‘Chirgut’ revolts against the corrupt system
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Rating: na
Banner: J. R. D. Entertainment Producer: Rajshree Jagtap Director: Pradeep Ghonsikar Story: Dilip Jagtap Screenplay- Dialogues: Sanjay Pawar, Dilip Jagtap Cinematographer: Madhu Rao Cast: Upendra Limaye, Chinmay Mandlekar, Siya Patil, Madhav Abhyankar, Sanjay Kulkarni, Pramod Shinde, Dr. Sharad Bhutadia and Ajit Bhagat Movie Review by: Ulhas Shirke |
Corruption is spreading like a cancer in the society and the main victims are the laborers and the neglected class, who live in the slums. Today, under the name of ‘Slum Rehabilitation Projects’ the builders with the help of local leaders, are exploiting the slum dwellers. The latest Marathi film ‘Chirgut’, (which means a worn out cloth piece) has been shot on the backdrop of a real existing slum off. Mumbai, where you find the concentration of people belonging to the most neglected community including Eunuch and prostitutes. The hero of this film Nagya (Upendra Limaye) an orphan, has been brought up by one such Eunuch (Ajit Bhagat).
The film has a hard hitting subject with Nagya educating the people from his slum colony, about their rights. He also dares to challenge the local MLA, when the latter approaches him with an offer. Watching Nagya’s stand against the corrupt system, Jahnavi ( Siya Patil) a student of Sociology from a Management Institute, is highly impressed. She talks to her close friend and project partner Vijya (Chinmay Mandlekar) about Nagya’s mission; but, he discourages her, saying that he had closely observed Nagya since his college days and that he would not be able to carry forward his fight. But, Jahnavi takes her own decision and leaves her college project to join Nagya’s movement. She is also joined by other two friends. Finally, when Vijya realizes that his professor is also working on the directions of the Government, he too joins their group.
Their movement spreads to other parts of Maharashtra, where people exploited by politicians and builders unite under their leadership. As a result of this, the chief Minister, a look alike of the present chief Minister of Maharashtra, orders inquiry against
some of his team members and bows down before the demand of the revolutionaries. The film has hard hitting dialogues by Sanjay Pawar and Dilip Jagtap, to create the conflict between Policy makers and slum dwellers.
The film did possess the content to expose the system, but it failed in the concluding part. The reason for which Nagya opens his fight, i.e. to hand over the rights to the people actually leaving in the slums, to develop their area; does not produce desired results in the end. It would have been better, if the director had concluded the film, showing the Slum rehabilitation rights given to Nagya and his associates. It would have sent a strong message to our policy makers and selfish politicians, who play hand n glove game with builders.
The film has clearly shown the MLA of ruling party and the opposition leader coming together, fearing about the sudden rise of such third front led by Nagya. In fact, the film has been targeted at such underprivileged people living in slums, reminding them about their rights. It also inspires them to form their own front, to seek their privileges. National award winning actor Upendra Limaye has given his best in the role of Nagya, which is almost a one man show. In the supporting cast Chinmay Mandlekar and Siya Patil find few scenes to make their presence felt. Other artistes like Madhav Abhyankar as the Professor, Dr. Sharad Bhutadia as opposition leader, Ajit Bhagat as Eunuch and Pramod Shinde as chief Minister have done well. Pradeep Ghonsikar’s direction is good in some of the important scenes but in the climax, he fails to create that desired impact, as the last scene has been dragged with the speech of Nagya. However, the sincere effort of the director to present this social issue in a cinematic format, is to be appreciated.
‘Teen Baika Fajiti Aika’ – a masala stuffed comedy
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Rating: na
Banner: Sai Shankar Films Producer: Shankar Mitkari Director: Raju Parsekar Story: Rajan Agrawal Screenplay: Arvind Jagtap, Dilip Yadaw Cinematographer: Abdul Wahab Cast: Makarand Anaspure , Kranti Redkar , Nisha Purulekar , Tejshree Khele , Surkha Kutchi , Vijay Chavan, Kuldip Pawar , Singers: Anand Sinde , Reshma Sonvane, tyagaraj Khadilkar, Eknath Mali Movie Review by: Ulhas Shirke |
At a time when Marathi films are winning the national awards for their realistic sensible presentation, the wave of comedy films hasn’t stopped. Now, coinciding with the new Maharashtian year, we find one Masala stuffed comedy film, made by veteran director Raju Parsekar. Being well versed with the art of film making at the commercial level, the director has picked up this time a subject based on marital relations, where the husband belonging to a traditionally rich family from a village, is required to marry another woman with the kind permission of his first wife.
Makarand Anaspure who plays the 32 year old son- Vishwasrao of a deceased landlord of a village, is already married to Madhavi ( Nisha Parulekar), but the couple has no issue after 5 years of marriage. So the mother-in-law does not leave any opportunity to taunt her daughter in law. One day, when the family attend a wedding of a close family friend’s daughter- Prajakta ( Kranti Redkar) , they find the Bridegroom deserting his would be wife, over dowry issue. As per the village tradition, this is considered inauspicious for the girl. So, Vishwasrao’s mother, who is present there, suggests her son to marry the girl, to fulfill her wish of getting a heir to her family. When Madhavi also agrees for the same, Prajakta arrives at home. Both the girls get along well with each other; but they don’t find time for Vishwasrao. So, to teach them a lesson, Vishwasrao hires a girl, to pose as his girlfriend.
