Aandhali Koshimbir ( आंधळी कोशिंबीर )
Genres: Drama
Rating: ★★★ ½
Censor: U
Duration: 130 min.
Studio/presenter: Sudha Productions
Producers: Anuya Mhaiskar
Executive Producer: Nitin Prakash Vaidya
Director: Aditya Ingle
Writer: Pratap Deshmukh
ScreenPlay: Aditya Ingle, Pratap Deshmukh
Dialogues: Aditya Ingle, Pratap Deshmukh
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Cast & Crew
co-Producer: Sachin Awasthi
Executive Producer: Nitin Prakash Vaidya
Director: Aditya Ingle
Assistant Director: na
Writer: Pratap Deshmukh
ScreenPlay: Aditya Ingle, Pratap Deshmukh
Dialogues: Aditya Ingle, Pratap Deshmukh
Lyrics: Vaibhav Joshi
Music: Narendra Bhide, Avinash Vishwajeet
Playback Singer: na
Cinematographer (DOP): Pushpank Gawade
Editor: Pravin jahagirdar
Starcast: Ashok Saraf, Vandana Gupte, Anand Ingle, Hrishikesh Joshi, Aniket Vishwasrao, Hemant Dhome, Mrunmayee Deshpande, Priya Bapat- Kamat
Costumes: Soniya Sahastrabudhhe
Makeup: Mahesh Barate
Sound : Manoj Mochemadkar, Sandeep Madkholkar
Background Score: na
Choreographer: na
DI, VFX: na
D.I. Colourist: na
Promos: na
Music Label: na
Publicity Designs: na
P.R.O.: na
Distributor : na
Synopsis
‘Aandhali Koshimbir’ : na
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Review
‘Aandhali Koshimbir’ offers Sitcom, with a variety
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Rating: ★★★ ½
Studio / Presenter: Sudha Productions Producer: Anuya Mhaiskar Director: Aditya Ingle Writer: Pratap Deshmukh Cinematographer: Pushpank Gawade Music: Narendra Bhide Cast: Ashok Saraf, Vandana Gupte, Anand Ingle, Hrishikesh Joshi, Aniket Vishwasrao, Hemant Dhome, Mrunmayee Deshpande, Priya Bapat- Kamat Movie Review by: Ulhas Shirke |
Finally, a neat and clean comedy is back to Marathi cinema with the release of ‘Aandhali Koshimbir’. Set on the backdrop of Pune city, the film revolves around Bapu Sadavarte (Ashok Saraf) , a retired widower, living in his bungalow, in the company of his only young son Shrirang (Aniket Vishwasrao) ,who is yet to settle down in his life. Shrirang with his friend Vasant ( Hemant Dhome) who manages his family photo studio; attempts different businesses; but, does not succeed. He is indebted to Goraksha, a Don in all bad business.
In order to repay the loan of Goraksha, Shrirang on the advice of his friend Vasant, agrees to mortgage his father’s house to Goraksha; with the help of a cunning lawyer Dushyant Marne (Anand Ingale), who wants to marry a widow Shantibai( Vandana Gupte) , living as his tenant with her abnormal daughter Radhika (Mrunmayee Deshpande). With Goraksha himself failing to threaten Bapu Sadavarte, Shrirang and Vasant decide plan no. 2. In the meanwhile, Shrirang falls in love with Goraksha’s sister Manju ( Priya Bapat), who also joins their plan. They try to bring Shantibai and Bapu together, since both of them always open up fights with others, on small issues. But, Bapu and Shanti instead of fighting with each other; turn good friends and that spoils the plan of Shrirang and Vasant; which also angers Marne. With this drama, enough for the screenplay of the film, it takes you to an amusing climax, to show a happy end.
‘Aandhali Koshimbir’ is solely a director’s film and hence at every situation, you notice Aditya Ingale. By the way, he has also written the screenplay and dialogues of this film along with Pratap Deshmukh. His idea of using the three different age groups together in the film’s story, has worked very well. With the help of Ashok Saraf and Vandana Gupte, he has managed their chemistry very well. At the same time, using the characters of Hrishikesh Joshi and Anand Ingale, he has tried to generate the desired momentum into the screenplay.
