Mangalashtak Once More ( मंगलाष्टक वन्स मोअर )
Genres: Romantic, Drama
Rating: ★★★★
Censor: U
Duration: 130 min.
Studio/presenter: Shree Aadya Films
Producer(s): Renu Desai
Executive Producer: Sanjay Davara
Director: Sameer Hemant Joshi
Writer: Sameer Hemant Joshi
ScreenPlay: Sameer Hemant Joshi
Dialogues: Sameer Hemant Joshi
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Cast & Crew
Executive Producer: Sanjay Davara
Director: Sameer Hemant Joshi
Creative Director: Renu Desai
Writer: Sameer Hemant Joshi
ScreenPlay: Sameer Hemant Joshi
Dialogues: Sameer Hemant Joshi
Lyrics: Guru Thakur
Music: Nilesh Moharir
Playback Singer: na
Cinematographer (DOP): Sanjay Jadhav
Editor: Suchtra Sathe
Starcast: Swapnil Joshi, Mukta Barve, Kadambari Kadam, Vijay Patwardhan, Sai Tamhankar
Costumes: na
Makeup: na
Sound : Manoj V. Mochemadkar
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
‘Mangalashtak Once More’ : Marathi film ‘Mangalashtak Once More’ is a beautiful love story between a husband and wife who inspite of having many differences keep the love and faith going in their marriage…
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Review
‘Lagna Pahave karun’ – Marriages are made in heaven; but, they survive on mutual understanding
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Rating: ★★★★
Studio: Solariz Internation, Sprint Art Creations Producer: Kiran Deshpande, Mohan Damle Music & Direction: Ajay Naik Screenplay: Kshitij Patwardhan , Sameer Vidawans Cast: Mukta Barve, Umesh Kamat, Siddharth Chandekar, Tejashree Pradhan, Swati Chitnis Movie Review by: Ulhas Shirke |
Time is changing and so is the process of marriages. Love marriages are on the rise; but at the same time; people still have belief in arranged marriages. Now, whether it’s a love marriage or arranged marriage with proper horoscope matching; the cases of divorce are the same in both the cases. Taking up this timely issue, director Ajay Naik has presented his new Marathi film ‘Lagna Pahave Karun'; showing very tactfully, the happenings arising out of one such modern day arranged marriage.
Nishant ( Umesh Kamat) is a US returned youngster, who comes to India for his marriage; arranged by his mother with the help of a Marriage Bureau, run by a Professional lady ( Swati Chitnis), who provides all the help to her clients, right from matching horoscopes and bringing both the parties together. When Nishant meets his ‘would be’ wife, suggested by the marriage bureau, he tells her that he has lost his job and intends to work in India . However, the girl, who is more keen on moving to US, rejects his proposal.
Around the same time, Nishant comes across another smart girl Aditi ( Mukta Barve), who becomes friendly with him and suggests him to join her in a business of new style of Marriage bureau, where they decide to give ample scope to the Boy and girl, to understand each other before marriage. There is no horoscope involved in this procedure, as Umesh himself does not like the idea. But, they offer novel ideas to attract the forward thinking eligible youngsters. They start their office, exactly opposite the well established business of the professional lady.
Their first such pairing of Rahul ( Siddharth Chandekar) and Anandi ( Tejashree Pradhan) turns successful and they get married; bringing more and more clients to Nishant and Aditi. Out of jealousy, their business rival, dares to challenge them about the survival of this marriage; quoting the horoscope facts of the couple. Nishant, who does not believe in horoscope, accepts this challenge; but his partner Aditi gets worried, as her Grandfather( Jayant Savarkar) who knows about horoscope, also cautions her about the hurdles in the life of Rahul and Anandi.
Keeping the track of developments in the married life of Rahul and Anandi, both Nishant and Aditi come more closer to each other and one day Nishant proposes Aditi; who however keeps avoiding the topic, asking for time. With more interesting happenings to follow, the film reaches the stage, where both the couples are required to take a decision with mutual understanding. The remarkable climax has been shot well, keeping the argument open to the audience. Whether, matching of horoscopes is all that important to decide a successful marriage ?
