‘Sanshaykallol’ follows the same old track of comedy
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Rating: ★★ ½
Banner: Shree Swami Samarth Pictures Director: Vishal Inamdar Writer: Vishal Inamdar, Rajesh Kolan, Vijay Patvardhan, Sanjay Mone Cinematography: Suresh Deshmane Cast: Ankush Chaudhari, Pushkar Shotri, Gauri Nigudkar, Mrunmayee Deshpande, Kshiti Jog, Reema Lagoo, Sulekha Talvalkar, Sanjay Khapre, Shrirang Deshmukh, Rajesh Kolan Movie Review by: Ulhas Shirke |
Today, new Marathi film makers have been attempting something different through presentation of new subjects. The year 2013 seemed to be the year of path breaking films, with the release of few such films during the first quarter. But, come April and the regular Marathi Movie audience have become target of the same old formula of comedy. The best example is latest released Marathi film ‘Sanshaykallol’. Posing it as a Super Comedy, the film after its release has turned out to be just another average comedy film.
‘Sanshaykallol’ has a very limited plot, where Jaisinha( Ankush Chaudhari) a fashion photographer and his wife Asha (Gauri Nigudkar) who runs a readymade clothes boutique; keep on doubting each other. They have installed hidden cameras in each other’s office . Asha keeps close watch on the activities of her husband, while Jaisinh does the same by monitoring his wife’s movements in her boutique.
All goes well, till a TV actress Sharavani( Mrunmayee Deshpande) a girl friend of Dhananjay ( Pushkar Shrotri) walks in Jaisinh’s studio and faints in his studio, after completing a tiring shoot. While Jaisinh takes her to nearby clinic, her locket( presented by Dhananjay) drops in his studio. And that leads to misunderstanding. Asha, who watches her husband lifting Shravani on closed circuit camera, becomes more furious; as she finds the locket near his studio. When Asha is seen handling the locket by Jaisinh on close circuit camera; he locates the same locket later in her office drawer. After noticing the photo of Dhananjay in it; he becomes more suspicious.
Dhananjay too becomes suspicious about Shravani, when he finds a medical prescription of a maternity Home, from her Purse. This drama drags on for almost little more than two hours; with addition of few more faces entering into the team like Asha’s brother Mithun( Omkar Govardhan) having an affair with Chaitra( Kshitee Jog), who manages Asha’s boutique. Vishakha( Sulekha Talwalkar) a friend of Asha, who is a lawyer. Karthiki( Pooja Sawant) a customer at Asha’s boutique and her boyfriend Vrushabh ( Abhijit Satam) also join them. Then you also have Siddharth ( Siddharth Chandekar) co star of Sharavani in TV serial, Bhujangrao an informer cum Auto Rickshawala ( Sanjay Khapre), an understanding mother of Dhananjay ( Reema Lagoo) and Djhananjay’s producer friend –Makarand( Vijay Patwardhan); which forms a very big team besides other supporting cast.
Frankly speaking, the screenplay of this film fails to hold on the audience to their seats, for want of new interesting happenings. The dialogues too are not very effective; to create spontaneous laughter. We have seen such plots in many past films. Much was expected from director Vishal Inamdar; but, he hasn’t offered anything different in the screenplay. What appeals to the audience is the neat and clean photography by Suresh Deshmane and also good background music by kaushal Inamdar. Among the artistes, the chemistry between Pushkar Shrotri and Mrunmayee Deshpande works well . Both of them find suitable roles to their share. Mrunmayee, in particular, finds a better scope to display her emotions, in as many as five important scenes, including one with Reema Lagoo. She is so natural, throughout the film.
In the role of Asha, Gauri Nigudkar does make comeback into Marathi; with her perfect timing for comedy; but, there isn’t much scope for her to display her acting skills. But, Sanyogita Bahve’s designer costumes are well suited to Gauri, Mrunmayee and Kshitee, throughout the film. Ankush Chaudhary has become a typecast in the role of Jaisinh, after watching his similar kind of roles in films like ‘Jhakaas’,’Bluffmaster’ and ‘No Entry’ in the recent past. However, Kshitee Jog and Sanjay Khapre, support well. Pooja Sawant has limited scope in her guest appearance; but she invites attention with her presence on screen through those four scenes. Other members of the big team of artistes offer good support to this conventional Marathi film, which follows the same old comedy track.
‘Ekulti Ek’ turns too emotional
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Rating: ★★★
Screenplay: Khitij Zarapkar Producer: Sachin Pilgaonkar Director: Sachin Pilgaonkar Music: Jitendra Kulkarni Cast: Sachin Pilgaonkar, Shriya Pilgaonkar, Ashok Saraf, Koshori Shahane, Sidharth Memon, Nirmiti Sawant. Movie Review by: Ulhas Shirke |
Every film maker has his own style of presenting the film, especially when it is his own story. Actor- Producer-Director Sachin Pilgaonkar must have written this story to present his daughter Shriya in her debut film. Making it as his family affair, besides his good friends around, his new film ‘Ekulti Ek’ is also being offered on the day of golden day of completion of 50 years, for winning his first award as a child artiste.
