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.
Realistic ‘Tukaram’ is a work of art
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Rating: na
Banner: Everest Entertainment Producer: Sanjay Chabria Director: Chandrakant Kulkarni Story: Ajit Dalvi, Prashant Dalvi Cinematographer: Rajan Kothari Editor: Ballu Saluja Cast: Jeetendra Joshi, Veena Jamkar, Ravindra Mankarni, Madhav Abhyankar, Radhika Apate, Sharad Ponkshe, Pratiksha Lonkar, Yatin Karyekar Movie Review by: Ulhas Shirke |
The reality behind the popularity of the literature of Sant Tukaram, the 17th Century saint and poet from Maharashtra was his thought provoking literature. It has been translated into 10 European languages, which itself speaks about his selfless service. In the year 1936, a Biopic made by Prabhat Film Company on this well known Saint, had invited attention from all over the world and the film was the first Indian film to receive award at 5th Venice International Film Festival. The film still remains popular and is subject of frequent studies.
Today, when people have turned to materialistic living, producer Sanjay Chaberia has dared to produce a Biopic on the famous saint, under the direction of Chandrakant Kulkarni and on the script of Ajit Dalvi and Prashant Dalvi. This film focuses on his life before sainthood, trying to cover his childhood with his family and later assisting his father in his traditional money lending business. Very cleverly, the director has tried to show the maturity of young Tukaram in understanding the poverty in his village, during drought and still managing to maintain a balance between his business minded father and the defaulters,using his diplomacy.
The film also goes on to show, how during that period of 17th century, the elders forced their children for second marriage, if the first wife failed to conceive. So, we find a firebrand young woman- Avali walking into the life of Tukaram in presence of his first wife Rakhma, who willingly agrees for the same, to make her mother-in law happy. Initially, Tukaram is not fully devoted to Lord Vitthal; as much as his brother Savji . In fact, as a child, he poses question to his father, as to why he has to travel on a pilgrimage in the form of ‘Vaari’ every year, to seek blessings of Lord Vitthal, when there is already a temple of the same Lord in their village.
A little before interval, the film shows the transformation of Tukaram into Saint Tukaram, when he leaves his house in search of peace and happiness for all those who suffer the drought conditions. The Saint’s poems and his Kirtans( devotional songs) gather support from devotees from different places, including Bramhmins. This disturbs some of the selfish Bramhins, who demand respect to their profession and feel that no other person from a lower caste has the right to offer kirtans. So, Tukaram is tried in the court of so called religious leaders; and asked to destroy his collections and prevented from writing any more lyrics. The caste discrimination occurring those days, is clearly shown through some of the scenes. But, the popularity of the Saint gathers support from the places around and the Saint is forced to break his 13 day fast.
Director Chandrakant Kulkarni has covered most of the important events in the life of the Saint Poet, starting with his childhood days, his young days, while assisting in his father’s business, post marriage tragic events faced by the family and later his turning towards devotion to God and selfless service to the society. The incidences of his advice to Bahinabai a Varkari female, who later turned a saint from Maharashtra, his encouragement to brave young man from village- Laxman, to join the force of Shivaji Maharaj and also his interaction with the Great Maratha Warrior, have been well captured. The wonderful photography by Rajan Kothari makes the film more appealing, with the proper selection of ideal locations and costumes.
Jitendra Joshi who portrays the popular saint, simply steals the show with his remarkable performance. His body language, dialogue delivery and changing expressions according to the situations, test his tremendous capacity as an actor. Sharad Ponkshe as Bolhoba Ambile More (Tukaram’s father) and Pratiksha Lonkar as Kanakai (Tukaram’s mother), impress with their astonishing performances. Veena Jamkar playing his first wife Rakhma and Smita Tambe playing his sister-in-law, have displayed their talents through those few emotion filled scenes, they have to their credits. Yatin Karyekar as Mambaji Gosavi, the orthodox Bramhin, succeeds in creating an impact through his negative role. Radhika Apte in the role of Aaavli, the saint’s second wife sounds very loud; but that must be going with the requirement of the script. She too has done a good job in the company of artistes like Vikas Patil, Madhav Abhyankar, Ravindra Mankani and others. Padmanabh Gaikwad as young Tukaram has also done a good job. This biopic, is a real tribute to the great saint of Maharashtra.
