Brave Mohaan Aawatey’s fight against injustice
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Rating: ***
Presenter: Ark Films & Entertainment Presents Story, Music & Producer: Aniruddha Kale Director: Subhash Kale Cinematographer: Anil Xavior Choreographer: Phulwa Khamkar Cast: Sanjay Narvekar, Siya Patil, Vinay Apte, Ashok Shinde, Kamlakar Satpute Movie Review by: Ulhas Shirke |
“On the edge of destiny, you must test your strength.” Aniruddha Kale and Subhash Kale’s new film ‘Mohaan Aawatey’ which is based on this viewpoint, is an action packed story of a common man whose life takes a new turn after coming to the city of Mumbai from a village in Maharashtra. Not like many others who come to Mumbai only with dreams of becoming rich , Mohan like a typical Maharashtrian youngster, joins his elder brother’s business of cycle repairing in a small shop in central Mumbai; only with an intention of helping him.
Mohaan (played by Sanjay Narvekar) is otherwise happy and contended with whatever God has given him. Like any other youngster of his age, he too falls in love with a charming flower vendor- Gauri (Siya Patil). He does all that mischief in love and even sings and dances with her around the trees. He also works sincerely in his brother’s shop. But, there is also a good quality that he possesses and that is, he just cannot tolerate injustice in society. Whether, it is somebody snatching chain of a woman or somebody trying to threaten someone using muscle power. He would then go all out to help such people in trouble. It is this quality in him, is noticed by the chawl owner Premjibhai (Prasad Pandit) where his brother’s shop is located.
Soon, destiny brings a sudden change in Mohaan’s life. Highly impressed by his gutsy behaviour and honesty, Seth Premjibhai, who has other big business of Forwarding and Clearing agency, appoints Mohan in-charge of the same. He also pays him handsomely and also offers him a bungalow to stay. But, as they say; when you are showered with Good things, something bad is bound to happen. Mohan too, goes through a bad phase. “Prosperity is a great teacher; adversity is a greater”. So, when he recovers, he teaches a lesson to all those politicians and their goons in their own style. It’s like tooth for a tooth and eye for an eye. In the process, he gets public sympathy and with the help of that he defeats the main politician in his own constituency.
So, what’s so great about this film with such a theme? The difference between Mohaan Aawatey and many other action filled films, whether in Marathi or Bollywood is that, this film before its start, openly admits that it is based on a true story of a true person. Nowhere it is stated that it is a work of fiction. And that commitment itself gives the film more realistic look. Generally, people enjoy watching true stories. The screenplay and direction by Subhash Kale is good and so is the story of Aniruddha Kale. One duet and the title song penned by Supriya Kale were enough to go with the film’s script, however, the inclusion of two additional songs applies break to otherwise thrilling screenplay.
The film’s screenplay, especially after interval has been largely inspired by bollywood style angry young man’s courageous show. You can witness Mohaan dragging the villain and Minister Vinay Apte, resembling to Amitabh Bachchan dragging Madan Puri or Sudhir in Deewar. The way he fights at a time with a big team of goons of the Minister, he reminds us of Sunny Deol’s Ded Mann ka haath. Moreover, the way he takes the revenge, it clearly indicates that there is no role of Police in the film. But, leaving apart these few flaws, the film’s presentation has been very good. In fact, it is a well presented Marathi film with good background music and equally good performances from all the artistes.
Sanjay Narvekar playing the title role, fits perfectly into that character of an honest turned angry young man. He has different shades to present through his character. Initially, he is a simple, shy, honest and romantic hero and in the later part of the film, he turns into an angry young man followed by a shrewd person using his diplomacy to defeat his enemy. Siya Patil as Gauri is impressive through her limited role. Kamlakar Satpute and Suhas Paranjape as Mohan’s brother and sister-in-law respectively, are remarkable and so are Vinay Apte and Ashok Shinde as selfish Politicians. Ramesh Wani and Prasad Pandit support well. Photography by Anil Xavier and background music by Anirruddha Kale go well with the film’s screenplay.
More attention has been paid on the post production techniques. The film is likely to invite attention of action film lovers and those who enjoy watching true stories.
