‘Saad’ takes a call on Mother-Son emotional relationship
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Rating: na
Banner: Abhiruchi Films Producer: Hemant Dabhade Director: Hemant Dabhade Story: Anand Mhasvekar Story Development, Screenplay, Dialogues: Deepak Deulkar Music: Arvind Haldipur Cast: Anlesh Desai, Avantika Salian, Ila Bhate, Arun Nalavade, Yateen Karyekar, Prasad Pandit, Ravi Patvardhan, Sanjeevani Jadhav, Bhagyashree Rane, Vivek Pandkar, Yashwant Chopade, Mayur Pawar, Redhi Movie Review by: Ulhas Shirke |
“To a mother, a son is never a fully grown man; and a son is never a fully grown man until he understands and accepts this about his mother.” Latest released Marathi film produced and directed by Hemant Dabhade takes up a call from a mother living in a village near Pune in Maharashtra, for her son, who is thousand miles away from her, well settled in Malaysia.
The main plot of ‘Saad’ revolves around a 24 year old young man Rahul (Anlesh Desai) ,who is happily living with his well to do parents in Malaysia and is himself an executive in a company. He finds his companion in Sarika (Avantika Salian) from Mumbai , who is on deputation for 4 months in his Malaysia office. Both come closer and friendship grows between them, so much so that on one occasion both are found together by the youngster’s father- Mr. Deosthali (Yatin karyekar) in the bathroom of the house celebrating Rahul’s birthday.
Sarika returns to India and continues to be friendly with Rahul. When Rahul gets his promotion, he is given an option of US or India for his next posting. Surprisingly, he decides to opt for US to make his mother (Redhi) happy. But, a particular occurrence of an event in presence of father and son, takes him into his real past life. Rahul decides to proceed to Mumbai in search of his biological mother to know, why she deserted him.
After reporting for his job in Mumbai, he along with Sarika proceed to Pune, where his foster parents had adopted him, as a one year old child. But, is disappointed , as the Manager of the Children’s home refuses to reveal the name of his biological mother. Rahul gets the support from Sarika’s advocate father (Arun Nalawade). In the meanwhile he finds his accommodation as a paying guest in a posh house of a lonely middle aged lady (Ila Bhate), who treats him like his mother. After winning the legal battle, Rahul finally reunites with his biological mother, who is bed ridden. He comes to know the reality behind his birth and helplessness of his mother. Finally, the film concludes with his Malaysian parents coming to India to meet him, out of love and affection.
It’s not that we have not seen films based on this emotion based subject before. There were many such plots noticed in past Bollywood films. But, makers of ‘Saad’ must have felt that it was the right time to place before the Marathi audience this theme, originated from Anand Mhasvekar on Mother and son emotional relationship. So, writers Deepak Deolkar and Aarti Desai developed the theme into cinematic format with their screenplay and Deepak Deolkar along with Anand Mhasvekar working on the dialogues to make the film filled with emotional touch.
As a hero making his debut, Analesh Desai is just fine. He has to work harder, if he needs to compete with others. Avantika Salian shows promise, with her confident looking performance, though she has limited scope in this film. Veterans Yatin karyekar and Arun Nalawade make their presence felt with the working style of their own. As Rahul’s Malaysian mother- Redhi who also makes her debut in Marathi , just serves the purpose through her presence on the screen . Ila Bhate, Sanjivani Jadhav, Ravi Patwardhan, Prasad Pandit and Bhagyashree Rane have done well through their small roles. Newcomer Mayur Pawar is impressive in his mini role as Rahul’s office colleague, who finds him accommodation in Mumbai. He has succeeded in creating humour through few dialogues he has to his share, in this otherwise emotion filled film.
Music by Arwind Haldipur is satisfactory, but cinematography by Manjunath B Nayaka is superior. He has captured the outdoor locations in Malaysia very well, especially during a song sequence. ‘Saad’ is a sincere effort to present this emotion filled subject. But, few incidences like the boy initially opting for US posting instead of preferring India to reunite with his beloved, with whom he flirts in Malaysia singing and dancing, the use of ‘Planchet’ by the well educated father and son to take a decision, the concluding part where his so called uncle narrating his mother’s tragic story in flashback; and the forced item number, look unrealistic. But, barring these scenes, the film presents the different characters in proper order, making a right choice for their respective roles.
‘Dum Asel Tar’ has a social message
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Rating: na
Banner: Sagar Ramachandra Sakunde Films Producer: Sagar Ramachandra Sakunde Director: Vijay Gokhale Story, Screenplay: Advait Dadarkar Music: SAY Band, Laxman Patil Camera: Sameer Athalye Cast: Shankar, Smita Shevale, Manva Naik, Mohan Joshi, Anant Jog, Uday Tikekar, Vijay Gokhale, Ravi Patvardhan, Shubhangi Latkar, Ajita Kulkarni, Shital Karanjikar, Asmita Arya Movie Review by: Ulhas Shirke |
One does not know, whether it was the right time for Producer Sagar Sankude and director Vijay Gokhale to release their film ‘Dum Asel Tar’? They preferred the release time, during the most popular Ganapati festival in Maharashtra. The film has been released simultaneously with two other Hindi films with popular banners. Moreover, this Marathi film’s press show wasn’t held on Wednesday, as per the practice followed by other Marathi films.