For the past few days, Sachin was campaigning for this film, by becoming part of almost all popular Marathi Television programmes, raising expectations of the film lovers. But, the film has turned out to be more of a serious emotional drama between father and his daughter, rather than entertaining the audience, which his previous films did. Though there is good exchange of dialogues between father and daughter, contrary to the expectation, the screenplay of the film is not very impressive. The story of the film with limited contents, revolves around a popular singer Arun Deshpande, played by Sachin himself. Suffering from Insomnia, in spite of the name and fame; one fine day, he comes across his grown up daughter Swara (Shriya Pilgaonkar) , who visits him after 18 years, since he deserted her mother, when she was just 4 years old. The father pursues his singing career, but, is not willing for changing his singing style to suit the taste of new generation. It is at this time, his daughter arrives to remind him about the desired change in his attitude.
Knowing well about her father’s ego problems, the daughter tries her best to change him, with the help of his secretary Mehta( Ashok Saraf) and her boyfriend. In the meanwhile, Arun Deshpande encounters his wife Nandini( Supriya Pilgaonkar), who happens to be the person interviewing him for a Radio Channel. The discussion becomes too personal and Arun leaves the Radion station in a disturbed state of mind. Back home, he however, tries to help his daughter, to find a role in films; as per her wish. But now, the daughter has plans to marry her boyfriend. She says Good bye to her father, to return to her mother, who is preparing for her wedding. The film concludes with happy ending, as predicted. Only surprise given at the end is revealing the daughter’s real profession.
Only good part of the film are the dialogues and performances by the artistes. Both Sachin and his daughter Shriya have performed very well. Shriya in particular has worked very hard, to present herself in all the scenes. But, it is Supriya Pilgaonkar in those limited scenes to her share, invites all the attention. She is simply superb, in the Radio interview session. Surprisingly, humour finds very limited space in this film. It is only the presence of Ashok Saraf in few scenes, helps to generate spontaneous laughter. Only other humour filled scene is the Police station scene.
Kishori Shahane Vij has limited scope in the film, playing as Sachin’s close friend in the music industry. Siddharth Menon is just fine. Swapnil Joshi and Nirmiti Sawant have just one scene each for them in guest appearance. Same is the case with Vinay Yedekar. Music by Jitendra Kulkarni has limited scope in the film. Sonu Nigam’s promotional title song appears after the end of the film, when people walk out of the cinema hall. But, the cinematography by Rahul Jadhav is fine.
As a director, Sachin Pilgaonkar has made a sincere effort to present his story and has given more importance to father and daughter conflict. However, he has avoided the scenes leading to husband and wife separation. He has also avoided the scenes between mother and daughter, except for the one at the end. This clearly indicated that the director wanted to give more prominence to his daughter, to exploit her potential. But, in the process, these scenes have been stretched too long, making this film little more than two hours in length. There is nothing very special about this film, except for fine performances, suitable background music and fine photography.
‘Kokanastha’ is a just a remake of ‘Viruddh’
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Rating: ★★ ½
Studio: Great Maratha Entertainment, Star Pravah Producer: Aniruddha Deshpande, Medha Manjrekar Director: Mahesh Waman Manjrekar Music: Akshay Hariharan Cast: Sachin Khedekar, Upendra Limaye, Jitendra Joshi, Sonali Kulkarni, Rohan Talawarkar, Vidhyadhar Joshi, Vaidehi Parshurami Movie Review by: Ulhas Shirke |
Mahesh Manjrekar’s new film ‘Kokanastha’ had created a controversy among section of people, when the poster of this film carried the lead hero dressed up as a RSS volunteer. Even the tagline of the film ‘Taath kana Hach Banaa’ (An erect spine defines your character) had raised the hopes of the audience, expecting the film to be another dose of inspiration for Marathi manoos.
Though the shrewd film maker had defended himself, stating that he was going by the script; he has almost fooled all his critics and supporters. After watching this film, it has come to notice that the get up of the protagonist as a typical RSS volunteer, is just limited to the concluding scene, a little before the climax of the film.. In fact, ‘Kokanastha’ is just a remake of 2005 Hindi film ‘Viruddh’ produced by Nitin Manmohan and directed by Mahesh Manjrekar himself, on his own story.
We are already watching Sachin Khedekar in the role of a programme host of TV show ‘Kaun Hoil Marathi Karodpati’ a reality TV show run on the lines of KBC hosted by Amitabh Bachchan. In ‘Kokanastha’, he plays the character played by the superstar, by only changing his surname from Vidyadhar Patwardhan to Ramachandra Gokhale, a retired man living with his wife also a retired professor (played by Sonali Kulkarni). As per the original story, their only son Rohan ( played by Rohan Talwalkar) returns home from Switzerland after studying his Hotel management there. He comes with his girl friend turned wife (Vaidehi Parshurami) giving a surprise to his parents.
Rohan gets involved into a fight between the Home Minister’s son and his dancer girlfriend. When Rohan is on his way to the party of his friend at a hotel, he witnesses this Politician’s son killing his girlfriend point blank. He tries to stop him; but his bodyguards beat him up and the Minister’s son shoots him. Being a Home Minister’s son; the Police initially refuse to lodge FIR. But, Ramachandra succeeds in making a strong case against the Minister’s son. In the court, it is proved that Minister’s son was away in Nashik at the time of this incidence and the only witness who is a close friend of Rohan turning hostile, during cross examination.
