Ek Tara (एक तारा )
Genres: Drama
Rating: ★★★
Censor: U/A
Duration: 130 min.
Studio/presenter: Raiees Lashkaria Productions
Producer(s): Raiees Lashkaria Productions
Co producer: Sadik Lashkariya, Vishal Ghag
Executive Producer: Vishal Dhag
Director: Avadhoot Gupte
Writer: Avadhoot Gupte, Sachin Darekar
ScreenPlay: Sachin Darekar
Dialogues: Sachin Darekar
Official Facebook Page I Twitter
Cast & Crew
Co producer: Sadik Lashkariya, Vishal Ghag
Executive Producer: Vishal Ghag
Director: Avadhoot Gupte
Assistant Director: na
Writer: Avadhoot Gupte, Sachin Darekar
ScreenPlay: Sachin Darekar
Dialogues: Sachin Darekar
Lyrics: Guru Thakur, Avadhoot Gupte
Music: Avadhoot Gupte
Playback Singer: Avadhoot Gupte, Mugdha Karhade, Suresh Wadkar, Dyaneshwar Meshram, Videet Patankar
Cinematographer (DOP): Amalendu Chauhdari
Editor: Faisal Mahadik, Emran mahadik
Starcast: Santosh Juvekar, Mangesh Desai, Urmila Nimbalkar, Sagar Karande, Tejaswini Pandit, Abhedya Gupte
Costumes: Ashwini Kocharekar
Makeup: na
Sound : na
Background Score: na
Choreographer: na
DI, VFX: na
D.I. Colourist: na
Promos: na
Music Label: na
Publicity Designs: Abhijit Borker
P.R.O.: na
Distributor : na
Synopsis
‘Ek Tara’ : na
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Mee Sindhutai Sapkal (मी सिंधुताई सपकाळ)
Genres: Biopic, Drama
Rating: **** (4/5)
Censor: U/A
Duration: 120 mins
Producer: Bindiya Khanolkar
Exe-Producer: Asita Narvekar
Director: Ananth Narayan Mahadevan
Writer: Base on the Book ” Mee Vanvasi” by Sindutai Sapkal
ScreenPlay: Ananth Narayan Mahadevan, Sanjay Pawar
Dialogues: Sanjay Pawar
Cast & Crew
Exe-Producer: Asita Narvekar
Director: Ananth Narayan Mahadevan
Writer: Base on the Book ” Mee Vanvasi” by Sindutai Sapkal
ScreenPlay: Ananth Narayan Mahadevan, Sanjay Pawar
Dialogues: Sanjay Pawar
Music: Ashok Patki
Cinematography: K Raj kuamr
Cast: Tejaswini Pandit, Upendra Limaye, Jyoti Chandekar, Neena Kulkarni,
Suhas Palshikar, Charushila Sable, Ganesh Yadav, Jaywant Wadkar,
Pranjal shetye
Synopsis
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7 Marathi films find place at prestigious Film festivals
Big ‘B’ launches music of ‘Mee Sindhutai Sapkal’
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Review
Remarkable Biopic on Sindhutai Sapkal
The film clearly hits out at the exploitation of women in the male dominant society, especially in the rural sector. It is for the first time that Mother and daughter combination of Jyoti Chandekar and Tejaswini Pandit have played the role of older and younger Sindhutai and it gave an impression that both of them had totally devoted themselves to this character… read full review
Candle March
Socially aware individuals should join ‘Candle March’
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Rating: ★★★
Studio / Presenter: Chanakya Creations, K4 Enterprises Producers: Anjali Thatte-Gawde, Nilesh Gawde Director: Sachin Deo Writer: Sachin Darekar Director of Photography: Raja Satankar Music Director: Amitraaj Cast: Manva Naik, Smita Tambe, Tejaswini Pandit, Sayali Sahastrabuddhe, Nilesh Diwekar, Ashish Kulkarni, Ashish Patode, Chandrakant Lokare Movie Review by: Keerti Kadam |
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.