‘Dum Asel Tar’, however has a good social message to convey through the script penned by Advait Dadarkar , with the hero Shankar ( Shankar Shingare) after realizing the crime committed by him in a hit and run case, killing a young boy; tries to help the family of the victim living in the slums. But, when the mother and sister Lata (Smita Shwale) of the victim, refuse to accept the help from him, being a politician’s son; he tries to create development in the slums, with the help of a schoolmaster Anna (Vijay Gokhale) from their area.
Shankar’s girlfriend Sonal (Manva Naik) who accompanies him during the accident in a drunken state after a pub party, is opposed to his plans. Moreover, Anantrao (Anant Jog) who is a close friend turned relative of Shankar’s father( Mohan Joshi) tries to blackmail him, having saved Shankar from the accident case. He plays his political game and also pressurizes Shankar’s father by harassing his newly wed daughter in law, who is Shankar’s sister.
How Shankar faces the opposition from local goons in slums, in his mission to uplift the society and winning the confidence of Lata, is all that the film’s screenplay goes on to show. Finally, Shankar is forced to form a Political party with the support of youngsters, the schoolteacher and Jaggu dada, to fight a tough politician like Anantrao. The screenplay is fine; but the insertion of ‘dahi handi’ song hasn’t been timed well. But, music by ‘Say band’ and Laxman Patil sounds good. So are the meaningful lyrics. The cinematography by Samir Athlye is remarkable. He has shot the outdoor as well as close up scenes very well. Imran and Faisal Mahadik have done their editing job well.
Both Smita Shewale and Manva Naik have performed very well, understanding the limitations of their roles. The performances from all supporting artistes are impressive. Anant Jog and Mohan Joshi in particular, play their respective roles with authority. Shubhangi Latkar (as Shankar’s mother) finds enough scope to express her emotions in the concluding part. Uday Tikekar as Jaggu dada, Vijay Gokale as School master , Ravi Patwardhan as senior citizen, Vighnesh Joshi as TV Journalist, Ashutosh Gokhale in a supporting role and others have played their roles effectively, to give a realistic look to the film. Guest actor Bharat Jadhav adds extra flavor in the concluding part, as a committed news editor of a news channel.
However, in comparison to all these versatile artistes around, the hero of this film Shankar hasn’t been much impressive especially with his dialogue delivery in Marathi. He should have worked hard on this aspect, being a Maharashtrian himself. Simply possessing a good personality does not necessarily work in a Marathi film, which has ample talent around. He has to work hard over his Marathi, if he has to continue in Marathi films.
Moreover, the character of the hero in this film, shown as US returned young boy, does not indicate the same through his accent, which doesn’t sound like a NRI. The director seems to have paid less attention on this aspect. When the marathi audience couldn’t approve the Marathi school teacher presented by Jackie Shroff in a recently released marathi film ‘Hridaynath’, how would they react to Shankar in this film, remains to be seen . His marathi diction is the only drawback of this film, which is otherwise a sincere effort to present a social issue based theme, something new attempted in Marathi films.
‘4 Idiots’ goes the Bollywood way
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Rating: na
Banner: Madhu Entertainment Media Pvt. Ltd. Producer(s): Mayuresh Films and Entertainment, Guru Anand, Anant Walilkar Story: Milind Arun Kavade. Director: Milind Arun Kavade. Dialogues: Prakash Bhagwat Music: Mayuresh Pai Camera: Raja Phadtare Cast: Bharat Jadhav, Siddharth Jadhav, Guru Anand, Swapnil Joshi Movie Review by: Ulhas Shirke |
We have seen Bollywood inspired by Tollywood or Mollywood and vice versa. But, we have seen some of our Marathi films only inspired by Bollywood. When they saw success of 3 Idiots, they thought of making 4 Idiots. Why can’t our Marathi films have their own originality? And there is already a film titled ‘4 Idiots’ in the making, in Mollywood. However, this Marathi film ‘4 idiots’, has nothing to do with the script of 3 Idiots, but has some relevance to the style of Manmohan Desai and Prakash Mehra, with a touch of David Dhavan. . It is a tale of 4 friends – Bunty( Bharat Jadhav) , Qayuum( Siddharth Jadhav) , Kashi( Newcomer Swapnil Joshi) and Nagya( Guru Anand- the producer of this film) from Mumbai, who help each other in the time of crisis.
Qayuum is not steady with his job and Bunty is a pickpocket. Kashi is an Air conditioner Mechanic and a follower of a Bhondu Baba; while Nagya is a driver, who is dreaming of going to USA. When Qayuum’s mother is seriously ill and is to be operated upon , the other three friends raise money out of their savings and by selling their belongings. Bunty also manages a sizable amount, which he claims to have stolen from a non occupied house. When all of them fail in their attempt to raise enough money for their new lifestyle, Bunty comes up with a plan of bank robbery. Initially, the other three friends are reluctant; but, when they find that it is the best way of earning quick money, without killing anyone, they join Bunty’s plan.
In the pre interval session, the film simply drags on to explain the background of each one of them and in showing the strong bonding of their friendship. But, in the post interval session, the film actually takes momentum, when we find a group of terrorists also entering the bank premises, almost coinciding with the visit of these four idiots. About 70 people are trapped inside the bank as hostages, including the bank’s staff, visiting customers and the 4 idiots.
The terrorists are looking for one Salma and her locker keys. They start searching for the lady and her locker keys. The terrorists then enter a deal with Bunty, to identify Salma.. Surprisingly, the ‘Azad kashmir’ terrorists speak in Marathi and claim to have learned Marathi for the past three years of their presence in Maharashtra. They are led by their leader, who demands the release of their chief from the jail, in return of hostages. With few twists and turns in the climax, we find the 4 idiots taking on the Four terrorists and coming out victorious. Each one of them learn a lesson and after three years, we find them engaged in their work of interest.