But, his live in show off relationship with the new girl – Pari ( Tejashree Khele), invites a new problem for him. The Police officer( Kuldeep Pawar) , who is under Vishwasrao’s obligation, keeps on coming and going to create the required humour in the screenplay. Finally, the film ends with a climax, in a typical Priyadarshan style comedy. Director Raju Parsekar realizing the potential of Makarand Anaspure to play such a character, has used his timing very well, whether it was with Kranti, Nisha or Tejashree. But, his interaction on three occasions with Kuldeep Pawar, creates the required humour in this fast paced film.
Most of the sequences in the film are picturised on Chiranjivi style Telugu films. But, the base being Maharashtra, the director has not deviated from the typical semi urban culture in the state. Some of the local idioms and phrases have been timed well in the screenplay by Arwind Jagtap. Therefore, if the audience decide to forget their logical thinking process, the film is good enough to entertain them for little more than two hours. The focus of the film maker seems to be on getting good collections from single screen theatres at district places like Pune, Nashik, Kolapur, Satara, Nagpur and other places in Western Maharashtra.
The leading man of the film Makarand Anaspure has played the flamboyant Vishwasrao in his typical style. Suited to his rich family character background, he is also shown wearing some designer tops. Surekha Kudchi perfectly fits into the character of his mother with authority. Vijay Chavan makes his special appearances through the photo frame to remind his wife about his last wish. His son Varad Chavan has a small negative role. All the three leading ladies have equal share to their credit and have done a good job. Kranti in particular has timed her mimicry well besides usage of broken English . The new girl Tejashree makes her surprise entry at the stroke of interval. She too has done her job well in the company of all known artistes. Perhaps, her exposure to south films has come to her advantage. Among the other artistes, Digamber Naik and the girl playing the maid servant-Madhuri have done their jobs well.
Music and Camera are the plus points of this film. Photography by Wahab is good . All the five songs are well timed. The already popular Rikshawala song has been cleverly picturised on Manasi Naik, who is now experienced enough to perform such item numbers. But, if the audience is keen on watching this item number, they should not miss the beginning of the film, as the song forms part of first ten minutes of the film. As a director, Raju Parsekar has done a fairly good job to offer entertainment with U/A crertification, compared to what he offered in the films like ‘Durga Mhantyat Mala’ and ‘Tata Birla Ani Laila’ in the recent past.
‘Kaay Karu? Na Kasa Karu !’- Just another average comedy
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Rating: na
Presenter: G V Films, Balgiri Director: Vinay E Laad Story: Vinay E Laad Screenplay: Vinay E Laad Dialogues: Sanjay Belose Cinematographer: Anil Khandekar Music: Nishikant Sadafule Art: Rashid Rangrez Cast: Bharat Jadhav, Deepali Sayyed, Pushkar Shrotri, Aditi Sarangdhar, Vijay Chavhan, Uma Sardeshmukh, Jyoti Joshi, Ashok Shinde, Movie Review by: Ulhas Shirke |
You never know, when and how our Marathi film makers would get inspired to make comedy films on the lines of some old Bollywood movies. Perhaps, watching those repeat runs of David Dhavan films starring Govinda and Sanjay Dutt on television, might have influenced director Vinay Laad to write the story of this Marathi film ‘Kaay karu? Na Kasa karu!’ starring Bharat Jadhav and Pushkar Shrotri in the lead. Only changes he made, by replacing Jay Paaji and Veeru Paaji with Vijay and Ajay; as otherwise both are shown as con men, in search of easy money and accommodation.
Vijay feels that he can compose music while Ajay, who sells ayurvedic jadi butti, poses himself as a doctor owning a hospital. So, they play pranks on the lines of what Govinda and Sanjay Dutt did in either ‘Jodi No. 1′, ‘Haseena Maan Jayegi’, or ‘Ek aur Ek Gyarah’. If that was not enough, they also borrow few ideas from Harmesh Malhotra’s Bollywood films of 90s.
With few changes here and there, the plot of ‘Kaay Karu? Na Kasa Karu!’ begins with two close friends – Vijay (Bharat Jadhav) and Ajay (Pushkar Shrotri), who are shown literally on the roads in the beginning of the film, after being shown the door by their landlord. They meet their common friend Kamlya (Kamlakar Satpute) who is influenced by Mr. Bachchan and keeps on overdoing his past film acts uttering Hindi dialogues, more than required to create humour.
