‘Zhakaas’ situation based comedy
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Rating: na
Presenter: Zee Talkies Producer: 20-20 Entertainment Director: Ankush Chaudhary Story: Deepak Naidu Music: Abhijeet Kavthalkar Camera: Sanjay Jadhav Cast: Ankush Chaudhary, Amruta Khanvilkar, Pooja Sawant, Sai Tamhankar, Jitendra Joshi, Pushkar Shrotri, Sanjal Khapre, Vikas Samudre and Atul Parchure Movie Review by: Ulhas Shirke |
Situation based comedy is back again into Marathi films. Zee Talkies, who presented their last film ‘Mast Chalalay Aamcha’ in this fashion, are back again with another production in the name of ‘Zhakaas’ directed by Ankush Choudhary, who besides acting has also penned the dialogues of this film along with Nitin Dixit. In the beginning of the film, the director does not hide anything from the viewers and gives a clear hint that the three different characters Subhanya, Sandy and Suhas are played by one person ( Ankush Choudhary) in different get ups. You may call him an imposter or Bluff master; but, he flirts with three different girls Manjula ( Amruta Khanvilkar) , Neha (Saie Tamhankar) and Ashwini( Pooja Sawant) at different times.
That reminds us of Prashant Damle plays or TV serials on a similar subjects, but in this film Ankush Choudhary’s character is not married playing double parts but a bachelor 3 in 1 , as indicated through the script. Whenever the hero is in trouble and about to be caught, he seeks help from his loyal friend ( Jitendra Joshi) . All the three girls have their well wishers ( Pushakar Shrotri, Sanjay Khapre and Vikas Samudre) around them, who are deeply in love with them and do not approve their love for Subhnya alias Sandy alias Suhas. They play all their gimmicks to keep the girls away from this Bluff master. But, our hero plays his trick to fool all the three men at a time, posing himself as CBI officer, on a mission.
Till interval, viewers having left their brains at home to watch such a situation based comedy are happy with the plot. But, in the post interval session they find the film moving in Priyadarshan style, without much of hold . Some of the scenes have been well captured; but for that one should thank Cinematographer Sanjay Jadhav and the team involved in expert editing and special effects. Finally, you find the film concluding the way the actor- director felt right. There is no explanation, as to why the hero of the film played this act. We can just assume it that it was just for fun.
Whether the plot convinces the viewers or it taxes them, ‘Zhakaas’ has succeeded in inviting a sizable crowd to multiplexes with half filled halls on this weekend.
It has also succeeded in creating that laughter among the audience through many scenes; but it has failed to hold the audience to their seats, with non stop laughter; the way ‘Mast Chalalay Aamcha’ managed it. The manner in which the three girls have been presented in different get ups is to be appreciated. While the character of Neha played by Saie Tamhankar is shown as an independent girl doing photography, Pooja Sawant plays an ad agency owner wearing Indian style of dresses with matured looks. However, it is Amruta kahnvilkar in that typical village type but glamorous looks, invites all the attention. Her perfect accent suited to that character of Manjula has brought liveliness in every scene that she appears.
Ankush Choudhary, the tall and handsome hero of Marathi films, suits in that character but he has not used any extra ordinary skills in presenting three different roles, except for changing his get ups. But, all the four men in supporting roles namely Pushkar Shrotri, Sanjay Khapre, Vikas Samudre and Jitendra Joshi have played their respective roles with total sincerity and they matched well with their perfect timing to create those humour filled scenes . Even Atul Parchure is good in that small but effective role of an inspector. The characters of a Liftman and the Policeman blowing whistle, have been used well. The film does not have much scope for music and hence the work of Abhijeet Kavthalkar could not be noticed much in the film, except for the title music. The way the film has concluded, it gives an impression that this bluff master is going to return soon. Looking at the strengths and few weaknesses of this film, it has turned out to be a fun filled average family entertainer, mainly because of the fine performances by the artistes.
Hello Jai Hind! – a tribute to 26/11 martyrs
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Rating: na
Company: R. K. Entertainment Producer: Trupti Bhoir Director: Gajendra Ahire Story, Screenplay, Dialogues : Gajendra Ahire Music: Ilaiyaraajaa Lyrics: Gajendra Ahire Camera : Amalendu Chaudhary Cast: Nitin Chandrakant Desai, Trupti Bhoir, Kedar Shinde, Vinay Apte, Murli Sharma, Ravindra Mankani, Amita Khopkar, Vibhavari Deshpande, Yatin Karyekar, Ameya Zare, Apoorva Kulkarni Movie Review by: Ulhas Shirke |
The ghastly 26/11 episode will complete 3 years on Saturday. To remind the people about the ill effects of this event on the lives of those who fought a gallant battle with dreaded terrorists in Mumbai, a new Marathi film ‘Hello Jai Hind!’ pays sincere tributes to all of them.
Though this film has been shot on the backdrop of this event, it goes on to narrate the tragic story of one such brave Police Constable- Shivaji Pawar, attached to Mumbai Police Special Crime Branch. The film goes on to show how he and his wife Durga had to face the challenges in the society, when they decide to take on life only through the right path.