‘Tukaram’ is a timely release, when we find our own country’s administration surrounded by corrupt practices and the people of today getting used to such practices. Presenting the thoughts of the Saint into a cinematic format and reminding the message behind his meaningful lyrics, with suitable music compositions, this realistic film has turned out to be a real work of art.
‘Jai Jai Maharashtra Majha’ salutes Marathi culture
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Rating: na
Banner: Amanora, Sanjay Ghodawat Groups Producer: G. J. Creation Director: Gautam Joglekar Story, Screenplay, Dialogues: Gautam Joglekar Cinematographer: Ganesh Sankla, Ajit Raddys. Music: Yashwant Dev, K C Loy, Ajit Parab, Gautam Joglekar Cast: Mahesh Manjrekar, Mrunal Kulkarni, SIddharth Chandekar, Hemant Dhome, Aditi Govitrikar, Yatin Karyekar, Anusha Dandekar Movie Review by: Ulhas Shirke |
Gautam Joglekar has a strong background of film and stage; having been blessed by renowned personalities like Sai Paranjape and Arun Joglekar. As an actor, we saw very little of him; but as a film maker, he proved his ability through his first film ‘Pak Pak Pakak’. This time he strikes with something big in the form of ‘Jai Jai Maharashtra Majha’ a commercial Marathi film with music and Marathi culture as its base. The story of the film revolves around one of the leading tennis players in the world -Ashwini Stevenson (Anusha Dandekar), who is on a short trip to her motherland.
Having been deserted by her biological mother after her birth, Ashwini is adopted by her American mother from a children’s home in Pune, when she was just four years old. After attaining a celebrity status, she does not forget the culture of her birthplace and does her duty by donating 10% of her earnings towards charity. On her short visit to Maharashtra, she is a guest of Royal Mohite family from Kolhapur. They depute their young son Vishal (Hemant Dhome) to receive her and take her around tourist places on their way to Kolhapur from Mumbai. Among many other experiences, she is also invited as a special guest at the children’s home, where she has spent her early childhood.
During this short journey, Ashwini comes across a TV anchor (Aditi Govitrikar), a trainee Journalist- Rajat and his parents Dilip & Amruta Rege ( Mahesh Manjrekar & Mrinal Kulkarni). Ashwini is a fun loving young girl who loves to be part of the traditional festival and food in India, but Vishal is over protective about her food and is constantly accompanying her,during her short trip as her guide. He falls in love with her and Ashwini too loves his innocence. When Ashwini lands in Pune, she is shocked to discover the presence of her real mother around.
At the stroke of interval, the audience also becomes aware of the reality, besides Ashwini, who hates her biological mother for having deserted her, after her birth. Director Gautam Joglekar has tried to link the sequences with flashback, to reveal the truth behind the happenings of the past. The electronic media goes after the story, with the rival channels competing with each other trying to cover different angles. But, as the film’s story moves on, we find the breaks in the form of songs offering good music by four different music composers. The film concludes with a happy ending, when Ashwini gets ready to return back.
‘Jai Jai Maharashtra Majha’ has tried to offer a different type of entertainment with a new subject, with special emphasis on the culture of Maharashtra. Very cleverly, the director has tried to use his sponsors, during Ashwini’s trip to Pune, supported by a song; suggesting the importance of the historical city. With the inclusion of Mahesh Manjrekar and Mrinal Kulkarni, he has tried
to make the film emotion filled and at the same time he moves simultaneously with the fun loving pair of Hemant and Anusha.With the help of Siddharth, he has offered a character of a confused son, whose mother suffers from a neurological disorder. There are many other characters in the film, who form a big team to bring some relief to the serious subject.