Tejaswini Pandit weds Bhushan Bopche
Popular Marathi Film, TV and stage actress Tejaswini Pandit tied her nuptial knot with Bhushan Bopche from Gondia. Bhushan is the son of industrialist Rameshwar Roopchand Bopche. The marriage ceremony took place in Gondia on Sunday 16th December 2012, as per reliable sources.
Tejaswini is the daughter of Jyoti Chandekar Pandit who is also well known marathi actress. She has recently won many awards for her performance s in films like ‘Vavtal’ and ‘Mee Sindhutai Sakpal’, She has also performed in films like Gaiir, Ranbhool, Target, Bluffmaster. She is also part of ongoing serial like ‘Kalaaay Tasmay Namah!’ and was also part of serials like ‘Lajja’ and ‘Tujha Ni Majha Ghar Shrimantacha’. At present she is performing in marathi play ‘Vaishali Cottage’. The marriage reception will take place in Pune on 23rd December 2012, in presence of close relatives and friends. .
‘Mukti’ addresses farmers’ issue with a difference
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Rating: na
Banner: Placid Films Presenter: Sachin Shamrao Jankar Producer: Sachin Shamrao Jankar Director: Machhindra More Story: Machhindra More Screenplay- Dialogues: Machhindra More Cinematographer: Raja Phadtare Cast: Nandu Madhav, Tejaswini Pandit, Milind Shinde, Nagesh Bhosale, Satish Salagare, Prashant Neman, Gauri Kamble & Charvi Sangkholkar, Ajay Jadhav. Movie Review by: Ulhas Shirke |
In the recent past, few films like ‘Gabhricha Paus’ and ‘Pangira’ have already made a statement on farmer’s suicide and have succeeded in making the audience think about the existing situation in Maharashtra. They also blamed the corrupt system and the Government for their Agricultural policies. Now, Machhindra More through his latest directorial film ‘Mukti’ goes beyond the topic of suicides, to not only show how the family of the victim suffers in this so called corrupt state of India; but has shown some hopes to the farmers of this state, who form a sizable population.
‘Mukti’ is a tale of one such farmer Bhanudas (Nandu Madhav) living in a small village of Maharashtra, which is under drought prone area. The MLA of their area promises water from a dam located at a nearby place. But, Bhanudas alias Bhana (as he is popularly called) is not willing to wait. He is more eager to farm on his 12 acre land and tries his best to dig a well to arrange for water. He thinks big and on the advice of experts decides to use the blast method. Borrowing money from local moneylender Bhujang (Nagesh Bhosale )and taking loan from the bank, he goes ahead with his plans, only to fail in his mission. Dejected with the developments, he commits suicide, by jumping into the dry pit.
After her husband’s death, his wife Baijaa (Tejaswini Pandit) faces a tough challenge to look after her two school going children and old father-in law. She is also under pressure from the Moneylender to repay his loan or surrender herself before him. The local village Sarpanch (Milind Shinde) also plays all the tricks to come close to her, under the pretext of getting the compensation for her.
‘Mukti’ shows all those hardships, a helpless widow has to undergo, after her husband’s death. The film’s screenplay keeps on reminding all those male folks, as to how difficult the life would become for their family, in case they commit suicide.
Things change in the village, in just two years time, after Baija leaves the village with her two children, to escape humiliation at the hands of the moneylender and the village headman. Surprisingly, the film shows better image of the MLA, at a time, when we are witnessing the scams of politicians in Maharashtra. But, as they say, not all politicians are corrupt. The film has however blamed the system comprising of Talathi, tahsildar and the people working in such government offices. Without a bribe, you cannot get the work done. Even to get Rs. One lack compensation released, Baija is told to pay a bribe of 75% of the dues to her, declaring the share of all the Government officers including collector. The climax focuses attention on the Budget of Central Government, where the FM announces waiver of loans by farmers and a new policy to abolish the Moneylenders in villages.
The MLA himself, announces the release of water from the dam through a canal for the village, following which, the news about Baijaa and her children begging at a nearby town reaches the retired schoolmaster. But, the film does not end after return of Baijaa and her children to their village. She has to follow the rituals by offering food to the crow to liberate her husband’s soul. And, this time, the crow does come to eat the food offered. The director begins his film, narrating the significance behind this ritual through animated version, which relates to the happening at the end, when the film concludes with a meaningful poem.