As per the original script, the film goes on to show the nexus between both the lawyers and also shows the Police department’s apathy in investigating the case and falsely implicating Rohan’s wife in a drug trafficking case along with her late husband; obviously due to the political pressure from Home Minister. Finally, we see Marathi’s Amitabh Bachchan fighting his lone battle, to teach a lesson to the Minister , settling the scores.
‘Kokanastha’ has therefore turned out to be a predictable film, having seen the Hindi version. Even otherwise, audience from Maharashtra don’t miss Big B’s films. And, ‘Viruddh’ was released just 8 years ago. But, for those, who haven’t seen the original film, this film is a worth watch. Ajit Reddy’s cinematography is good and so is the superb sound effects. The use of VFX has certainly helped the film, in some of the sequences. Both Sachin khedekar and Sonali kulkarni have played their roles with complete understanding of the situation. But, it was unnecessary to show a song picturised on them in the pre interval session. Even during the post interval session, when the film takes a firm grip on court proceeding, the couple is shown in unwanted discussion, while at home.
Newcomer Rohan Talwalkar gives a satisfying performance. It was a good choice to select him for the role played by John Abraham in ‘Viruddh’, as his character did not require a big name. Vaidehi Parshurami (who made her debut through ‘Ved lavi Jeeva), suits well in the role of Rohan’s wife. In the supporting cast, Upendra Limaye does a good job as a Motor garage owner – Pagare, in the neighbourhood. As a protagonist from Dalit family, he has very cleverly shown his aggression against injustice, while helping Mr. Gokhale. In the original film, this role was performed by Sanjay Dutt. But, Upendra has played this character in his own style successfully. However, the talented artistes like Vaibhav Mangale and Bhalachandra kadam are just name sake in this film.
‘Kokanastha’ is a well presented film; but, after all it’s a remake of a Hindi film made by the same director, which is slightly disappointing!
“We are on….” is all about cricketainment
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Rating: ★★★ ½
Banner: Maitra Entertainment Producer: Sandhya Gokhale Director: Amol Palekar Story – Screenplay: Sandhya Gokhale Dialogues: Sandhya Gokhale Cinematography:Amol Gole Cast: Ashok Saraf, Dilip Prabhavalkar, Ramesh Bhatkar, Manoj Joshi, Pushkar Shrotri, Upendra Limaye, Anand Ingale, Satish Pulekar, Vijay Kenkre, Satish Alekar, Ajit Kelkar, Shreeram Pendse, Sunil Godbole, Goutam Joglekar, Sameer Chougule, Sandeep Pathak, Nivedita Saraf, Vandana Gupte, Shilpa Navalkar, Suhasini Paranjape, Atisha Naik. Movie Review by: Ulhas Shirke |
Cricket has played a very important role in offering entertainment to people in India. And, if you are offering cricket in the form of entertainment through a feature film, it certainly invites the attention of film lovers. Films like ‘Lagaan’ and ‘Iqbal’ are the best examples. Now, at a time when IPL T20 Cricket fever is on, film maker Amol Palekar comes with a timely entertainment, through his new Marathi film ‘We are on, Houn Jau Dya’. Picking up popular veteran and young stars in the cast, Amol has cleverly managed to have two teams of cricket, to offer new form of cricketainment to Marathi film lovers.
Ideally set on the backdrop of Pune, known as the city of pensioners and at the same time the city of sports lovers; he has presented an altercation between the regular morning walkers and young enthusiastic cricket lovers; over the use of ground during the early morning hours. While the group of senior citizens complain about the nuisance caused by the youngsters, during the early morning hours; the youngsters, some of whom are their own family members, claim it as their right to play to relieve their stress, as they are otherwise working people.
The youngsters are keen to participate in the 25 lack prize money tournament at Nashik , as the only team from Pune; but, the seniors call it a craze for the game. To sort out the issue, finally it is decided to have a match between the youngsters and seniors, involving their well wishers, family members and also sponsors to watch the climax; which runs about 30-40 minutes towards the concluding part of the film.
Needless to mention that the seniors realising their limitations, use all the tactics possible, besides challenging the existing rules of the game. As a director Amol Palekar, having been influenced by his mentors Hrishida and Basuda, has sincerely paid tributes to his masters through this film. Through one of his main characters Andalkar (played by Makarand Anaspure) he has used almost the similar tactics during the cricket match, which he himself attempted as an actor, while playing a table tennis match against Asrani on the advice of his Guru Ashok Kumar in the film ‘Chotisi Baat’.
As a film maker, Amol Palekar has received good support from Sandhya Gokhale through screenplay and dialogues, for his own developed concept. In the pre interval session, we find every character and his family being introduced properly, through humour filled scenes. This entire session we find situation based comedy, with good support coming from versatile artistes like Dilip Prabhavalkar, Vandana Gupte, Ashok Saraf, Nivedita Saraf, Ramesh Bhatkar, Satish Alekar, Ajit kelkar, Shriram Pendse, Sameer Chougule, Manoj Joshi, Atisha Naik, Anand Ingale, Upendra Limaye, Pushkar Shrotri, Gautam Joglekar, Satish Pulekar, Sandeep Phatak, Shilpa Navalkar and others. Above all, you find surprise guest appearance by a famous former India Cricketer.