Wonder Boy ‘Manya’ should inspire rural youth
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Rating: na
Presenter: Artha Motion Pictures Pvt. Ltd Producers: Jaya B Patil, Ramila R. Gori, M.K. Sundaram, Chandresh J. Bhanushali Director: Sangramsinh Gaikwad Story, Screenplay: Harish Nayar Camera: Aakashdip Pande Music: Nilesh Moharir Cast: Rajesh Shringarpure, Amitriyan, Mayuri Wagh, Madhvi Juvekar, Vignesh Joshi, Uday Nene, Rishiraj Pawar, Sakshi Medgeri, Gayatri Sathe Movie Review by: Ulhas Shirke |
Marathi film industry is in the process for a change. And, the best example is the latest released film ‘Manya’ – the wonder boy made by director Sangramsinh Gaikwad. The film presents a subject that is much needed to inspire the rural youth and at the same time open the eyes of the authorities to promote committed sportspersons from this neglected area. If provided with the right coach and facilities, the rural youth can aim at not only national level but also at international level. We have seen this happen in the case of wonder girl Kavita Raut, who excelled at international level.
Manohar Sonavne, known as Manya is one such schoolboy, who studies in 8th standard in a rural school. His father is an ex-army soldier now bedridden , having injured his limbs in Kargil war, while fighting for the country. The family’s responsibility lies on the shoulders of young hard working Manya, who not only delivers the milk to the centre but also attends school. He has to run miles to reach school after delivering the milk, to avoid getting late. When the school organizes a race to promote the only son of a Sponsor, studying in the same school, Manya also takes part in the race.
His talent is noticed by the Coach, who is appointed by the sponsor and he takes interest in Manya. The committed Coach dedicates himself to make Manya a state level athlete. When he realizes that Manya needs special training, he boosts his confidence to attain that level. To make it possible, he also sells his car. Finally, Manya attains all that what his father had expected from him and also makes his Coach happy.
To give a cinematic look to this film totally based on sports, director Sangramsinh Gaikwad and screenplay writer Harish Nayar have included the characters like Jai- playing Manya’s childhood friend, besides his best friend Omya. There is a Patil who plays a negative role of a selfish father. There is a school teacher, a kind hearted principal and Manya’s supportive parents and sister.
The film takes off well, handling the emotion filled sequences well till the interval. But, it tries to deviate from the main theme by paying attention on Manya’s love story and the gimmicks played by the villain. The film does end with a sequence to inspire
today’s kids and youngsters. This little more than two hour long film, should have been edited to fit into two hour length. Few flaws in the film can be ignored for the sincere effort of the film maker to make a film on the backdrop of sports training and to motivate young rural sportspersons.
Rajesh Shjringarpure does very well in the role of a Coach. Vighnesh Joshi and Madhavi Juvekar perfectly fit into the characters of Manya’s parents. Amiitriyan is a perfect choice to play the senior Manya, but it is Rishiraj Pawar as young Manya, more impressive. Mayuri Wagh , Abhijeet Chavan and others have supported well. Music by Nilesh Mohrir is fine for two songs. But, it is the photography by Akashdeep Pande that captures the attention. It is indeed disheartening that the film has not received much response at multiplexes in Mumbai, with some of the shows cancelled for the reasons best known to the theatre owners. But, the film should click at small towns, if promoted and marketed properly by the makers and distributors. The film should be made tax free by the Maharashtra Government.
‘Mala Aai Vhaychay’ – A Thought provoking film
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Rating: na
Presenter: Samruoddhi Cine World Writter, Director & Producer: Advocate Samruoddhi Porey Camera: Rahul Jadhav Music: Ashok Patki Singer: Kunal Ganjawala, Vaishali Samant Cast: Urmila Kanitkar, Stacy Bee, Aiden Barkely, Samruoddhi Porey, Vivek Raut, Sulabha Deshpane, Suchitra Bandekar Movie Review by: Ulhas Shirke |
“The mother loves her child most divinely, not when she surrounds him with comfort and anticipates his wants, but when she resolutely holds him to the highest standards and is content with nothing less than his best.” But, Samrruddhi Porey’s new Marathi film ‘Mala Aai Vhaychay’ ( I want to be a Mother) goes much beyond this thought, with a punch line, ‘A child gives birth to a mother’. In this film, the vibrant advocate turned director has dealt with the delicate issue of surrogate child and his mother, who actually gives birth to him.
Yashoda( Urmila kanetkar)a poor woman living in a village, is chosen by an NGO to be a surrogate mother for a model- Mary (Stacy Bee) who comes from a foreign country, in search of a healthy mother. When Yashoda is explained about the procedure, she agrees to be a surrogate mother for Mary, as she wants to spend towards the medical treatment of her daughter, who is handicapped.