Kamlya introduces his two friends to a Watchman of a bungalow (Vijay Chavan), who is guarding his Owner’s bungalow for a period of six months, since the owner is away. In the meanwhile the watchman’s two daughters Nisha (Deepali Sayyed) and Usha (Aditi Sarangdhar) also manage to enjoy the luxury of this bungalow. When Kamlya introduces Vijay and Ajay as an upcoming Music director and a doctor owning hospital respectively, the girls are impressed by their status and fall in love with them, in the first meeting itself. Their mother (Uma Sardeshmukh) is not very happy with their association with strangers, but the father plans
something big; and soon gets his both the daughters married to them.
When, it is disclosed that the two young men are fraud, he repents. But, destiny makes them extra smart and they manage Rs.5 cores, after they save life of a rich man about to commit suicide. Then begins the naughty games of two boys, to teach a lesson to their demanding wives. Finally, it’s happy ending in the climax. There is no doubt that the chemistry between the two couples works well; but the outdated song sequences and not so appealing music do not go well with the screenplay.
All the four leading artistes have given their best, as expected. Ashok Shinde plays an awkward looking role, where he has no scope; but only to expose his skin affected face and receiving insults from Deepali. Vijay Chavhan and Uma Sardeshmukh play the parents convincingly. Few dialogues are well written by Sanjay Belose; but some of them are repeated by Kamlakar Satpute – the character of Kamlya, while performing his mimicry and by Deepali while humiliating Ashok Shinde. There are no twists and turns in the screenplay, except for the routine comedy on one given plot. Anil Khandekar’s photography is good, but there is nothing special in the choreography of Dilip Mistry. In the process, Writer- Director Vinay Laad has offered just another average entertaining Marathi comedy film.
‘Matter’ of facts
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Rating: na
Producer: Poonam Shende Director: Satish Motling Story: Atmaram Dharne Screenplay: Atmaram Dharne Cinematographer: Satish Motling Music: Abhijeet Rameshrao Kawthalkar Cast: Jitendra Joshi, Santosh Juvekar, Sushant Shelar, Rajesh Shringarpure, Sameer Dharmadhikari, Usha Nadkarni, Minal Ghorpade, Surekha Kudachi, Megha Dhade, Yogini Cho Movie Review by: Ulhas Shirke |
Well, we all know that there was a time when Underworld almost ruled Mumbai and that enabled the terrorists to strike the dream city during early 1993. But, after that many underworld dons have gone underground, some of them killed in rival gang firing, while others were killed in Police encounters. New Marathi film ‘Matter’ throws light on such underworld operations in Mumbai during that period and how they influenced the unemployed youth, who were either in remand homes or jail.
Director Satish Motling presents four young friends Pakya, Babya, Raja and Rony ( played by Santosh Juvekar, Jitendra Joshi, Sushant Shelar and Rajesh Shringarpure) and the happenings in their individual life, through his film ‘Matter’, which is an action packed drama on the backdrop of corrupt politicians and their nexus with the underworld. The image of Police is however shown clean, but it is shown that even they play their tricks when the time comes to eliminate the most corrupt politician and the underworld dons, with a slogan ‘Mumbai Saaf toh Sau Gunhe Maaf’.
So, you find a ATS Chief Vikramm Pradhan (Sameer Dharmadhikari) doing this thankless job to achieve his motto. Sulbhatai (Usha Nadkarni) who is in power in the state uses both the underworld gangs for her own benefit. So, the ATS chief implements his plans after the death of his superior. But, even if you cut the roots, there is no complete end to crime. The operators, who are lucky to escape, take shelter in some other country to operate their business in Mumbai. There is a character of Maxi (Minal Ghorpade), a girl living in a chawl, in silent love with Babya. In most of the scenes, she keeps on giving the same smile and looks to her favorite boy and suddenly reacts, when he admits his love. Having known his background, she finally marries Babya, much against the wish of her parents.
Pakya (Santiosh Juvekar), falls in love with ATS chief’s sister (Yogini Chouk), when he saves her life from the custody of his Don, as she is picked up on mistaken identity. Rony (Rajesh Shrigarpure) is in love with a bar dancer (Megha Dhade) and Raja (Sushant
Shelar) who is offered shelter by a woman, active in gambling business (Surekha Kudachi) is shown more focused on his work and is self centred. He is shown as the most shrewd gangster, who gets his reward at the end.
Sushant Shelar for the first time has a prominent role. Till now, in spite of being a talented actor, he never had an opportunity to prove his mettle. But, this film would certainly fetch him better roles in films. The other three heroes – Rajesh Shrigarpure, Jitendra Joshi and Santosh Juvekar are at their best, but there are no suitable dialogues offered to them to create greater impact. Pakya utters the same slang on more than a dozen occasions. The villain Bala instead of uttering much, keeps on tilting his neck to make the cracking sound repeatedly. The conversation among the four friends does not create the desired effect, as it should have been otherwise. However, Usha Nadkarni in her own style has tried to make her presence felt, as a selfish politician. Sameer Dharmadhikari is good, but he doesn’t have much scope.