Dilip Prabhavalkar and Vandana Gupte in particular, have matched well as Ponkshe couple, still trying to look younger despite becoming grandparents. Ramesh Bhatkar as Retired Col. and Satish Pulekar as former Ranji Player, play their respective roles with a difference. Makarand Anaspure, finds himself in the company of senior citizens, playing their guiding force. It was nice to find Saraf couple together after a long time, playing so naturally ! Manoj Joshi as a Gujarathi friend in the group, plays the happy go lucky bachelor is style. Atisha Naik with Sameer Chougule succeed in creating laughter in few scenes. Among the youngsters, Anand Ingale and Sandeep Phatak are at their best. Pushkar Shrotri and Gautam Joglekar have almost underplayed their characters. But, it is Sandeep Phatak, who invites all the attention, with his flexible character.
Music does not have much scope in this film, except for one good musical song composed by Avinash Vishwajeet. The background music and sound effects have been used well. Cinematography by Amol Gole captures all the details of the celebrity cricket match very well. “We are on Houn Jau Dya’ is all about cricketainment. But, it’s a well presented timely film.
Fight of a common man against Violent ‘Yeda’
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Rating: ★★★
Banner: Maitra Entertainment Producer: Satish More, Sneha Tambe, Girish Salvi, Laxman Salunkhe, Aditya Sharma Director: Kishor Pandurang Belekar Story – Screenplay: Kishor Pandurang Belekar Dialogues: Girish Salwi Cinematography: Raees Ansari Cast: Ashutosh Rana, Reema Lagoo, Kishori Shahane, Satish Pulekar, Aniket Vishwasrao Movie Review by: Ulhas Shirke |
Director kishore Pandurang Belekar known for his debut Marathi horror film ‘Sa Sasucha’ and Asutosh Rana better known for his portrayal of dangerous characters in films like ‘Dushman’ and ‘Sanghrash’ have come together to offer new Marathi film ‘Yeda’, which is also debut film of Ashutosh Rana in Marathi. Therefore, this film had a special significance, knowing the capacity of these two people in their respective departments i.e. direction and acting. Moreover, the film having received ‘A’ certification of Censors, it was certainly expected to be horror filled film.
Set on the backdrop of a small town off Mumbai, the story of the film revolves around a psychic character of Appa Kulkarni ( Ashutosh Rana) who tortures his wife Savitri ( Kishori Shahane Vij) and wants his only young son Unmesh ( Aniket Vishwasrao), who is a Site Engineer, to marry a girl from wealthy family, so that he could recover all the expenses, he spent on his education. But, Unmesh who is in love with Pradnya( Pradnya Shastri) the only daughter of a postmaster from local Post office Mr. Vasant Narvekar( Satish Pulekar).
Knowing the dangerous nature of her husband, Savitri encourages her son to flee with Pradnya, suggesting him to take up another job at a new place. Pradnya gives a shock to her parents, as she flees with Unmesh, without taking them into confidence. Her mother Sadhana ( Reema Lagoo) feels more hurt. But, the psychic father of Unmesh doesn’t take this shock lightly. When Unmesh returns with his wife to seek the blessings of his kind hearted mother; Appa is almost on the verge of killing his own wife; who suggests her son to run away . Both manage to escape, as Appa follows them.
Appa is now after the blood of his own son and his daughter in law who is now pregnant. Violent Appa succeeds in his series of killings, targeting whoever comes in the way. Helpless Pradnya returns to her parents in that condition and finally delivers a baby boy; but breathes her last during delivery. The child is now in the custody of Vasant and Sadhana Narvekar; who are threatened by Appa to hand over the child. The entire post interval session is filled with mystery, as to what would be the next step of Appa and how Vasant Narvekar would face him. After face to face battle, Vasant escapes from the clutches of violent Appa in the climax, due to intervention of Police brought by his wife.
While he is overpowered by Police team, he warns Vasant that he would return soon to take back the child. And courageous Vasant dares to answer him back, stating that between him and his grandson, he would stand like a wall, to accept his challenge. In the climax scene, Vasant could have finished Appa in self defence; but it seems that the director had a sequel of this film in mind. The film which had held its grip over the screenplay for 130 minutes , therefore failed to satisfy the audience in the climax with an expected revenge, which was perhaps differed till part 2 of ‘Yeda’, as indicated through the concluding dialogue.
Technically, ‘Yeda’ is a well presented film by director Kishore Belekar , with good effective sound recording by Sanil P.K. and good support of location sound coming from Anil Nikam. Photography by Raees Ansari is very apt to the screenplay of this film. In the lead role Ashutosh Rana has really worked hard to present his dangerous character. He has received good support from versatile senior artistes like Satish Pulekatr, kishori Shahane and Reema Lagoo, who have performed equally well. In fact, it is a common man’s (Vasant Narvekar’s) courageous fight against violent ‘Yeda’ (Appa).