What makes the film more interesting, is its presentation. There is no doubt that all the artistes have responded well through their respective characters. But, without the excellent camera work, perfect editing and good music, it would have turned out to be a serious tale. Both Mahesh Manjrekar and Mrinal Kulkarni have given their best performances, with a perfect understanding between them for every scene. Siddharth Chandekar displays his skills through his emotions as and when he got an opportunity. Anusha Dandekar is the perfect choice for the role of Ashwini, because of her accent and looks. She impresses in that role. But, it is Hemant Dhome, who in the lead role of Vishal Mohite has invited all the attention. He is simply superb!
The film does have few drifts; like inclusion of four friends of the hero and a song sequence with them and the unnecessary sting operation by a TV channel, involving Amruta and Ashwini . These are not ethical practices, at least by Marathi news network. But, barring these few scenes, the film has tried to present something sensible to the Marathi viewers. ‘Jai Jai Maharashtra Majha’ is a film for all, who respect Marathi culture.
‘Kaksparsh’ presents a realistic tale
4.0
User Rating
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Banner: Great Maratha Entertainment L.L.P.
Producer: Aniruddha Deshpande, Medha Manjrekar Director: Mahesh Manjrekar Story: Based on real story for Usha Datar, re-written by Girish Joshi Screenplay: Girish Joshi Cinematographer: Ajit Reddy, Abhishekh Vijaykar Cast: Sachin Khedekar, Priya Bapat, Sanjay Khapare, Abhijit Kelkar, Manva Naik, Medha Manjrekar, Savita Malpekar, Vaibhav Mangle, Ketki Mategaonkar, Saksham Kulkarni, Kishor Raorane, Gauri Ingawale, Saiee Manjrekar Movie Review by: Ulhas Shirke |
Film maker Mahesh Manjrekar’s latest Marathi film ‘Kakasparsha’ takes you into pre independence era, to narrate the tale of Haridada (Sachin Khedekar) and his family living in a village in Konkan, Maharashtra. Those were the days, when girls used to get married even before attaining puberty. Haridada gets his younger brother Mahadeo (Abhijit Kelkar) married to one such girl Durga (Ketaki Mategaonkar) approved by his associate Balwant (Sanjay Khapre) who is also close to girl’s family.
Durga turns Uma after marriage, on entering the disciplined house of Haridada, whom she respects a lot, besides liking him for his behavior and personality. When Mahadeo passes away at young age, while studying his law; the responsibility of Uma lies on the shoulders of Haridada and his family. Uma mixes up well with Haridada’s wife and children of Haridada and takes care of them, as she grows up with them.
As per the rituals in Brahmin family, Uma is supposed to shave off her head; after her husband’s death; but Haridada opposes to the demand of the Priests from village headed by Upadhyay (Vaibhav Mangale). When Haridada’s wife passes away, everybody expects him to marry Uma ( Priya Bapat, who plays the grown up Uma) and Uma too is willing for the same. But, Haridada refuses to do so; as he is committed to his promise given to soul of the departed, during the rituals observed on the 10th day after Mahadeo’s death.
A time comes when Haridada stops talking to Uma and that hurts her. She stops eating. Everybody including Haridada’s elder sister, Haridada’s married children and younger sister all fail to persuade her. Finally, Haridada confesses the truth to Uma, stating as to why he kept himself away from her, though over protected her. He even agrees to marry her, breaking all his promises, only with the hope that she would give up her fast. But, the director tries to be realistic and ends the film, the way he wished to respect the original script of Usha Datar on the screenplay of Girish Joshi.
Shot on the backdrop of Konkan, Mahesh Manjrekar has perfectly selected the locations, including the traditional ancestral house, to create the atmosphere of the pre- independence era. Very cleverly, he has inserted the character of Balwant, who is also shown as a freedom fighter. The character of Upadhyay played by Vaibhav Mangale clearly suggests the dominance of orthodox Brahmins those days.
From beginning till the end, the film sticks to its subject, without any diversions and that makes the presentation more realistic. ‘Kakasparsha’ is the film for sensible film viewers. Fine performances from Sachin Khedekar, Sanjay Khapre, Ketaki Mategaonkar, Vaibhav Mangle, Priya Bapat, Abhijit Kelkar, Saksham Kulkarni and others, makes it more impressive. Music and background music have been handled well and so is the wonderful cinematography capturing all those natural moments.