In the film, the female characters do not have much of importance, being a male dominated film. However, Yogini Chouk and Megha Dhade have tried to give their best through those few scenes to their credit. There are few other artistes like Javed Hyder, Anita Vishwasrao, Digvijay Rohidas, Ashok Kulkarni, Mahesh Kokate, Narayan Jadhav, Deepak Vetkar and Jitendra Awhad playing different characters. There is no doubt about the excellent cinematography by the director himself; but, the more than required songs on the same item style, diverts the attention of the audience from the ongoing screenplay. Some of the scenes have been unnecessarily extended, like the gang wars, the wedding scene of Maxi, the police torture and those slow motion effects used on few occasions.
‘Matter’ is otherwise a true presentation of facts about the happenings in the lives of people associated with the underworld and corrupt practices. At the end of the film, the sensible audience is convinced that the director hasn’t glorified the underworld, like the way Bollywood films do. He has been realistic in his approach, barring few scenes. ‘Matter’ can be called an action film, filled with violence and rough language; and those who love to watch such films, shouldn’t miss it. For others, it is just another film on gangsters in Mumbai and their lifestyle.
‘Sambhaa’ adopts South film pattern
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Rating: na
Presenter: Shiva Films Director: Sanjay Todkar Story: Sanjay Pawar Screenplay: Sanjay Pawar Dialogues: Sanjay Pawar Cinematographer: Girish Udale Music: Avinash – Vishvajeet Art: Satish Bidkar Cast: Devendra Chaugule, Mohan Joshi, MiIlind Gunaji, Kuldeep Pawar, Madhu Kambikar, Tejashree Khele, Deepali Sayyad Movie Review by: Ulhas Shirke |
We are well aware of the progress of Marathi films, with different subjects portraying sensible topics. But, the quality improvement in Marathi cinema has not witnessed a good turn out at the theatres. On the contrary, Bollywood films made on the lines of South Indian films, are attaining grand success at box office. Best examples are films like ‘Dabbang’ and ‘Singham’. So, what if any of our Marathi film makers attempt the same formula in Marathi films ?
Actor- Producer Devendra Chougule has attempted this experiment through his new Marathi film ‘Sambhaa.. Aajcha Chava’ with all that we have witnessed in those hit Bollywood films, made on the lines of action packed South films. Only difference is that, he has retained his original script penned by Santosh Pawar, keeping the Marathi audience in mind; otherwise, his film would have resembled any dubbed version of commercial south film shown on TV channels now days.
The story of ‘Sambhaa’ is simple, keeping in mind the current scenario of price rise and its effect on common people and the traders playing Hand n Glove game with local politicians, who use their power to suppress the voice of the people with the help of police. Using all the latest technology with VFX and proving that Marathi films are nowhere behind Tollywood and Bollywood, shows the guts of the film maker. Be it music, choreography, photography, sound effect and stunt scenes, he has not compromised on any of these areas of production. And, for this effort, hats off to Devendra Chougule.
Just imagine, if Salman Khan were to play the central character of Sambha in this film, the film would have not only been a super duper hit in Maharashtra; but would have invited attention from all over India, if it was made under the direction of Mahesh Manjrekar or N. Chandra. Nevertheless, the efforts put in by Devendra Chougule are no less than Salman Khan. You can now call him Salman Khan of Marathi films, for performing all those stunts, using better reflexes in dancing than Salman and delivering those punchy lines penned by Santosh Pawar in his own style in Marathi.
There are few errors in direction by scene director Sanjay Todkar, but Action directors Anand Raj and Devraj nullify those slips. Music and background music remind you of south film’s music style. Incidentally, the Choreographer Kaladharan and stunt master Anand Raj of this film, are from South films. However, Girish Udale’s cinematography makes us feel proud, that we are watching an action packed Marathi film. He has captured some of the difficult shots very intelligently. Above all, the film maker has been sincere enough to show at the end, how he shot those difficult scenes before going for post production.
As an actor, Devendra Chougule shows lot of self confidence in himself, while playing this central character of Sambhaa. There is no doubt that he has kept the camera focused on him most of the time; but, that was the requirement of the script, which revolves around the hero, who fights against injustice in society, single handed with the support of few friends. Deepali Sayyed finds a suitable role of a journalist in this film and she has done her job well. Tejashree Khele is certainly a gift to Marathi cinema, after getting sufficient exposure in South films. But, she has less scope in this film. Otherwise, she has played the role of Kareena with ease, on the lines of typical southern stars. Mohan Joshi, Milind Gunaji, Madhu Kambikar, Kuldeep Pawar, Vijay Chavan, Mangesh Desai, Dhananjay Mandrekar have supported well in their limited roles. Junior Jhony Lever makes his debut as a comedian through this film and he resembles the veteran comedy king and has even tried to act like him. But, he has a long way to go, as the veteran comedian is still matchless.
Last but not the least, those who have enjoyed watching films like ‘Dabhang’ and ‘Singham’, why not watch ‘Sambhaa’? After all, it is made by our own Marathi manoos for our Marathi audience, who otherwise watch similar type of south and Bollywood films, at small towns district places of Maharashtra. More so, Devendra has made this film with total sincerity, admitting openly that it is a total commercial film.