Director Ajay Naik, who makes his debut as a director, through this film, has generated a lot of interest in the screenplay written by Kshitij Patwardhan. We have seen a film ‘Sanai Choughade’ on somewhat similar subject of match making, in the past; but, ‘Lagna Pahave Karun’ offers a variety, through its screenplay. The idea of arranging the first meeting of the couple in a dark room, is something unique. Rahul’s patience in understanding the problem of Anandi, goes on to show the maturity of one of the partners. Above all, the director has succeeded in keeping the audience guessing , till the end. His selection of artistes for the important characters is most appropriate.
Music is another plus point of the film, besides good photography at appropriate locations and perfectly designed costumes provided to all the important characters. The involvement of parents and other elderly characters has been kept minimum, except for the scope given to Jayant Savarkar and Swati Chitnis. Watch the parents of Rahul in 2-3 scenes of the film . Without a dialogue, their body language suggests everything.
In the role of Nishant, Umesh Kamat is very much at ease, giving a very natural performance. Mukta Barve impresses in the role of Aditi, with her spontaneity to different situations in the film. In the role of Anandi, Tejashree Pradhan has done a good job. She is remarkable in that scene, when she is shown communicating with her father over phone. Siddharth Chandkar steals the show in the role of Rahul. In fact, he had a very difficult role to play; but, the young actor has displayed his talent in those two important emotion filled scenes with a lot of commitment. So, it is not only the fine performances and good music( by Ajay Naik himself); but, the proper presentation of sequences, makes this film a worth watch.
‘Badam Rani Gulaam Chor’ – A film with a difference
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Rating: na
Banner: Manohaar Entertainment Producer: Shekhar Kulkarni, Ajit Bhure Director: Satish Rajwade Story: Dr. Vivek Bele Lyrics: Sandeep Khare Music: Dr. Saleel Kulkarni Cast: Upendra Limaye, Anand Ingle, Pushkar Shrotri, Mukta Barve, Dr. Mohan Agashe, Vinay Apte, Deepak Karanjikar and Sudhir Gadgil. Movie Review by: Ulhas Shirke |
In the year 2007 Dr. Vivek Bele’s Marathi comedy play ‘Makadachya Hati Champagne’ directed by Girish Joshi won many popular awards for the best Marathi play. Now, Shekhar Kulkarni and Ajit Bhure have made a Marathi film, based on this popular play. Director Satish Rajwade has tried his best to present it in a cinematic form, using all his expertise. He has however retained the original story and the popular dialogues, instead of attempting something new.The film begins almost in the style of a play, when one of the three friends (Upendra Limaye) who runs his motor garage, summons his other two friends (Anand Ingale & Pushkar Shrotri) back home, only to give them a surprise; by inviting his new girlfriend home. One of them, who is a media person, rushes home from an important assignment, by handing over the responsibility to his subordinate and the other one, who is a college professor rushes home, by asking his colleague to take the class .
Anand Ingale, Photo
The three friends have been living a bachelors’ life together in a bungalow and hence the arrival of a girl at their place, that too on an invitation of their close friend, is certainly a surprise for the remaining two friends. In comes Mukta Barve, wearing a mod dress and she impresses the other two friends. Then begins the introduction part, when she finds that all three of them are known with their pet names. But, she enjoys the humor in their names – Chaku (Upendra), Makad (Anand) and Pustak (Pushkar) respectively. So, she decides to introduce herself with her new name Pencil.
After Chaku leaves with Pencil, the other two friends have a common reason to pass comments at Chaku, suggesting that Chaku is not an ideal match for Pencil. According to them, she needed someone, who was well educated and sensible, as her life partner. When Chaku decides to celebrate the evening with a Champagne, the other two try to find out whether the girl really loved Chaku. When they find that nothing had progressed from marriage point of view, Pustak also stakes his claim for Pencil. When the situation goes out of control between Chaku and Pustak, Makad intervenes and suggests a way out. So, Chaku is given an option to propose Pencil first; so that Pustak could also make an attempt after him.
The film drags a bit with this limited content, till interval; when you find Pencil selecting Pustak as her life partner. But, their coming together, is not seen in good spirit by Makad, who uses all his manipulative overtures to instigate Chaku with his political mind. On his advice, Chaku becomes hopeful of winning the heart of Pencil back. Makad does succeed in splitting the couple; but, the climax is for a surprise.
