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In everyone’s life there’s a woman, in the form of a mother, sister, friend, wife. But, sadly enough even in 21st century she becomes a victim of abuse, not only in India but worldwide. Every woman has been gifted by god with a special sense, to distinguish the intention of look and touch of the opposite sex, e.g. touch of love, blessing, affection, and also lust. ‘Candle March’, presented by Chanakya Creations, in association with K4 Enterprises and produced by Anjali & Nilesh Gawde, has handled the subject of sexual exploitation, rape in an effective way.

Sachin Darekar’s story is about the incidents of rapes happening around us. He has used real life incidents like Jalgaon Sex scandal, Delhi gangrape, Shakti mills rape case, in the story to create an impact. Shabana (Smita Tambe) is a woman leading her life in a shanty, with her children and an irritable husband (Nilesh Diwekar), whose passion is booze and beating his wife at the slightest provocation. Vidhya (Manasi Naik) is a journalist working for a TV channel, who faces sexual exploitation at every step in her career from her immediate boss. Anurata (Tejaswini Pandit), a professor of Marathi literature in a college, who accidentally happens to save a gang raped victim. She is a scarred victim in Jalgaon sex scandal. Sakhi (Sayali Sahasrabuddhe) a young collegian, who is a rape victim of an acid attack. The story unfolds through these four protagonists, fighting their individual battles of sexual abuse and all four stories get intermingled in an effective way, for a collective fight against sexual harassment and unrest.

Director, Sachin Deo raises hopes right from the first frame of the movie (a dark black screen and baritone voice of Nana Patekar) and manages to hold on to keep the viewers interested in his sincere storytelling. Though the subject is ‘dark’, serious, he, without indulging in titillation, presents the subject without any gimmicks. Very beautifully he has managed to blend the scenes by ending of one scene turning beginning of the next, with splice. In this woman dominated film of four female performers, the Screenplay is so compact that eaTejaswini Pandit, Actressch scene says something and moves on without lingering even for seconds. Dialogues, which are immensely realistic, is the heart of this movie, speaking volumes in a few words. Music (Amitraaj) and Lyrics (Mandar Cholkar) are the soul of this movie and songs do almost 15-20 scenes worth talking in a hard hitting way, except for a romantic number. Background music is an icing on cake, as it lifts the film to another level. Fabulous use of ‘Aalaaps’ depicting pain, passion, plight, torment, sorrow & a variety of emotions, add value to the scenes.

Manava Naik does justice to her role. Sayali Sahasrabuddhe gets better in second half. Smita Tambe impresses with her instinctive expressive face. Superb underplay and tremendous mental strength on a frail frame characterisation is a big plus from Tejaswini Pandit. In a crowded female cast two actors, who leave their mark impressively, are Nilesh Diwekar and Rajendra Shisatkar (as Inspector). Editing, make-up, costume departments too make their presence felt. And Nana Patekar’s opening lines are a treat to experience.

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In the year 1987, T. Rama Rao made a family social with the name of ‘Sansaar’ in Hindi, starring Anupam Kher, Seema Deo, Raj Babbar, Rekha, Archana Joglekar, Shekhar Suman and Ajinkya Deo in important roles. Now, exactly 22 years later Director Sachin Deo comes up with its Marathi version in the name of ‘Anolkhi He Ghar Majhe’. So, how do you call this Ghar Anolkhe, when it is just a new ‘Sansaar’? One can understand about the situation then and now, but the human tendency hasn’t changed. Whether it is father’s ego with the progression of age or son’s selfishness, when it comes to living in a joint family system. Nothing seems to have changed. In fact, with the prevailing nuclear family system, we hardly find joint family system existing now. But, film makers Junaid Memon and Shekhar More thought that this was the right time to strike with the old formula to spread awareness among the new generation. .

So, Din Dayal Sharma is replaced by Jagannath Deshmukh( Ashok Saraf) who takes retirement from his job and pays off the debt that has multiplied over the years for bringing up his three sons and making two of them capable of shouldering their responsibilities. He thinks that his elder son (Tushar Dalvi) who is having a good job and his second son ( Pushkar Shroti) who is a motor mechanic; would be able to support the family. The youngest son ( Sushant Shelar) is in the final year of Engineering. With the eldest son already married to Shubhada( Kavita Laad Medhekar), the senior Deshmukh looks a happy man wanting to relax rest of his life. Kavita Laad in Anolkhi he ghar majhe
But, sensing the burden of expenditure falling upon him after his father’s retirement and with the marriage of his brother followed by the return of his married sister back home after dispute with her husband ; Shekhar opens up a fight with his parents, over expenditure sharing at home. This happens when his wife goes for delivery to her parent’s place. This sudden outburst by the eldest son also hurts old man’s ego and he draws a line in their big house earmarking two parts. He swears to teach his elder son a lesson. With the moral support of his second son who earns extra doing night shifts, he himself takes up a job in a library.

So, you find two families living in the same house, when Shubhda returns with her baby. She is shocked to find this division, being the most sensible person in the family. At this stage, Shubhada takes the lead to reunite the family, taking steps one by one. And then, this family drama of almost two and half hours, concludes with happy ending. Ashok Saraf , plays the family head in his own style, but his wig does not look natural. Meghna Vaidya plays his wife- Malati with ease. Both Tushar and Kavita as husband and wife look very natural in their behaviour, especially while supporting each other very well in all the scenes they have done together. Pushkar Shroti is good as the most obedient son, while Sushant Shelar looks a perfect student, who gets one good scene to express his emotions. The other supporting artistes have done well, with very small role for Arun Tikekar.

‘Anolkhi He Ghar Majhe’ is otherwise a well presented film, but has dragged too long with almost 5 -6 songs picturised in outdated format. Those who have missed Hindi film ‘Sansaar’, shouldn’t miss this film, which a film for entire family.

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