When it is discovered in the check up during the sixth moth that the child to be born may be born with some handicap, Mary leaves back home, after making arrangements with an orphanage by paying a huge sum. She also instructs Yashoda, to hand over the child to an Orphanage. Yashoda is upset with this strange behaviour of Mary and she suggests the social worker at the clinic( Suchitra Bandekar)that she would take care of the child, even if born with handicap.
But, the child born to Yashoda turns out to be a normal child. The kid( Madhav) with brown hair and blue eyes grows up in the village and speaks Varhadi Marathi. Whenthe child turns four,in comes Mary to take back her child. What happens thereafter is a drama, but it concludes with happy ending. There is no legal battle as expected. Perhaps, it was an amicable settlement over the issue of custody of the child, in such a delicate situation.
‘Mala Aai Vhaychay’ does have a strong issue about a Surrogate child, well presented by Writer- director Ms. Samrruddhi Porey, in her debut film. But, she has also tried to support thismain theme with certain other issues like suicide of farmers and issues related to women folks. In the process, she has consumed a little more time than required. There is a character of Ganpat (Vivek Raut),who initially flirts with Mary and later maries his beloved from village. Though this character has performed extremely well, his parallel story consumes a little more time. The director herself has enacted the role of a farmer’s wife, who commits suicide to invite the attention of the country that it is not only the farmer who commit suicide, but it could be his wife too and she too deserves a compensation. It would have been better, if irrelevant parts were omitted to focus on the main theme.
But, looking at her approach and sincerity to deal with this so called true story, she certainly deserves a pat on her shoulder to make this sensible thought provoking film that too in Marathi. Her selection of artistes is good. Both Stacy Bee as Mary and Aiden Barkely as Madhav have lived up to the expectation of the audience, though it was their debut too. Other artistes in the cast like Sulbha Deshpande, Suchitra Bandekar, Samrruddhi herself, her two daughters Shruti & Shreya have supported well. But, it is Urmila Kanetkar in the role of Yashoda, who impresses the most with her extra-ordinary acting skills. She had as many as four most difficult scenes, which only an experienced and matured actress would have done; but young Urmila performs with authority. Music score and background music goes well with the village backdrop. Cinematography by Rahul Jadhav is good and so is the art direction by Santosh Phutane.
To make a film on this subject and that too in Marathi, certainly requires guts; but Ms. Samrruddhi Porey has marketed the film well, covering English media too, which is generally neglected by Marathi films. After ‘Shwaas’ we did have two films, ‘Pratisaad’ and ‘Aaghaat’ based on medical science; but, this one is different, as it deals more with emotions of a surrogate child and mother. With ‘Mala Aai Vhaychay’ Marathi cinema has opened the doors for sensible thought provoking films, which would be universally accepted
‘Dhava Dhav’ does copy- paste of Bollywood
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Rating: ★★1/2
Presenter: Rohini Films Producers: Narayan Bhandarkar Director: Bharat Gaikwad Story, Screenplay: Shashank Udapurkar Camera: Ranjan Jha Music: Nandu Honap Cast: Bharat Jadhav, Shashank Udapurkar, Mohan Joshi, Smita Jaykar, Anand Abhyankar, Jaywant Wadkar, Arun Kadam, Jayraj Nair, Madhavi Nimkar, Hrutuja Patil, Vilas Ujawane Movie Review by: Ulhas Shirke |
At a time, when we notice a change coming into Marathi films, still some Marathi film makers believe in doing a copy-paste job from Bollywood. A new Marathi film ‘Dhava Dhav’ does exactly that. Shahank Udapurkar, who identifies himself as a script writer of this Marathi film, goes on the lines of Bollywood’s popular duo- Manmohan Desai and Prakash Mehra, making a provision for himself to play a double role. And, to add some star value to the film he selects Bharat Jadhav as his co-star.
The film begins with the so called backdrop of ‘Sholay’, with two brothers-Jai and Veeru becoming Police Inspectors, only because their mother wants them to do so, to settle the score with their father’s killer- Gabbar Patil. This so called Gabbar has not only killed their father, but has also taken away Vijay, the twin brother of Jai while in cradle, along with him; so as to make him a Don ( Just another Bollywood formula). He sends him to a ‘Don School’, somewhere abroad. But, when Vijay graduates and returns back, he behaves more like a film hero than Don. He calls himself Vijay Dinanath Chavan. If that is not enough, the Mother of Jai and Veeru, plays the role of Bollywood’s popular Mom-Rakhee, uttering her translated dialogues from Bollywood films.
