta from a well to do family, except for his acting skills and guts to express his love.
His only plus points shown in the film are that he earns something for his family by delivering newspapers, attempting a road show to raise funds, by driving a bicycle for three days non stop, to repay the rickshaw loan of his father and most importantly, not crossing his limits in love. The film hints at happening of this story sometime during 80s and hence the events taking place are somewhat convincing. The film does slow down a bit in post interval session. However, the good music offered by film is refreshing, with all meaningful songs. Even the lyrics of the item song rendered in the voice of Reshma Sonavane ( ‘Vaat baghtoy rickshawala’ fame) seemed to be perfectly matching with the situation. Above all, the excellent camera work brings visual delight.
In the role of Dagadu Shantaram Parab, young Prathamesh Parab has proved that acting is all that important to effectively present an ordinary looking young boy. Perhaps he got inspiration from Dhanush’s character in ‘Ranjhana’. He has also paid more attention on his dialect to portray a perfect young boy from slums. With his simplicity displayed through this character, he has certainly invited sympathy of the audience. He is simply superb! In the role of Prajakta , Ketaki Mategaonkar is almost typecast, as we have seen her play a similar type of role in ‘Shala’. Only difference is that, this time, she tries to hide her love from her parents and feels free to reciprocate her love to her young friend. She finds two good scenes to express her emotions, as compared to Prathamesh, who has better scope.
In the role of Prajakta’s father Vaibhav Mangale has done a very good job. He has been able to generate lots of humour filled scenes, besides turning strict and emotional through few important scenes. Meghana Erande Joshi, who plays Prajakta’s mother in this film, has done well. In the role of Spruha, Urmila Kanitkar-Kothare is impressive, though she finds only two good scenes to display her acting skills. Otherwise, she is just represented as a music teacher. In the role of Prajakta’s elder brother, Bhooshan Pradhan almost plays a guest appearance, as he has nothing much to perform, except for lifting weights in Gym and displaying his biceps. Even, Bhalchandra Kadam has limited role, with only one good scene to express his emotions. The other youngsters in supporting roles offer good back up in this teenage love story. Dialogues are well written with nothing vulgar noticed. ‘Time Pass’ is an entertaining film with a timely message.
नेते होऊ पाहणाऱ्या कार्यकर्त्याचा ‘आवाज’
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Rating: ★★★