‘Mukti’ is just not the another film on Farmer’s suicide; as it does not only present the dark side but also constantly reminds those farmers, about the repercussions of such drastic steps taken by them. It shows the hope, besides reminding the administration of their lapses. The film does create the required humour into this otherwise serious tragic tale, through the comedy character of Bajaa, played by Ajay Jadhav. Nadu Madhav has played his role with sincerity and so does Tejaswini Pandit, with her fine performance. Having played the character of Sindhutai Sapkal, she looks more confident, playing a village woman in distress. Milind Shinde, Nagesh Bhosale, Satish Salagare, Prashant Neman, Gauri Kamble &Charvi Sangkholkar have done their best in supporting roles. Music does not have much scope in this film, but B.A. Tupe’s music suits well to the village backdrop.
‘Bluffmaster’ influenced by Bollywood
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Rating: na
Director: Kishore Saav Story: Anil Dixit Screenplay: Rajesh Kolan Dialogues: Vijay Patvardhan, Anil Dixit Cinematographer: Sanjay Khanzode Music: Prasad – Advait Art: Swapnil Keny Cast: Ankush Choudhary, Tejaswini Pandit, Poorva Pawar, Kishori Ambiye, Pushkar Shrotri, Vijay Kadam, Mangesh Desai Movie Review by: Ulhas Shirke |
In the past, we saw many Marathi films influenced by some Bollywood films. Latest Marathi film ‘Bluffmaster’ has not only copied the name of Bollywood film with the same title, but has also gone on the lines of few David Dhavan’s popular hits. If you have seen Govinda’s films ‘Aunty No. 1′ and ‘Haseena Maan Jayegi’, there is striking resemblance of the characters of Aunty and Uncle in this film to that played by Govinda in a similar circumstances. There is no doubt that Ankush Choudhary has succeeded in portraying these roles; but thanks to Vikram Gaekwad for his creative work on the make up of Ankush Choudhary.
Only last month we saw Ankush playing a Bluffmaster through three different characters in the film ‘Zhakaas’ and now we once again find him playing three different characters by changing over quickly from one role to other. Isn’t that a coincidence ?
The story of this Marathi ‘Bluffmaster’ revolves around Niki (Ankush Choudhary), who is a struggler and is in search of a role to play hero in films. He shares his room with his friend Prakash (Mangesh Desai) who is a script writer and also struggles in his life. Both Niki and Prakash are offered Junior artiste’s roles by Assistant director Deepak ( Pushkar Shrotri) who is aspiring to become an independent director and marry Sanica( Tejaswini Pandit), whom he likes. But, when Niki sees Sanica, he falls in love with her. Deepak does not like it and he seeks the help of Sanica’s aunty (Kishori Ambiye) to foil Niki’s plans. But, Niki with the help of his friend Prakash, plays different roles i.e. of his aunty and Father turn by turn; after he comes in contact with a stranger ,who offers him an assignment.
What happens further, is all that we have witnessed in some Bollywood comedy films. Written by Anil Dixit, the screenplay of the film by Rajesh Kolan is no different than clippings from David’s past films. The director Kishore Saav, seems to have been influenced by this Bollywood film maker.
The title music also goes on the lines of Bollywood’s ‘Bluffmaster’ on ‘Rock and pop’ style, with the inclusion of Poorva Pawar giving company to Ankush Choudhary on the dance floor. Music by Prasad – Advait is not very impressive , but background music by Avinash Vishwajeet is remarkable. Art director Sachin Nevse and cinematographer Sanjay Khanzode have tried their best to make this film more presentable with their respective jobs. But, while watching this film, one has to leave their brains at home, as the logical thinking process is missing in the film.
‘Bluffmaster’, is basically just a time pass film, with situation based comedy. Throughout the film, you find the hero dodging someone or the other and it is only in the climax that you come to know, his actual identity. Had this film been released before ‘Zhakaas’ it would have made a big difference. But, as you see in most of the Marathi films, good performances by the artistes, make such films watch able for the entire family. It is a one man show by Ankush Choudhary who plays all his three characters with conviction. He is more perfect while playing that father’s role. Kishori Ambiye, Pushkar Shrotri, Vijay kadam and Mangesh Desai have supported extremely well. Tejaswini Pandit has less scope, as this film is a male dominated film; but, she does her job very well. Others in the supporting cast are just fine. All in all , ‘Bluffmaster’ is an average entertaining film.