The entire film drags in this fashion with all translated dialogues from few Bollywood movies, uttered by most of the characters. The two girls-Hema and Malini, who play the daughters of a Senior Police Inspector, obviously pair with Jai and Veeru. They flirt with them on the lines of another Bollywood film ‘Aankhen’. Finally, the film ends with a typical climax of Bollywood films of 70s and 80s.
Looking at this patchwork done with the help of some Bollywood films, the audience is made to think, whether to call this film an action, comedy or mockery of Bollywood ? With the presentation of such themes, how can one expect audience at the theatres ? The 2 pm show at one of the multiplexes in Mumbai that too on a Sunday was cancelled for want of people and at the other one located in a mall, it was screened for a dozen of viewers. We do have good actors in Marathi, but if they are made to act in such movies, then certainly it is a waste of their talent. Talking about the veterans like Mohan Joshi (who plays Gabber Patil), Smita Jaykar (Mother of Jai-Veeru-Vijay) and Anand Abhyankar (Sr. Police Inspector); they are simply wasted in their respective roles. The two girls namely Madhavi Nimkar and Hrutuja Patil are taken just for namesake to play the heroines. While the rest of the artistes play supporting roles, only to complete their team work
Music by Nadu Honap is just average and the background music is also a copy and paste job from popular Bollywood hits. Direction by Bharat Gaekwad is nothing special and so are the acts of Bharat Jadhav and Shashank Udapurkar. If there are few more such repeats in Marathi, those few who respect Marathi cinema, will also have to think twice before going to the theatres during those first three days.
‘Shahanpan Dega Deva’ – performance oriented film
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Rating: na
Presenter: Great Maratha Entertainment Company Pvt. Ltd. Producer: Twinkel Group & Mirah Entertainmetn Pvt. Ltd. Direction: Sudesh Manjrekar, Atul Kale Screenplay: Abhijeet Deshpande, Mahesh Manjrekar Camera: Ajit Reddy Music: Ajit- Sameer Cast: Bharat Jadhav, Ankush Choudhary, Sanjay Narvekar, Vaibhav Mangale, Siddharth Jadhav, Kishore Kadam, Santosh Juvekar, Kamlakar Satpute, Manva Naik, Kranti Redkar and Mahesh Manjrekar. Movie Review by: Ulhas Shirke |
Known for his Police detection stories, writer Shrikant Sinker had also written in the past a play ‘Aaliya Bhogasi’ based on a team of mentally unstable people in a mental asylum, who only think of their past profession and enact their skills all the time. Producer Mahesh Manjrekar, perhaps got inspired with that play, while projecting his characters through his new film ‘Shahanpan Dega Deva’, which also revolves around 5 such mentally unstable characters( Bharat Jadhav, Siddharth Jadhav, Ankush Choudhary, Vaibhav Mangale & Sanjay Narvekar), who are being treated in his own way at a private Mental asylum by Dr. Subodh ( played by Mahesh himself) , attached to that asylum.
Mr. Manjrekar known for his offerings on sensational subjects, this time thought of moving into comedy and hence selected this performance oriented film with the sole motive of entertaining the audience. Directed jointly by Atul kale and Sudesh Manjrekar, the producer has himself got involved into the screenplay and dialogues in the company of Abhijeet Deshpande and Sanjay Pawar. There is nothing much seriously happening into the screenplay, except for theose mischievous acts by the five characters , which only encourage competition among themselves. It only looked like that the directors had during the pre-interval stage had given complete freedom to them, resulting into overacting by atleast two characters.
It was only after interval, it gave an impression that the director duo had taken total control of the film. The happenings in the film clearly indicate that each character had his own share to display talent under a given situation, which was nothing but pose mentally disturbed and perform an act to look more natural in that condition. And, this experiment succeeds only to a certain extent in post interval session comprising of 55 minutes.The film does not pay much attention on the past history of these characters, except for Bharat Jadhav, whose past incidence has been shown for proving him mentally unstable. The total length of film is just nearing two hours, a perfect length, as further extension would have certainly taxed the audience.
‘Shahanpan Dega Deva’ is a male dominated film, as the three girls namely Manva, Kranti and Poorva play just show pieces and have been rightly used in the climax scene as item girls. Manva makes her appearance just at the stroke of interval, while Kranti comes in almost towards the end of the film. Most of the scenes in the film are based on ‘mind act’ done by each character and among them Sanjay Narvekar invites all the attention for his cricket gimmicks that go very well with his body language. His character also springs a surprise in the climax, thus turning him into a real hero.