निर्मिती: कॉमनमॅन फिल्मस निर्माते: चिद्विलास क्षीरसागर , हर्शल गरुड , स्वप्नील नाईक दिग्दर्शक: हेमंत देवधर पटकथा, संवाद: प्रताप गंगावणे छायाचित्रण: संजय जाधव संगीत: शैलेन्द्र बर्वे कलाकार: डॉ. अमोल कोल्हे, उदय टिकेकर, तुषार दळवी, मनोज जोशी, ऐश्वर्या नारकर, विशाखा सुभेदार , प्रतीक्षा जाधव, अथर्व कर्वे आणि इतर Movie Review by: श्रीकांत ना. कुलकर्णी |
एकेकाळी सेवाभावी कार्यकर्त्यांची आपल्या देशात कधीच वानवा नव्हती. स्वातंत्र्यापूर्वी तर तन-मन-धन देवून प्रसंगी आपल्या घरादाराचीही कसलीही पर्वा न करता समाजाच्या भल्यासाठी कार्य करणारे कार्यकर्ते होते. स्वातंत्र्यानंतरही काही वर्षे तशीच परिस्थिती होती. परंतु अलीकडच्या काळात सगळे वातावरणच बदलले. अनेक चळवळी थंडावल्या आणि कार्यकर्ता नामक जात हळूहळू नष्ट होत चालली. सामाजिक कार्यात तर आता फारच थोडे कार्यकर्ते शिल्लक राहिले असलेले दिसतात. राजकीय पक्षात कार्यकर्ते आहेत मात्र त्यांच्यातील एकनिष्ठता आणि धीर धरण्याची वृत्ती लोप पावत चालली आहे. थोडेसे जरी कार्य केले तरी त्याचा मोबदला लगेच मिळावा अशी कार्यकर्त्यांची इच्छा असते. निवडणुकीत प्रामाणिक आणि सेवाभावी कार्यकर्त्याला तिकीट मिळणे हे सर्वच पक्षात अडचणीचे होऊन बसले आहे. उलट साम-दाम-दंड-भेद असणाऱ्या कार्यकर्त्याला तिकीट मिळणे सोपे झाले आहे कारण तो निवडणूक लढवू शकतो आणि जिंकू शकतो म्हणून. त्यामुळे साहजिकच प्रामाणिक आणि सेवाभावी कार्यकर्त्यांची संख्या कमी होऊ लागली आहे. ‘अरे आव्वाज कोणाचा’ या नव्या मराठी चित्रपटात अशाच प्रामाणिक कार्यकर्त्यांची व्यथा मांडण्याचा प्रयत्न करण्यात आला आहे. चित्रपटाची कथा आणि मांडणी त्यादृष्टीने प्रभावशाली ठरली आहे. मात्र वास्तवाचा विचार करता मनात कोठेतरी अनुत्तरीत सल राहतेच.
उदय सावंत (अमोल कोल्हे) हा विद्यार्थी दशेपासून अन्याय आणि दादागिरीविरुद्ध आवाज उठविणारा एक कार्यकर्ता म्हणून नावारूपास येतो. त्याची काम करण्याची धडाडी पाहून त्याला आपल्या पक्षात (गटात) ओढण्यासाठी राजकीय नेत्यांमध्ये स्पर्धा लागते. प्रारंभापासून उदय आण्णासाहेबाच्या (उदय टिकेकर) गटात असतो. मात्र अण्णासाहेब त्याचा फार हुशारीने वापर करून घेतात. उदयचे वाढत चाललेले वर्चस्व हे अनेक नेत्यांच्या डोळ्यात खुपते. त्यामुळे त्याला एका जमीन-खरेदी प्रकरणात अडकवले जाते. त्यातून उदयचे नष्टचर्य सुरु होते. मात्र तो या प्रकरणातून तावून-सुलाखून बाहेर पडतो. आणि त्याची अखेर निर्दोष मुक्तता होते.
पुण्यात मध्यंतरी घडलेल्या एका ‘लैंड-माफिया’ प्रकरणाशी या चित्रपटाची कथा तंतोतंत जुळणारी आहे. हे सुजाण प्रेक्षकाला कळल्याशिवाय राहत नाही त्यामुळेच त्यातील वास्तव लक्षात घेता संबधित नेत्याचे उदात्तीकरण करण्याचा हा प्रयत्न नाही ना अशी उगाचच शंका येऊ लागते. चित्रपटाची कथाही त्याच अभिनिवेशाने पुढे सरकत जाते. उदय सावंत विरुद्ध अनेक आरोप असूनही त्याला एकदाही आरोपीच्या पिंजऱ्यात उभे राहिलेले दाखविले नाही. शेवटी तो आरोपीच्या पिंजऱ्यात आहे
तोही स्वत:च्या बचावासाठी नाही तर कार्यकर्त्यांचा ‘आवाज’ बुलंद करण्यासाठी त्यामुळे ती बाब खटकते. परंतु एकूणच विषयाची व्याप्ती आणि त्याचे सादरीकरण पाहता चित्रपटातले ‘राजकारण’ चांगली करमणूक करून जाते. अमोल कोल्हे, उदय टिकेकर, नंदन बाळ, तुषार दळवी, मनोज जोशी, विशाखा सुभेदार, प्रतीक्षा जाधव यांच्यासह नवकलाकारांचीही कामेही चांगली झाली आहेत. संजय जाधव यांचे छायाचित्रण अप्रतिम असून गणपती मिरवणुकीसारखी समूह्दृश्ये खूपच प्रभावशाली ठरली आहेत. थोडक्यात नेते होऊ पाहणाऱ्या कार्यकर्त्याचा हा ‘आवाज’ एकदा पाहायला हरकत नाही.
