‘Aatapita’ has a bizarre tale
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Rating: na
Presentor: Samarth Art Innovatives Producer: Bhooshan Patil, Deepali Samant and Aachal Rane Story, Screenplay, Direction: Uttung Shelar Dialogues: Prashant Loke Cinematographer: Prasad Bhende Music: Sanjeev Kohli Cast: Bharat Jadhav, Sanjay Narvekar, Ashwini Apte, Girish Salvi, Pradeep kabre, Mohan Khambete, Pratibha Goregaonkar, Raju Shisadkar, Santosh Patil, Rahul Kulkarni, Rohan Bhalekar, Satish Pulekar Movie Review by: Ulhas Shirke |
Someone has rightly said that there is a fine line between coincidence and fate. Samarth Art Innovative’s new Marathi film ‘Aatapita’ tries to draw this fine line, when Ashutosh (Bharat Jadhav) who dreams of becoming a writer decides to make Nandu (Sanjay Narvekar), the hero of his story. Nandu works in the recovery of loan department of a bank. Writer- director Uttung Shelar who has conceptualized this unusual plot, has however left it to the audience to decide whether the happenings in the film are just a coincidence or it’s the destiny of the person.
‘Aatapita’ is a simple tale in the day to day life of two individuals, presented in a tricky manner to keep the audience on the hold till the climax, when it finally concludes with a surprise. It’s a totally different experience in Marathi films, as such themes are generally observed in Marathi dramas. But, the director has given a better treatment to the plot, using the adaptability of the two excellent actors, who bring liveliness to every scene. Moreover, the dialogues by Prashant Loke, obviously help add a special flavor to the screenplay, which is based mainly on these two characters .
There isn’t much scope for lady members in the film and therefore the so called leading lady Vibhavari (Ashwini Apte) has been included more as a showpiece to play the girl
Bharat Jadhav, Sanjay Narvekar, Aatapita
friend cum would-be of Nandu. It is for this reason, you find her looking different in every scene she is part of. Music too has less scope in this film with three songs placed before interval without any specific purpose. The music director -Sanjeev Kohli therefore through his background music tries to make his presence felt , with the usage of strange sounds, never heard of before and it is very difficult to understand the purpose behind it.
However, based on the overall presentation, ‘Aatapita’ looks more realistic, because it does not deviate from the main plot. There are not many outdoor locations, yet Prasad Bhende captures some best moments through his lenses. With light make-up used on the artistes, he has managed the close-up shots well. The sound quality and editing is satisfactory.
In the film, Ashutosh is shown as an employee of Municipality’s water department, but instead of focusing on his job, the director has paid more attention on his passion for writing. On the other hand, he has shown some strange happenings in the life of Nandu , to support the theme well . There are few fun filled scenes, on the role played by recovery agents and their understandings with the concerned bank’s executive.
Being a character oriented film, both Bharat Jadhav and Sanjay Narvekar have plenty of scope to display their skills at variable situations. Satish Pulekar in his guest appearance offers variety through his limited role. But, it is Girish Salvi, who steals the show. Pradeep kabre is seen after a long time, while many other characters are new faces, but they support well in the cast. ‘Aatapita’ has a bizarre limited tale, but is well presented, to suit the requirements of big screen.
‘Sumbaraan’ does remind you about the golden memories
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Rating: 2
Presenter: Shree Ganesh Marketing and Films, Gypsy and Janki Production Production: A4 Creation, Anil Phadtare Story, Screenplay, Dialogues & Direction: Gajendra Ahire Cinematographer: Surya Mishra Music: Rahul Ranade Cast: Makarand Anaspure, Ravindra Mankani, Ravi Kale, Jitendra Joshi, Mukta Barve, Saie Tamhankar, Vrunda Gajendra, Shushrut Mankani, Shilpa Anaspure Movie Review by: Ulhas Shirke |
Known for his in depth knowledge about the village culture and presenting its contrast with new city lifestyle, Gajendra Ahire has in the past offered some sensible films. This time through his new film ‘Sumbaraan- Soneri divsaachya Soneri Athvani’ he shows very effectively the connect between the two places. ‘Sumbaraan’ is a tale of two generations and the changes noticed in their behaviour, with the passage of time. You may call it a touching tale of a village and the people living there.