The young performers Aniket and Pradnya do not find much scope in this film; but, they have played their roles satisfactorily. Barring the violence part and not so convincing climax, ‘Yeda’ is otherwise a good creation.
Mrinal defines meaning of ‘love’ in her own style
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Rating: ★★★ ½
Banner: Bhupat Bodar Enterprises, Amol Production Producer: Praveen Thakkar, Director: Mrinal Kulkarni Story: Mrinal Kulkarni Screenplay: Manisha Korde Cinematography: Amalendu Choudhary Cast: Sachin Khedekar, Mrinal Kulkarni, Pallavi Joshi, Sunil Barve, Suhas Joshi, Mohan Agashe, Smita Talvalkar, Neha Joshi, Vidyadhar Joshi, Sidharth Chandekar. Movie Review by: Ulhas Shirke |
A marriage ceremony is usually a happy event. It’s only the living together with understanding in the post marriage period, is all that important to make the couple happy. Today, we hear about rising number of divorce cases, taking place soon after marriage or sometimes even after spending over 10-15 years together. In some cases, it is just a mutual consent between the couple keeping friendly relations, after their divorce; just to keep their children happy. But, does that make the children really happy?
In some cases, either the wife or the husband is away pursuing their career. Among today’s young lovers even before marriage, there are a few break ups. The new trend especially among girls is to postpone the marriage; till they find a suitable match. Till then, live-in-relationship is preferred by them.
In comparison, the people of old generation, who try their best to keep such aggrieved couples together, consider themselves lucky to find their suitable partner and living with them with perfect understanding, throughout their life. But, how is it affecting the young generation, comprising of children? How are they looking at marriage? This is what actress turned director Mrinal Kulkarni has tried to show through her latest released film ‘Prem Mhanje Prem Mhanje Prem Asata’.
Dr.Rohit Phadnis (Sachin Khedekar) is a reputed Doctor in Pune, running his OPD in his own bungalow. His career oriented Astro-Physicist wife Pradnya (Pallavi Joshi) has preferred to migrate to USA after divorcing her husband, leaving him in the company of two children. Living in the same area is Anushree (Mrinal Kulkarni) with her mother-in-law (Suhas Joshi) and two daughters Piya and Ria. Her husband Kedar (Sunil Barve) has deserted her for the past four years. Yet, Anushree’s mother-in-law having a soft corner towards her daughter-in-law, prefers to live with her, taking good care of her grand-daughters; while Anushree is busy running her own florist’s shop.
Dr.Rohit’s and Anu’s children are studying in the same school. One day, while Piya is injured during her basketball match in the school, she is attended by Dr.Rohit. And that incident brings both Rohit and Anu together. While Dr. Rohit still maintains good relationship with his ex-wife, like a good friend, regularly communicating over phone; Anu doesn’t want to see the face of her husband, who has deserted her. But, Kedar is regularly in touch with his daughters over phone, especially his elder daughter Piya (Asmita Joglekar).
At a time when Dr.Rohit and Anu come closer; Kedar returns back home to drop his mother and daughters from a ceremony and so does Pradnya at Rohit’s place , to attend her brother’s wedding. The relationship between Dr.Rohit and Anu reaches a stage, where both of them have to take a crucial decision. Rohit is firm on his decision and suggests Anu to take her own decision; suggesting that he would always welcome her in his life. In the climax scene, Writer-Director Mrinal takes her bold decision.
As a debutant Director, Mrinal does have certain limitations; but, her sensible script and a desire to send across a strong message with the help of realistic characters helps her to make her presence felt, both as an actress and a director. However, the screenplay by Manisha Korde could have been much more interesting to create the desired impact through few important situations present in the script. She has managed well to take that sudden twist during the interval ; but barring that she has not used the shifts during important sequences skillfully. The wedding ceremony of Pradnya’s brother, has been used just namesake. Similarly, the character of Kedar hasn’t been highlighted much, to indicate the reason for deserting Anu. It is only the fine performances from the artistes, makes you ignore such minor lapses in screenplay.
As a director, Mrinal shows her concern for children who are witness to such estranged relationship of their parents. She clearly shows it through their emotions. At the same time, she shows the sufferings of a woman who has been deserted by her whimsical husband. In that climax scene, she literally stands up to speak up for all such women, who helplessly welcome their husbands back home, in spite of being deserted by them for years. In the same scene, she questions, whether a husband would welcome his wife with the same fervor, when his wife returns back home after staying away for years, deserting her family?
At the same time, she also shows an elderly couple, living with perfect understanding through the characters of her parents played by Mohan Agashe and Smita Talwalkar. Last but not the least, she has presented her younger sister’s ( Neha Joshi) character so perfectly, showing the trend of break ups between young couples even before marriage. In short, she has tried her best to define ‘love’ and its relevance to marriage in her own style. And that really makes this film a worth watch for all age groups.
Excellent photography by Amalendu Choudhary, good music, meaningful lyrics, sensible dialogues and above all, the wonderful performances by all the artistes, gives an artistic touch to this thought provoking film.
