‘Khel Mandala’ takes Marathi Movie to a greater height
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Rating: na
Banner: Amruta Productions, Mirah Entertainment Producer: Ashok Narkar Director: Viju Mane Story, ScreenPlay, Dialogues: Viju Mane Music: Chinar Mahesh Lyrics: Ashok Bagwe, Abhijit Panse, Viju Mane Cast: Mangesh Desai, Uday Sabnis, Ananya Devre, Urmila Kanetkar, Santosh Juvekar, Prasad Oak, Mansi Salvi, Kushal Bhadrike, Priya Marathe Movie Review by: Ulhas Shirke |
Script has been the success formula of Marathi films these days. New subjects with universal themes presented by Marathi movies now a days, are appealing not only the audience at the national level but also the world over. Viju Mane’s new Marathi film, ‘Khel Mandala’ can be counted in this category of exemplary films.
The film presents a poor simple villager- Dasu (Mangesh Desai) who comes to Mumbai along with his father(Uday Sabnis), as he feels that the puppet shows performed by his father have become outdated. The father is reluctant, but Dasu convinces him, suggesting that he would do some job, so that the old man could rest during his old age. He finds temporary shelter under a flyover bridge, but is unable to fulfill his father’s dream, as the old man is knocked down by a speeding truck.
Dasu decides to carry forward his father’s puppet shows . One day, he finds a new born baby girl left near his hut , during the riots. Dasu, who is all alone in this world, decides to take care of the child. He soon discovers that the baby girl is not only visually impaired but also dumb and deaf. He names her Bahuli. Already blessed with his father’s art, he uses threads tied to her to communicate with her. As Bahuli grows three year old, Dasu makes her dance like a puppet and earns for their living.
A TV Journalist Anushka (Urmila Kanitkar-Kothare) spots both of them during one such road show and makes a story for her breaking news. Her boyfriend (Santosh Juvekar) who belongs to rival channel, makes a different story out of this news, inviting Human Rights activist for a talk show to indicate that such an act is an exploitation of child, under Child labour act. In the meantime, Anushka discovers Bahuli’s real parents Sheetal & Sangeet (Manasi Salvi & Prasad Oak) and tries to hand over Bahuli to them. But, emotion filled Dasu is reluctant. Anushka tries to persuade him, stating that they would be able to offer treatment to Bahuli.
The film concludes with a tragic end, but it goes on to suggest the realities in human life. As a director Viju Mane has presented the character of Dasu in a sensible manner, showing his journey from a village to Mumbai and willing to do any work and adjust
himself in the so called dream city. He is the perfect choice for this role. His emotions are very cleverly captured by the camera, throughout the movie, especially in the climax. Urmila plays the committed TV News channel Journalist very effectively. At the same time, we witness a clever but cunning reporter in Santosh.
Both, Prasad and Manasi play the married couple efficiently. Manasi has more scope to prove her capacity through few emotion filled scenes, while Prasad plays a selfish husband, who later confesses his misdeed. Uday Sabnis has little to offer, but he has played his part well and so are the efforts put in by Arun kadam, Abhijit Chavan, Kushal Badrike and Priya Marathe – who plays the narrator. Child artiste Ananya plays the role of Bahuli as per director’s expectations. .
There are many touching emotion based scenes in the film; but one fails to understand the scenes, where Dasu falls asleep, holding Bahuli in his arms that too without tying her hands, while it rains and his body getting wet. Also, the dream scene where Dasu imagines Anushka as his companion to take care of Bahuli, does not go well. Barring these two scenes, director Viju Mane, has succeeded in his superb presentation, which certainly takes Marathi Movie to a greater height.
‘Tee Ratra’ – A Well presented Psycho-Thriller!
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Rating: na
Presenter: It Clicks Productions Director: Viju Mane Story: Hemant Edlabadkar Camera: Shabbir Naik Music: Vinay Rajwade, Pravin More Cast: Prasad Oak, Santosh Juvekar, Aditi Sarangdhar Movie Review by: Sandeep Hattangadi |
Marathi cinema doesn’t have a tradition of whodunits and thrillers, but in the recent past Marathi cinema has given us many good thrillers like ‘Ranbhool’, ‘Checkmate’ & ‘Ringa Ringa’. Director Viju Mane’s ‘Tee Ratra’ is a welcome addition to this genre. The film starts off with an easygoing pace, with a newly married couple checking into their honeymoon suite. However, their conjugal night begins with a chilling chain of sequences, which keeps the viewers glued to their seats.
The couple played by Santosh Juvekar and Aditi Sarangdhar are very much in love, but Santosh has doubts about his wife’s fidelity and tries to find the other man in her life by installing web cameras in their desolate bungalow and also hires the services of a psychiatrist played by Prasad Oak, who is his childhood friend.Prasad uses various psychiatric tools like putting Aditi to extreme emotional trauma by posing as a serial killer and puts her through hypnosis to bring her sub -conscious to the fore.
Finally, the treatment works and Aditi blurts out her innermost secret. What is that secret? Well, that’s the suspense . Director Mane has kept the proceedings fairly brisk and has been inspired by many films like ‘Dial M for Murder’, ‘Vertigo’, ‘Gaslight’, ‘To Chase A Crooked Shadow’, ‘Grand Larceny’, ‘Postman Always Rings Twice’ and closer to Bollywood’s ‘Shaque’ besides the dark noir plots of James Hadley Chase novels.
The film can only boast of some excellent performances, especially by Prasad Oak, who gives one of his best performances as a shrink turned serial killer. Santosh Juvekar is rightly restrained as the caring husband. Aditi Sarangdhar as a disturbed wife, gives a good account of herself. Subodh Bhave’s role as Santosh’s partner and that of Mangesh Desai’s are half baked .Most of the film has been shot indoors in a bungalow, a la RGV style which reminds one of his films ‘Kaun’ and ‘Raat’ and the Hollywood classic ‘Halloween’.
Shabbir Naik has shot the film in natural light without any fancy angles, which any other DOP could have gone overboard with. The songs are okay but the background music is more effective and gives goose bumps sometimes. The editing is superb and the director has used many cinematic ‘jerks’ to startle the audience, which is expected from any good thriller.
However, the film is not totally flawless. Can a five year old girl have a sub-conscious mind, is a matter of debate? Why Aditi does not confess to her understanding husband? Why is she shown talking lovingly over the phone, to some other person? Why can’t a good shrink just put Aditi on the couch and treat her?
Well, the film is enjoyable. That’s the bottom line.