Watching the performances of other artistes, Bharat Jadhav, Vaibhav Mangale, Ankush Choudhary and Mahesh Manjrekar himself are all within their limits, except for Siddharth, who has been controlled in the second half, avoiding dialogues for him. Kamlakar Satpute, playing the gay Don is just fine; nothing exceptional about his performance, as we have seen such characters on the screen in the past. Since the film has Bollywood flavour, he reminds you of Kulbhushan Kharbanda in ‘Shaan’, but doesn’t look dangerous. Among the three doctors from the asylum playing villains, Kishore Kadam is impressive. Others in the supporting cast have done well, but Santosh Juvekar has been wasted in that ordinary looking side role.
There isn’t much scope for music in the film, except for the so called item number in the climax, where lavani has been performed in a different style. The background music sounded loud pre interval, but has been used well in the later part of the film. Cinematography by Ajit Reddy is good . The film is likely to impress the kind of audience who enjoy watching TV shows like ‘Comedy Circus’ and ‘Fu bai Fu’, as this film is based only on performances to entertain the audience with a given theme.
‘Guldasta’ has light shades of humour
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Rating: na
Presenter: Zee Talkies, Shivleela Films Producer: Nilima Lonari, Sanjay Thube Ex Producer: Nikhil Sane, Amit Phalke, Omkar Ranade Direction: Hemant Devdhar Story, Dialogues: Arvind Jagtap Photography: Suresh Suvarna Music: Shailendra Barve, Tyagraj Khadilkar Cast: Makarand Anaspure, Jeetendra Joshi, Tejaswini Lonari, Uday Tikekar, Sagar Talashikar, Mangesh Satpute, Pari Telang, Vishakha Subhedar, Sayaji Shinde Movie Review by: Ulhas Shirke |
Zee Talkies’ latest Marathi film ‘Guldasta’ has hit the screens all over Maharashtra, on the auspicious Maker Sankranti day. With comedy king Makarand Anaspure in the lead, the film had raised some hopes, since the last three films of Zee Talkies with Makarand had achieved good success. The theme of ‘Guldasta’ revolves around a model Jahnavi Deshmukh (Tejaswini Lonari), the only daughter from a well to do family. Besides being an aspiring model, she is also very keen on making it to Bollywood with a big banner. Her friend from an ad agency Aman Pradhan (Sagar Talashikar) tries to help her out.
In the meanwhile, she comes across two young men, who are childhood friends of each other. A simple living Rajwardhan Chougule alias Raja (Makarand Anaspure) is the owner of a winery, while Jeetu Desai (Jitendra Joshi) is the news reporter of a TV News channel which believes in sensational news. Both of them fall in love with Jahnavi, but try to hide the same from each other. Jeetu develops misunderstanding about his friend Raja, who he thinks has moved very close to Jahnavi. One day, Jahnavi insults Raja and also slaps Jeetu for his misbehavior.
After facing such humiliation, both Raja and Jeetu decide to teach a lesson to Jahnavi, who also has a helper- Madhuri ( Pari Telang) at home, treated like her own sister. Jeetu, seeks help from his colleagues to conduct sting operations to expose Jahnavi. In the meanwhile, Raja plays another game by throwing away money at Aman Pradhan, asking him to make Jahnavi a brand ambassador for his farmhouse. He even manages to come closer to Jahnavi, by gifting her costly items. This is followed by the Media game of Breaking News, which helps Jahnavi to find a role in Bollywood.
Finally, the film concludes at a reality talk show held by the TV channel in an
Amphitheatre. In that last scene, Raja tries to send across a message to the society and the film ends with a happy note. ‘Guldasta’ does not have anything very special like non-stop entertainment, but it certainly offers light shades of humour especially shot on Makarand Anaspure and Jitendra Joshi together, to explore their chemistry. But, how long these Marathi movies are going to depend upon comedy subject, still remains the question? In the role of Jahnavi, Tejaswini Lonari displays a satisfactory performance. There isn’t much scope for music, but Tyagraj Khadilkar’s music isn’t bad. Cinematography by Suresh Suvarna is good, capturing those beautiful locations around the farm house.
Among the supporting cast, Uday Tikekar, Sagar Talashikar, Mangesh Satpute, Pari Telang are fine. Sayaji Shinde, is just namesake in special appearance for one scene. There are few new faces also in the supporting cast. Director Hemant Deodhar has done a good job as a director. But, the two hour long film drags on till interval, with just routine passtime material, which ultimately gains momentum during the entire second half. Some of the dialogues are tailor made to suit the duo comprising of Makarand and Jitendra. ‘Guldasta’ is a display of light humour combined with mockery of our news channels. It has a different style of presentation supported by good performances. There is a doubt, whether the film would receive good response in a city like Mumbai, but, it has chances of pulling the crowds at small towns, especially with single screens, because of the village and city connect through the characters.