‘Aajcha Diwas Majha’ depicts clash of Ego with Conscience
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Rating: ★★★
Studio: Everest Entertainment, White Swan Producer: Puja Chhabria Director: Chandrakant Kulkarni Music: Ashok Patki, Mangesh Dhakde Cinematography: Rajan Kothari Cast: Sachin Khedekar, Ashwini Bhave, Mahesh Manjrekar, Pushkar Shrotri, Anand Ingle, Hrishikesh Joshi, Sunil Tawade, Bharat Ganeshpure Movie Review by: Ulhas Shirke |
Never humiliate anyone with your pride or ego. Time comes, when you learn through your own mistake, however powerful person you are. This is what director Chandrakant Kulkarni’s new film ‘Aajcha Diwas Majha’ tries to suggest, through a happening in the life of a Chief Minister of Maharashtra, who has just returned from Delhi, managing his position, in spite of facing opposition from his own ministry.
It so happens that one evening CM(Sachin Khedekar) along with his wife(Ashwini Bhave) attend the wedding in the family of chief justice, where the Governor of the state, an arch rival of CM is also present. CM deliberately arrives late, almost at the time, when Governor is about to leave. He confronts with him in presence of his wife. Later when the chief justice introduces him to dignitaries present at the function; he notices one of them not standing up to greet him. When the chief justice is about to introduce this special guest who is a classical singer; the chief minister humiliates him and suggests to the chief justice about his rude behaviour. But, when the chief justice tells him that the singer is blind; he repents his mistake.
The minister becomes restless and feels ashamed of himself for his behaviour in public. He leaves the function hurriedly and on reaching home, sends his Personal Secretary P.D. Shinde ( Rishikesh Joshi) back to the function to find out, what way he could help the singer. When he comes to know that the singer has sent an application in the form of reminder to allot a flat from CM’s special quota for artistes, he orders to reopen his previous application made eight years ago, during other CM’s regime.
The entire department of Housing is summoned to Mantralaya that late evening, so as to issue the keys of the flat to the singer next day morning. The Housing Secretary Mr. Rahmatpurkar ( Mahesh Manjrekar) , who is an IAS officer, is initially reluctant to attend to such a request; but, he cannot say anything when CM speaks to him personally. Then we see all the concerned people at the deputy secretary level, assistants and the steno/ typists at work during that night.
The film throws light on the personal life and problems of an IAS officer, working as Secretary at Mantralaya, the Personal Secretaries to Ministers and the other important staff; who are 24 hours at the service of CM. In the climax scene, we find the shrewd CM, taking his own decision, realising the game played by the IAS officer, while allotting the flat from his quota to the singer.
The film has limited theme; but director Chandrakant Kulkarni has very cleverly generated interest in the screenplay, whether it is thought provoking confrontation between CM and the Governor, or between CM and the chief Secretary and also the rivalry between CM and the Industry Minister from his own cabinet. There is one dialogue which is uttered by CM to the Governor, who is also seeking power, “That Governor is the best, who governs the least.”This is all we have been experiencing in every state of India. But, the treatment given to the political based script of this film is different.
In the role of CM, Sachin Khedekar has proved that he is a versatile actor. Ashwini Bhave has played his wife’s role confidently, paying more attention on her perfect rural accent. Mahesh Manjrekar, playing the IAS cadre Secretary, looks a perfect match for this role. He finds an opportunity to display his frustration, when he encounters his own daughter( Poorva Pawar) rejecting the proposal of IAS fresher and expresses her desire to marry someone with strong political background. In the roles of other officers from Mantralaya, talented Pushkar Shrotri and Anand Ingale have played their parts very well. But, it is Rishikesh Joshi, in the role of CM’s Personal Secretary, steals the show. He has expressed his emotions very well, especially when he regrets his inability to return home that night, to greet his son, who has passed the Board exams with 92%.
Others in the supporting cast look very realistic. Music has limited scope in this film; but the classical song picturised on the blind Singer is good. Dialogues are well written with perfect sound and editing work. In short, ‘Aajcha Diwas Majha’ is the clash of Ego with conscience, when the person holding the highest post in Maharashtra Politics, realises his mistake and tries to recompense, going out of his way.The film is a tribute to Cinematographer late Rajan kothari, who has left his memories with his excellent photography in this film.
‘Tuhya Dharma Koncha?’- focuses on dilemma of Tribals
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Rating: ★★★ ½
Producer: Abhay Gadgil, Shrirang Godbole, Mohan Damle Director: Satish Manwar Music: Dattaprasad Ranade Cinematography: Parixit Warrier Cast: Upendra Limaye, Vibhavari Deshpande, Kishore Kadam, Suhas Palshikar, Suhas Shirsat, Gauri Konge, Ramesh Medhekar, Shashank Shende Movie Review by: Ulhas Shirke |
God has no religion and therefore changing the God to offer prayers, does not change your religion. Latest released Marathi film ‘Tuhya Dharma Koncha?'(What is your religion?) tries to explain how poverty forces a poor family towards conversion to another religion and later goes on to show how the family has to face the ire from their own community. In fact, director Satish Manwar ( Gabhricha Paus fame) tries to explain the dilemma of tribals, who fall easy prey to opportunists and fanatics.