‘4 Idiots’ is purely an action comedy with nothing new in the script, except for the plot in the concluding session, dealing with the terrorists. The screenplay is good only in the concluding part. However, the dialogues by Prakash Bhagwat are hard hitting, when they are uttered at Politicians and the terrorists. The happenings in Politics, the pressure on Police by the Home Minister, the helpless attitude of home minister, the arrogance and selfishness of opposition Minister, whose daughter is trapped inside the bank, have been well presented. Music by Mayuresh Pai is just fine. The item number performed by Aarti Siolanki looks very odd. But, the background music by Salil Amrute is impressive. Raja Phadtare’s cinematography is good.
As a director, Milind Arun Kawade shows his strengths in post interval session, when he has tried to hold the audience to their seats. In the pre interval stage, there are unnecessary cheap jokes used as source of entertainment. Bharat and Siddharthg Jadhav play their respective roles almost on the style of Ashok Saraf and Laxmikant Berde. Producer Guru Anand has tried to fulfill his wish as a supporting actor with better scope, in the role of Nagya and has done well. In the role of Kashi, newcomer Swapnil Joshi is just fine in the company of 4 idiots in this film.
The females in this film have no scope at all. Vishakha Subhedar appears as kashis’s sister for a scene or two, while Siya Patil and Mrunalini Jambhale have been used as show pieces in the group trapped inside the bank. One doesn’t know, why did they accept such roles? Vaibhav Mangale is impressive in his role. He stands a chance to get offers from Bollywood, after this performance. There is a big crowd of supporting cast to create an impact of the sensational event occurring post interval, covered on television as breaking news! The effort of the film maker is good; but, the film does leave few drawbacks.
‘No Entry’ entertains; but, lacks Marathi touch
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Rating: 2.5
Banner: Underground Films Pvt. Ltd. Producer: Premnath Rajagopalan, Nikhil Saini. Director: Ankush Choudhary Lyrics: Guru Thakur Music: Nakash – Sargam Cast: Bharat Jadhav, Kranti Redkar, Ankush Choudhary, Saie Tamhankar, Aniket Vishwasrao, Manava Naik, Sai Lokur, Paddy (Pandharinath Kamble) Movie Review by: Ulhas Shirke |
Well, we are all aware that new Marathi film ‘No Entry Pudhe Dhoka Aahey’ is a remake of popular Hindi comedy ‘No Entry’. But, while making this film in Marathi, the entire film has been copied scene to scene, instead of offering it a Marathi touch. As a result, it has failed to hold the audience for entire 163 minute show on the screen. Nevertheless, being a sit- com, the film has succeeded in offering the expected entertainment through good performances coming from all the seven important artistes in the film.
The original film had succeeded in creating laughter, because the theme was new to the audience. Moreover, in Maharashtra most of the Marathi film goers watch Hindi films. Even if they haven’t watched this original film in theatres, they must have surely watched it on their TV screens and that too in repeat runs. All that was expected was a Marathi touch to this theme; but, it has gone the Bollywood way, even to the extent of retaining the names of all the characters. If they could change the name of MLA, why couldn’t they find suitable names for seven important characters ?
When we see some of the remakes of South films in Hindi, these original films are not watched by majority of the cine goers from places other than south region. And hence, such films whether action or comedy, turn out to be successful in North India including Maharashtra. But, same is not the case, with remake of Hindi film in Marathi. It may be kept in mind that about 50 % of the Hindi film’s business is from Maharashtra.
Now, the million dollar question still remains to be answered is, whether a remake of popular Hindi comedy film and that too with predictable sequences, will be accepted in Marathi ? Let, the people of Maharashtra decide the fate of this film. The opening day, witnessed very poor response at a multiplex in the suburbs. Now, the weekend collections will decide the success of this film.
Looking at the efforts put in, it may be mentioned that the film has been shot with the high quality standard observed in big budget Hindi cinema,, with good camera work by Arwind Soni and perfect music by Nakash-Sargam. The selection of locations are good, including picturesque Goa. Even the titles of the film have been presented well. But, there seemed to be some budgeting on costumes of the artistes and the dancers in the song sequences. In the case of Sai Tamhankar, who played an important character of Bobby, there wasn’t much issue of costumes, as the film has been focused on her. She is the centre of attraction in this film. And, she has lived up to the expectations of the film maker. One can say that she has offered more than what Bipasha could offer in the original, as far as glamour is concerned.
Looking at the performances of others, both Bharat Jadhav as Kishan and Kranti Redkar as Kajal match well in their respective roles, with their perfect timing for comedy. Aniket Vishwasrao as Shekhar gets a kind of role, which has tested his strengths in comedy sequences. And he has done extremely well. Manwa Naik playing Sanjana also supports well as his partner. Both Ankush Choudhary (Prem) and Sai Lokur (his wife Pooja) have limited scope, especially after interval, but they too have done well. Paddy kamble is just fine as Bobby’s bodyguard. Anant Jog is good as fun loving MLA. Viju Khote does well in the small role, he has to his share.
As predicted, this film is a musical sitcom with good performances. But, it has certainly failed to offer the Marathi feel to the characters.