‘Ideachi Kalpana’ offers old wine in a new bottle
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Rating: na
Presenter: Everest Entertainment Pvt Ltd Producer: Sushriya Chitra, Sachin Co Producer: Sanjay Chhabria Direction: Sachin Story, Dialogues: Kshitij Zarapkar . Photography: Rahul Jadhav Music: Awadhoot Gupte, Sachin Pilgaonkar Cast: Sachin , Ashok Saraf, Mahesh Kothare, Bhargavi Chirmule, Nirmiti Sawant Movie Review by: Ulhas Shirke |
Actor- Producer & director Sachin’s much awaited multi-starrer film ‘Ideachi Kalpana’ has finally been released on the last day of the year at many theatres simultaneously, only to witness cancellation of the first show, for want of audience at 12.45 pm in one of the multiplexes, but the booking clerk politely admits that there will be a show in the evening. And, in spite of the new year celebrations, about 30-35 people blessed this film at this theatre on the opening day. It really hurts to find such a poor response for a big banner Marathi film. It is high time that the Marathi film lovers support the Marathi film industry with a good turn out at the theatres and at the same time, Marathi film producers also offer something new and different, besides entertainment. After watching this film, one really doubts, whether we are really short of new ideas? Is sole entertainment only the criteria of Marathi cinema?
Jayram (Sachin Pilgaonkar) is a struggling actor who is looking for a break through his dancing talent. One day, during a dance competition held in memory of Late Laxmikant Berde, he offers his chance to Priti ( Bhargavi Chirmule) who is the sister of Police Commissioner Mahesh Thakur (Mahesh Kothare). Jayram is hit by Priti’s car, after the show and is admitted to the hospital. His sister Jaiwanti (Nirmiti Sawant) gets worried, but his brother -in -law advocate – Manohar Barshinge is struck with an Ideachi kalpana and suggests Jayram to pose as if he is severely injured in the spinal region, where he already has an injury during his childhood. His only motive is to grab compensation.
This so called ‘Ideachi Kalpana’ plot scripted by Kshitij Zarapkar is enough for the film to progress further, as the Commissioner and the advocate face each other in every new situation, forcing Jayram to play foul. But, Jayram sincerely loves Priti and this results in creating further complications for both the advocate and the Commissioner. At the stroke of interval the film takes a twist. Director Sachin has truly remembered late Manmohan Desai in the entire plot, by naming the hospital, (where the entire plot takes place) with his name. He has also paid tributes to his friend late Lakshya Berde by hosting the dance competition in his memory.
There are many scenes in the film which have been unnecessarily planted to offer space to co-sponsors like a tea company, a Mosquito repellent brand and a famous Jeweler and they look very odd in the screenplay. There are many lacunas in the screenplay, which runs a little more than two hours, but it is only because of the fine performances coming from main artistes that the audience tolerate it. Talking about characterization, being a Commissioner of Police, this character behaves more like a senior Inspector who is not only insulted by the advocate but also by a watchman at the hospital. But, being a comedy film and being dedicated openly to late Manmohan Desai, one had to accept such errors. ‘No logical thinking please’, seems to be the message given by the director at the beginning of the film.
The happenings after interval are nothing but a mixture of past Bollywood films and therefore one need not think much about such twists and turns seriously, but only enjoy the performances from the artistes, as if you are watching a reality show on television. Director Sachin has been kind enough to offer equal share to all three leading characters. He has also given a good scope to Bhargavi Chirmule, offering her three songs and dances in the film. Bhargavi too in her only second film, hasn’t let him down and has given a wonderful and confident looking performance. Sachin himself entertains with variety, but it is the face to face interaction between Ashok Saraf and Mahesh Kothare that creates laughter in the theatre. Sachin as a director has exploited Mahesh to deliver his acting skills. He has however retained his favourite words ‘Damn it’ on few occasions.
At a particular point it seemed as if the director had shown exit to Nirmiti Sawant, but she makes her reappearance in the climax with a different look sporting a typical Bhojpuri costume with the Jounpuri accent. She has played that part so well that there are chances of her getting offers from Bollywood. Music score by Avadhoot Gupte and Sachin is good and that is the plus point of the film. Photography is good and so is the background sound effect. If you are really looking for a time pass Marathi film leaving aside logical thinking, ‘Ideachi Kalpana’ is not a bad choice.