Actor Sachin Khedkar deserves all the praise for his memorable performance through that lifetime role of Haridada. He gets a good support from all other artistes. Prominent among them are Sanjay Khapre and Vaibhav Mangle who have invited special attention.
‘Khel Mandala’ takes Marathi Movie to a greater height
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Rating: na
Banner: Amruta Productions, Mirah Entertainment Producer: Ashok Narkar Director: Viju Mane Story, ScreenPlay, Dialogues: Viju Mane Music: Chinar Mahesh Lyrics: Ashok Bagwe, Abhijit Panse, Viju Mane Cast: Mangesh Desai, Uday Sabnis, Ananya Devre, Urmila Kanetkar, Santosh Juvekar, Prasad Oak, Mansi Salvi, Kushal Bhadrike, Priya Marathe Movie Review by: Ulhas Shirke |
Script has been the success formula of Marathi films these days. New subjects with universal themes presented by Marathi movies now a days, are appealing not only the audience at the national level but also the world over. Viju Mane’s new Marathi film, ‘Khel Mandala’ can be counted in this category of exemplary films.
The film presents a poor simple villager- Dasu (Mangesh Desai) who comes to Mumbai along with his father(Uday Sabnis), as he feels that the puppet shows performed by his father have become outdated. The father is reluctant, but Dasu convinces him, suggesting that he would do some job, so that the old man could rest during his old age. He finds temporary shelter under a flyover bridge, but is unable to fulfill his father’s dream, as the old man is knocked down by a speeding truck.
Dasu decides to carry forward his father’s puppet shows . One day, he finds a new born baby girl left near his hut , during the riots. Dasu, who is all alone in this world, decides to take care of the child. He soon discovers that the baby girl is not only visually impaired but also dumb and deaf. He names her Bahuli. Already blessed with his father’s art, he uses threads tied to her to communicate with her. As Bahuli grows three year old, Dasu makes her dance like a puppet and earns for their living.
A TV Journalist Anushka (Urmila Kanitkar-Kothare) spots both of them during one such road show and makes a story for her breaking news. Her boyfriend (Santosh Juvekar) who belongs to rival channel, makes a different story out of this news, inviting Human Rights activist for a talk show to indicate that such an act is an exploitation of child, under Child labour act. In the meantime, Anushka discovers Bahuli’s real parents Sheetal & Sangeet (Manasi Salvi & Prasad Oak) and tries to hand over Bahuli to them. But, emotion filled Dasu is reluctant. Anushka tries to persuade him, stating that they would be able to offer treatment to Bahuli.
The film concludes with a tragic end, but it goes on to suggest the realities in human life. As a director Viju Mane has presented the character of Dasu in a sensible manner, showing his journey from a village to Mumbai and willing to do any work and adjust
himself in the so called dream city. He is the perfect choice for this role. His emotions are very cleverly captured by the camera, throughout the movie, especially in the climax. Urmila plays the committed TV News channel Journalist very effectively. At the same time, we witness a clever but cunning reporter in Santosh.
Both, Prasad and Manasi play the married couple efficiently. Manasi has more scope to prove her capacity through few emotion filled scenes, while Prasad plays a selfish husband, who later confesses his misdeed. Uday Sabnis has little to offer, but he has played his part well and so are the efforts put in by Arun kadam, Abhijit Chavan, Kushal Badrike and Priya Marathe – who plays the narrator. Child artiste Ananya plays the role of Bahuli as per director’s expectations. .
There are many touching emotion based scenes in the film; but one fails to understand the scenes, where Dasu falls asleep, holding Bahuli in his arms that too without tying her hands, while it rains and his body getting wet. Also, the dream scene where Dasu imagines Anushka as his companion to take care of Bahuli, does not go well. Barring these two scenes, director Viju Mane, has succeeded in his superb presentation, which certainly takes Marathi Movie to a greater height.