Veeru (Jitendra Joshi) a struggling Music director is returning along with his elder brother Vasanta (Makarand Anaspure) to his village after a long time to spend their Diwali at their old ancestral house. They are accompanied by Vastanta’s wife (Vrunda Gajendra), Viru’s Friend Sushu (Shushrut Mankani) and his friend Mukta (Saie Tamhankar). On reaching there, though Viru takes it very lightly the arising situations and moreover in his own world, enjoying with his friends. Vasanta decides to sell the property and invites his old friend (Siddharth Jadhav) who is an estate agent.
Vasanta, is not happy in his life, remembering his past in the village and his inability to marry his girl friend – Shaku (Swarali Patil) who is the daughter of Biroba belonging to Dhangar community. Vasanta’s father Deshmukh Patil ( Ravindra Mankani) who is having a relationship with a lady from lower caste ( Ashwini Kalsekar) has no voice in the house, as the Mother (Seema Deshmukh) dominates. Vasanta’s younger brother Viru, during his childhood days, however maintains good relationship with Shaku’s younger sister – Kalli (Aditi Bhagwat).
The director has tried to show how attitude of individual matters. The elder brother is not happy in his life, for having ditched his beloved at a crucial stage in his life, while the younger brother is able to understand the situation better; with his own thinking process. In the case of Kalli, who is educated in city in the later part of her life, returns to her village as Dy. Collector. “Education is the key to progress of the society,’ is all that the director has tried to communicate through her character. Very efficiently he has handled the past memories through flash back from time to time.
Throughout the screenplay, the film sticks to its subject, not deviating from the main track. This results in total commitment to the script, which is based on the human relationship with the change of time. Take the character of Ashwini Kalsekar, who plays the keep of Deshmukh Patil, living in his own house. She is also being addressed as Mother, for obvious reasons, by both the children. When Viru returns to his village after a long time, she inquires about the relationship between two of his friends. And, when he tells her that they are in Live-in-relationship; she tries to find the difference between her relationship with his father and the young duo. Ashwini has played her role very efficiently. When kalli meets Viru after a long time, the director has very cleverly shown her maturity with education. Mukta Barve has played that small but sensible role with perfection in the company of Jitendra Joshi. Makarand is at ease in the role of Vasanta and so does Jitendra Joshi.
Shushrut Mankani and Saie Tamhankar are just show pieces in the film, playing Viru’s friends, with nothing much to do except playing Guitar, dancing or diving into the pond for swimming. Ravindra Mankani and Ravi kale are impressive in their respective roles. Seema Deshmukh and Vrunda Gajendra support well. All other artistes including Siddharth Jadhav perfectly fit into their characters, which are so lively.
Special mention about Dushyant Wagh, who displays his talent in that teenager Vasanta’s role. Rahul Ranade’s music is good . Technically, Sumbaraan is a well presented film, reminding one and all about the golden memories of the village life.
Remarkable Biopic on Sindhutai Sapkal
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4.0
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The film which has been creating waves at various film festivals in India and abroad, has been welcomed in Maharashtra on the first day of its release. Its universal theme is not only appealing but also touching the hearts of those who admire self-sacrificing service to the society.What more can one say about a film, which got standing ovation after its screening at the National theatre, London ? In fact, this film had a three show premiere at this festival recently. “Mee Sindutai Sapkal (मी सिंधुताई सपकाळ)” based on the autobiography of well-known social worker Sindhutai Sapkal, is a biopic directed by Anant Narayan Mahadevan, a Journalist turned Bollywoood actor and film maker.
The film’s story begins with present times, with Ms. Sindhutai Sapkal traveling for the first time by an airplane on her way to US on an invitation from a Maharashtra Sahitya Mandal based there. Sitting next to her as a co -passenger on the long journey is the director of the film. During the first half of the film, Ms. Sindhutai recollects her past with strange experiences with every small moment during the journey, while in the second half, she narrates her fight for survival, while addressing the elite audience in US.
“Mee Sindhutai Sapkal” is a sensible film, strictly following the worst incidences in the life of the noble social worker and at the same time highlights her fight for survival. There is a lot to learn from this biopic, especially at a time when we all are living in a materialistic world. Here is an example of a woman, who has seen the worst poverty, yet feeds the other deserted children out of what she has gathered for her own child. It also reminds one and all about the sacrifice a mother has to make when she lifts the responsibility of all the deserted children around, as if they were her own children.