Set on the backdrop of a tiger sanctuary in Northern Maharashtra, the film revolves around a tribal family of Kavadu (Upendra Limaye) who lives in a small tribal colony with his wife Bhulabai (Vibhavari Deshpande) a small kid and a new born baby. One day, Kavadu is falsely implicated and put under trial for killing a tiger. In the absence of the bread earner in the family, Bhulabai becomes helpless when her new born baby needs immediate medical attention. She does visit the municipal dispensary at a nearby village; but can’t afford the costly food supplements prescribed. Later, when the child is seriously ill, on the suggestion of a lady from her tribe; she takes her son to a Father of a Christian missionary, who is a doctor. Indebted by the kind hearted Father and the Nun from the missionary, who offer her free treatment and food for her kid; Bhulabai regularly attends the mass at the church. She also gets converted into Christianity, only to face ire of local tribal community. Finally, Kavadu is declared innocent, as the real culprits are arrested. But, the a group of Hindu fanatics force Kavadu and few others from the village to get reconverted into Hinduism. Finally, Kavadu and his wife understand who their real God is, as they embrace a traditional tree in the last scene, to show their faith in Nature God.
The film does deal with a sensitive issue with utmost care, without hurting the sentiments of any religion. When the Father of the church (Kishore Kadam) tells the Nun (Sneha Majgaonkar) that he was not interested in keeping the count of number of conversions; but, would be happy to find even one such true devotee of his religion; it makes his selfless service very clear. At the same time, a Hindu priest, who is spreading the importance of his religion and showing his opposition to conversions; is himself shown against violence. It is only few of his devotees, lock him up and get involved into violent activities. As a result of their aggression, the poor tribal community is in a dilemma. The director has also shown the Naxalite movement in this region; and the reason for their taking up the arms. But, in the film’s screenplay, the director has shown them neutral, in the religious uproar. There is one possibility that some of the portion must have undergone cuts at the Censor’s table.
Director Satish Manwar has however presented his subject in a realistic manner. He has used the ahirani language very well throughout the film, which is a tribute to Bahinabai Chaudhary, whose all original poems were in this language. Cinematography by Parixit Warrier is simply superb. So is the suitable music score by Dattaprasad Ranade and background score by Augustine Samuel and the wonderful flute played by Navin Iyer from South. In the role of Kavadu, Upendra Limaye has given one more fabulous performance after ‘Jogwa’. Vibhavari Deshpande has supported him well, as a helpless wife. She has expressed herself very well at every situation through her eyes. In the role of Father of the church, Kishore Kadam is at his best. The dialogues are apt to every situation. The film does throw light on the existing situation in tribal region and shows how the Government’s apathy, enables external forces to exploit their poverty.
‘Dhating Dhingana’ offers old wine in a new bottle
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Rating: ★★ ½
Studio: Aaditya Production Producer: Aditya Dadhe Director: Mandar Devasthali Music: Ajay Atul Cinematography: Sanjay Jadhav Cast: Prasad Oak, Ankush Chowdhary Atul Parchure, Shweta Shinde, Aditi Sarandhar, Neelam Shirke, Anand Abhyankar, Arun Nalavade, Vandana Gupte, Smita Talwalkar, Uday Sabnis, Digamber Naik, Vidhyadhar Joshi, Suni Godse Movie Review by: Ulhas Shirke |
At a time when Marathi films are going for a change, with new subjects; some film makers still believe in following the traditional track of comedy, with nothing new to offer. There is no doubt that Feature films are a form of entertainment. But, the entertainment aspect should have such content which should keep the audience engaged from start to finish. Simply forming a big team of artistes and making them perform the scenes without the support of well presented screenplay, does not necessarily receive appreciation from the audience. Latest released film ‘Dhating Dhingana’ is one such film, which moves pointless; with foolish acts well suited to the title of the film; performed in rotation by different characters of the film.
Rahul( Ankush Choudhary) who is the most eligible bachelor, reads Superman Comic books and dreams of marrying a Girl, whose life is filled with adventures. His mother Snehal ( Vandana Gupte) wants him to marry her old friend Colonel’s (Late Anand Abhyankar’s) fashionable daughter Gauri( Aditi Saragdhar), who too is looking forward to marry a dashing young man.
So, to make his mother happy, Rahul calls Gauri over phone and asks her to come dressed up in modern clothes at a temple campus; so as to enable both of them to identify each other in a thrilling manner. But, Rahul mistakes Nisha, a pick pocket; for Gauri and Gauri is mistaken to be his relative by Devaa( Prasad Oak), who comes to Pune from Alibaug for a job in a bank .At the same time, Inspector Rasal( Atul Parchure) and his lady assistant inspector ( Shweta Shinde) are on a mission to arrest a gangster( Uday Sabnis) , who is expected to visit a bank, to deposit the stolen diamonds in the Bank’s locker.
It is almost at the same time a gang of Five short men plan to rob the bank. So, we find all the characters assembled inside the ABC bank. The gang of short men dressed up like Schoolboys enter the bank and manage to steal the money at Gunpoint; while the Police Inspector and his assistant are on duty outside the bank. Nisha manages to capture the bag from the Gangster almost around the same time and she flees along with Devaa; while Rahul is left in the company of Gauri. But, the Gangster lays a trap as witnessed in the old Bollywood films. Finally, they all unite together at Alibaug with the help of Police, to stop the Gang of short men and the Lamboo gang led by a Gangster, from running away to Dubai.