Directed by Gajendra Ahire, and starring Nitin Chandrakant Desai and Trupti Bhoir in the lead role, the film tries to be realistic in its approach, when it comes to speaking on certain administrative decisions on delay in justice and treating a dreaded terrorist under trial like a special guest in the jail. The film does succeed in highlighting this issue timely, with hard hitting dialogues and realistic scenes to clearly indicate how such dreaded terrorists have been taking advantage of our country’s liberal policies. But, unfortunately the film does not conclude well, so as to inspire the audience. It is almost like showing the helplessness of common man, hoping for justice, no matter how long it takes.
Barring the end result, the film has very effectively placed the facts before the audience about the ongoing situation post 26/11 episode. The recent news appearing in the newspapers about the expenditure running into croes of rupees spent over providing the security to the dreaded terrorist and how the taxpayers in Mumbai are paying for it; reminds one and all about the sincerity of the film maker to place before the audience certain facts, inviting their attention. Music being the heart of Marathi films, this film has very effectively presented few songs to go well with certain situations in the screenplay. The wonderful compositions of Illyaraja, who makes his debut in Marathi through this film, match very well with the script. Lagaan Fame -Ballu Saluja’s editing is very appropriate, to keep the screenplay in motion.
‘Hello Jai Hind!’ makes its impact through wonderful performances by all the important characters. Nitin Chandrakant Desai, who makes his debut as an actor through this film, does a commendable job, playing the role of a brave Constable. In every scene he has tried to do something different, either through his body language or with his expressions displaying his agony. Playing his courageous wife Durga, Trupti Bhoir has suggested that she is still in the reckoning as a talented actress. Apart from Nitin Desai, one more artiste in the form of Kedar Shinde, displayed his acting skills through an important role of another committed and honest constable living in the neighbourhood of the lead couple.
Among others in the supporting cast, Vinay Apte, Ravindra Mankani, Yatin Karyekar, Amita Khopkar, Vibhavari Deshpande Bollywood actor Murali Sharma and the girl playing the role of Durga’s sister are impressive in their respective limited but important roles. Thanks to Producer Trupti Bhoir and director Gajendra Ahire for using this resourceful medium of cinema to bring to light this most sensitive subject, which is not only stimulating but intensely related to the society.
‘Paulwaat’ – a real ‘state of the art’ film
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Rating: na
Company: Dawn Studios Pvt. Ltd., My Dream Production, Dawn Studios Pvt. Ltd. Director: Aditya Ingale Story: Abhiram Bhadkamkar Music: Narendra Bhide Lyrics: Vaibhav Joshi Cast: Jyoti Chandekar, Subhodh Bhave, Kishore Kadam, Madhura Velankar, Anand Ingale, Hrishikesh Joshi, Seema Deo, Abhiram Bhadamkar, Vijay Kenkre, Vaibhav Tatvawadi, Rajesh Pathak, Prachiti Suru, Dhiresh Joshi, Astad Kale, Sachin Bankar Movie Review by: Ulhas Shirke |
Someone has rightly said, “Dreams are like stars…you may never touch them, but if you follow them they will lead you to your destiny.” In the case of Anant Deo , a young singer who comes from Sangli to this so called dream city Mumbai to become a singer, also has big dreams in his eyes and is very confident about his talent. But, what he experiences during his struggle period, makes him believe that money speaks. Soon, he realizes that Unless, you invest and market yourself, you cannot become a big singer.
Film maker Aditya Ingale’s film ‘Paulwaat’ presents this struggle in the life of a young talented singer Anant Deo, played by versatile actor Subodh Bhave. To give a cinematic look to this otherwise simple tale, the director prepares a ground with suitable characters and situations to fill with the music which is the USP of this sensible film. So, when Anant first arrives in Mumbai, his local friend Babya (Hrishikesh Joshi) finds a suitable quiet place for his PG accommodation in an old ancestral house owned by Godu akka (Jyoti Chandekar).
It takes no time for Revati,(Madhura Velankar- Satam) the niece of Mr. Nene(Anand Ingale) – living in the neighbourhood; to become friendly with Anant. An otherwise disturbed Goda akka, who initially tries to teach discipline to Anant, starts liking him later. Watching his struggle, she develops a kind of relationship almost on the lines of Lalita Pawar and Raj Kapoor in Bollywood film ‘Anari’. Watch her walking style and behaviour and you will notice the similarity.
During his struggle period, Anant meets few well wishers, who in appreciation of his talent, try to help him; but his bad luck prevents success coming closer to him. His older friend, philosopher and guide Usmanbahi ( Kishore Kadam) who has seen good time in the past, tries to explain to him as to how, to remain successful, the struggle must continue…” But, when Usmanbhai himself after facing humiliation, decides to leave for his native place selling his old house, Anant too loses hopes, though he continues doing petty jobs in music field, to earn for his living. Revati too suggests him to take up a proper job and then pursue his music side by side; but, Anant takes it the other way. One day, he takes a decision on his own hurting all those, who had come closer to him by that time. Destiny has something else in store for him. Finally, Anant swears that he would do something for all those talented strugglers who come to this city with the hope of becoming singers.
The film captures selfish human nature through certain characters in this materialistic world. Music, which is the USP of this film, finds suitable situations in the screenplay supported by humour filled dialogues to bring in that required change in this otherwise serious tale. Especially, the conversation between Goda Akka and Mr. Nene clearly shows how helpless they both are in their respective lives, yet don’t leave an opportunity to taunt each other. Anant’s outbursts at certain situations, shows the frustration of young people in this dream city. While the character of Revati suggests that a young girl looks for stability, when it’s time to settle down in life with a partner.