And finally, using the two young pairs Aniket- Priya and Hemant-Mrunmayee, he has managed to keep the young audience happy, with their different approach to their respective characters. While Aniket and Hemat have timed their humour filled scenes very well, Priya comes with a good support. For the first time, Mrunmayee has attempted something different through her abnormal character. The film is not a non stop laughter film; but certainly enjoyable. The best thing about this film is that, it does not turn vulgar at any moment.
The entire film however belongs to Ashok Saraf, who has been so natural throughout the film. His real acting talent is however noticed in the climax scene, when he reacts, turning emotional. Vandana Gupte has offered a very good support and it was nice to see these two veteran artistes together, after a long time. Anand Ingale finds a good meaty role, and he has lived up to his expectations. Anand has proved that he can fit into any character role; be it a comedy or a villain. In this film, he gets a chance to play both together.
Another actor, who has impressed through his perfect body language in the film, is Hrishikesh Joshi. He has performed the role of Goraksha, very convincingly. Excellent support comes from the young team comprising of Aniket, Hemant , Priya and Mrunmayee. But, the surprise pack comes from late Shrikant Moghe, who is the role of a Judge, makes his presence felt, in the concluding part of the film. Just watch his expressions and a variety while delivering his dialogues. This film is certainly a tribute to him.
There are very few songs in this film; but Vaibhav Joshi’s lyrics, Narendra Bhide’s music, Avinash -Vishwajeet’s title music and Pushpank Gawde’s cinematography, certainly add to film’s good presentation. Above all, the film displays a good team work. Do not watch this film with very high expectations; and then, you will really enjoy it. One thing is sure, that it has offered a situation based comedy with a variety. ‘Aandhali koshimbir’ is certainly a good ‘Time Pass’ film for the entire family.
rating: 3.5
‘Khara Saangu Khota khota’ offers customary musical entertainment
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Rating: ★★★
Studio: Abhiruchi Films Producer: Sarav production Director: Sanjeev Naik Writer: Ramchandra Sadekar Dialogues: na Cinematographer: Manjunath Nayka Cast: Analesh Desai, Trishala Shah, Ashok Saraf, Nirmiti Sawant, Sayaji Shinde. Movie Review by: Ulhas Shirke |
At a time, when we are finding innovative themes taken up by Marathi films; Some of our Marathi film makers seem to be still believing in the traditional track of comedy, to play safe. They don’t dare to attempt something out of the box. Latest Marathi film ‘Khara Saangu Khota khota’ falls into this category. So, we have a young boy and a young girl Dushyant and Yashashree from the same village; and studying in the same college in a town. To present this traditional love story, it is needless to say that their parents are traditional political rivals, living in the neighborhood and always trying to prove their supremacy over each other, during every important event in the village.
Dushyant and Yashashree come closer during their journey back home, with a halt at Nani Saranjame’s house; when they find their accommodation by posing themselves as married couple. Actual fun begins, when they return home . Director Sanjeev Naik has chosen this humour filled plot, based on Ramchandra Sadekar’s novel ‘Tuza Majha Zamena’ to find suitable artistes to play the important characters in this film. So, besides presenting the new pair of dashing Analesh Desai and Pretty Trishala Shah in this musical entertainer, he has opted for versatile artistes like Ashok Saraf and Sayaji Shinde to play the traditional rivals- Dhadalgaonkar & Dhandle Patil respectively. To add further flavour of comedy, he has rightly chosen Nirmiti Sawant to play the commanding role of Nani Saranjame, a spinster, who runs a match making enterprise.
The sole purpose of this film has been to offer non stop entertainment, with the limited characters, providing good support with their performances. The film has good music as its plus point, for which Shrirang Aras deserves a pat. One more plus point is good photography bt Manjunath B Nayaka, who has captured some songs at outdoor locations and the fun filled climax scene very well.