‘Masala’ offers a tasty recipe to Marathi audience
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Rating: na
Banner: Aarbhat Nirmiti Producer: Umesh Vinayak Kulkarni, Girish Pandurang Kulkarni Director: Sandesh Kulkarni Story: Girish Pandurang Kulkarni Screenplay: Girish Pandurang Kulkarni Cinematographer: H M Ramachandra Halkere Cast: Girish Pandurang Kulkarni, Amruta Subhash, Dr. Moha Aagashe, Dilip Prabhavalkar, Hrishikesh Joshi, Sneha Majgaonkar, Srirang Mahajan, Shrikant Yadav, Gardi Fule-Thatte, Dr. Shreeram Lagoo, Jyoti Subhash Movie Review by: Ulhas Shirke |
As you always need a good combination of spices to bring a special flavor to a kitchen recipe; the same is applicable for a neat and clean feature film, before its final presentation. Only difference is that in the case of a film, it is the ingredients like story, screenplay, dialogues, performances, editing, cinematography, lyrics and music that should combine well to make a sensible film. Latest released Marathi film ‘Masala’ has that special flavor, well suited to its apt title.
The film revolves around the struggle of a young couple- Revan (Girish Kulkarni) and Sarika (Amruta Subhash), who move from one district place to the other in search of a small business to settle down in life. Revan tries his hands at selling the sarees door to door, convincing housewives about the quality. He also sets up a small grocery shop and later sells essential items, riding on his bicycle. Finally, fed up with the increasing creditor’s list, the couple land up in Solapur. With the help of his brother in law- kalyan and his wife ( Hrishikesk Joshi and Sneha Majgaonkar) they not only find shelter, but also see some hope of a business. Both the couples work hard and prepare a recipe of fried Groundnuts using a coating of besan, mixed with spices.
In the meanwhile, Revan is deputed by Kalyan to Pune, to show the reports of his little son to a ENT specialist, for his treatment of an ear injury. But, Revan takes a lift from wrong people driving a truck, He lands in Police lock up. However, due to the kindness of a local Businessman and his wife (Mohan Agashe and Jyoti Subahsh), he is rescued. The Businessman not only offers him shelter, but also employs him in his factory; after hearing his story. Revan works hard and plans big to start his own business one day.
‘If there’s a will, there’s a way’. ‘Masala’ is an inspiring tale, which sends across a strong message to those people in Maharashtra, not to be discouraged by failure in business. If you are honest and working hard, there is always someone to take note of your sincerity. The film has been shot at realistic outdoor locations at different district places in Maharashtra. It cleverly portrays the picture of a hard working common man in Maharashtra, who begins with small business, but aspires to start his own big business soon.
Director Sandesh Kulkarni has shot one important scene very cleverly, when the couple is taken for a ride by the truck driver. When the couple reach Solapur, their struggle does not end there; even after finding the shelter at a relative’s place. Fortunately, their wavelength matches well with that of the host couple, who not only welcome them in their house by offering shelter, but also share their problems by working together to earn for their living.
Both- Girish Kulkarni and Amruta Subhash have played the ‘made for each other couple’ in a realistic manner. Watch those scenes of their struggle, while moving from one place to other. The wife is always ready to move with her husband, wherever he plans to go. Hrishikesh Joshi and Sneha Majgaonkar lend a good support. Some characters like the businessman and his wife- played by Dr. Mohan Agashe and Jyoti Subhash; add good support to the film’s script. At the same time, the scientist ( Dilip Prabhavalkar) seriously working on the production of fuel from Bio waste, not only brings some humour, but also goes on to show the social obligation. Dr. Shreeram Lagoo has just one scene, but in that role of Idrisbhai- dealer of scents, he goes on to show how important is trust in any business.
There is not much scope for songs in this film; but, one song with Karnataki touch has been composed very well by Anand Modak on the lyrics of Sunil Sukhtankar. Background music has been used well, with the help of music arranger Narendra Bhide. Cinematography by M.H. Ramachandran is something to be appreciated for capturing all those scenes in motion. Sandesh Kulkarni leaves a mark with his film direction on debut. He has succeeded in offering a tasty recipe to Marathi audience with his ‘Masala’.