Very efficiently the director has captured every delicate moment in this film, that relates to the actual happenings in the life of the selfless social worker. The well structured Tejaswini Pandit, Sindhutai Sapkal dialogues strike timely in that well presented screenplay. Watch that mother and daughter relationship during the childhood of Sindhutai, when she is known as Chindhi . The father visiting his daughter’s place after her marriage and admitting the guilt of not offering her further education and the husband returning to Sindhutai, during old age, realising his mistake. They are all master pieces.
The film clearly hits out at the exploitation of women in the male dominant society, especially in the rural sector. “Education, is the key to progress,’ is all that the film goes on to say. No matter, you have limited education, but making an effort to see that other deserving get the same at the most appropriate time in their life, is the biggest need of the society. And, you need strong mothers like Sindhutai. Well suited music to every situation and good cinematography gives a more respectable look to the film.
It is for the first time that Mother and daughter combination of Jyoti Chandekar and Tejaswini Pandit have played the role of older and younger Sindhutai and it gave an impression that both of them had totally devoted themselves to this character. Upendra Limaye asyoung Sindhutai’s husband is very special and so is Suhas Palshikar, who plays her father. Neena Kulkarni in her small but effective role does a good job. Rest of the cast has supported well. The film will certainly take Marathi cinema to a greater heights.
One day match on a rainy day invites attention
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Rating: na
Presentor: Cutting Chai Entertainment Director: Nitin Kamble Producer: Vinayak Karanjkar Story, Dialogues, Screenplay: Swapnil, Janmejay Cinematographer: Aniket K Music: Rajesh Sawant Cast: Suhas Palshikar, Vijay Chavan, Shekhar Phadke, Priyanka Yadav, Madhavi Juvekar, Ravindra Berde, Bhushan Ghadi, Shivani Karadkar, Kamlesh Sawant Movie Review by: Ulhas Shirke |
Rain always plays spoilsport during a one day cricket match. But, in the new Marathi film titled ‘Dho Dho Pavsatli One day Match’ (D2PODM) the running commentary of the one day match inspires the two main characters to find solution to their problems. Two strangers Vinay Upadhye (Suhas Palshikar) a pensioner and Shekhar Sarpotdar (Shekhar Phadke) – A software Engineer, meet each other by coincidence at a tea stall on a rainy evening and get stranded for 2 and a half hours due to non stop rains. They share their experiences on the backdrop of the one day match commentary going on the radio and also witness the lifestyle of some of the visitors, who pay a visit to this stall during this period.
Director Nitin Kamble has used his creativity to present this sensitive subject while showing the contrast between two generations and passing a social message of understanding true human relations. No wonder, he has cleverly presented the clean image of master blaster Sachin Tendulkar, to connect with his screenplay. Every happening that takes place at the tea stall has some relevance to the main theme of existing human relations and the changes that have taken place with the passage of time.
The theme of the film being an universal subject, the film is likely to appeal international audience and the art film lovers scattered all over India. Looking at the title of the film, one expected this film to be an action packed thriller, but it has turned out to be a simple neat and clean sensible film. With the conclusion of cricket match, with India with the help of Sachin scoring that winning stroke in the last over; the film too ends well with a solution.
Suhas Palshikar as a pensioner does very well in that emotion filled character, who feels lonely at home with his son who is a busy surgeon and daughter-in-law who insists on his joining the home for aged. On the other side, Shekhar Phadke as Shekhar Phadke, Suhas Palshikar
Software Engineer presents a perfect image of today’s youngster from an affluent family, who gets fed up with the daily arguments between his father an IAS officer and mother a college Principal (played by Dr. Vilas Ujawane and Shubhangi Latkar) .
The character played by Vijay Chavan who takes to excessive drinking after the death of his wife plays an effective communicator between Vinay and their common friend who suffers in his own house. Priyanka Yadav who plays the role of Manasi-the girl Shekhar falls in love at first sight, does her job well. Few other artistes in the supporting role including the Tea stall owner and the little boy working in that tea stall are impressive. D2PODM is a well made film for those who love to watch technically well presented artistic films.