On duty 24 Taas- The Police Saga
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Rating: **
Presenter: Odyssey Corporation Ltd. Producer: Pankaj Shah, Vina Dimanshu Mehta, Pradip Goradiya Direction: Kedar Shinde Camera: Santosh Pawar Camera: Sanjay Jadhav Music: Pankaj Pushkar Cast: Dr Amol Kolhe, Vijay Chavhan, Kranti Redkar Movie Review by: Prasanna Hulikavi |
Presented by Odyssey Corporation ‘On duty 24 taas’ is the latest offering by Kedar Shinde. We are well aware that Kedar is known for his sense of sarcasm and ability to put forth serious issues in a light hearted manner. ‘On duty 24 Taas’ is a mix of comedy and drama genre. It is a tale of the police , and the tussle between theirs role, responsibilities and their personal lives.
The story is slackly based on post 26/episode, when the government and the police department decide to form an anti-terrorist squad after the worst happening. The story takes off from here, with Karan Bedi a valiant police officer appointed to head and train the squad. But the catch here is that he is given a group of de-motivated police force to train. The film takes potshots at the decadent government system, highlighting the problems and the issues in a hilarious manner. It also brings forth the need to modernise the training procedures and the equipment provided to the police like guns and even clothes.
There are scenes in which a robust police ironically called ‘Lahane’ is constantly asking for shoes of his size. The seed idea of the plot is very pertinent to today’s times. But the deviations from the plot are many, and this confuses the viewer as the director tells a lot of small stories through the sub plots. The audience has to grapple with many issues which are left dangling even after the closure, like the suicide of the suspended police officer.
However, some of the scenes are touching, revealing director’s sensitive handling of the subject like when Karan Bedi asks the suspended police man to hand over his Cap and belt.
The dialogues are very witty and make the viewer smile. ‘On Duty 24 Tass’ has some funny moments but sometimes the humour seems to be stretched out, like in one of the scenes the squad has surrounded the terrorist held police station and one of the squad members keeps looking for a place to sleep, while others are busy ordering food… too much to palate. Film tries to do Chaplin style comic pathos, but ends up leaving the audience baffled.
Music and lyrics are used to enhance the overall impact of the movie. The item song seems to be pushed into the plot just to titillate the audience.
Dr Amol Khole does justice to the role of Karan Bedi and shows a lot of emotions in a very understated manner. Kranti Redkar has also done a good job, as the sub inspector and Vijay Chavan is his usual competent self in the supporting role as Zamadar.
All in all, it’s good watch, if you have two hours to spare and want to look at an issue based comedy.
‘Aaghaat’ hits out at unethical medical practice
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Rating: na
Presenter: Sprint Art Creation Producer(s): Mohan Damle, Sanjay Sathye, Shreeram Dandekar Direction: Vikram Gokhale Story: Dr. Nitin Lavangare Dialogues: Dr. Nitin Lavangare Music: Narendra Bhide Cast: Vikram Gokhale, Mukta Barve, Kadambari Kadam Desai, Suhas Joshi, Deepa Shreeram, Arun Nalawade, Madhav Abhyankar, Aniket Vishwasrao, Nandini Jog, Smita Tambe, Anant Jog, Manoj Joshi, Dr. Amol Kolhe, Vidyadhar Joshi, Shashank Shende, Surekha Kudachi, KIran Karmarkar Movie Review by: Ulhas Shirke |
Medical science has made tremendous progress in the recent times with advanced treatments available for all ailments. Today, surgeries in hospitals have become very common. But, the common man who has complete faith in the doctor, is still kept in dark about the actual requirement of surgery for a particular purpose. We have heard so many stories appearing in the news, where doctors and hospitals have been made target by errant relatives of patient over negligence during a surgery or operation. But, nothing can be proved against any particular doctor, as in many cases he gets the benefit of doubt.
However, new Marathi film ‘Aaghaat’ goes beyond this benefit of doubt by showing a face to face fight between two doctors, where a junior doctor Dr. Smita Deshmukh (Mukta Barve) takes on her senior Dr. Khurana (Vikram Gokhale) over his negligence in taking a decision during an operation, where a 22 year old patient Sangeeta Pradhan ( Kadambari Kadam) is made to suffer.
Dr. Khurana is a leading surgeon in a well known private trust hospital, where Dr. Smita Deshmukh is doing her M.S. as a resident doctor. During one such operation, Dr. Khurana gives Dr. Smita her first chance to perform a surgery. But, when he tells her to remove both the ovaries of the patient, she refuses to obey his orders, as she feels that the second ovary could be saved, as preliminary reports were still awaited. At the operation theatre, Dr. Khurana takes it as his insult and gets the second ovary removed by Dr. Smita’s colleague (Shashank Shende). Soon, the patient develops complications and Dr. Khurana lands into trouble, as Dr. Smita with the support of patient’s family members openly challenges her superior.