The film displays memorable performances from Subodh Bhave and Jyoti Chandekar. In fact, it is the interaction between these two characters, that suggests many things to sensible film lovers. Madhura Velankar- Satam plays happy go lucky but thoughtful Revati with her gifted talent . Anand Ingale plays the middle aged Sane confidently with variety, using a neck collar and suggestive body language to indicate his ageing process. But, it is Kishore Kadam in the role of Usmanbhai, invites all the attention with his perfect Urdu diction. Others in the supporting cast are just fine. Photography is good. Watch that last scene, perhaps shot at Banganga, Walkeshwar, with the light of the lamp reflecting through the water on the faces of the few characters seated on the stairway. Above all, music is just apt for this sensible film, which has about seven songs. “Paulwaat” is a real ‘state of the art’ kind of film. No wonder, it is produced by seven like minded people like Mukta Bhide, Manasi Pethe, Revati Gund, Alka Datar, Vyankatesh Mandke, Ajay Bhide, Anuradha Ekbote and Smita Bhagwatdar, all coming together to offer this sensible creation.
‘Dubhang’- an action filled family social
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Rating: na
Producer: Shankar Mitkari Director: Mahesh Kothare Music: Bapi Tutul Lyrics: Shreerang Godbole Cast: Adinath Kothare, Urmila Kanetkar, Ajinkya Deo, Sonali Kulkarni Movie Review by: Ulhas Shirke |
For the past 25 years, since he turned a director, Mahesh Kothare has been offering quality films in Marathi. No wonder, he has given box office hits. He brought a number of innovations in the technical quality of Marathi films; like introducing the anamorphic format (Cinemascope) through his film ‘Dhadakebaaz’. It may be recalled that he brought Dolby Digital sound to Marathi Cinema with the film ‘Chimni Pakhara’. He made the first Marathi film ‘Pachadlela’ with Digital Special Effects and later turned out to be the first Marathi Film Maker to produce Sci-Fi films. This time, with his latest film ‘Dubhang’, there was something special in the form of Dolby Digital 7.1.
Written by Abhiram Bhadkamkar and the Screenplay by Shekhar Dhavlikar, ‘Dubhang’ (division) revolves around a youngster Rohan Jadhav (Adinath Kothare) who has only one ambition, that is to win nationals and represent India at the Olympics to win a Gold. Like any other young upcoming sportsperson in India, Rohan too struggles in his life. On one side he has to make his coach (Bharat Dabholkar) happy by devoting full concentration to his game and on the other side, his beloved Vishakha (Urmila Kanitkar) is being forced to marry a NRI. So, Rohan takes a quick decision and elopes with his girlfriend, with the hope that his uncle would help him. But, that does not happen. His principled wife, suggests him to be self sufficient and prepares herself to take up a job.
The next few moths are real test of their patience, when it’s time for his wife to deliver a child. Rohan becomes tense, with the worry of managing a third one. However, his friend- Tapshya (Nilesh Sable) and Vishakha’s aunty (Seema Deo) extend moral support to the young couple. But, destiny has something else in store for the couple. When, one night Vishakha is rushed to the hospital, another couple (Ajinkya Deo and Sonali Kulkarni) also walk in there in a posh car. The delivery of both the females take place around the same time with both of them taking their own time to recover. It is during this time, that the big industrialist Sachit (Ajinkya Deo) and Rohan enter into a secret deal.
Both the couples live happily thereafter. In fact, Rohan’s life changes completely with a bungalow and and a car at his service. He also helps his friend in return , who is need of a loan for renovation of his hotel. With luxurious living and all the blessings in the form of new sponsor for his game, Rohan works hard to achieve his ultimate goal; but feels the guilt within him. Finally, he decides to reveal the truth to his wife. But, the wife does not take it in the right spirit and she leaves him and takes shelter at her aunty’s place. Now, Rohan has no other option but to break the deal, inviting more trouble for self. The clever director, however knowing the pulse of Marathi audience well , decides to conclude with happy end in the climax.
Going with his tradition, Director Mahesh Kothare has presented a form of entertainment with a difference. He has used this theme based on a Malyalam film, but converted it into a cinematic format suited to Marathi audience. Since this film was to decide the future of his son, he took all possible efforts to project him as young hero with an appeal. This also being the first film for the two good friends in real life now all set to get married next month, it also needed to work their chemistry well through the lead characters they played. In that respect, Mahesh Kothare has succeeded in his mission and the two youngsters have lived up to his expectations with superb performances. With his cute face supported by talent, Adinath should turn a chocolate hero in Marathi film industry.
One expected good performance from Urmila; but surprisingly Adinath also did equally well in most of the emotion filled scenes. Afterall, acting is in his blood. Ajinkya Deo, in that role of an industrialist does very well . His acting is worth watching in the climax. Sonali Kulkarni is at ease like a professional actress in those limited scenes, while Seema Deo, Sunil Tawde, Vijay Chavan, Ganesh Yadav perform their small roles effectively. Among youngsters, Nilesh Yadav and Aarti Solanki have little scope; but they do their jobs well. The other two friends are just namesake, with one of them trying to imitate Tushar Kapoor style of comedy. Music is just okay, with Mahesh using his favorite parody style in one of the songs. Photography is good and so is the editing work. Produced by Shankar Mitkari (Sai Shankar Films) with the sponsorship of Future Generally, the film, has turned out to be an action filled family social. Now, it all remains to be seen, how the Marathi audience is going to welcome this film and the new pair.