The film begins well, indicating that it would be a fantasy. But, as it progresses; the audience is subjected with foolish acts of different characters; which hardly make you laugh. Film literally drags till interval. The script is weak, especially in screenplay and dialogues. Mandar Deosthali’s direction is not impressive enough to create the desired humour, expected by sensible film lovers from him. Perhaps, the kids may enjoy some of the scenes.
The characters played by Vandana Gupte, Smita Talwalkar, Arun Nalawade, Vidyadhar Joshi, Savita Malpekar, Anand Abhyankar and Digambar Naik are just name sake in the film. The last two artistes are with their mask on, in the limited roles to their share. There were big expectations from Music directors Ajay Atul. But, there are just two songs; one of which is a Group performance, suited for title music at the end; but used at a wrong place.
The performances of Ankush Choudhary, Prasad Oak, Aditi Sarangdhar, Neelam Shirke, Atul Parchure and Shweta Shinde are satisfying; but, it gives an impression that they were performing on stage. Moreover, the film’s shooting seems to have taken place at least 3 to 4 years ago. The preparations for Commonwealth games in Pune is clearly noticed with proper upkeep of roads and the banners which are captured by Sanjay Jadhav’s neat and clean cinematography. Incidentally, Sanjay has also played a small cameo in this film. ‘Dhating Dhingana’ offers nothing different; but a typical situation based average comedy; in the form of old wine in a new bottle.
JMDB uses Punjabi Tadka for a Marathi recipe
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Rating: na
Producers: Atul Kamble and Avadhut Gupte Director: Avadhoot Gupte Music: Nilesh Moharir Cinematography: Rahul Jadhav Cast: Abhijit Khandkekar, Prarthana Behere, Vikram Gokhale, Punit Issar, Shuhangi Latkar, Priyadarshan Jadhav, Varun Vij, Monika Dabade, Ganesh Mayekar and Manreet Kaur. Movie Review by: Ulhas Shirke |
We have seen many Bollywood films using Punjabi tadka in their productions, which has resulted in offering a hit recipe to Hindi film lovers. Now, Avadhoot Gupte has played the same trick in his latest released film ‘Jai Maharashtra Dhaba Bathinda’ which has gone the DDLJ way. The film’s one liner tells you the story of a well to do Maharashtrian youngster, who goes all the way to Punjab to open a Dhaba, serving Maharashtrian food; only to accept the challenge thrown by a Punjabi hotelier in Maharashtra.
Having found the necessary ingredients for his recipe, the director has cooked up his screenplay in such a way that he could offer a taste with a difference to our traditional Marathi audience. The film revolves around a young man Sayaji Nimbalkar( Abhijeet Khandkekar) from Pune, who opens a Dhaba in Punjab and serves traditional Maharashtrian preparations.
He successfully celebrates 1st anniversary of his Dhaba, when he comes across a Punjabi Girl Jas( Prarthana Behere), who comes from Maharashtra, to attend wedding of her cousin.
Sayaji, not only faces hurdles in his business from his Punjabi competitor in the neighborhood; but also in his love. The screenplay of the film does raise doubts in your mind, about the behaviour of the lead characters, with the progress of events; as certain scenes shown in flashback does confuse the audience. Everything becomes clear only in the climax, when Sayaji arrives with Jas in Pune; though some hints are given through few dialogues.
Director Avadhoot Gupte has used his skills well, to surprise the audience at the stroke of interval and during the concluding part of the film. But, what makes the film more appealing, is Rahul Jadhav’s excellent cinematography. Very intelligently, he has captured the fields of Punjab and other locations to get that real feel of small Punjab township. Even his aerial photography is so good that it reminds you of any Yash Chopra film, particularly DDLJ.
The choice of two television stars making their debut in lead roles in this Marathi film, was a right decision of the film maker; as both these artistes have given their best. Prathana Behere, the ‘Pavitra Rishta’ girl, looks stunning in many close up scenes. She has expressed very well, to match with many scenes, which kept the audience guessing her real identity. Playing the male lead, Abhijit Kahandkekar scores with his acting skills; though some of his action scenes are not convincing.
Vikram Gokhale plays his part with conviction, using his past experience to dominate those few scenes, he has to his share. But, Priyadarshan Jadhav is an attention grabber. Using all his skills of past stage performances, he has played the young Marathi speaking Sardar from Punjab very effectively. It is because of his presence, the film has offered light entertainment through his perfect body language. In the supporting cast Punit Issar, Shubhangi Latkar, Priyadharshan Jadhav, Varun Vij, Monika Dabade, Ganesh Mayekar, Manrit Kour have done a good job.
Music by Nilesh Mohrir is pleasing, in every situation based song played in the film. The film does pass a social message besides inspiring today’s Marathi youth to accept challenges in life to set up their own business anywhere in India. To fulfill the requirement of wholesome entertainment, ‘Jai Maharashtra Dhaba Bathinda’ has used Punjabi tadka for a Marathi recipe very well.