All the three senior artistes, who are well versed with comedy, have tried their best to generate instant humour with their perfect understanding, during all those scenes of confrontation in the screenplay. But, still they had to satisfy themselves, with the space extended to their characters. The chemistry of new pair of Analesh and Trishala has worked well, considering the comedy setting of the film. There are no scenes to really exploit their acting talents. Hemangi Velankar and Deepjyoti offer good support; but the other few character artistes in the film, fail to impress. They look very artificial. Even the tourist bus scene looks very outdated. The director should have tried something new, to bring the young couple together.
The screenplay of ‘Khara Saangu Khota khota’ could have been more interesting, had there been more interesting happenings, like the one noticed in the climax. It is a simple plot, to generate humour, without any vulgarity noticed. The pace of the film is also properly maintained by editing experts. Songs and music are timed well, in the screenplay. But, still you feel that there should have been more fun, in the company of the three veteran artistes. And hence, ‘Khara Saangu Khota khota’ has turned out to be just a customary musical entertainer for the entire family.
‘Ekulti Ek’ turns too emotional
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Rating: ★★★
Screenplay: Khitij Zarapkar Producer: Sachin Pilgaonkar Director: Sachin Pilgaonkar Music: Jitendra Kulkarni Cast: Sachin Pilgaonkar, Shriya Pilgaonkar, Ashok Saraf, Koshori Shahane, Sidharth Memon, Nirmiti Sawant. Movie Review by: Ulhas Shirke |
Every film maker has his own style of presenting the film, especially when it is his own story. Actor- Producer-Director Sachin Pilgaonkar must have written this story to present his daughter Shriya in her debut film. Making it as his family affair, besides his good friends around, his new film ‘Ekulti Ek’ is also being offered on the day of golden day of completion of 50 years, for winning his first award as a child artiste.
For the past few days, Sachin was campaigning for this film, by becoming part of almost all popular Marathi Television programmes, raising expectations of the film lovers. But, the film has turned out to be more of a serious emotional drama between father and his daughter, rather than entertaining the audience, which his previous films did. Though there is good exchange of dialogues between father and daughter, contrary to the expectation, the screenplay of the film is not very impressive. The story of the film with limited contents, revolves around a popular singer Arun Deshpande, played by Sachin himself. Suffering from Insomnia, in spite of the name and fame; one fine day, he comes across his grown up daughter Swara (Shriya Pilgaonkar) , who visits him after 18 years, since he deserted her mother, when she was just 4 years old. The father pursues his singing career, but, is not willing for changing his singing style to suit the taste of new generation. It is at this time, his daughter arrives to remind him about the desired change in his attitude.
Knowing well about her father’s ego problems, the daughter tries her best to change him, with the help of his secretary Mehta( Ashok Saraf) and her boyfriend. In the meanwhile, Arun Deshpande encounters his wife Nandini( Supriya Pilgaonkar), who happens to be the person interviewing him for a Radio Channel. The discussion becomes too personal and Arun leaves the Radion station in a disturbed state of mind. Back home, he however, tries to help his daughter, to find a role in films; as per her wish. But now, the daughter has plans to marry her boyfriend. She says Good bye to her father, to return to her mother, who is preparing for her wedding. The film concludes with happy ending, as predicted. Only surprise given at the end is revealing the daughter’s real profession.
Only good part of the film are the dialogues and performances by the artistes. Both Sachin and his daughter Shriya have performed very well. Shriya in particular has worked very hard, to present herself in all the scenes. But, it is Supriya Pilgaonkar in those limited scenes to her share, invites all the attention. She is simply superb, in the Radio interview session. Surprisingly, humour finds very limited space in this film. It is only the presence of Ashok Saraf in few scenes, helps to generate spontaneous laughter. Only other humour filled scene is the Police station scene.
Kishori Shahane Vij has limited scope in the film, playing as Sachin’s close friend in the music industry. Siddharth Menon is just fine. Swapnil Joshi and Nirmiti Sawant have just one scene each for them in guest appearance. Same is the case with Vinay Yedekar. Music by Jitendra Kulkarni has limited scope in the film. Sonu Nigam’s promotional title song appears after the end of the film, when people walk out of the cinema hall. But, the cinematography by Rahul Jadhav is fine.