Emotion filled ‘Kutumb’ turns a family entertainer
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Rating: na
Banner: Great Maratha Entertainment LLP Producer: Aniruddha Deshpande, Medha Manjrekar Director: Sudesh Manjrekar Story, Screenplay: Mahesh Waman Manjrekar Dialogues: Pravin Tarde Music: Ajit Parab, Sameer Mhatre, Abhijeet Kawthalkar Cast: Jitendra Joshi, Gauri Ingwale, Veena Janmkar, Mihir Soni, Siddharth Jadhav, Manasi Naik, Vaibhav Mangale, Bhalchandra Kadam, Prabhakar More, Sandeep Redkar, Sagar Karande, Shreeram Pendse, Ravi Sangwai Movie Review by: Ulhas Shirke |
Our Administrators say that the country is showing growth. Now, whose growth they are describing, that only our Prime Minister can explain. 70% of India’s population live in villages. They are either involved in farming or are doing labour work. Very few are self employed. Anyone who has struggled with poverty, knows how extremely expensive it is to get medical treatment, while suffering from serious ailment. Mahesh Manjrekar’s latest film ‘Kutumb’ revolves around one such family from a village Bhor in Satara district.
Namdeo and Ganga Solkar (Jitendra Joshi and Veena Jamkar) are happily married husband and wife with two school going children Laxmi (Gauri Engawale) and Subhan (Mihir Soni). Namdeo works as a Gardner in a bungalow in a nearby town and also does odd jobs to meet the demands of his children; be it a Pen drive of PC for his daughter or a Bicycle for his son. He wants to see them happy. But, when the back problem of his wife worsens and she is advised to undergo immediate operation, then comes the real test for him to raise money. Family neighborhood friend and School bus operator Magic Mamu (Siddharth Jadhav) and his wife Saira (Manasi Naik) come to their rescue; but, that’s not enough. Namdeo has to borrow additional money from the Moneylender on interest.
While Ganga is hospitalized, the children live with Magic Mamu and they raise money by performing dance at a local show in a nearby town and win a prize. But, Namdeo does not approve the idea. He beats up his children and insults Magic Mamu for encouraging his children into such an act, which relates to his past life. When Namdeo himself has to undergo a major operation, the children have no other option, but to take part in a dance reality show, with the help of Mamu Magic and his wife, to win a big cash award. With ups and downs in the life of Solkars, finally it is happy end.
Director Sudesh Manjrekar does a good job to expand what ‘De Dhakka’ had left behind. With Mahesh Manjrekar himself being in charge of story and screenplay, the film has successfully converted an emotion filled script into a family entertainer. Iranian film director Majid Majidi seems to have left a strong influence on the director, while describing the village life and struggle of the poor family to meet hospitalization expenses. Looking at the demand for dance reality shows in our state and the talent displayed by kids , the link has been cleverly knitted with the children’s concern about the health condition of their parents and raising the money for the same.
All the characters have been cleverly placed in the screenplay. Jitendra Joshi bears a realistic look of a hardworking Namdeo. He has worked very hard through his body language. As Ganga, Veena Jamkar is a perfect choice and is very impressive in that role. Both the children have been chosen for their dancing skills required by their characters; but, they have performed very well in many emotion filled sequences too. As Magic Mamu, Siddharth Jadhav impresses, while Manasi Naik gets her dues after a long time, to perform an emotion filled role. Among the other character artistes, Viabhav Mangale as cunning moneylender and Bhalchandra kadam as a comedian have done well. There is not much to do for Music direction team of Ajit Parab, Sameer Mhatre and Abhijeet Kawthalkar, as most of the songs are record dances on original popular songs like, ‘Kombadi, ‘ Baygo baygo’ and others.
Photography by Ajith Reddy is good, capturing the real beauty of a picturesque village. Some of the dialogues are timely. There are many predictable happenings in the film, with screenplay giving a hint of the same on many occasions. But, the presentation of the same makes a big difference to make it entertaining.
‘Aghor’ – a timely theme without a grip
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Rating: na
Banner: Pratibha Films, Quality Cards Producer: Raju Jogeshwarji Ghivdhonde, Mangesh Pitale, Adv. Raman Senaad Story, Director: Salim Shaikh Dialogues: Salim Shaikh, Parag Ghonge Music: Nandu Honap Cast: Santosh Juvekar, Aniket Vishwasrao, Sai Tamhankar, Manasi Kulkarni, Kishori Shahane, Vinod raut, Tejaswi Patil and Shadab. Movie Review by: Ulhas Shirke |
Corruption has become part of every field of profession and medical profession is no exception. As there are good committed doctors, there are doctors, who are not only involved in unethical practices, but also involved in frauds and cheating business. In the name of Multi- speciality clinics, there are many malpractices noticed at many places in the state. This has come to light, through regular media expose. Recently, we also saw one such episode of Aamir Khan’s reality show, where such unethical practices were brought to light.
Latest released Marathi film ‘Aghor’, produced by a team of producers from Nagpur comprising of Raju Jageshwar Dhivdonde, Mangesh Madhukarrao Pitale and Ad. Raman Laxmanrao Senad and directed by their colleague Salim Shaikh, has exposed few such acts by a selfish doctor, who owns one such Multi speciality clinic. For Dr. Batra( Dr. Vilas Ujawane), profit is considered as a driving force in his business. The film shows all his ways to grab money from the patient, initially in the form of advance by getting first the details of his income in the admission form.
Though the main theme of this film is based on day to day newspaper and TV reports of corruption cases in medical profession, it is backed by frustration among unemployed youth and those in sports, who have been denied their dues. Dr. Sathe ( Ad. Raman Laxmanrao Senad) a principled and committed doctor, who runs his clinic with the help of his wife ( Kishori Shanae), regularly encounters three youths namely Prakash ( Aniket Vishwasrao), Sam ( Santosh Juvekar) and Lucky ( Shadab); and is well aware of their problems.