‘Rangakarmi’ – When Ego clashes with Conscience…
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Rating: ★★★
Studio: Shashi Sumit Motion Pictures Pvt. Ltd. Producers: Shashi Mittal & Sumit H Mittal Writer, Director: Sanjeev Kolte Editor: Failzal, Imran Mahadik Music: Praveen Kunwar. Cast: Dr. Amol Kolhe, Sheetal Dabholkar, Sharmistha Raut, Mohan Joshi, Prafull Samant, Devendra Dodke, Dinesh kanade, Mahesh Bodas, Deepjyoti Naik & Mrunal Gawde. Movie Review by: Ulhas Shirke |
It is a common observation to experience bad thoughts, as long as you don’t act on them. Generally, Bad thoughts keep coming, influenced by the environment and it is up to every individual to keep away from such thoughts. At the same time, Good thoughts also keep striking your mind . Acting on either of them is the choice of every individual. Latest Marathi film ‘Rangakarmi’ is about the rise and fall of a stage actor, who becomes a victim of his own thinking process.
The film cleverly communicates through two small black and white puppets, used by the actor , to express the clash of his ego with his conscience. Keshav Inamdar ( Dr. Amol Kolhe) is a struggling actor , who comes to Mumbai from his village in Maharashtra, only to become an actor. Initially, he works at back stage in a drama theatre. Being passionate about acting, he knows the dialogues of all the important characters by heart and entertains the back stage staff with his skills. His talent is noticed by a senior make-up artist Dwarkanath Kambli ( Mohan Joshi), who not only offers him shelter in his own house; but, also turns his mentor, by recommending him to play lead role of ‘karna’ in the drama on the great warrior.
Keshav, with his simplicity, not only wins the heart of Dwarkanath, but, also his daughter Minal ( Sheetal Dabholkar) and the producer Shantaram (Praful Samant). He seeks the help of Minal to improvise his clear accent, required for the plays. His talent takes him to a position, where he is required to take certain decisions about his entering the glamorous field of films. His co star Revathi (Sharmistha Raut), poisons his mind against his mentor and there comes a time, when Keshav tries to prove himself as greater than the audience. He separates from Dwarkanath and thus begins his downfall with excessive drinking. Lying on hospital bed in an emergency ward, Keshav shares his journey in this field, through flashback.
The film has an unusual subject, though it is somewhat based on the style of films like ‘Natarang’ and ‘Balgandharva’, throwing light on the real lives of a stage performer and a back stage artist . Very cleverly director Sanjeev Kolte, unfolds the journey of a young struggling actor, showing ups and downs in his life. His relationship with Senior make up artist Dwarkanath and his daughter Minal, his association with his selfish co star Revathi and his differences with his mentor.
They have been presented with perfection. But, the director has too many things to show, which results in speeding up every event in fast forward style. Instead of the patchwork of dialogues uttered by the hero, in the wing or in presence of his unit members, it would have been better, if he had made him enact the same on stage, with different get up. But, he has concluded the film very well, in the climax.
In the role of Dwarkanath, senior versatile actor Mohan Joshi has given a remarkable performance. Amol kolhe does find a suitable role to exploit his talent and he has done a wonderful job. In the role of Minal, Sheetal Dabholkar makes a good debut in Marathi films. She has played Minal with complete understanding about the character, displaying her inner feelings cleverly. Sharmistha Raut is the perfect choice for Revathi’s role and she has done a good job. Others in the character roles, have offered good support. Music by Pravin Kunvar has also played an important role, to create an environment of the 70s and 80s era. Photography is good but the art direction should have been more better.
However, looking at the sincere effort of the director to present his story and main characters, the film has turned out to be a sensible film, offering tributes to all those back stage artistes, who have served this industry with total dedication to their respective profession. More than keshav, it is the story of Dwarkanath, the make up artist, which is more touching in this film.