‘Mani Mangalsutra’ defines Man and Woman relationship
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Rating: na
Presenter: Big Cinemas Producer: Dr. Dilip Sarwate Director: Gauri Karekar Sarwate Script, Screenplay, Dialogues: Madhvi Kunte, Gauri KarekarSarwate Camera: Saleel Sahastrabuddhe Music: Awadhoot Gupte Cast: Hrishita Bhatt, Ravindra Mankani, Anjali Kusre, Umesh Kamat, Lalan Sarang, Ashalata Wabgoakar, Vandana Gupte, Madhurani Gokhale, Seema Deshmukh, Madhav Abhyankar, Omkar Karve, Late Vihang Nayak Movie Review by: Ulhas Shirke |
Marathi films are going global. And, who says that our Indian films are short of good subjects? Here is our own Marathi film ‘Mani Mangalsutra’ based on an original true story written by Late Advocate Supriya Sarwate , which goes on to define the perfect man and woman relationship, which is more out of affection and caring for each other rather than just limiting it to sexual relationship. Young Film maker Gauri Karekar Sarwate was so much inspired by this unusual story written by her late mother-in-law, that she decided to make a film on this true story.
The film opens up with the leading lady of the film Savitri (Hrishita Bhatt) in her 50 plus welcoming young Shantanu (Umesh Kamat ) and his girl friend Swati (Anjali Kusre) at her house. The boy has lived in her neighborhood for a long time since his childhood and has come to see her after completing his higher education. He is so much impressed with the successful live in relationship of Savitri with the school master (Ravindra Mankani) for 30 long years that he tries to convince his girlfriend to begin their life in the same manner. The girl, though modern and London returned however does not agree to his views and suggests him that marriage should be supported by legality. That’s where the conflict begins. In the meanwhile, a case stands up against Savitri, after her husband’s death to vacate her house, as she has no legal documents to prove her relationship
Very cleverly the director has presented these two relationships of two different generations and their fight for recognition in the society. Actually, the film debates on the sanctity of marriage. Are the black beads around your neck enough to indicate your true love relationship? At the same time the film goes on to show, how difficult it is for a woman to live such a life, without wearing a Mangalsutra. The film also highlights the most important aspect of Maharashtrian culture, through its well presented screenplay.
While showing the childhood of Savitri in the flashback, the director has shot that part in black and white, including one wonderful song that reminds us of Prabaht films during the olden days. Paying more attention on rituals like Mangalagauri, a beautiful song rendered by Shreya Ghoshal only goes on to add that special flavour to this technically well presented film. Every character in this film has a special place, be it witty Joshi Kaku played by Vandana Gupte or Savitri’s friend Gauri played by Madhurani Gokhale Prabhulkar. The young couple played by Umesh Kamat and Anjali Kusre make a perfect match for each other. And how can you forget those veterans like Ashalata Wabgaonkar and Lalan Sarang? They all have supported well in the cast. Especially Savitri’s interaction with her friend Gauri and her encounter with Joshi kaku have been shot well.
Hrishita, in particular has given her best performance in the role of Savitri. Watch her sharp expressive eyes emoting at every important sequence and you feel that she certainly deserves an award for her brilliant performance on debut in a Marathi film. She has worked very hard to dub in her own voice. Ravindra Mankani as a school master has also done exceptionally well. In one particular scene where he confesses his own weakness before Savitri, both of them have displayed their emotions very naturally. Seema Deshmukh, Madhav Abhyankar and Omkar Karve have given their best in supporting roles. Avadhoot Gupte’s music is impressive and so is late Debu Deodhar’s photography. ‘Mani Mangalsutra’ does have an international appeal and should catch up with the audience with the word of mouth praise. It is certainly a technically well presented film.
‘Agadbam’ is the kind of film that speaks about the change that Marathi film industry
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Rating: na
Presenter: R. K. Entertaiment Producer: Trupti Bhoir Direction: Satish Motiling Story: Abhijeet Joshi Camera: Satish Motling Music: Ajeet And Sameer Cast: Makrand Anaspure, Trupti Bhoir, Usha Nadkarni, Chitra Navathe, Vikas Samudre, Narayan Jadhav, Tejaswee Patil, Mahesh Kokate, Mangesh Satpute Movie Review by: Namita Majgankar |
At a time when obesity is on the rise in our country, Trupti Bhoir comes up with a unique theme through her latest film ‘Agadbam’. Aptly titled, the film talks about the strange happenings in the life of an obese girl Najuka weighing 250 kgs with a huge structure. Najuka’s father has fixed her marriage while she was a child to his friend’s son and it’s a commitment given to a priest in the temple of Lord Lingoba.