Sai Tamhankar, Santosh JuvekarOne day, Dr. Sathe in an attempt to save a little girl, is knocked down by a speeding vehicle. He is admitted to Dr. Batra’s hospital, who suggests an emergency operation and asks Ms. Sathe to deposit Rs 4 lakh immediately. The three youngsters raise the amount in their own ways and them begins the fight against Dr. Batra and his team. Luckily for them in a typical filmi style Dr. Batra’s close friend’s daughter( Manasi Kulkarni) and Dr. Batra’s own son join hands with them to teach a lesson to Dr. Batra, in his own way.
‘Aghor’ does have a good theme, but lacks grip in the screenplay . The efforts of the Nagpur based team to make a film on a social issue is highly appreciated; but, to create an impact, the screenplay and the order of sequences should have been handled more skillfully. The director, who is himself a story and screenplay writer, hasn’t paid much attention on this aspect. The first half of the film just goes on understanding the background of the three youngsters, besides knowing about the past love of Sam. The two songs in pre interval stage are okay; but the one picturised on Santosh Juvekar and Manasi Kulkarni hasn’t been timed well. At a time, when the film should have taken a firm grip on revenge, after noticing a serious case of crime, the break for a song only diverts the attention of the audience.
Some of the incidences, such as Sam’s first girlfriend( Tejaswi Patil) killing herself, Dr. Sathe trying to save the girl Kishori Shahane VIjon the road, Dr. Sathe shown too generous in treating his poor patients and the happenings in the climax; don’t give a realistic look. But, few events like a Medical representative of the company offering attractive packages to the Doctor for prescribing costly medicines in place of generic medicines; a Municipal contractor exploiting a senior old female worker, keeping the already dead patient on ventilator, forcing the husband to undergo test after he threatens to divorce his wife for not conceiving for eight years, the honest doctor understanding the psychology behind the attitude of youngsters; have been included in the film, to send across a message to the society.
There is not much scope for music in this film, but two songs by popular singers have been picturised well on new locations in Nagpur. The angry young man of Marathi films Santosh Juvekar has limited scope in this film. But, he has played his role with ease. Aniket Vishwasrao too, plays his part well. Newcomer Shadab has very little to do with acting, except for being with the two friends and punching rivals, whenever required. The three young girls have very little to their share. Sai Tamhankar as a lawyer, is just namesake girlfriend of Aniket Vishwasrao, with just few scenes. Manasi Kulkarni ( TV serial Mission.com fame) looks confident on her debut through few scenes, besides a song sequence. Tejasvi Patil is in the film almost like a guest performer. Producer Raman Senad gives a satisfying performance in the role of Dr. Sathe, on his debut. Dr. Vilas Ujavane plays the antagonist effectively. But, it is Kishori Shahane, playing Ms. Sathe, finds a better role. ‘Aghor’ is no doubt a sincere effort to expose corruption in medical profession; but it lacks the desired sensational cinematic approach to create an impact through its screenplay.
‘Bharatiya’ has a strong and timely message for the Government
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Rating: na
Banner: Devisha Films Producer: Abhijit Gholap Director: Girish Mohite Story: Aniruddha Potdar Screenplay: Anirudha Potdar, Sanjay Pawar Music: Ajay – Atul Cast: Subodh Bhave, Makarand Anaspure, Jitendra Joshi, Meeta Savarkar, Kuldeep Pawar, Hrishikesh Joshi, Tejashree Khele Movie Review by: Ulhas Shirke |
At a time, when we understand that our prime Minister is likely to announce free mobile sets to all those living below poverty line in this country; the release of latest Marathi film ‘Bharatiya’ is very timely, for the Government to rethink about their controversial decision. The film is produced by Abhijit Gholap( the maker of ‘Deool’) who won the national award last year. Now, his new film ‘Bharatiya’ sends across a strong message to the Central government, for their apathy to understand the real problems of rural poor, at the grass root level.
As we all know, some of the villages in India, do not have water, electricity and other amenities essential for living. How can earnings of Rs. 32 a day by a person, be treated as above poverty line? Can a PM himself live in a village and manage his day within this amount? There are no toilets for these people, but, there are mobiles. Why the villages on the borders of two states receive ill treatment ? Are they treated as Indians? What if they revolt against the system ? All such relevant issues are raised by this sensible film.
Directed by Girish Mohite, the film is set on the backdrop of a small village located on the border of Maharashtra and Karnataka. It talks about the neglect by two state Governments towards this village called Adnida. When time comes to prove the property rights of a family, it is observed that the village is neither under the jurisdiction of Maharashtra nor Karnataka. The issue is flared up, as a foreign returned youngster, who is in search of his ancestral rights over a property, raises his voice against the attitude of both the state Governments and central Government towards the village.
A Gypsy who is a fortune teller( Makarand Anaspure) , who wanders along with his Bull from village to village, is familiar with the miserable condition of this village. He predicts that a young man around 30, would come to this village and there will be a change with revolution. Soon, we find Abhay Sarpotdar ( Subodh Bhave) a protagonist in this film, coming to this village to trace the existence of his ancestral house in the village.