Remarkable Biopic on Sindhutai Sapkal
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The film which has been creating waves at various film festivals in India and abroad, has been welcomed in Maharashtra on the first day of its release. Its universal theme is not only appealing but also touching the hearts of those who admire self-sacrificing service to the society.What more can one say about a film, which got standing ovation after its screening at the National theatre, London ? In fact, this film had a three show premiere at this festival recently. “Mee Sindutai Sapkal (मी सिंधुताई सपकाळ)” based on the autobiography of well-known social worker Sindhutai Sapkal, is a biopic directed by Anant Narayan Mahadevan, a Journalist turned Bollywoood actor and film maker.
The film’s story begins with present times, with Ms. Sindhutai Sapkal traveling for the first time by an airplane on her way to US on an invitation from a Maharashtra Sahitya Mandal based there. Sitting next to her as a co -passenger on the long journey is the director of the film. During the first half of the film, Ms. Sindhutai recollects her past with strange experiences with every small moment during the journey, while in the second half, she narrates her fight for survival, while addressing the elite audience in US.
“Mee Sindhutai Sapkal” is a sensible film, strictly following the worst incidences in the life of the noble social worker and at the same time highlights her fight for survival. There is a lot to learn from this biopic, especially at a time when we all are living in a materialistic world. Here is an example of a woman, who has seen the worst poverty, yet feeds the other deserted children out of what she has gathered for her own child. It also reminds one and all about the sacrifice a mother has to make when she lifts the responsibility of all the deserted children around, as if they were her own children.
Very efficiently the director has captured every delicate moment in this film, that relates to the actual happenings in the life of the selfless social worker. The well structured Tejaswini Pandit, Sindhutai Sapkal dialogues strike timely in that well presented screenplay. Watch that mother and daughter relationship during the childhood of Sindhutai, when she is known as Chindhi . The father visiting his daughter’s place after her marriage and admitting the guilt of not offering her further education and the husband returning to Sindhutai, during old age, realising his mistake. They are all master pieces.
The film clearly hits out at the exploitation of women in the male dominant society, especially in the rural sector. “Education, is the key to progress,’ is all that the film goes on to say. No matter, you have limited education, but making an effort to see that other deserving get the same at the most appropriate time in their life, is the biggest need of the society. And, you need strong mothers like Sindhutai. Well suited music to every situation and good cinematography gives a more respectable look to the film.
It is for the first time that Mother and daughter combination of Jyoti Chandekar and Tejaswini Pandit have played the role of older and younger Sindhutai and it gave an impression that both of them had totally devoted themselves to this character. Upendra Limaye asyoung Sindhutai’s husband is very special and so is Suhas Palshikar, who plays her father. Neena Kulkarni in her small but effective role does a good job. Rest of the cast has supported well. The film will certainly take Marathi cinema to a greater heights.
‘Mee Sindhutai Sapkal’ for international fests
‘Mee Sindhutai Sapkal’ a new Marathi film directed by Bollywood director Anant Mahadevan, has been selected for screening at the forthcoming London film Festival and the Asian Film Festival in US. Based on the autobiography of social worker Sindhutai Sapkal, titled ‘Mee Vanvasi’ the film is sure to invite the attention of foreign viewers.
‘Mee Sindhutai Sakpal’ which stars Tejaswini Pandit, Upendra Limaye and Neena Kulkarni, will be released all over Maharashtra, after its screening at these two festivals. Produced by Bindiya Khanolkar , the film has music by Ashok Patki.