Mukta Barve, Anand IngaleThe happenings in the life of three friends and the girl in their life, has successfully matched with the happenings at Political front, by showing the power game between two politicians (Vinay Apte and Deepak Karanjikar). The girl is compared with the public opinion, when it is noticed that the two rivals in a political party break up and later decide to join hands. The story does have something to convey to the audience; but it remains to be seen, how the movie audience would accept the same.
There isn’t much scope for music, but the background music is impressive. Director Satish rajwade has done a good job. But, he could have attempted something more. He hasn’t taken maximum liberties, as required in the cinematic format and has only tried to move with the original format. Only at two places, he used the effects well. It was to show the imagination of Chaku and the media clippings of the games played by two politicians in between the clashes among the friends. Don’t expect start to finish laughter in this film. As, it is an intelligent film, not deviating from the subject. Performances by all the artistes are good. There is equal scope for all four of them. Dr. Mohan Agashe and Sudhir Gadgil play news anchors and host of a TV channel, respectively. ‘Badam Rani Gulaam Chor’ is the kind of film for those who understand sensible cinema.
‘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.
‘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.
‘Mumbai-Pune-Mumbai’ in 106 minutes
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Rating: na
Producer: Mirah Entertainment Pvt. Ltd. Presentor: Twinkle Group Exe. Producer: Sanjay Dawra Director: Satish Rajwade Story, Screenplay: Parag Kulkarni, Satish Rajwade Camera: Suhas Gujrathi Editing: Rajesh Rao Cast: Swapnil Joshi, Mukta Barve Movie Review by: Ulhas Shirke |
A young modern girl dressed in Long Red skirt and white top (Let us call her Ms. Mumbai) moves all alone from Mumbai to Pune just to select her would be, on the request of her Mother. After passing from one junction to other searching for the address, she finally lands at the destination point, where some boys are playing gully cricket. She selects none other than the batsman (Let us call him Mr. Pune) to know exact location of the house; and as a result of which he is clean bowled. The young man (Dressed in Bermuda shorts, an overcoat and sports shoes) however directs her to the location but to her surprise, the door is locked. Ms. Mumbai is unable to contact the concerned person, as her cell phone battery is down. So, she proceeds to a grocery shop, only to call her friend and inform about the non availability of the person. Here again, Ms. Mumbai and Mr. Pune meet for the second time.
Their general argument to show each other’s attachment for their native, brings them together, when Mr. Pune offers courtesy to Ms. Mumbai by taking her for a ride during the day time, as the girl has a return ticket for an evening train and wants to pass her time. Together, they visit places like Saras Baug, Dagduseth Ganapati temple, crowded Tulshi baug and Sinhagad. They share their experiences about their past love affairs, but do not reveal each others name. Finally, Mr. Pune drops Ms. Mumbai at Pune station and both say good bye to each other. While she waits for her train, she receives a call on her cell phone, (which suddenly starts functioning) from the boy from Pune, whom she had actually come to see. But, when she comes out to meet him at the gate, as agreed, she finds Mr. Pune, still struggling to kick his scooter. Needless to say that Mr. Pune is none other than her would be. In the climax shot the girl is shown running to catch her train back to Mumbai, giving some indication to the boy about her approval.
Director Satish Rajwade directs this unusual love story in his own style trying to keep the audience engaged with arguments and counter arguments between the two characters. Mumbai-Pune-Mumbai, is more like an audio delight ( through timely dialogues) than visual impact, as you only notice the two characters in the same dress for about 100 minutes, except for the song-cum-dream sequence for 5 minutes, when they are seen in some designer costumes. It is only few outdoor locations of Pune darshan that brings in some change, but otherwise you see two of them just perform and express their emotions, while making their point. There isn’t much scope for music, but other technical areas have been handled well.
Mumbai-Pune-Mumbai(MPM), is thus an experiment to attempt something different. Such experiments are only acceptable in Marathi cinema. Precisely, MPM is a performance driven and communication based film with both Swapnil Joshi and Mukta Barve coming out with realistic performances. Except for few junior artistes, there are no other characters in the film. Targeted mainly at the young audience from Mumbai and Pune, the film does succeed in inviting the attention of elders besides the youngsters. But, this movie is certainly not for school going kids, as they are sure to feel sleepy or become restless during that total 106 minutes journey. For others, it is a light entertainer, for a change.