When the communication is reached between the two parties after so many years reminding each other about the promise, the stage is set to get Najuka married to late Devkule’s son Raiba, who is not allowed to see the bride, as per the tradition. Raiba, who is otherwise desperate to get married, agrees to marry Najuka with this condition. But, when he finds Najuka in her real shape, he starts hating her. Though Najuka wins the heart of her Mother-in-law and Grand Mother-in-law; with her good nature; she fails to win over her husband.
The film’s screenplay makes you a part of their family friends developing sympathy towards Najuka. When Najuka leaves her husband’s place; Raiba realizes his mistake as he is made to understand by people around him, explaining the meaning of a good ideal wife. Finally everything ends well with a happy note.
‘Agadbam’ is the kind of film that speaks about the change that Marathi film industry has brought in technical areas. Watch the Prosthetic make-up of Trupti Bhoir in that role of Najuka and you will be stunned. The usage of VFX and DI makes the film perfect in presentation. Cinematographer and director Satish Motling has used his expertise to present the film, keeping in mind the plus points of Najuka’s character. Makarand Anaspure, Trupti Bhoir, Usha Nadkarni
Trupti has dared to present herself in that get-up throughout the film, except for two songs in dream sequence , where she appears normal.
Dialogues of the film have been written by Mangesh Kulkarni, keeping in mind the mixture of village and city lifestyle. Few dialogues to impress upon the financing institution like IDBI bank were uncalled for, but they have been used to make their media partners happy. The screenplay of the film is otherwise well presented, with good editing work. You will never feel bored throughout the film. Makarand Anaspure as Raiba and Usha Nadkarni as his mother fit in perfectly into their respective roles. Trupti has played her character perfectly, to derive sympathy from the audience. She has paid more attention on her body language, especially her walking style and her voice. Music of the film is good, with two meaningful songs and one dhamaal song inviting the attention.
In all, ‘Agadbam’ is a well presented entertaining film, with a message. The film is sure to invite the attention of viewers, even other than Maharashtrians; for its novel theme. It will not be surprising, if the film maker receives offers for a remake in other languages.
‘Laadi Godi’ only mocks Bollywood
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Rating: na
Presenter: Uttara Food and Feeds Pvt. Ltd. Producer: Bala Entertainments Story, Screenplay, Lyrics, Direction: Mahesh Tilekar Camera: Debu Deodhar Dialogues: Mukund Taksaale Music: Kamlesh Bhadkamkar Cast: Tushar Dalvi, Varsha Usgaonkar, Bharat jadhav, Dipali Sayyed, Aniket Vishwasrao, Smita Shewale, Subodh Bhave, Resham Tipnis, Sanjay Narvekar, Krani Redkar…. Movie Review by: Ulhas Shirke |
It looks like that our Marathi film makers are devoid of good scripts. In the name of comedy, today they are offering anything that is available ready made. As it is, over the years our Bollywood has offered them so much to imitate in Marathi that the search becomes much easier. Director Mahesh Tilekar’s latest film ‘Laadi Godi’ is one such experiment where you will find lots of popular Marathi artistes together to mock the styles of Bollywood personalities like Amitabh Bachchan, Dharmendra,Jitendra, Hema Malini, Sridevi, Rekha, Anil Kapoor, Madhuri, Rajesh Khanna and Sharmila Tagore. Oh, sorry! The list is not over. There is Govinda and Karishma too.
So, using the names of these stars in the respective characters in this film, our Marathi stars comprising of Tushar Dalvi, Sanjay Narvekar, Subodh Bhave, Kranti Redkar, Resham Tipnis, Varsha Usgaonkar, Aniket Vishwasrao, Smita Shewale, Bharat Jadhav, Deepali Syed , Vijay Chavan and Kishori Ambiye have tried their best to mock them. In addition to that Shweta Shinde plays an abrupt role of an auto rickshaw driver just for two scenes. Now, if you try to measure the length of their roles, it will be noticed that they are all on a picnic at a guest house.
Now, to say something about the film’s story, Just as our three heroines – Rekha, Hema and Sridevi hate men the three heroes played by Amit, Daharmendra and Jitendra hate women. The main hero of the film Rajesh keeps on making frequent appearances in between the screenplay in different forms, begging before the three women to vacate his bunglow, as his newly wedded wife Sharmila would only then agree to celebrate their honeymoon there. One wonders, as to why he couldn’t celebrate his honeymoon elsewhere? But, then how would the film progress further? So, Rajesh seeks help from the trio comprising of Amit, Dharmendra and Jitendra to drive away these three women from his bungalow. He accommodates them on the Ground floor.