‘Bluffmaster’ influenced by Bollywood
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Rating: na
Director: Kishore Saav Story: Anil Dixit Screenplay: Rajesh Kolan Dialogues: Vijay Patvardhan, Anil Dixit Cinematographer: Sanjay Khanzode Music: Prasad – Advait Art: Swapnil Keny Cast: Ankush Choudhary, Tejaswini Pandit, Poorva Pawar, Kishori Ambiye, Pushkar Shrotri, Vijay Kadam, Mangesh Desai Movie Review by: Ulhas Shirke |
In the past, we saw many Marathi films influenced by some Bollywood films. Latest Marathi film ‘Bluffmaster’ has not only copied the name of Bollywood film with the same title, but has also gone on the lines of few David Dhavan’s popular hits. If you have seen Govinda’s films ‘Aunty No. 1′ and ‘Haseena Maan Jayegi’, there is striking resemblance of the characters of Aunty and Uncle in this film to that played by Govinda in a similar circumstances. There is no doubt that Ankush Choudhary has succeeded in portraying these roles; but thanks to Vikram Gaekwad for his creative work on the make up of Ankush Choudhary.
Only last month we saw Ankush playing a Bluffmaster through three different characters in the film ‘Zhakaas’ and now we once again find him playing three different characters by changing over quickly from one role to other. Isn’t that a coincidence ?
The story of this Marathi ‘Bluffmaster’ revolves around Niki (Ankush Choudhary), who is a struggler and is in search of a role to play hero in films. He shares his room with his friend Prakash (Mangesh Desai) who is a script writer and also struggles in his life. Both Niki and Prakash are offered Junior artiste’s roles by Assistant director Deepak ( Pushkar Shrotri) who is aspiring to become an independent director and marry Sanica( Tejaswini Pandit), whom he likes. But, when Niki sees Sanica, he falls in love with her. Deepak does not like it and he seeks the help of Sanica’s aunty (Kishori Ambiye) to foil Niki’s plans. But, Niki with the help of his friend Prakash, plays different roles i.e. of his aunty and Father turn by turn; after he comes in contact with a stranger ,who offers him an assignment.
What happens further, is all that we have witnessed in some Bollywood comedy films. Written by Anil Dixit, the screenplay of the film by Rajesh Kolan is no different than clippings from David’s past films. The director Kishore Saav, seems to have been influenced by this Bollywood film maker.
The title music also goes on the lines of Bollywood’s ‘Bluffmaster’ on ‘Rock and pop’ style, with the inclusion of Poorva Pawar giving company to Ankush Choudhary on the dance floor. Music by Prasad – Advait is not very impressive , but background music by Avinash Vishwajeet is remarkable. Art director Sachin Nevse and cinematographer Sanjay Khanzode have tried their best to make this film more presentable with their respective jobs. But, while watching this film, one has to leave their brains at home, as the logical thinking process is missing in the film.
‘Bluffmaster’, is basically just a time pass film, with situation based comedy. Throughout the film, you find the hero dodging someone or the other and it is only in the climax that you come to know, his actual identity. Had this film been released before ‘Zhakaas’ it would have made a big difference. But, as you see in most of the Marathi films, good performances by the artistes, make such films watch able for the entire family. It is a one man show by Ankush Choudhary who plays all his three characters with conviction. He is more perfect while playing that father’s role. Kishori Ambiye, Pushkar Shrotri, Vijay kadam and Mangesh Desai have supported extremely well. Tejaswini Pandit has less scope, as this film is a male dominated film; but, she does her job very well. Others in the supporting cast are just fine. All in all , ‘Bluffmaster’ is an average entertaining film.
‘Golaberij’ is a feast for Pu La’s fans
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Rating: na
Presentor: Different Strokes Communications Pvt Ltd Director: Kshitij Zarapkar Music: Milind Joshi Camera: Vijay Deshmukh Art: Swapnil Keny Cast: Nikhil Ratnaparkhi, Dr. Neha Deshpande, Dilip Prabhavalkar, Dr. Mohan Agashe, Satish Shah, Prashant Damle, Sanjay Narvekar, Subodh Bhave, Avinash Narkar, Mukta Barve, Bhargavi Chirmule, Prasad Oak, Anand Ingle, Pushkar Shotri, Sharad Ponkshe, Vijay Kadam… Movie Review by: Ulhas Shirke |
Many years ago, P.L. Deshpande ( Popularly known as Pu.La.) composed music for a children’s song ‘Nach Re Mora’ for an album and Asha Bhosale rendered her voice to add melody to this beautiful song, which is still fresh in the memory of every Maharashtrian household. Even otherwise, unforgettable Pu.La. has always been the most popular writer from Maharashtra for his humour. To make a feature film on the life and stories of this prolific writer, itself is a big news. Filmmaker Kshitij Zarapkar attempted this unusual experiment through his latest film ‘Golaberij’,which is almost like paying tributes to the renowned writer.