He finds that the Village head, Mr. Sarpotdar( Dr. Mohan Agashe) with his family and young daughter Sugandha( Meeta Savarkar) have occupied the big house claiming that it belongs to his ancestors. He claims the rights of the property, since living there for several years. On the suggestion of his daughter, he however allows the young man to stay in their house, till he proves his legal right over the property. Abhay moves from pillar to post with the help of village talathi to acquire the 7/12 ownership document. But, he finds that the village is neither in the jurisdiction of Maharashtra nor Karnataka. Even the respective states politicians refuse to offer any help, realizing that the village does not come under their constituency.
Taking the Head of the village and aspiring opposition politician Lote Patil ( Kuldeep Pawar) into confidence; Abhay plans a move to invite the attention of the Central Government. In the meanwhile, he traces a hidden treasure in the basement of the house, which is under lock and key for ages. Looking at the attitude of Government to give recognition to their village, Abhay goes on to declare Adnida as a separate country and appoints Sr. Sarpotdar as the Caretaker President, till the constitution is drafted. The issue flares up with the Central Government sending para military forces and seals the borders of the village. Media arrives and it becomes an international news, to invite the attention of the UN. Abhay plays his cards well, to bow down the prime Minister’s office for talks with them at their village. How he succeeds in his mission, the film’s climax is an answer.
Director Girish Mohite has handled this sensible script and screenplay of Aniruddha Potdar very well, with the help of humour filled dialogues of Sanjay Pawar, to make this film entertaining besides passing a strong timely message to the Government. In the role of a wandering fortune teller, Makarand Anaspure plays the Narrator. He very well suits in that role. As a protagonist, Subodh Bhave the lead hero has given a remarkable performance. He is simply superb in the climax scene. Meeta Savarkar( playing the Village head’s daughter) has limited scope, but her pairing with the hero goes well. Playing two rival opponents, both Dr. Mohan Agashe and Kuldeep Pawar are very impressive. Jitendra Joshi playing the role of Shripati(Kuldeep Pawar’s son) has timed very well with his comedy scenes with his father and others. Tejashree Khele, playing the daughter of the only Grocery shop owner in the village, plays the typical village girl with ease, displaying her skills well.
The other artistes comprising of Ujwala Jog (as Lote Patil’s wife), Shubhangi Latkar ( as hero’s mother), Sushant Shelar as Politician, Hrishikesh Joshi as Village Talathi, Pradeep Velankar as CM of Maharashtra, Manoj Joshi as Prime Minister , Suhas Shirsat and the producer Abhijit Gholap playing (as PMO’s representative in the last scene) have supported well, displaying good team work. In the post interval session, the film goes almost on a mockery of the existing system and therefore, the incidences like Cell phone jamming, the hero declaring aid from a neighboring country etc. could be taken in a lighter sense. Ajay Atul’s music is good, with one song by Kunal Ganjawala, in post interval session, inviting special attention. Lyrics by Guru Thakur and Sandeep Khare are well written to suit the screenplay. The film is a good attempt to offer wholesome entertainment with a strong timely message.
Captivating and realistic ‘Satya Savitri Aani Satyavan’
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Rating: na
Banner: Shree Yamai Pictures Producer: Shamal Parab Director, Editor: Sarvesh Parab Story: Rajiv Joshi Screenplay, Dialogues: Sanjay Mone Music: Aditya, Prafulchand Cast: Sachit Patil, Amruta Patki, Shruti Marathe, Ganesh Yadav, Anant Jog, Pradeep Welankar, Anand Ingle, Angad Mhaskar, Atul Kale.. Movie Review by: Ulhas Shirke |
“No government power can be abused in different ways. As long as people bear it, the show goes on, using new methods. And women are nowhere behind, in the race of power.” Today, we find political leaders making mockery of the system. They are using the power for their self gain, taking the voters for granted. Their hunger for power, is bringing division in the party and at home front too.
The latest released Marathi film ‘Satya Savitri Aani Satyavan’ reminds all of us about the famous mythological tale of Savitri, who did her best to save her husband- Satyavan from the clutches of death. But, today , can we find a Savitri ? That’s what the film poses a question to the audience? The greater the power, the more dangerous the abuse. That’s what the film has tried to convey. Marathi cinema is certainly going for a change. The director of the film- Sarvesh Parab, has claimed that it’s an original story , inspired by the Marathi one act play ‘Smrutipuja’.
The film begins with the case of a double murder, that of a political leader Balkrishna Pawar (Ganesh Yadav) and his bodyguard Baban Jadhav (Rahul Gore) at a district place. As per the first hand report with police, Baban Jadhav first fired point blank at Balkrishna Pawar and watching this, his second bodyguard fired at Baban Jadhav, in retaliation. Kakasaheb (Pradeep Velankar), the MLA of this district, arrives back home, as Balkrishna happens to be his son in law. The thirteenth day rituals are on, at the bungalow, when a CBI officer called Sunil Gavaskar (Sachit Jadhav) arrives from Mumbai, to carry out special investigation in the case, on the orders of the Government due to the complaint lodged by Baban’s wife Supriya, who is a school teacher in a local school. After his interaction with the two young widows, the dynamic CBI officer is stunned with their beauty and has a reason to suspect a possible conspiracy.
As the officer progresses with his investigations, he doubts many suspects and the audience keep on guessing as to who could be the real culprit. Only reliable person the officer finds from among the local police is Inspector Ramesh Bansode( Atul kale), who remains by his side from the beginning of his investigation till end. Writer Rajiv Joshi and director Sarvesh Parab have very skillfully presented every character in this film to give a realistic look of the political situation in this small town called Aadgaon. It’s not that we have not seen such kind of films in the past. Only few years ago, we saw a political thriller ‘Made in China’. Now, this film goes on to show another suspense filled political murder mystery.
