2.5

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.