The film opens in a typical style of a Marathi play with a ringing of bell and the red curtain raising up and soon we peep into Pu La’s childhood, in a true theatrical style; as we notice Manoj Joshi as a story-teller in a theatre, addressing the capacity filled audience, enjoying every moment. Slowly, he unfolds every important moment in the life of Pu La, right from his childhood. Be it, his family, friends from the school, teacher and then we get the glimpse of some of his popular characters penned through his stories coming live.
Pu La’s youth days have been well captured with Nikhil Ratnaparakhi playing his role with ease. His association with Chitale master ( Played by Dr. Mohan Agashe) other friends like Sonya Bagalkar ( Prasad Oak) , Antya kulkarni ( Pushkar Shrotri), Nanda Pradhan( Subodh Bhave) Nanda’s girl friend ( Bhargavi Chirmule) have been well presented in this cinematic format. Pu. La’s grand daughter- Dr. Neha Deshpande- Kamat plays the important character of Sunitatai, Pu.La’s wife with confidence and that helps to make some of the scenes coming live.
Pu.La’s stay in Ratnagiri and his interaction with famous character Antu Barva ( played by Dilip Prabhavalkar) makes the film more interesting. His shifting to Belgaum and his association with Raosaheb – the theatre owner of Ritz Cinema ( Played by Khsitij Zarapkar himself) goes on to explain, how flexible he was, to fulfill his desire as a story writer of plays and perform as an actor in films. One cannot forget the humour filled train journey incident in the company of Pestankaka a parsi gentleman ( Played by Satish
Shah). Very cleverly, the director posts an interval after this scene and reopens the film with a typical announcement of credits as seen in Marathi dramas, which is something unique.
In the film, you also find the characters of Namu Parit ( Sharad Ponkhe), Hari Tatya ( Avinash Narkar), Sakharam Gatne(Dushyant Wagh), Nandini ( Mukta Barve), Kulkarni ( Prashant Damle), Babadu ( Sanjay Narvekar) Narayan ( Anand Ingale) coming live through their limited but effective performances. Especially, his scene with Babadu, on his return to Mumbai is something special. At the same time Abhijit Chavan and Shrirang Deshmukh get an opportunity to play the famous personalities like G.D. Madgulkar and Ram Gabale respectively, who were close to him. But, unfortunately, due to omission of the scenes based on ‘Mhais’ ( to avoid legal complications) some other talented artistes have been deprived of their appearance. But, luckily Hemangi Kavi Dumal, who is in the scene related to ‘Mhais’ finds herself in title song ‘Nach Re Mora’.
Music that plays an important part of this film with fresh look provided by Milind Joshi to the original songs, goes well with the script. Nach Re Mora being the title song is mesmerizing, while the picturisation of Ethech Taka Tambu has avoided glamour and paid more attention on its lyrics to remind the old version. Thanks to producer Dr. Devdatt kapadia and director Khsitij Zarapkar for this offering, which has turned out to be a feast for Pu La’s fans.
‘Lavu Ka Lath’ is a tribute to Dada Kondke
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Rating: na
Banner: Shardul Films Producer: Vijay Patkar Director: Vijay Patkar Story/Screenplay/Dialogues/Lyrics: Rajesh Bamgude Cinematographer: Sanjay Khanzode Cast: Vijay Patkar, Hemalata Baane, Vijay Kadam, Pradeep Patwardhan, Jaywant Wadkar, Kamlakar Satpute, Kishori Ambiye, Archana Patkar, Jayant Sawarkar, Rajan Tamhane, Jayraj Nair, Ananta Karekar, Rajesh Bamgude, Sunil Holkar, Kishor Ravrane, Prakash Pawar, Shraddha Nigvekar, Shital Kolhapure, Ashutosh Wadekar, Prashant Tapaswi, Bharat Chawale, Raj Patil. Guest Appearence: Manoj Joshi, Nisha Parulekar Movie Review by: Ulhas Shirke |
Actor Vijay Patkar has been truthfully entertaining the Marathi and Hindi film lovers for more than 25 years, through whatever little he had to his share in the form of character roles, especially the comedy ones. But, no one really tapped his full potential; till he himself decided to test his ability, turning a producer and director through his latest film ‘Lau Ka Lath’. If you are really aware of what the audience expect and if you sincerely work to offer wholesome entertainment packed with action, people would certainly approve it. Recent success of Bollywood film ‘Dabhang’ was the best example.
Now, inspired by late Dada Kondke and observing all success formulas of past super hit Marathi films; particularly those of dada Kondke and Mahesh Kothare; actor turned film maker Vijay Patkar found the script of Rajesh Bamugade, most appropriate to entertain today’s Marathi audience. ‘Lau Ka Lath’ is based on this traditional marathi formula film, with a commercial touch. Taking advantage of latest technology like VFX and other special effects, he presents something on the lines of a roller coaster ride for Marathi audience.