Every other character has an important part to play, be it the widows Sandhya Pawar & Supriya Jadhav, the politician Krishna Pawar, his bodyguards – Baban Jadhav, Sada kadgaonkar, Kakasaheb-the MLA, Annasaheb- the Vice president of District Committee, Foreign returned Milind Torgal or Inspector Phulpagar . Their characters are all well knitted into the gripping screenplay penned by Sanjay Mone; who has also written the dialogues, which are well suited to every scene.Amruta Patki, Shruti Marathe
The manner in which the director has presented the leading lady Amruta Patki, is commendable. The former Miss India and Miss Earth, has successfully made an appeal, with her presence on the screen. Gifted with good height and stunning looks, she impresses in the very first scene of her entry in the film. Amruta was very comfortable in that role and never gave any indication about her debut. Her walking style, body language and her smile; everything looked graceful. At the same time, Shruti Marathe another talented actress, made her presence felt, with her looks and spontaneity in every scene, she was part of; in this film.
Sachit Patil has found one more good role after ‘Arjun’ to prove his ability and he has done justice to his role. In fact, he looks a perfect match (with his slim and fit personality) for both the girls, with whom he has performed in the title track, shown at the end of the film, in Bollywood style. Ganesh Yadav is at his best in the flashback scenes. Anand Ingale shows his versatility, through the devious character of Inspector Phulpagar. Veterans Pradeep Velankar, Sanjay Mone and Anant Jog match very well in their respective roles of politicians. While, Kishore Pradhan plays a typical Government servant, Angad Mhaskar plays shrewd foreign returned young man aspiring his dreams silently. Hemalata Bane impresses through her limited role of Sona Jalgaonkar; but, it gave an impression that her role was edited, to give pace to the enthralling screenplay. All others in supporting cast, have done well.
Music by Aditya Bedekar & Praful is good, though there isn’t much scope for songs. But, the background score is appealing. Cinematography by A.K.N.Sabestian is noteworthy besides perfect editing by director Sarvesh Parab himself, using his past expertise with well known hit films to his credits. He has concluded the film very well in the climax. Looking at the efforts put in post production, technically speaking, ‘Satya Savitri aani Satyavan’ is a Captivating and realistic film, which is a worth watch.
‘Badam Rani Gulaam Chor’ – A film with a difference
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Rating: na
Banner: Manohaar Entertainment Producer: Shekhar Kulkarni, Ajit Bhure Director: Satish Rajwade Story: Dr. Vivek Bele Lyrics: Sandeep Khare Music: Dr. Saleel Kulkarni Cast: Upendra Limaye, Anand Ingle, Pushkar Shrotri, Mukta Barve, Dr. Mohan Agashe, Vinay Apte, Deepak Karanjikar and Sudhir Gadgil. Movie Review by: Ulhas Shirke |
In the year 2007 Dr. Vivek Bele’s Marathi comedy play ‘Makadachya Hati Champagne’ directed by Girish Joshi won many popular awards for the best Marathi play. Now, Shekhar Kulkarni and Ajit Bhure have made a Marathi film, based on this popular play. Director Satish Rajwade has tried his best to present it in a cinematic form, using all his expertise. He has however retained the original story and the popular dialogues, instead of attempting something new.The film begins almost in the style of a play, when one of the three friends (Upendra Limaye) who runs his motor garage, summons his other two friends (Anand Ingale & Pushkar Shrotri) back home, only to give them a surprise; by inviting his new girlfriend home. One of them, who is a media person, rushes home from an important assignment, by handing over the responsibility to his subordinate and the other one, who is a college professor rushes home, by asking his colleague to take the class .
Anand Ingale, Photo
The three friends have been living a bachelors’ life together in a bungalow and hence the arrival of a girl at their place, that too on an invitation of their close friend, is certainly a surprise for the remaining two friends. In comes Mukta Barve, wearing a mod dress and she impresses the other two friends. Then begins the introduction part, when she finds that all three of them are known with their pet names. But, she enjoys the humor in their names – Chaku (Upendra), Makad (Anand) and Pustak (Pushkar) respectively. So, she decides to introduce herself with her new name Pencil.
After Chaku leaves with Pencil, the other two friends have a common reason to pass comments at Chaku, suggesting that Chaku is not an ideal match for Pencil. According to them, she needed someone, who was well educated and sensible, as her life partner. When Chaku decides to celebrate the evening with a Champagne, the other two try to find out whether the girl really loved Chaku. When they find that nothing had progressed from marriage point of view, Pustak also stakes his claim for Pencil. When the situation goes out of control between Chaku and Pustak, Makad intervenes and suggests a way out. So, Chaku is given an option to propose Pencil first; so that Pustak could also make an attempt after him.
The film drags a bit with this limited content, till interval; when you find Pencil selecting Pustak as her life partner. But, their coming together, is not seen in good spirit by Makad, who uses all his manipulative overtures to instigate Chaku with his political mind. On his advice, Chaku becomes hopeful of winning the heart of Pencil back. Makad does succeed in splitting the couple; but, the climax is for a surprise.
Mukta Barve, Anand IngaleThe happenings in the life of three friends and the girl in their life, has successfully matched with the happenings at Political front, by showing the power game between two politicians (Vinay Apte and Deepak Karanjikar). The girl is compared with the public opinion, when it is noticed that the two rivals in a political party break up and later decide to join hands. The story does have something to convey to the audience; but it remains to be seen, how the movie audience would accept the same.