Impressive ‘Deool’ ends without suitable climax
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Rating: na
Producer: Abhijit Gholap, Devisha Films Director: Umesh Vinayak Kulkarni Screenplay, Dialogues: Girish Kulkarni Music: Mangesh Dhakade Lyrics: Swanand Kirkire, Sudhir Moghe Cast: Dilip Prabhavalkar, Nana Patekar, Girish Kulkarni, Mohan Agashe, Atisha Naik, Sonali Kulkarni, Kishor Kadam, Jyoti Subhash, Hrishikesh Joshi, Vibhavari Deshpande Movie Review by: Ulhas Shirke |
After two sensible films ‘Valu’ and ‘Vihir’, the team of Umesh Kulkarni and Girish Kulkarni unite once again with their artistic work, through their latest released film ‘Deool’.
Besides perfect presentation of a village life supported by superb portrayal of characters by versatile artistes,’Deool’ successfully manages to depict the image of today’s rural India and the effect of globalisation on the lives of the people living there.
The film revolves around one such village Umbra in Maharashtra, which is otherwise peaceful and slow moving in progress, having been exploited by a local politician Bhau ( Nana Patekar), who is a tool at the hands of his party chief ( Mohan Agashe). Bhau cleverly manages the people from the village, including the lady Sarpanch (Atisha Naik) and proves how liberal he is, in treating the women folks. He also keeps his wife (Sonali Kulkarni) happy but sends his two daughters to Boarding school to keep them away from village life.
Bhau, respects the only educated and sensible senior citizen Anna( Dilip Prabhavalkar) , who lives all alone with his son and his family living in Bangaluru. When Anna comes up with a hospital project for the benefit of villagers, Bhau supports his idea and agrees to find finance through his party chief. In the meanwhile, a young labourer Keshav, working at Bhau’s house sees Lord Dattaguru in his dreams, while he takes a nap in the deserted place below a tree, after searching for his missing cow. When he wakes up, he is all excited and starts disclosing this miracle to whoever he comes across, on his way back home.
When Keshav narrates this incidence to Anna, he advises him not to disclose it to anyone and suggests him to keep his faith to his own self. But, the news spreads to the village and a Journalist who is a friend of the youths from the village including the nephew of Bhau, suggests them to sensationalize this matter. He convinces Bhau’s nephew and other friends the importance of this news and suggests them to turn this villlgae into a pilgrim centre. Bhau’s nephew goes one step ahead of his uncle and takes the Party chief into confidence. Bhau has no other way left but to take alongwith him the youth of the village and succumb to their demands. Fed up with this politics Anna decides to leave the village and moves to Bangaluru to join his son. Even Keshav desists himself from the materialistic living of the villagers, especially after the death of his cow.
The excellent realistic presentation of the film in the first half, manages to keep the audience engrossed into their daily life; but after interval slows down a bit with irrelevant scenes. It picks up after those breaks, only to conclude with unexpected climax, which is open ended for the audience to decide.
The most sensible person in this film- Anna deciding to quit the village, itself shows the helplessness of sensible people living in this country. The film had ample scope to show that there is law which does not spare those into corrupt practices, as suggested by the character of Anna to Bhau, in one of the scenes; but that does not happen in this film’s climax. There was also scope to show the villagers realising how important it was to have a Hospital project for their village, rather than playing with the sentiments of the devotees. But, that too does not happen in the climax.
The only young man Keshav does his best in his own way, but his efforts don’t bring the desired results. The film therefore does not succeed totally in removing blind faith, but only keeps the reality before the audience. There is no doubt that the selection of artistes for the respective characters is a perfect choice and so are the well written dialogues. Wonderful photography, perfect editing and best sound effect makes this film more presentable technically . Music by Magesh Dhakade is just appropriate for this film.
Direction of Umesh Kulkarni clearly shows, how perfect he has been with his study of village life.There has been lot of hard work during the film’s making, managing such a big team of talented artistes. Lead actor -Nana Patekar rocks in the role of Bhau; but it is Girish Kulkarni, who in the role of Keshav is more impressive. With excellent support coming from a big team of artistes, the film is more like a performance oriented film. Watch the expressions of Mohan Agashe, playing a shrewd politician, watch the body language of Usha Nadkarni, simple but perfect housewife played by Sonali Kulkarni and that guest apperance by Naseeruddin Shah, as a stranger coming to the village; they all are extraordinary!
‘Adgula Madgula’ offers gentle entertainment
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Rating: na
Presentor: Shree Sankalp Film Production Producer: Sharad Shelar Director: Nagesh Bhosale Screenplay, Dialogues: Arvind Jagtap Music: Shailendra Barve Camera: Suresh Survarna Cast: Girija Oak, Subodh Bhave, Nagesh Bhosale, Smita Talwalkar, Uday Tikekar, Sandeep Mehta Movie Review by: Ulhas Shirke |
The true story of Sandra Laing – a black girl born to white parents in South africa sometime in 50s did make a news all over the world. Those days, Sandra was refused admission in schools for being black. Her father fought a battle in court and won the same in Supreme Court, after he proved that she was born to white parents. This story was later made into a book, “When She Was White” by Judith Stone, and a British film ‘Skin’ was made in 2009, starring Sophie Okonedo and Sam Neill.