‘Mee Aasavari’ launched with song recording
For the past 35-40 years this artiste has been making hand made posters for many films. Like any other artiste or technician, he too had his dream of making his own film one day. Today, his dream has come true. Laxman Jhanvekar has turned a film maker and his first film ‘Mee Aasavari’ under the banner of AVA Films was launched recently with a song recording at Aajivan studios. Popular singers like Kavita Krishnamurthy, Swapnil Bandodkar and Vaishali Samant were present on the occasion to render their voices to this song from the film.
‘Mee Aasavari’ is a story about a well-known singer, whose life takes a dramatic turn with a happening of an event. Mukta Barve plays the title role in this film, while other co-artistes will be finalized soon. The film will begin its shooting in Mumbai, Pune and Kolhapur soon.
‘Jogwa’ comes out strong against superstition
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Rating: 4/5
Presenter: IDream Productions Pvt. Ltd Producer: Shripal Morakhia Director: Rajiv Patil Screen Play: Sanjay Patil Music: Ajay Atul Cast: Upendra Limaye, Mukta Barve, Vinay Apte, Amita Khpkar, Kishor Kadam, Sharvari Movie Review by: Ulhas Shirke |
Television and Cell phones have reached most of the villages in India. We talk about reforms but superstition still exits in many villages. The so called society, which treats the Jogtas and Jogtins as children of Goddess, go to the extent of exploiting them with inhuman treatment by branding them as Eunuchs and prostitutes. The latest marathi film ‘Jogwa’ goes on to show the naked truth in such a society in an effective manner. Director Rajiv Patil ( ‘Savarkhed Ek Gaon’ & ‘Sanai Choughade’fame ) takes up this burning issue, which still persists in few villages in India.
Set on the backdrop of a village in Karnataka, where Goddess Yelamma’s strong influence leads to interpretation by some money minded people to exploit the villagers in the name of superstition. In fact, the influence of the Goddess is just a metaphor, to show how the villagers are made to believe in old rituals to cure from an ailment or minor disorder. In the case of young girl Suli( Mukta Barve) , her mother faces a knot while combing her daughter’s hair and considering it as a serious issue, Suli is taken to Akkubai( Amita Khopkar) who is an interpreter. With her team of Jogtins and Jogtas she forces the family to offer their daughter to serve the Goddess. At the same time a youngster– Tayappa( Upendra Limaye) is brought by his father( Vinay Apte) to the same place, as he has been passing blood through urine. Tayappa is forced to become a Jogta, much against his wish.
Soon Tayappa gets adapted to the lifestyle of Jogta and he sings in the name of the Goddess and earns for his living. Suli learns to dance to please the Goddess. She falls in love with a stranger, who comes to village for his earnings. She flirts with him; but when it comes to contract marriage to support her; he runs away. Tayappa loves Suli from his heart, but he cannot express his love. Finally, both the victims come together for common cause. They revolt against their society and the film conveys a clear message of fight against superstition.
‘Jogwa’ is well presented with superb photography, perfect locations, good editing work and well suited music score. The film has appropriate artistes placed at the right spot. There is also a teacher who is educating the villagers to stay away from wrong practices. “ I am not against worshipping the Goddess, but the interpretation of offerings to Goddess is wrong. The Government wants to rehabilitate all Jogtas and Jogtins, through reforms,” he pleads. His repeated appeal only helps two sensible youngsters to revolt against the existing practice. But, one fails to understand as to why the two lovers, don’t approach the teacher-cum-social worker to come out of the trap. Why they had to go and challenge their own people in the open? But, then, without melodrama, there cannot be a cinema.
In all, ‘Jogwa’ is a very sensible film and a worth watch for all those freedom loving youngsters living in city; so that they understand the plight of their counterparts living in villages , who are subjected to atrocities by their own people in the name of superstition. Both Upendra and Mukta have come out with wonderful performances. Their hot love scenes have been captured well. Among the other performers, Kishore Kadam, Vinay Apte and Shravani Pillay are impressive. Music by Ajay-Atul is good.