As a director, Sachin Pilgaonkar has made a sincere effort to present his story and has given more importance to father and daughter conflict. However, he has avoided the scenes leading to husband and wife separation. He has also avoided the scenes between mother and daughter, except for the one at the end. This clearly indicated that the director wanted to give more prominence to his daughter, to exploit her potential. But, in the process, these scenes have been stretched too long, making this film little more than two hours in length. There is nothing very special about this film, except for fine performances, suitable background music and fine photography.
“We are on….” is all about cricketainment
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Rating: ★★★ ½
Banner: Maitra Entertainment Producer: Sandhya Gokhale Director: Amol Palekar Story – Screenplay: Sandhya Gokhale Dialogues: Sandhya Gokhale Cinematography:Amol Gole Cast: Ashok Saraf, Dilip Prabhavalkar, Ramesh Bhatkar, Manoj Joshi, Pushkar Shrotri, Upendra Limaye, Anand Ingale, Satish Pulekar, Vijay Kenkre, Satish Alekar, Ajit Kelkar, Shreeram Pendse, Sunil Godbole, Goutam Joglekar, Sameer Chougule, Sandeep Pathak, Nivedita Saraf, Vandana Gupte, Shilpa Navalkar, Suhasini Paranjape, Atisha Naik. Movie Review by: Ulhas Shirke |
Cricket has played a very important role in offering entertainment to people in India. And, if you are offering cricket in the form of entertainment through a feature film, it certainly invites the attention of film lovers. Films like ‘Lagaan’ and ‘Iqbal’ are the best examples. Now, at a time when IPL T20 Cricket fever is on, film maker Amol Palekar comes with a timely entertainment, through his new Marathi film ‘We are on, Houn Jau Dya’. Picking up popular veteran and young stars in the cast, Amol has cleverly managed to have two teams of cricket, to offer new form of cricketainment to Marathi film lovers.
Ideally set on the backdrop of Pune, known as the city of pensioners and at the same time the city of sports lovers; he has presented an altercation between the regular morning walkers and young enthusiastic cricket lovers; over the use of ground during the early morning hours. While the group of senior citizens complain about the nuisance caused by the youngsters, during the early morning hours; the youngsters, some of whom are their own family members, claim it as their right to play to relieve their stress, as they are otherwise working people.
The youngsters are keen to participate in the 25 lack prize money tournament at Nashik , as the only team from Pune; but, the seniors call it a craze for the game. To sort out the issue, finally it is decided to have a match between the youngsters and seniors, involving their well wishers, family members and also sponsors to watch the climax; which runs about 30-40 minutes towards the concluding part of the film.
Needless to mention that the seniors realising their limitations, use all the tactics possible, besides challenging the existing rules of the game. As a director Amol Palekar, having been influenced by his mentors Hrishida and Basuda, has sincerely paid tributes to his masters through this film. Through one of his main characters Andalkar (played by Makarand Anaspure) he has used almost the similar tactics during the cricket match, which he himself attempted as an actor, while playing a table tennis match against Asrani on the advice of his Guru Ashok Kumar in the film ‘Chotisi Baat’.
As a film maker, Amol Palekar has received good support from Sandhya Gokhale through screenplay and dialogues, for his own developed concept. In the pre interval session, we find every character and his family being introduced properly, through humour filled scenes. This entire session we find situation based comedy, with good support coming from versatile artistes like Dilip Prabhavalkar, Vandana Gupte, Ashok Saraf, Nivedita Saraf, Ramesh Bhatkar, Satish Alekar, Ajit kelkar, Shriram Pendse, Sameer Chougule, Manoj Joshi, Atisha Naik, Anand Ingale, Upendra Limaye, Pushkar Shrotri, Gautam Joglekar, Satish Pulekar, Sandeep Phatak, Shilpa Navalkar and others. Above all, you find surprise guest appearance by a famous former India Cricketer.