Now, a new Marathi film ‘Adgula Madgula’ deals with a similar kind of theme (not the complete story of the dark girl) but, just showing a dark child born to a fair Kokanastha Brahmin couple. Shounak Pendse belonging to a rich family living in a huge bunglow, marries a fair girl Anuja , well suited to him. Anuja is working in an ad agency with Mr. Lalit ( Nagesh Bhosale) as her boss. After marriage the happy couple have all sorts of fun and live with a cheerful family comprising of Father,mother, sister and Grandfather.
Girija Oak, Subodh BHave Everything goes well, till Anuja delivers a baby boy who turns out to be black. Suddenly, all people around her behave very strangely with her, except the Grandfather and the housemaid. Even her parents do not allow her to come to their place with the baby, fearing comments from the neighbors and visitors. Initially, Shounak suspects his wife having an affair with her friend and goes in serach of the truth . After being convinced, he later doubts her boss. Then, as suggested by his lawyer friend, he tries to do DNA test of father and son to remove all doubts. In the process, he gets caught and the relationship between the husband and wife is further strained. Finally, the director decides to conclude the film in his own style, leaving the audience guessing, what option does the wife have ?
Does she go to her parents for sometime or leaves the house forever? Only, the Boss knows it.
The film does have a good theme but not enough to entertain the audience for two hours. The screenplay which runs for about 105 minutes, offers gentle entertainment, but keeps on revolving around the same plot in the pre interval stage. The clever director has therefore used the clippings of the Goa honeymoon trip of the couple with two songs knitted into it. It is only post interval, some dramatic scenes take place to keep the audience engaged. The film ends suddenly, with unpredictable end, keeping the audience guessing. ‘Adgula Madgula’ is no doubt a sincere effort from the makers, but it could have been more interesting with insertion of more laughter scenes arising out of misunderstandings.
The kind of theme used looks good for a stage play, due to its limited locations. But, the wonderful cinematography by Suresh Suvarna has certainly brought some life into the film. Shailebdra Barve’s music too is well used in the few songs suited for the occasion. Both Subodh Bhave and Girija Oak have given their best through their respective roles. Their intimate scenes look very natural. Smita Talwalkar has enough scope to play a typical selfish mother-in-law. Uday Tikekar playing a undecided father –in-law and Sandeep Mehta as girl’s confused father have limited scope. However, Nagesh Bhosale as the girl’s boss in office, has maximum three to four scenes, but he impresses through them. The other supporting cast is good, but it was a pleasure to watch Yakub Saeed after a long time in the role of a sensible grandfather lost in his own world of music. He did display his ability at this progressing age.
Sensational ‘Arjun’ turns an eye opener
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Rating: na
Presentor: Cinematics Multimedia Pvt. Ltd. Producer: Majit Burondkar, F. M. Ilyas Director: F. M. Ilyas Story: F. M. Ilyas Music: Lalit Sen Camera: Ajib Khan Cast: Sachit Patil, Amruta Khanvilkar, Vidyadhar Joshi, Varsha Usgaonkar, Vinay Apte, Arun Nalawade, Uday Tikekar, Snigdha Sabnis, Kamalesh Sawant, Uday Sabnis, Anant Jog, Mamata Soni Movie Review by: Ulhas Shirke |
A man willing to work, and unable to find work, is perhaps the saddest sight that fortune’s inequality exhibits today. At this juncture, when we witness lakhs of youths in Maharashtra unemployed, with no drive among them to enter into business, here comes a new Marathi film ‘Arjun’ with a timely message to inspire all the Marathi youths, in particular. ‘Arjun’ produced by Majid Burondkar and F.M. Ilyas, is written and directed by F.M. Ilays. Based on his real life experiences of struggle to set up his own business during his young days, the writer has presented a gripping story of a well educated protagonist who is exploited by a leading businessman who wants to rule over Mumbai.
Mr. Ilyas presents this sensational story of Arjun Pawar (Sachit Patil) a young boy from middle class family, who after completing his MBA opts for business and is exploited by a shrewd businessman- Ratan Shah (Vidyadhar Joshi) and his agent- Mr. Mahajan (Arun Tikekar) in a busines deal. Arjun is in love with Anushka (Amruta Khanvilakr) who is Mahajan’s daughter; and both want to get married soon. After Amruta proceeds to Australia for an advanced short term course in Management, Mr. Mahajan plays his dirty game with the support of Ratan Shah and uses the project and name of Arjun, while finalising a land deal with Jay Thackeray a businessman and an investor in land.
Interestingly, the character of Jay Thackeray (Vinay Apte) who is strongly in favour of selling his land to a Maharashtrian, refuses to sell it to Ratan Shah, who in turn uses Arjun as a prospective buyer ,with an assurance to finance his project. Jai Thackeray’s wife Maya (Varsha Usgaonkar) also favours Arjun and Jay Thackeray sings a deal.