Dr. Khurana being the most influential person, pressurizes the hospital administration to sack Dr. Smita. But, Dr. Smita like a true protagonist dares to fight her own battle and tells the administration to set up an inquiry commission. The hospital authorities agree for the same as they fear about Dr. Smita approaching the press. Even the inquiry commission seems to be going against her, when the film’s story takes a sudden twist in the climax, with an unknown character coming as a witness to her rescue. Dr. Smita wins her battle against a biggest giant in medicine field, without the support of media and that is the real strength of her character.
Mr. Vikram Gokhale makes his debut as a director through this film with a sensational subject, which is so relevant to the common man in modern times. He has paid more attention on the attitude of an individual –the antagonist character, which he plays himself and the young principled doctor, who does not forget the oath she has taken to serve this profession with service to humanity. Ethics in medical profession is her motto, based on which she finally wins her battle. ‘Aaghaat’ does not expose the corruption in medical practice, but it certainly hits out at unethical medical practice.
The film has a strong story written by Dr. Nitin Lavangare with good presentation of screenplay by Sameer Vidhwans, supported by timely dialogues penned by Sameer Vidhwans and Kshitij Patwardhan. Camerawork and editing is up to the mark and the background music is appealing. This being a character oriented film, more attention has been paid on emotions of every artiste and therefore you will find many well known talented artistes like Dr. Amol Kolhe (playing a psychiatrist) , Aniket Vishwasrao, (as Sangeeta’s boy friend, who agrees to marry her in spite of her ailment), Shashank Shende( as a obedient resident doctor) , Smita Tambe (Playing Shashank’s wife), Suhas Joshi( as Dean of the Hospital), Anant Jog ( as a trustee), Vidyadhar Joshi( as Hospital administrator), Arun Nalawade( as Pathologist), Madhav Abhyankar ( as Sangeeta’s helpless father) and Kiran Karmarkar in a very special role in the climax scene. In short, they make a very good team for the film’s success.
SUKHAANT- A debatable but touching story
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Rating: na
Producer: Anuya Mhaiskar. Director: Sanjay Surkar Camera: Harish Joshi Writer: Kiran Yadnopavit Editor: Manav Datta, Vishwas Dhabolkar Cast: Atul Kulkarni, Jyoti Chandekar, Kavita Lad Medhekar, Tushar Dalvi… Movie Review by: Sadeep |
Producer Anuya Mhaiskar’s ‘Sukhaant” directed by veteran Sanjay Surkar discusses the serious topic of euthanasia i.e. mercy killing. The approval of the lawmakers has still not been received for mercy killing but this film poignantly supports the concept of mercy killing.
Pratap Gunje (Atul Kulkarni) is a lawyer from a well to do family living with his wife (Kavita Lad Medhekar) and son. In a freak accident Pratap’s mother Sitabai Gunje(Jyoti Chandekar) gets injured and her hands and legs are paralyzed . No hopes for revival makes Sitabai an angry and frustrated lady who
wants an easy death to relieve her of a life of a vegetable though her son and family take good care of her. But the old lady doesn’t wan t to burden herself on anyone and asks her lawyer son to file a petition for mercy killing, a plea which is refused by the courts. But Pratap can’t bear his mothers pain and kills her with great remorse and surrenders himself to the police.
The climax is very bold and the more conservatives like the doctor played by Tushar Dalvi feel that mercy killing is agreeable
to the heart and not the mind and that we shouldn’t play God and try to treat the patients as far as possible.
The film though a tad serious is made watchable by the lead performers especially Jyoti Chandekar and Atul Kulkarni who excel in the ‘breakdown’ scene in the climax. Both Kavita Lad Medhekar and Tushar Dalvi are impressive. The rest of the cast supports well.
The music by Ashok Patki offers few good tunes. The film has been written well by Kiran Yadnopavit. The DOP has done his job well and the lighting effect especially in the courtroom scenes and during the traffic sequence, where Atul gathers his thoughts is well captured. The sound provided in the background is amazing. Director Sanjay Surkar is a master at handling such subjects and does his job well. The producer Anuya Mhaiskar should be lauded for backing such a serious subject instead of opting for routine comedy or gross songs. In all, a thought provoking film, certainly a worth watch.