Dilip Prabhavalkar and Vandana Gupte in particular, have matched well as Ponkshe couple, still trying to look younger despite becoming grandparents. Ramesh Bhatkar as Retired Col. and Satish Pulekar as former Ranji Player, play their respective roles with a difference. Makarand Anaspure, finds himself in the company of senior citizens, playing their guiding force. It was nice to find Saraf couple together after a long time, playing so naturally ! Manoj Joshi as a Gujarathi friend in the group, plays the happy go lucky bachelor is style. Atisha Naik with Sameer Chougule succeed in creating laughter in few scenes. Among the youngsters, Anand Ingale and Sandeep Phatak are at their best. Pushkar Shrotri and Gautam Joglekar have almost underplayed their characters. But, it is Sandeep Phatak, who invites all the attention, with his flexible character.
Music does not have much scope in this film, except for one good musical song composed by Avinash Vishwajeet. The background music and sound effects have been used well. Cinematography by Amol Gole captures all the details of the celebrity cricket match very well. “We are on Houn Jau Dya’ is all about cricketainment. But, it’s a well presented timely film.
Ashok Saraf – 40 years of non-stop acting
At 66, he is fit enough to work with the same enthusiasm, as he did in 70s, when he made his debut in Marathi films. He has a terrific sense of timing, when he performs comedy scenes with his co stars. No wonder, his pairing with late Laxmikant Berde turned out to be a hit. He must have done maximum Marathi films with Laxmikant Berde in 80s. But, no one can forget his cunning havaldar in Dada Kondke’s 1975 film ‘Pandu hawaldar’ and a ‘Munimji’ in Rakesh Roshan’s film ‘Karan Arjun’ in 1995. During the past 40 years, he has played a variety of roles in Marathi and Hindi films .But, he was more known for his comedy.
Recently, we watched him play an important role of a sympathetic Police Hawaldar in a hit Hindi film ‘Singham’ and we came to know about his versatility in changing from comedy to serious scenes. Not many Marathi film makers have used his skills in emotion filled roles. Very recently, we saw him play a very good emotion filled lead role in a Marathi film ‘Gol Gol Dabyatla’. But, unfortunately, this sensible film did not do good business.
After a long time, we saw him back to Marathi stage and also in Marathi serials through ‘Nana O Nana’. But, how can we forget his past performances on stage and TV ? ‘Prema Tujha Rang kasa’, ‘Manomilan’ on stage and ‘Hum Panch'(Hindi) on television, found him in his best. In the recent past, he returned to his comedy roles, through ‘Ideachi Kalpana’ in the company of Sachin Pilgaonkar and Mahesh Kothare. And, he stole the show in the role of a shrewd advocate. Even ‘Ek Daav Dhobhi Pachad’, became a hit, only because of his presence in the film.
For the past 28 years, he has been performing range of character roles in Hindi films; be it a crooked lawyer in ‘Pratighat’, kasturi in ‘Bade Ghar Ki Beti’, VCR in ‘Benam Badshah’, Gangaram Lalwani in ‘Naseebwala’, Dhaniram in ‘Aa Gale lag Ja’, Pyare Mohan in ‘Bal Bramhachar’, Mr. Patel in ‘Kya Dil Ne Kaha’ or head Constable Savalkar in ‘Singham’, they were all prominent roles.
Next month, we will see him opposite another experienced Marathi actor Sayaji Shinde, who has been a popular villain in south films. In the film ‘Khara Saangu Khota Khota’ these two actors are playing traditional rivals from the same village, whose children are in love with each other.
Today, he is the most respected actor in Marathi Entertainment and there is lot to learn from him; when he is around. Recently, while attending a function of the first look of one of his recent films, he noticed silence among the media representatives; and spoke himself, to break the silence and create an instant laughter. For any actor, it is very important to communicate with the media; and Ashok Saraf possesses this skill. No wonder, he has been in this industry for little more than four decades. And, he is still ready to deliver, given any role suited to him.
by Ulhas Shirke © MMW | 02 November 2013, Saturday
Ya Gol Gol Dabyatla ( या गोल गोल डब्यातला )
Release Year: 2012 (20 January)
Genres: Drama
Rating: na
Censor: U
Duration: 130 min.