Set on the backdrop of a progressive village, we find Namdeo alias Namya (Vijay Patkar), a simpleton ladies tailor; who is also well versed in healing those suffering from sprains and aches, with his Kick therapy. But, he does not charge for this treatment and considers it, as a social service. Surekha (Hemalata Bane)- a Lavani performer, who suffers an injury while dancing, is treated by Namya. She falls in love with him. But Surekha’s father puts three conditions in front of Namya to marry his daughter. The first one is to challenge a wrestler from a neighboring village, second one is to get rid of his conventional chappals and last and most difficult one is to earn Rs. Three lakhs; so that the father could find replacement for Surekha, to perform at the shows. Namya manages the first one, by curing the wrestler from his back sprain and in return asking him to lose; but he finds it difficult to fulfill the other two conditions.
Destiny comes to the rescue of Namya and it’s ‘all is well’ at the end. But, ‘Lau Ka Lath’ being a commercial film, you find the screenplay of the film stuffed with lots of humour filled scenes, involving characters like the frustrated Doctor from the village (Kamlakar Satpute), the demanding father of Surekha and a Shahir (Poet) played by Jaywant Wad, and the two rivals – Sarpanch (Vijay Kadam) and Village Patil (Jairaj Nair), who compete with each other to prove their supremacy. Then, there is also a Police Officer( Pradeep Patwardhan) with his two assistants, a DSP (Rajan Tamhane), a Lady fortune teller (Kishori Ambiye) and dozens of character artistes including former Marathi actress Archana Patkar, who plays the wife of Sarpanch.
Performances from all the artistes are wonderful. Vijay Patkar rocks in the role of Namya; but he has received equally good support from his leading lady Hemalata Bane, who has till now played small roles in films. She has proved that her choice for this role wasn’t wrong. In the supporting roles, Jaywant Wad, Vijay kadam, Jairaj Nair, Pradeep Patwardhan, Rajan Tamhane, Jayant Savarkar, Kishori Ambiye, Archana Patkar and others have displayed an excellent team work.
You may call ‘Lau Ka Laath’ a Musical comedy with humour filled action; as the film maker has also paid attention to music, besides managing the comedy scenes with care. The two songs, ‘Morya..’ and ‘Mala Ek chance hava ..’ are picturised well, with good music by Avinash Vishwajeet. At no point you feel bored. Such is the impact created through the screenplay and apt dialogues. Though, some of the dialogues carry double meaning, no vulgarity is noticed. The climax of this film goes almost on the lines of Priyadarshan type of films; but it is limited, to conclude with a happy note. The suspense behind the character of ‘Lakhu Lungi’- a dacoit behind stealing antique pieces, has been very cleverly revealed, at the end. ‘Lau Ka Hath’ is a time pass film for all age groups. As a film maker, Vijay Patkar has succeeded in offering his recipe, filled with wholesome entertainment.
‘Jana Gana Mana’ is an eye opener
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Rating: na
Presenter: Outreach Motion Picture Pvt. Ltd. Producer: Golden Dreams Production House, Sandeep Kadam and Sachin Kadam Director: Amit Abhyankar Story: Sameer Joshi Music: Dr. Saleel Kulkarni Camera: Rajesh Khale Cast: Nandu Madhav, Chinmay Sant, Madhura Welankar-Satam, Santosh Juvekar, Asmita Joglekar, Movie Review by: Ulhas Shirke |
Roti, Kapada and Makaan are three basic necessities of millions of people living in remote villages of this country. One such village selected by film maker Amit Abhyankar is village Mhalunge in a remote place in Maharashtra. Through his film ‘Jana Gana Mana’ he has tried to send across a strong message to the people about the existing corrupt system and how even a dedicated teacher of a small school in this village is not spared from giving a bribe to the education Inspector of his Taluka.
‘Jana Gana Mana’ also tries to explain how important is education these days to the children of rural poor. Today, many children in these areas attend school, because they are served free meals. Fase Pardhi is one such tribe found at such remote places, who have been deprived of such basic needs, beyond which they have no dreams. The film’s story revolves around one such family of Dagadu ( Santosh Juvekar), his wife ( Madhura Velankar Satam) and his two kids Katu and Babli (Chinmay Sant & Asmita Joglekar).
The focus is however on the importance of education and therefore we find Mr. Sontakke (Nandu Madhav) a dedicated teacher posted to this village to run this small school comprising of about a dozen students. To impress upon the visiting Education Inspector on the independence day, Mr. Sontakke sincerely plans a programme and a parade spending from his own pocket. But, during his one such visit to Taluka office, he learns from the office clerk that he has to pay for it and also entertain the Inspector to get his transfer to a place, where he can stay with his family.
Having seen the lack of interest among the students from the present school, Mr. Sontakke does all that to get his transfer order. But, on his return, he finds the change among the students, especially Katu, in whom he notices change , in spite of his poor background. The film ends with a positive note, showing the teacher tearing off his transfer order and deciding to stay back in the village.
‘Jana Gana Mana’ represents the real rural India with perfect presentation of characters.