‘Baboo Band Bajaa’ – a masterpiece
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Rating: 3.5
Banner: Jai Gajanan Productions Producer: Neeta Jadhav Director: Rajesh Pinjani Story: Shantanu Ganesh Rode Screenplay: Shantanu Ganesh Rode Cinematographer: Raja Phadatare Cast: Master Vivek Chabukswar, Usha Naik, Milind Shinde, Milatee Jagtap Varadkar, Chhaya Kadam, Master Amaan Attar, Sanjay Kulkarni, Vinod Raut, Mukund Wasule, Rajesh Bhosale, Rajesh More, Mahesh Ghag Movie Review by: Ulhas Shirke |
Planning Commission deputy chairman Montek Singh Ahluwalia defined Rs 32 per capita per day as poverty line and was criticized by the media and experts. Indeed, Mr. Ahuwalia, hasn’t seen the poverty in villages of Maharashtra. To get a better idea, he should watch Rajesh Pinjani‘s latest released Marathi film ‘Baboo Band Bajaa’. It is not only the earnings to eat the daily bread, but to manage the house and offer minimum education to the children and meet their medical expenses; that counts to decide the poverty line.
Set on the backdrop of a typical village in Maharashtra, the film revolves around one such family of Jaggu( Milind Shinde) , who plays band at weddings and funerals in the village. He shares his income with other three colleagues and sometimes uses his son Baboo( Vivek Chabukswar) , in absence of any one from the group. There was a time, when Jaggu owned his band in the name of his son ‘Baboo band Bajaa’. But, due to poverty and accumulation of debt, he has keep his instruments as security to the moneylender, against the loan.
Mitali Jagtap, Baboo Band Baja Jaggu’s son Baboo studies in 3rd standard in the village school, but he cannot even afford his school uniform. One day, his school bag is lost. Baboo gets thrashing from his father as well as schoolmaster, who sends him home. Jaggu wants Baboo to join his group, but his mother( Mitali Jagtap) does all odd jobs to earn extra, so as to offer education to her son. Baboo’s grandmother( Usha Naik) too wants her grandson to receive good education. One day, after attending to the labour pains of a woman from an upper class family, she requests the head of the family for job. She finds one as a contract labourer at a cotton depot. But, there too, the manager delays her payments.
The bad luck continues with the family, as the old woman too sits at the local market to sell essential items. Jaggu and his group suffer another setback, as the local politician plans community weddings, offering incentives to the newly wed couple. He also plans to invite a Big band group and photographers from the town to get maximum publicity. This results in unemployment for Jaggu as
well as local photographer. But, the local photographer, who marries Jaggu’s friend’s daughter (Namrata Awate) has some photos clicked of the politician’s secret deals. In return, he demands the contract for himself Jaggu’s group for the big event.
Everything seems to be going well, when another tragedy strikes the family. But, in spite of that loss, Baboo gets ready to attend his school and Jaggu gets back his instruments after repaying his loan. ‘Baboo Band Bajaa’ is a sensible film, which sends across a strong message on importance of education to rural children. The director has presented the subject with total sincerity, without paying much attention to unnecessary glamour or item numbers. From start to finish, he has focused his attention on the main issue; trying to explain how women in India are concerned about the education to their children.
The film has already won many awards at the film festivals, with the leading lady of the film – Mitali Jagtap Varadkar, having won the best actress national award last year. Undoubtedly, she has given an outstanding performance. The child artiste Vivek Chabukswar has displayed his extra ordinary talent, through the role of Baboo. Among the other artistes, Milind Shinde looks very natural and has given his best. But, others like Usha Naik, Namrata Awate and others have supported very well. It’s the good team work of the artistes and the technical people, which makes this film a masterpiece.