Producer(s): Mukesh Gupta, Mitesh Desai, Nissar Khan
Executive Producer: na
Director: Asit Reddyz
Writer: Asit Reddyz
ScreenPlay: Asit Reddyz
Dialogues: Pravin Shantaram, Asit Reddyz
Official Facebook Page I Twitter
Cast & Crew
Executive Producer: na
Director: Asit Reddyz
Assistant Director: na
Writer: Asit Reddyz
ScreenPlay: Asit Reddyz
Dialogues: Pravin Shantaram, Asit Reddyz
Lyrics: Baba Chauhan
Music: satish chandra
Playback Singer: na
Cinematographer (DOP): Sameer Athalye
Editor: Rajesh Rao
Starcast: Ashok Saraf, Smita Talwalkar, Santosh Juvekar, Madhav Abhyankar, Smita Shewale, Vijay Chauhan, Papan Patila, Aakansha Thakur, Shailesh Datar, Baal Dhuri, Aashalataa
Costumes: na
Makeup: na
Sound : na
Background Score: na
Choreographer: Deepali Vichare
DI, VFX: na
D.I. Colourist: na
Promos: na
Music Label: na
Publicity Designs: na
P.R.O.: na
Distributor : na
Synopsis
‘Ya Gol Gol Dabyatla’ : na
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News / Article / Interview
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Review
‘Ya Gol Gol Dabyatla’ sends a strong message
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Rating: na
Presentor: Riddhi Entertainment Director: Asit Reddyz Story: Asit Reddyz Music: Satish Chandra Camera: Samir Athlye Cast: Ashok Saraf, Smita Talvalkar, Santosh Juvekar, Smita Shewale, Madhav Abhyankar, Akansha Thakur, Ashalata Wabgaonkar, Bal Dhuri, Shailesh Datar, Prafull Samant, Pratibha Goregaonkar, Iravati Lagoo, Rashmi Yesgude & child artistes Papan Patil, Akansha Jagdale Movie Review by: Ulhas Shirke |
Albert Einstein has rightly quoted, “We cannot despair of humanity, since we ourselves are human beings”. But, with changing time, it is observed that some children neglect their parents, when they become old. There are cases, where children, after attaining prosperity, refuse to even recognize their parents, forget about supporting them. Today, law has become very strict against those, who refuse to take care of their older parents. Based on the new provisions in law and taking support of existing Hindu law, Asit Reddyz new film ‘Ya Gol Gol Dabyatla’ reminds the new generation about their duties to parents. And at the same time encourages those neglected parents to knock the doors of court for justice.
The film goes on to narrate the tragic tale of Bajaba Mahipati and his wife, (Ashok Saraf & Smita Talwalkar) who in spite of their poor conditions spend towards the education of their only son- Digambar, who grows up to stand first in the district in the HSc exams. Bajaba moves on his bicycle from village to nearest town showing the Bioscope to school children, to earn for his family, while his wife does the job of nursing newly born babies in the village. When young Digamber (Santosh Juvekar) orders his father to arrange for money amounting to Rs.2.5 lakhs, towards his Engineering admission and hostel fees; the father gets worried. But, the kind hearted mother of Digamber suggests her husband to sell his ancestral land .
After moving to hostel in a town, Digamber even changes his name to Anand and befriends the daughter of a TV serial producer Appasaheb Deshmukh (Smita Shwale). He refuses to meet his parents as he hates his poor background and warns them not to meet him. Soon, he marries Appasaheb’s daughter and lives in the bungalow of Appasaheb (Madhav Abhyankar), who offers him roles, impressed with his talent. Some dramatic incidences take place in the film, where the parents confront their own son with changed attitude. Father decides not to see his son’s face again, but the mother turns emotional when she hears about the birth of her grandson. She even agrees to nurse the new born. But, she faces humiliation there and returns home.
Already suffering from ailment, the mother is admitted to hospital for advancement of tumor and is advised to be operated. With no money in hand, Bajaba takes a drastic step to teach his son a lesson. He files a case in court, taking the support of Hindu law and the new amendment in Law providing defense to neglected parents. The film concludes with climax in the court room; where the Judge( Ashalata Wabgaonkar) delivers justice in favour of neglected parents. But, the father returns the compensation by keeping only the medical expenses of his wife’s operation. The film does succeed in passing a good social message to the society.
