‘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.