‘Mukti’ addresses farmers’ issue with a difference
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Rating: na
Banner: Placid Films Presenter: Sachin Shamrao Jankar Producer: Sachin Shamrao Jankar Director: Machhindra More Story: Machhindra More Screenplay- Dialogues: Machhindra More Cinematographer: Raja Phadtare Cast: Nandu Madhav, Tejaswini Pandit, Milind Shinde, Nagesh Bhosale, Satish Salagare, Prashant Neman, Gauri Kamble & Charvi Sangkholkar, Ajay Jadhav. Movie Review by: Ulhas Shirke |
In the recent past, few films like ‘Gabhricha Paus’ and ‘Pangira’ have already made a statement on farmer’s suicide and have succeeded in making the audience think about the existing situation in Maharashtra. They also blamed the corrupt system and the Government for their Agricultural policies. Now, Machhindra More through his latest directorial film ‘Mukti’ goes beyond the topic of suicides, to not only show how the family of the victim suffers in this so called corrupt state of India; but has shown some hopes to the farmers of this state, who form a sizable population.
‘Mukti’ is a tale of one such farmer Bhanudas (Nandu Madhav) living in a small village of Maharashtra, which is under drought prone area. The MLA of their area promises water from a dam located at a nearby place. But, Bhanudas alias Bhana (as he is popularly called) is not willing to wait. He is more eager to farm on his 12 acre land and tries his best to dig a well to arrange for water. He thinks big and on the advice of experts decides to use the blast method. Borrowing money from local moneylender Bhujang (Nagesh Bhosale )and taking loan from the bank, he goes ahead with his plans, only to fail in his mission. Dejected with the developments, he commits suicide, by jumping into the dry pit.
After her husband’s death, his wife Baijaa (Tejaswini Pandit) faces a tough challenge to look after her two school going children and old father-in law. She is also under pressure from the Moneylender to repay his loan or surrender herself before him. The local village Sarpanch (Milind Shinde) also plays all the tricks to come close to her, under the pretext of getting the compensation for her.
‘Mukti’ shows all those hardships, a helpless widow has to undergo, after her husband’s death. The film’s screenplay keeps on reminding all those male folks, as to how difficult the life would become for their family, in case they commit suicide.
Things change in the village, in just two years time, after Baija leaves the village with her two children, to escape humiliation at the hands of the moneylender and the village headman. Surprisingly, the film shows better image of the MLA, at a time, when we are witnessing the scams of politicians in Maharashtra. But, as they say, not all politicians are corrupt. The film has however blamed the system comprising of Talathi, tahsildar and the people working in such government offices. Without a bribe, you cannot get the work done. Even to get Rs. One lack compensation released, Baija is told to pay a bribe of 75% of the dues to her, declaring the share of all the Government officers including collector. The climax focuses attention on the Budget of Central Government, where the FM announces waiver of loans by farmers and a new policy to abolish the Moneylenders in villages.
The MLA himself, announces the release of water from the dam through a canal for the village, following which, the news about Baijaa and her children begging at a nearby town reaches the retired schoolmaster. But, the film does not end after return of Baijaa and her children to their village. She has to follow the rituals by offering food to the crow to liberate her husband’s soul. And, this time, the crow does come to eat the food offered. The director begins his film, narrating the significance behind this ritual through animated version, which relates to the happening at the end, when the film concludes with a meaningful poem.
‘Mukti’ is just not the another film on Farmer’s suicide; as it does not only present the dark side but also constantly reminds those farmers, about the repercussions of such drastic steps taken by them. It shows the hope, besides reminding the administration of their lapses. The film does create the required humour into this otherwise serious tragic tale, through the comedy character of Bajaa, played by Ajay Jadhav. Nadu Madhav has played his role with sincerity and so does Tejaswini Pandit, with her fine performance. Having played the character of Sindhutai Sapkal, she looks more confident, playing a village woman in distress. Milind Shinde, Nagesh Bhosale, Satish Salagare, Prashant Neman, Gauri Kamble &Charvi Sangkholkar have done their best in supporting roles. Music does not have much scope in this film, but B.A. Tupe’s music suits well to the village backdrop.