Arjun is later trapped by Ratan Shah with the help of his agent Mahajan and is sent to jail, implicating him in a serious offence. Arjun learns a lesson from this horrible experience and vows to accomplish his mission. At a time, when his mother dies in an accident he receives timely help from a lawyer and financial backing from a person already known to him. His first target becomes Ratan Shah and his business. With his quick thinking, he goes in search of a person well versed with the tricks of stock trading. He finds one in the form of Bajirao Satpute. Bajirao helps him gain control over stock market, the main source of finance for Ratan Shah. He defeats him step by step and also wipes out the charges on him for an offence with the timely help from a honest police officer.
The sequences in the film are not something we haven’t heard of; but, for Marathi audience the script of this film certainly inspires. Through the character of Arjun, the writer-director Illays has tried to build confidence in Marathi youths to enter business in a city like Mumbai, which is a good step. He also shows the way to success. Though there are few scenes moving very fast towards the end , it is the sincerity of the director that shows his commitment towards the issue. He has rightly used Hutatma Chowk during two important sequences, i.e. when Arjun vows to teach a leson to the lobby of businessmen and later during the climax scene.
Perfromances of all the artistes are good. Sachit Patil does well to present the new angry young man of Marathi films. His looks and his spontaneity in important scenes were worth noticing. Amruta Khanvilkar supports him well in this male dominated film. She does well when she confronts with her father after returning from Australia. Uday Tikekar, Vinay Apte, Kamalesh Sawant (as Police officer), Varsha Usgaonkar, Uday Sabnis (Advocate), Dr. Vilas Ujawane (Politician), Arun Nalawade (frustrated but perfect Stock market analyst), Snigdha Sabnis( Mother), Anant Jog(Income tax officer) and Dr. Vilas Ujavane (Politician) perform their limited roles with ease. But, it is the shrewd businessman Ratan Shah played by Vidyadhar Joshi, impresses the most. He has established himself as the new villain of Marathi film industry with his proficiency as a complete actor in this film.
Strong dialogues by Sachin Darekar and punch lines by F.M. Ilyas create that desired impact during forceful confrontations . Music by Lalit Sen is good but one of the four songs was irrelevant and breaks the rhythm of the screenplay. The climax where the hero chases the villain has been shot on the lines of popular Bollywood- hit revenge based films. However, the picturisation of songs and the action scenes are well captured through the lenses of Najib Khan. The finest locations and action sequences, never before seen in Marathi films are the added attractions of the film. Editing work of Faisal and Imran Mahadik is good to give that required pace to this action packed film. There is one more good thing about the film’s script and that is Arjun’s character in the film. He is not shown selfish and concerned about his own progress but, moves ahead with his sincere desire to help other deserving Marathi youths to enter business. And that makes the film stand apart with a sensible message of ‘Unity is Strength’.
‘Moraya’ hints at festivals as political events
2.5
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Presentor: Everest Entertainment Pvt. Ltd, A Square Entertainment,
Ekvira Productios Pvt. Ltd Producer: Atul Kamble, Avadhoot Gupte Director: Avadhoot Gupte Story: Sachin Darekar Music: Avadhut Gupte Camera: Rahul Jadhav Cast: Santosh Juvekar, Chinmay Mandlekar, Dilip Prabhavalkar, Ganesh Yadav, Janardan Parab, Pushkar Kshotri, Vijay NIkam, Sunil Godse, Sunil Ranade, Vimal Mhatre, Meghana Erande, Pari Telang, Spruha Joshi, Dhanashree Kodegaonkar Movie Review by: Ulhas Shirke |
Social activist Anna Hazare is fighting against corruption in the country. While he is demanding introduction of Janalokpal Bill to bring all political leaders including the Prime Minister answerable to Lokpal; film maker Avadhoot Gupte has tried to uncover the corruption taking place during the biggest festival events in our state.
Through his latest film ‘Morya’, Avadhoot has clearly shown how the youngsters organising the Govinda and Ganapati festivals fall into the trap of political leaders, getting tempted to their sponsorship, while competing with other organisers. Having tried his hands in direction for the first time with ‘Zenda’ his debut film, Avadhoot seems to have gained considerable experience; and this is evident from his latest film ‘Moraya’. He has picked up the right script penned by Sachin Darekar to make this timely film.
The theme of the film is on the backdrop of Govinda and Ganapati community festivals in Mumbai. ‘Moraya’ is based on the rivalry between two groups living in the same area and organising separate community festivals representing Ganesh Chawl Mandal and Khatav Chawl Mandal respectively . So, you find two groups of youngsters led by Manya (Santosh Juvekar) and Sameer (Chinmay Mandlekar) leading their respective mandals. When the redevelopment of the entire area is in the process and knowing that from next year onwards they will have to celebrate a combined community festival; they are suggested to come together. But, that does not happen, as both of them are adamant.
Hotelier Kamat (Dilip Prabhavalkar) who treats both Sameer and Manya like his own sons, also fails to bring them together. In the process both the teams are disqualified from attempting to break the Dahi handi in their area sponsored by a politician. So, Finally they decide to offer the claim of celebration of next year’s Ganesh festival to the Mandal, which attracts maximum number of devotees. The competition begins with raising the funds and in the process both the organisers fall into the trap of selfish politicians belonging to different political parties, who play their dirty game by making them fight with each other.
The film, however ends with predictable climax, clearly hinting at such festivals as
political events. It also goes on to show, how in the name of secularism and National integration, the politicians with the help of organisers try to fool the devotees. Through the character of Kamat, the film also sends across a strong message to the organisers of such festivals, as to how they are drifting from the values, by replacing stage plays and Bhajans with item numbers and loud music played by DJ’s. The film also poses few questions, whether the splendor with which such festivals are celebrated and crores of rupees spent, is justified in a state where thousands of farmers are committing suicides. And, whether the global warming genuinely considered during such festivals ?