In comes Anil( Aniket) , who has been brought up by the three men in absence of his father and also Madhuri ( Smita Shewale) who has grown up in the shelter of the three women in absence of her mother. While Anil- Madhuri fall in love with each other, in spite of the opposition of their uncles and aunties; the two attendants of the bungalow- Govinda and karishma also fall for each other in a filmi style . Obviously, watching these two couples, the tenants find each other’s match. And with that we see happy ending of the film.
Such a kind of comedy, where every star tries to mock a bollywood personality suits well in a mimicry item on the stage in a reality show or even to that extent in a stage play, where they are provided the liberty to perform the way they want. But, the same experiment may not necessarily work in a cinema. In Maharashtra, we have different type of audience for drama and movie. The taste differs, as the presentation forms are different. There are few exceptions, where the scripts of both a drama or a movie are based on a real story or suspense filled fiction. However, in the case of ‘Laadi Godi’ it is only mockery of Bollywood, without any specific purpose. So, just by naming the characters with these popular Bollywood personalities, failed to invite the attention of all. The presentation has to be very perfect to create that spontaneous laughter. And frankly speaking, that does not happen in ‘Laadi Godi’.
The biggest flaw in the screenplay is that the sequences haven’t been properly placed in the order. When Anil walks in the house with gifts for his uncles, he presents Jitendra a pair of white shoes, which he is shown wearing in a previous scene. Sanjay Narvekar plays the scene of ‘Sholay’ in a typical Dharmendra style climbing on the top of the water tank, addressing the villagers; but there are no villagers around. There is only Hema. One can understand that while watching such films in a theatre , you have to leave your logical thinking process behind; but, that does not mean that the film maker should taste the patience of the audience. ‘Laadi Godi’ has thus turned out to be just another ordinary marathi film, certainly not for multiplex audience. Late Debu Deodhar, however leaves his mark as a cinematographer; as this is the last film he did before his untimely death. So, is the case with Nilu Phule, who makes a guest appearance in this film.
‘Paaradh’ highlights the socio – political issue
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Rating: na
Presenter: Amogh Cinetones Producer: Anuradha Talati Director: Gajendra Ahire Story: Gajendra Ahire Camera: Chandrashekar Iyer Music: Rahul Ranade Cast: Siddharth Jadhav, Makarand Anaspure, Hemangi Kavi Dhumal, Ravi Kale, Vrinda Gajendra, Vinay Apte, Amogh Talathi, Vitthal Umap, Milind Shinde Movie Review by: Ulhas Shirke |
Marathi films are back on the traditional track with tales of exploitation of rural poor. Only difference that we find now is the change of characters. The place of shrewd Zamindar or Village Sarpanch has been taken by selfish politicians, who are in search of youngsters to dance on their tunes to meet their personal goals. Gajendra Ahire’s latest film ‘Paaradh’ is no different from all those traditional Marathi films, but it sends out a strong message to today’s directionless youth; who are blindly following their leaders. Through this film, the maverick film maker makes a clear point of exploitation of rural youth by a power hungry politician, who uses them for his political gains and later sidelines them only to be killed by his opponents.
Ambadas (Makarand Anaspure) and his right hand Bappa( Milind Shinde) are involved in all such unethical practices at District level to prove their strength. They don’t miss a single opportunity to blackmail their own party seniors and one such victim is Prataprao(Vinay Apte). They first capture the dairy co-operative business with the help of young jobless youths from the village. Ambadas does not stop here, as his political ambitions are much higher. He dares to challenge even his party chief- Appa (identity not revealed) by exposing him with his wrong deeds with the help of his most trusted party worker Yashwant ( Siddharth Jadhav), whom he calls ‘Wagh (Tiger)’.
Yashwant-a small time party worker, who blindly follows the orders of his boss, suddenly comes into limelight. It is at this time Ambadas ditches him. His right hand Bappa, knowing the weaknesses of his boss, plays all dirty games in his name and even lures Yashwant’s younger sister Indu (Hemangi Kavi Dhumal) . Yashwant who belongs to a Warkari family, is the most notorious character in the family, who neither obeys his old father( Vitthal Omap) nor elder brother(Ravi Kale), who is a farmer.