After his memorable performance in ‘Harischandrachi Factory’, Nandu Madhav finds one more chance and the versatile actor has come out with another superb performance in that central character of a school teacher. Santosh Juvekar as Dagadu is a perfect choice, being an angry young man into wrong business. And, he has done his part well. Madhura Velankar Satam finds a better role of a typical tribal woman, who works hard to run her house, besides managing her two kids. With dark make up and costumes suited to her character, she looks more truthful. Watch her body language, when she dares to intercept the school teacher to scold him and while doing the first aid for her injured kid. Indeed, Madhura has given her best. The kids too have done well; but Chimay Sant impresses the most in the role of Katu.
The film has successfully managed to convey what the film maker had in mind. With ideal locations, good cinematography and excellent sound effects, the film looks more realistic. Screenplay and dialogues are well written to create that preferred impact. The limited music is pleasant. Those in the supporting roles have offered good support in their respective roles. ‘Jana Gana Mana’ is a timely film, which should inspire the teachers at remote places as well as the students studying in villages. The film is an eye opener.
‘Ya Gol Gol Dabyatla’ sends a strong message
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Rating: na
Presentor: Riddhi Entertainment Director: Asit Reddyz Story: Asit Reddyz Music: Satish Chandra Camera: Samir Athlye Cast: Ashok Saraf, Smita Talvalkar, Santosh Juvekar, Smita Shewale, Madhav Abhyankar, Akansha Thakur, Ashalata Wabgaonkar, Bal Dhuri, Shailesh Datar, Prafull Samant, Pratibha Goregaonkar, Iravati Lagoo, Rashmi Yesgude & child artistes Papan Patil, Akansha Jagdale Movie Review by: Ulhas Shirke |
Albert Einstein has rightly quoted, “We cannot despair of humanity, since we ourselves are human beings”. But, with changing time, it is observed that some children neglect their parents, when they become old. There are cases, where children, after attaining prosperity, refuse to even recognize their parents, forget about supporting them. Today, law has become very strict against those, who refuse to take care of their older parents. Based on the new provisions in law and taking support of existing Hindu law, Asit Reddyz new film ‘Ya Gol Gol Dabyatla’ reminds the new generation about their duties to parents. And at the same time encourages those neglected parents to knock the doors of court for justice.
The film goes on to narrate the tragic tale of Bajaba Mahipati and his wife, (Ashok Saraf & Smita Talwalkar) who in spite of their poor conditions spend towards the education of their only son- Digambar, who grows up to stand first in the district in the HSc exams. Bajaba moves on his bicycle from village to nearest town showing the Bioscope to school children, to earn for his family, while his wife does the job of nursing newly born babies in the village. When young Digamber (Santosh Juvekar) orders his father to arrange for money amounting to Rs.2.5 lakhs, towards his Engineering admission and hostel fees; the father gets worried. But, the kind hearted mother of Digamber suggests her husband to sell his ancestral land .
After moving to hostel in a town, Digamber even changes his name to Anand and befriends the daughter of a TV serial producer Appasaheb Deshmukh (Smita Shwale). He refuses to meet his parents as he hates his poor background and warns them not to meet him. Soon, he marries Appasaheb’s daughter and lives in the bungalow of Appasaheb (Madhav Abhyankar), who offers him roles, impressed with his talent. Some dramatic incidences take place in the film, where the parents confront their own son with changed attitude. Father decides not to see his son’s face again, but the mother turns emotional when she hears about the birth of her grandson. She even agrees to nurse the new born. But, she faces humiliation there and returns home.
Already suffering from ailment, the mother is admitted to hospital for advancement of tumor and is advised to be operated. With no money in hand, Bajaba takes a drastic step to teach his son a lesson. He files a case in court, taking the support of Hindu law and the new amendment in Law providing defense to neglected parents. The film concludes with climax in the court room; where the Judge( Ashalata Wabgaonkar) delivers justice in favour of neglected parents. But, the father returns the compensation by keeping only the medical expenses of his wife’s operation. The film does succeed in passing a good social message to the society.
With this story very relevant to today’s time, writer director Asit Reddyz has offered a sensible film. He has not elaborated much on the college education and subsequent acting career of Digamber. Leaving the college education half way, he is shown moving from Hostel to Appasaheb’s bungalow. The director seems to have paid more attention on father -son confrontation. However, he has selected the artistes perfectly suited to their characters. Ashok Saraf has portrayed the main character of Bajaba very effectively. Smita Talwalkar supports him well as a kind hearted wife, whose happiness is her son’s happiness. Santosh Juvekar as their son has tried to do his best in that role of a selfish son inclined towards materialistic living. Smita Shewale, who plays his girl friend turned wife, does not have much scope, but she suits well in that role of modern day girl. Vijay Chavan as Bashaba’s neighbor in the village does well in his limited role and so does his daughter, who looks like a perfect village girl, with dark complexion. Others in the cast, like Madhav Abhyankar, Akansha Thakur, Ashalata Wabgaonkar, Bal Dhuri, Shailesh Datar, Prafull Samant, Pratibha Goregaonkar, Iravati Lagoo, Rashmi Yesgude & child artistes Papan Patil, Akansha Jagdale have supported well.
Good photography, excellent performances and perfect editing makes the film more appealing, though it is a tearjerker.