Music plays an equally important role in this film and hence the director, who also composes the music has paid more attention by skillfully creating space for it, in the screenplay. Be it a Quauwali, a lavani, an item number or an arati ; he has used them at right places. Females don’t find much scope in this male dominated film, yet Spruha Joshi finds a better role while playing the girl friend of Santosh Juvekar. She plays a singer at a Bar. Pari Telang finds another important role of a TV Journalist, who develops a soft corner for Sameer, after she interviews him. Kranti Redkar and Urmila Kanetkar appear in guest roles as celebrity dancers. There are small but important roles coming to the share of Pushkar Shroti, Sunil Ranade, Meghana Erande and Sunil Godse, but it is the hotelier Kamat played by Dilip Prabhavalkar who lives an impression. Avadhoot himself with Subodh Bhave participate in Quawali as guest artistes. Ganesh Yadav has lot to say about the role of Police in a situation where gang riots take place. He is simply remarkable in that role of a Senior Police officer.
‘Moraya’ possesses that elegant look for its superb Cinematography by Rahul Jadhav, who also happens to be the Associate Director of this film. Editing work by Imran Mahadik and Faisal Mahadik is good. Sound design is appropriate to the situation. Screenplay is good and dialogues are well written especially in the second half. In the fist half however, there is lot of repetition in the dialogues, when Sameer and Manya face each other. It is only when at the stroke of interval, the director gives a twist, the confrontation gains momentum with series of dialogues.
‘Moraya’ is a cleverly presented film, with fabulous performances coming from both Chinmay and Santosh. It would be wise not to compare them with each other. Watch them in that last scene when the police officer played by Ganesh Yadav brings them together at an isolated place to voice their agony. With Govinda and Ganapati celebrations almost nearing, the film is likely to receive a good response.
‘Fakta Ladh Mhana!’ changes the face of Marathi films
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Rating: na
Presentor & Producer: Great Maratha Entertainment Company, Twinkle Group & Mirah Entertainment Director: Sanjay Jadhav Story: Mahesh Manjrekar Music: Ajit – Sameer Camera: Sanjay Jadhav Cast: Sachin Khedekar, Sanjay Narvekar, Bharat Jadhav, Siddharth Jadhav, Aniket VIshwasrao, Saksham Kulkarni, Manava Naik, Kranti Redkar, Santosh Juvekar, Vaibhav Mangle, Amruta Khanvilkar, Nagesh Bhosale, Hemangi Kavi, Bhalchandra Kadam Movie Review by: Ulhas Shirke |
If you are under the impression that Marathi films cannot do commercial business as Bollywood films do, then latest Marathi film ‘Fakta Ladh Mhana!’ would prove you wrong. This action packed thriller Produced by Mahesh Waman Manjrekar and directed by Sanjay Jadhav offers all that, a hit Bollywood film posesses. It contains all that masala or in other words the perfect formula to make a film hit. Only drawback is that it is full of violence going on the lines of a typical South film. But, then we should not forget that most of the hit Bollywood films are a remake of those hit Masala South films.
Don’t be surprised if Mahesh Manjrekar decides to do a remake of his own film with top Bollywood actors prepared to play the five man army. Yes, you may give this another name to ‘Fakta Ladh Mhana!’, so much is the impact created by these five finest actors comprising of Bharat Jadhav, Siddharth Jadhav, Aniket Vishwasrao, Santosh Juvekar and Sanjay Narvekar from the Marathi film industry. They combine well to form that team under the leadership of their Don- Babubhai played by none other than Mahesh Manjrekar
In today’s existing situation, our own politicians have turned villains of the common man. Therefore, the film needed a strong character to perfrom the role of a shrewd Minister and his cunning brother. And, there wouldn’t have been a better choice than going for talented Sachin Khedekar and Sanjay Khapre respectively. The film begins with the sad state of affairs in a village, where politicain turned Industries Minister Patil and his brother with the help of local politician Kulkarni ( Vaibhav Mangale) make the lives of poor farmers miserable forcing them to sale their lands after the SEZ comes into force.
The only opposition comes from an ex-seviceman (Satish Pulekar) who refuses to bow down. He is murdered by Kulkarni and his men but his mentally challenged nephew is the mute witness against Kulkarni. His helpless uncle after witnessing the thumb rule, rushes him to the city in search of an elder nephew( Bharat Jadhav) of the ex-seviceman. Thus begins the revenge. The five man Army comprising of those sharp shooters belonging to the gang of Babubhai then proceed to the village. Some of them carry funny names like West Indies, Kanfatya and Paani Kam ( the little boy who serves tea to the five man army).
Not realising the power of the Minister, the Five man army confront directly with Minister’s brother and Kulkarni, only to be trapped by the shrewd Minister. When they are about to leave the village, another tragedy occurs, when they all swear to finish off the trio comprising of the Minister, his brother and kulkarni one by one. How they plan it and execute it is all that we see in the second part of the film full of action and thrills. As someone has rightly said, “Kuch Paaneke Liye kuch khona bhi padata hai”; the five man Army put up a brave fight against the corrupt system of the Minister forcing him to resign. The film does not end there, as a thrilling climax awaits for a sweet revenge.