Yashwant’s younger brother Anand (Amogh Talathi) , who is the mute witness to all the events the family faces, is actually the narrator in the film. The entire film is based on the political gimmicks of Ambadas and his link with Yashwant and his family. Finally, it is not only Yashwant who suffers, but his family members too. In the end of the film, Anand as a narrator tells that Siddharth who is undergoing sentence for the murder of Amabadas and Bappa, has one more year left for release and that his elder brother who had gone in search for justice is still missing. His sister-in-law(Vrinda Gajendra) works in the field and his ambitious sister Indu heads the women’s wing of the district. Finally, he concludes saying that he himself is well settled in a district place with his job and his son studying in a good Public school.
‘Paaradh’ begins well with realistic approach but drags in the second half with too many chase scenes, where Yashwant runs for his life, having been ditched by Ambadas. The characters of Ambadas, Yashwant, his elder brother ,his sister-in-law and sister Indu look realistic. The person who invites the attention is Milind Shinde in the role of Bappa. With his perfect visual expressions and body language, he has been able to present a real villain of Marathi films. Vinay Apte has been wasted in that role of Politician. There is no strength in his role, though he plays it with ease. Can’t find the reason for hiding the identity of Party chief. But, looking at the performances from Siddharth Jadhav, Makarand Anaspure, Hemangi Kavi Dhumal, Ravi Kale and Vrinda Gajendra, you tend to forget those few flaws in the film. Camera work by Chandrashekhar Iyer, Background music by Rahul Ranade and editing work by Rahul Bhatankar is pleasing.
‘Tee Ratra’ – A Well presented Psycho-Thriller!
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Rating: na
Presenter: It Clicks Productions Director: Viju Mane Story: Hemant Edlabadkar Camera: Shabbir Naik Music: Vinay Rajwade, Pravin More Cast: Prasad Oak, Santosh Juvekar, Aditi Sarangdhar Movie Review by: Sandeep Hattangadi |
Marathi cinema doesn’t have a tradition of whodunits and thrillers, but in the recent past Marathi cinema has given us many good thrillers like ‘Ranbhool’, ‘Checkmate’ & ‘Ringa Ringa’. Director Viju Mane’s ‘Tee Ratra’ is a welcome addition to this genre. The film starts off with an easygoing pace, with a newly married couple checking into their honeymoon suite. However, their conjugal night begins with a chilling chain of sequences, which keeps the viewers glued to their seats.
The couple played by Santosh Juvekar and Aditi Sarangdhar are very much in love, but Santosh has doubts about his wife’s fidelity and tries to find the other man in her life by installing web cameras in their desolate bungalow and also hires the services of a psychiatrist played by Prasad Oak, who is his childhood friend.Prasad uses various psychiatric tools like putting Aditi to extreme emotional trauma by posing as a serial killer and puts her through hypnosis to bring her sub -conscious to the fore.
Finally, the treatment works and Aditi blurts out her innermost secret. What is that secret? Well, that’s the suspense . Director Mane has kept the proceedings fairly brisk and has been inspired by many films like ‘Dial M for Murder’, ‘Vertigo’, ‘Gaslight’, ‘To Chase A Crooked Shadow’, ‘Grand Larceny’, ‘Postman Always Rings Twice’ and closer to Bollywood’s ‘Shaque’ besides the dark noir plots of James Hadley Chase novels.
The film can only boast of some excellent performances, especially by Prasad Oak, who gives one of his best performances as a shrink turned serial killer. Santosh Juvekar is rightly restrained as the caring husband. Aditi Sarangdhar as a disturbed wife, gives a good account of herself. Subodh Bhave’s role as Santosh’s partner and that of Mangesh Desai’s are half baked .Most of the film has been shot indoors in a bungalow, a la RGV style which reminds one of his films ‘Kaun’ and ‘Raat’ and the Hollywood classic ‘Halloween’.
Shabbir Naik has shot the film in natural light without any fancy angles, which any other DOP could have gone overboard with. The songs are okay but the background music is more effective and gives goose bumps sometimes. The editing is superb and the director has used many cinematic ‘jerks’ to startle the audience, which is expected from any good thriller.
However, the film is not totally flawless. Can a five year old girl have a sub-conscious mind, is a matter of debate? Why Aditi does not confess to her understanding husband? Why is she shown talking lovingly over the phone, to some other person? Why can’t a good shrink just put Aditi on the couch and treat her?