There isn’t much scope for music, but the background music is impressive. Director Satish rajwade has done a good job. But, he could have attempted something more. He hasn’t taken maximum liberties, as required in the cinematic format and has only tried to move with the original format. Only at two places, he used the effects well. It was to show the imagination of Chaku and the media clippings of the games played by two politicians in between the clashes among the friends. Don’t expect start to finish laughter in this film. As, it is an intelligent film, not deviating from the subject. Performances by all the artistes are good. There is equal scope for all four of them. Dr. Mohan Agashe and Sudhir Gadgil play news anchors and host of a TV channel, respectively. ‘Badam Rani Gulaam Chor’ is the kind of film for those who understand sensible cinema.
Creepy ‘Aik’ sticks to its promise
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Rating: na
Banner: Matrubhumi Productions, Cutting Chai Productions Producer: Pradeep Garg Director: Prateek Kadam Story: Janmejay – Swapnil Cinematographer: Aniket K. Cast: Aditi Sarangdhar, Swapnil Jadhav, Prasad Oak, Suhas Palshikar, Bhushan Ghadi, Chinmay Mandlekar, Shekhar Phadke, Prashant Neman, Hrishikesh Gujar, Mausami Hadkar, Poonam Jadhav, Shilpa Kamble, Swarangee, Karandikar, Tanish Sonawane, Priti Patil, Janmejay Patil, Karan Vaity, Lina Vaity, Pratik Kadam, Suhit Vaity, Pankaj, Jamir Mulla, Swapnil Vaity, Shantani Vaity Movie Review by: Ulhas Shirke |
Not all the suspense filled horror films are able to deliver, what they promise during the film’s promotion. But, latest released Marathi film ‘Aik’, has been able to offer what it claimed. To create an impact of horror and suspense, the film’s unique screenplay supported by effective camera work and background music has made a big difference. In the process, Producer Pradeep Garg and director Pratik kadam have succeeded in presenting this thriller on the new subject very well. Thanks to Janmajay Patil and Swapnil Jadhav for working together on the script. Aik Movie, aditi Sarangdhar
One of the writers-Swapnil, also makes his debut as a hero through this film. Now, who says that only Hollywood and Bollywood film makers like M. Night Shyamalan , Ramsay, Ramgopal Verma and Vikram Bhatt could handle such topics? Today, young director Prateek kadam has proved that a good team work can create something special in Marathi too. The film revolves around Rishi Marathe ( Swapnil Jadhav), a Creative director working in a Marathi Entertainment channel M4U. His family comprises of wife Aditi ( Aditi Sarangdhar) and little son. The family shifts to a new apartment in Mumbai and soon begins the clash between husband and wife, as Rishi doesn’t find time for the family.
The disturbance leads to the point of divorce and Aditi reaches with her son to the shooting venue of Rishi’s novel reality show, which is located 4 to 5 hours drive from Mumbai. The selection of this old palace of British time, has been deliberately selected by the production house, to attract adventure loving participants. When Aditi reaches there, Rishi and his Boss Sandy ( Prasad oak) are already tensed up, as the participants selected for the first live episode, back out at the last stage. The entire unit is now looking for a couple. Rishi persuades Aditi that he would sign the papers of divorce, provided she helps him and participate in the show. Aditi agrees and enters inside the palace.
The rule of the game show is such that the wife is taken inside the palace to a safe room and is made to wait there, till the husband goes in search for her and then returns back along with her, to win the game show. Before Rishi proceeds towards the palace, he is introduced to the audience from the site by the anchor Chinmay Mandlekar. Rishi is provided with microphone to constantly communicate with the anchor, waiting outside the palace and also given a buzzer, which is to be pressed thrice, in case the particiapant wishes to quit.
prasad Oak, Swapnil JadhavWhen Rishi enters the palace, he comes across terrible experiences, including terrifying sounds, indicating presence of someone around. Soon, he comes across more horror filled strange experiences and is about to quit, when he hears the voice of his wife. When he goes in her search, the in house CCTV cameras planted by the production team, capture his reactions. On few occasions, they get confused, as to why Rishi is worried and scared. Rishi also sees his own son around and later finds a terrifying Girl’s spirit, misleading him. When Rishi is given an assurance by the anchor that his son is very much in the vanity van fast asleep; he in convinced that an invisible spirit, is playing on his mind. Finally, he finds his wife, while he himself suffers an injury.
When both are on their way to exit, they actually face the girl’s spirit, all set to kill Rishi. In the console room, Sandy receives a call from an old man, who claims that the girl inside the palace is his grand daughter’s spirit. In the climax, the film concludes methodically , revealing the mystery.
‘Aik’ is a good effort by director Prateek Kadam. He gets a good support from suitable background Music and efficient camera work, to make every scene effective. The film has been shot at the most ideal location of historical Thiba Palace, situated on a hill top of Ratnagiri town. All the artistes in the film have lend a good support with their natural acting skills. Lead hero Swapnil, who makes his debut, doesn’t look like a new comer. He has played his part very naturally. Aditi Saragdhar has given a wonderful performance. The way she reacts during sensitive scenes, clearly indicate her identity as a complete actress. Prasad Oak and Chinmay Mandlekar play their respective roles with complete authority. Others in the supporting cast have done well. ‘Aik’ is a well presented creepy film, which sticks to what it promised during the ad campaign. Don’t be surprised, if any Bollywood film maker attempts a remake of this film.