Cinematographer turned Director Sanjay Jadhav has cleverly combined this action film with few scenes of emotions besides ccreating that required humour through Sanjay Narvekar and Siddharth Jadhav. Both of them time well with their dilaogues, during tense situations. Bharat Jadhav has a serious type of role having lost his love to Minister’s brother. But, his arguments with Aniket Vishwasrao ( Alex) are well knitted into the screenplay. Aniket plays the character of Alex with full commitment. Above all, it is Santosh Juvekar who impresses in the character of Salim. In one particular scene he tries to explain the difference between a sharp shooter and a terrorist and captures the attention of all.
Kranti Redkar finds a totally different role in this film and she does her part well. Sachin Khedekar, Vaibhav Mangle and Sanjay Khapre play the negative characters with authority. Hemangi Kavi has little for her share, but she plays that small role with total dedication. Amruta Khanvilakr and Manasi Naik have been used to offer a Lavani and Mujra respectively to complete the formula.Vishakha Subhedar finds that small role of Munnibai during the Mujra. The newcomer young boy plays the mentally challenged character well. Dialogues are well written but at many places the Censors have blown their whistle. Mahesh Majrekar as portrayed a Don in his own style.
The film is fast paced, hence not giving much scope to the viewers to question as to how the five man Army manage to move from their hide out to the city and back during the heavy police vigil. But, surprisingly, film has clearly hinted a revolution in this country, if the politicians cross their limits. On the whole, ‘Fakta Ladh Mhana!’ is a complete package filled with that required masala to draw sizable crowds. But, those who deslike violence and bloodshed , should keep themselves away.
‘Platform’ addresses issue on Girl child abuse
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Rating: na
Producers: Veena Lokur And Arif Vadgama Director, Story, Dialogues: Veena Lokur Screenplay: Veena Lokur, Shamal Chavan Lyrics: Ashwini Shende Music: Nilesh Moharir Editor: Rajesh Rao Cinematographer: Suresh Deshmane Cast : Mohan Joshi, Sharad Ponkshe, Astad Kale, Prashant Patil, Shubhani Joshi & Sai Lokur Movie Review by: Ulhas Shirke |
After achieving success through her first Marathi production ‘Mission Champion’, Film maker Veena Lokur from Belgaum has now offered one more sensible film ‘Platform'; which speaks about the Girl child abuse in India. Veena Lokur, who also makes her debut as a director through this film, has gone beyond the subject of Female foeticide to show the reality in our society, where girl child is still considered as a burden by the parents; especially in the weaker section of the society.
Through this film, Veena Lokur has launched her daughter Sai, who plays an important central role of Shivani Deshmukh, from a well to do family. Shivani, who is a final year college student, is about to find a campus recruitment and is returning home after attending a workshop; when she witness a horrifying act of parents, who just drop their two daughters into her compartment and run away, as the train leaves a platform after the halt.
Shivani (Sai Lokur) who takes the lead to hand over the girls to the Police, when she reaches her destination. But, she is deserted by all her friends. It is only her best friend Aditya (Astaad kale), who supports her and the two little girls ( aged 4 and 5 yrs) are taken to the Police station. But, at the Police station they experience the reality about the law, besides the child abuse. However, Aditya’s father (Sharad Ponkshe) being a lawyer, suggests them a way out. It looks like all roads are closed for Sai , as the parents of the missing girls cannot be traced. Shivani takes up the custoday of the two girls, much against the wish of her parents (Mohan Joshi and Veena Lokur).
When, Aditya also notices Shivani going out of the way to help the girls and getting emotionally involved in them, he too loses interest in her and leaves for US to take up a job.
He however, keeps in touch with Shivani over phone like a good friend. Shivani separates from her parents and adopts the girls. She takes good care of them, by offering good education for next 11 years. When the girls attain teenage, a particular incident in their life takes them to their past. Shivani has to reveal the true happenning. This is almost towards the climax of the film, when director Veena Lokur concludes her story with an appropriate end.
The film has a strong subject to convey, but to show the actual happening on the platform, her screenplay takes its own time. It is only little before interval, the film actually takes the momentum. To fill up the gaps in the first session, the director has taken help of music, with the inclusion of two songs. Lyricist Ashwini Shende’s fine wordings have received the composition from talented music director Nilesh Moharir.
Cinematographer Suresh Deshmane’s wonderful work is clearly visible, especially in the outdoors. His execution with different camera angles has made the job of director much easier. Being a debutant, Veena Lokur has done her best.
Newcomer Sai Lokur, who also makes her debut as an actress, looks more confident and appealing. She has performed the role of a protagonist with sincerity. Astaad kale, who also plays the leading man for the first time, is at ease and perfectly fits into that role of Aditya. Mohan Joshi and Sharad Ponkshe in the role of parents have nothing much to offer, but they have played their respective roles well. Veena Lokur is just fine in the role of sai’s mother in the film and so are the other characters of the film. The two child artistes and the grown up girls have performed their parts well. The film has already won the State Government award as one of the best films this year. But, to be eligible for international awards, it requires editing, especially in the three songs, except one background and few unwanted scenes in the first session. However, ‘Platform’ does succeed in passing a social message at the most appropriate time. This being a sincere effort from the lady film maker, it is to be appreciated.