Well, the film is enjoyable. That’s the bottom line.
‘Jeta’ is a strong answer to ‘Justice denied’
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Rating: na
Producers: Ramesh Deo Production (P) Ltd. & Lokmat Entertainment Director: Ajinkya Deo, Amol Shetge Story-Screenplay: Ajinkya Deo, Amol Shetge | Music: Vaishali Samant Lyrics: Vaibhav Joshi Camera: Dhananjay Kulkarni Cast: Ramesh Deo, Seema Deo, Ajinkya Deo, Manava Naik, Aniket Kelkar, Hemangi Mahabaleshwarkar, Atharva Undale, Sandeep Mehta, Prasad Oak, Aditya Shah, Ranjeet Jog, Kaustubh Diwan, Sharad Ponkshe, Ravi Patwardhan, Sanjay Kshemkalyani, Janardan Parab, Atul Joshi Movie Review by: Ulhas Shirke |
Martin Luther King, Jr. once said: “Justice denied anywhere diminishes justice everywhere.” Based on the ideology behind such thoughtful utterances, Ramesh Deo Productions and Lokmat Entertainment Pvt. Ltd., have come up with a strong answer to an existing situation in the society, where justice is denied to a father, who is the only witness to his daughter’s murder. “If the hands of Law were strong enough, no one would dare to commit a crime, says Prof. Yashwant Rajadhyaksha, (played by Veteran actor Ramesh Deo) a retired professor of law, in the concluding part of the film. ‘Jeta’ has such a strong subject that is pushed with equally interesting screenplay supported by sensible dialogues to create awareness in the society. In short, it is a message to law makers.
The film opens up with an old couple Mr. & Ms. Rajadhyaksha (Ramesh Deo and Seema) remembering their daughter Shweta (Manava Naik) , who is murdered by three youngsters of influential parents. Very cleverly the director has used the lyrics of the song ‘Ya Sukhano Ya..’ reminding both about their longtime association. Shweta, who is making a documentary film on a village –Kalambi, (as part of her project in college)which is being redeveloped in the name of SEZ, by exploiting the rural poor. She gets a strong support from a protagonist Prabhakar Pannicker (Sharad Ponkshe) a leftist, and other villagers. The three youngsters later murder Shweta while attempting to collect the evidence against them and that too in the presence of her father, who puts up a brave fight.
The case is heard in the court of law and the three criminals get away with the crime, for want of sufficient evidence. Helpless Professor is then encouraged by his wife to take revenge and the professor takes his revenge in his own style, by killing two out of three killers using his well planned methodology. An ACP Vikrant Marathe( Ajinkya Deo) steps in to investigate the murders. This is where the screenplay takes a new twist. Prof. Rajadyaksha does succeed in his mission for the third time, but he gets the timely support from another person. And, this time, his beloved wife is present to watch that scene. The next day, the couple take leisurely walk at the sea shore, having completed their mission successfully. But, this time, the professor has a message, “Come forward and fight injustice, be a ‘Jeta’, yourself. Have courage to fight your own battle.”
The film has the touches of popular Bollywood film ‘Andhaa kanoon’ and recently released Marathi film ‘Second Inning’. However, looking at the efforts put in by director duo- Ajinkya Deo and Amol Shetge, it is certainly a good presentation to create that desired impact on the audience. Screenplay and dialogues match well with the main theme, which is ‘revenge’. Every important scene is well supported by suitable sound effects and background music. Lyrics by Vaibhav Joshi and music by Vaishali Samant also go well with the screenplay. Both have also tried a song on RD style in a Disco with the help of suitable light effects. Editing by Sarvesh Parab is satisfactory, as you don’t feel bored anytime during the film. Photography by Dhananjay Kulkarni is also impressive.
It was nice to watch the veteran couple together after a long time. And, both Ramesh Deo and Seema have performed well. Seema in particular was at her best in that sequence where she encounters ACP with battle of words. Even the interaction between Sharad Ponkshe and Ajinkya Deo during investigation process, extracts the best from these two talented artistes. Manava naik and other artistes in the film support well.
The film has successfully managed to present a theme, which is so relevant in today’s time, when some of the dreaded criminals are making a mockery of our system, finding the loopholes. Is it a right thing to kill such dreaded criminals in a fake encounter? And, the film has the answer. Hopefully, such a film with a sensational theme should receive a good response from Marathi film lovers.