Realistic but incomplete ‘Wavtal’
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Rating: na
Presenter: Aragade DS Entertainment Producer: Balasaheb Argade-Patil Exe. Producer: Nitin DInkar Shelar Director: Shivaji Lotan Patil Story: Anant Samant Screenplay, Dialogues: Nitin Dixit Cast: Ashok Samarth, Tejaswini Pandit, Vinay Apate, Mukesh Tiwari Movie Review by: Ulhas Shirke |
Marathi films are opting for more and more realistic and bolder subjects, which is certainly a welcome change. The latest released film ‘Wavtal’ has been shot on the backdrop of post Babri Masjid demolition riots, that rocked Mumbai. Based on the novel ‘K-5’ written by Anant Samant, ‘Wavtal’ narrates the tragic tale of a newly married housewife, who becomes a victim of the sudden break out of violence in Mumbai.
Ms. Mankar (Tejaswini Pandit) is on a visit to Mumbai along with her husband from Konkan district of Maharashtra and the couple arrive as guests at CM’s bungalow. Needless to mention that her father in law and CM are having their close political connection. After the check up at a clinic, while the couple is returning back home, their car travels through the lane affected by riots and they are attacked by a group of terrorists who beat up the husband and kill the driver. Ms. Mankar is abducted by the leader of the attackers- Rehmat Khan (Mukesh Tiwari) who takes her to his hideout and uses her as his keep. He tortures her so much by inflicting injuries on her feet that she is restricted to bed only for his sexual pleasures.
When Rehmat Khan plans all his terrorist activities with the help of influential people in public life, the helpless woman is a mute witness. She does make an attempt to escape with the courtesy extended by the servant who attends to her, but she does not succeed.. When the pre plan of major riots is foiled by the police, with raids carried out all over Mumbai, Rehmat khan manages to flee to Pakistan leaving behind Ms. Mankar in the custody of his colleagues, who are advised to bring her along with them via Rajasthan border . Ms.Mankar who is carrying the child of Rehmat Khan in her womb, delivers the baby at the hideout of terrorists in a remote border village of Rajasthan.It is only when a Border security force team led by K-5( Ashok Samarth) on a tip off from a villager, raid their hideout and kill all four terrorists, she is rescued and brought to the camp hospital.
Then begins the formality to make her speak about the terrorists with whom she lived almost for a year. Ms. Mankar agrees to reveal everything only in presence of the hero who rescues her. So the Commandant ( Vinay Apte) persuades the commando K-5 and gets all the information from the woman. When the time comes for the woman to return home, the Commandant receives a letter from her father-in-law about their inability to accept her. He also receives an order from his chief to send the woman to a rehabilitation centre at Delhi. K-5 who is proceeding on leave to his home town, is given the job to drop her at Delhi . But, he takes her to her home only to remind her father-in law about his duty. But, when he sees no hope, he himself proposes her to accompany him to his own house.
The film ends with happy ending, which is predictable but it fails to fulfill the desire of Ms. Mankar who while talking to K-5 expresses her last wish to kill Rehmat Khan. And that wish remains unfulfilled, as being a helpless woman she cannot on her own take up a battle for the head of a terrorist who shatters her life. Instead, she has to satisfy herself for having got the most courageous man to support her and her child in the rest of her life.
Produced by Balasaheb Argade- Patil and directed by Shivaji Patil, the film does succeed in creating a realistic horrifying incident in the life of a woman but nowhere in the film her character is offered the courage to defend herself. The film only narrates the pathetic tale of a woman instead of inspiring the audience. At one point of time, the director does give an indication that she may once again come across Rehmat Khan while she and k-5 are shown waiting at the deserted platform in Rajasthan village, to board the train. It would have been better, if the film had shown his return and K-5 killing him in the climax.
Looking at the performances of the artistes, they have all done well. But, the script has given more importance to Ashok Samarth playing K-5. His interactions with his Commandant – Vinay Apte and the woman’s father –in-law Sunil Shende, clearly indicate the importance given to this character. There is no doubt that he has played his role well. Mukesh Tiwari’s character has also been given unnecessary importance for all those cruel acts. Tejaswini Pandit has given a wonderful performance but her character is shown helpless throughout the film. The technical areas of the film are well managed. Photography is too good, especially the locations shot in Rajasthan. Background sound effect is also good. There is not much scope for music but the background score is good in few sequences. The film is realistic, well presented but still looks incomplete.