With this story very relevant to today’s time, writer director Asit Reddyz has offered a sensible film. He has not elaborated much on the college education and subsequent acting career of Digamber. Leaving the college education half way, he is shown moving from Hostel to Appasaheb’s bungalow. The director seems to have paid more attention on father -son confrontation. However, he has selected the artistes perfectly suited to their characters. Ashok Saraf has portrayed the main character of Bajaba very effectively. Smita Talwalkar supports him well as a kind hearted wife, whose happiness is her son’s happiness. Santosh Juvekar as their son has tried to do his best in that role of a selfish son inclined towards materialistic living. Smita Shewale, who plays his girl friend turned wife, does not have much scope, but she suits well in that role of modern day girl. Vijay Chavan as Bashaba’s neighbor in the village does well in his limited role and so does his daughter, who looks like a perfect village girl, with dark complexion. Others in the cast, like Madhav Abhyankar, Akansha Thakur, Ashalata Wabgaonkar, Bal Dhuri, Shailesh Datar, Prafull Samant, Pratibha Goregaonkar, Iravati Lagoo, Rashmi Yesgude & child artistes Papan Patil, Akansha Jagdale have supported well.
Good photography, excellent performances and perfect editing makes the film more appealing, though it is a tearjerker.
‘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.
Two new serials on E-TV Marathi
In spite of the recession period in other sectors, the Marathi film industry stood firm with good business during the year 2009. Even the fear of swine flu did not deter the enthusiastic audience from watching the films in theatres in places like Pune and surroundings which generally attract a good crowd for Marathi films. In fact, the strike observed by producers and distributors of Hindi films, indirectly helped a Marathi film like ‘Mee Shivajiraje Bhosale Boltoy’, which was released around that period. The multiplex owners in Maharashtra welcomed this film, which made a good business for them too.
Year 2009 also saw the arrival of big wigs like Eros entertainment, Zee talkies and Sanjay Ghodavat Group entering the business and offering a good distribution network and required publicity that was very much required to popularise Marathi films. To name a few, films like ‘Ek Daav Dhobi Pachaad’, ‘Gaiir’, ‘Jogwa’ and ‘Rita’ did a good business. At the same time, a sensible films like ‘Gabhricha Paus’ invited the attention of foreigners during various Film festivals abroad. Both ‘Harischandrachi Factory’ and ‘Jogwa’ staked their claim for India’s entry for Oscars with their universal subject and finest presentation; but ‘Harischandrachi Factory’ which had an edge over ‘Jogwa’ for being the film made on the life of the Grand old man of Indian cinema, was finally selected.
It looked like that the new cinema had almost taken over from the traditional comedy films of 80’s and 90’s which remained dominated by Ashok saraf and Laxmikant Berde. Today, we find lots of new faces displaying their talents through new subjects. Renuka Shahane tried a new experiment with her own production through ‘Rita’ by making Pallavi Joshi to play lead opposite an ageing hero of Hindi films Jackie Shroff. She was more confident of her script. And, her experiment did work well . ‘Sukhaant’ directed by Sanjay Surkar and ‘Samaantar’ directed by Amol Palekar offered the audience totally different subjects, which were so necessary to change the taste of audience.
There were films like ‘Gandha’ ,‘Made in China’ and ‘Lonavala Bypass’ which were also based on new subjects, succeeded in inviting the attention of new audience particularly in multiplexes. While the traditional comedy films continued during 2009 with the focus on big screens, but except for ‘Ek Daav Dhobi Pachhad’ no other film could pull the crowds. Among the new directors, Satish Rajwade invited the attention of one and all for offering two hits.
What is more appreciated about today’s Marathi films is that there are more technically perfect films with better cinematic presentation. We also saw Ajay- Atul offering best of music in many films. At the same time we should also appreciate the efforts put in by all those cinematographers, sound & editing experts and choreographers. With 2009 now coming to an end, all eyes on 2010 which welcomes a bunch of Marathi films with new subjects lined up during the month of January, to offer some more variety. But, we are eagerly waiting for that most prestigious Oscar award to be won by a marathi film. Will ‘Harischandrachi Factory’ succeed in doing so ?