Ajintha (Marathi Movie) Review
Direction: Nitin Chandrakant Desai
Production: Neha Nitin Desai, Meena Chandrakant Desai
Writers: Nitin Chandrakant Desai, Mandar Joshi
Cast: Sonalee Kulkarni, Philip Scott Wallace, Manoj Kolhatkar, Avinash Narkar, Murli Sharma, Makrand Deshpande, Reena Aggarwal, Manoj Joshi
Music: Kaushal S. Inamdar
Rating: * * * ½
Plot: During a hunting expedition in 1819, a British officer Captain James Smith (Jian Bostoch) accidently discovers the Buddhist caves of Ajanta which date back to the Satavahana dynasty in the 200th B. C. Smith is astonished by the beauty of the pictures inside the caves. Later on in 1844, the Britishers send Captain Robert Gill (Philip Scott Wallace), who is a top quality painter, to recreate the paintings on canvas to enlighten the world about the great Ajanta caves.
As soon as Gill arrives at Lenapur for his task, he falls in love with the cave paintings and the surroundings. In recreating the paintings, Gill gets much needed help from Paro (Sonalee Kulkarni), a girl from the tribal community. As fate would have it, the couple falls in love. But will the society accept such a relationship?
Review: Love is a feeling that is devoid of language barriers. It really doesn’t matter if you can’t understand a word of what a person speaks if your heart has struck a chord with him or her. Nitin Chandrakant Desai’s Ajintha explores this pure form of love while offering a visually stunning cinematic experience. Naturally, due to such genre, the film caters more to the art-house audience.
The subject of Ajanta caves provides plenty of scope for Desai to showcase his artistic skills, which he does brilliantly in creating sets similar to real caves. The images and the architecture inside and outside of it put you in awe of the art. Add to this, Rajeev Jain’s breathtaking and artistic cinematography (especially while capturing waterfalls and landscapes) and you get nothing less than a visual treat, which has the capacity to impress the audience world over.
As mentioned earlier, there is a huge language and cultural barrier between Paro and Gill. Therefore, it can be very difficult for the writers to show love blossoming between them as they can’t use proper dialogues. This difficult task is managed well as the love story between the couple is made believable with the use of intelligent situations and circumstances. Due to this, the audience instantly starts feeling for the characters. In between, explanation of the philosophy related to the cave paintings and Indian mythology adds further colors.
The second half deals more with the circumstances of the love story of the couple. It is this part that will test the patience of a section of the audience due to the inclusion of a number of songs. Even the duration of some scenes could have been shortened. But if you are an admirer of such genre, it shouldn’t bother you much, especially after witnessing the moving climax that extends till the ending credits.
It necessary to mention that a good part of the movie is in English. Although there are sub-titles provided during English dialogues, it is doubtful whether the Indian audience is used to reading them while watching a movie.
Kaushal S. Inamdar’s compositions and N D Mahanor’s lyrics add more soul to the proceedings. Neeta Lulla also deserves praise for creating costumes that look believable to be of that era.
Sonalee Kulkarni moulds herself brilliantly in the role of Paro and expresses every emotion with ease. She impresses with her dancing skills too. This will surely be a talked about performance from her career even after decades. British actor Philip Scott Wallace deserves equal praise for a mature act. The chemistry between both the actors is appealing.
Manoj Kolhatkar gives a fine act (Jalal-Ud-Din) and so does Avinash Narkar (Pandit). Murli Sharma and Makarand Deshpande play the bad guys with ease. Reena Aggarwal provides good support. Manoj Joshi and Jian Bostoch excel in cameos.
Overall, Ajintha is a picturesque saga defining the true meaning of love. The film has a chance of succeeding at the box-office.
Kaksparsh (Marathi Movie) Review
Direction: Mahesh Vaman Manjrekar
Production: Great Maratha Entertainment
Writer: Girish Joshi (Screenplay and Dialogues), Usha Datar (Story)
Cast: Sachin Khedekar, Priya Bapat, Ketaki Mategaonkar
Music: Rahul Ranade, Ajit-Sameer
Rating: * * * ½
Plot: Based on a story by Usha Datar, Kaksparsh, set in the pre-independence era in Konkan, Maharashtra, revolves around Haridada (Sachin Khedekar), who is the head of the Damle family. Haridada gets his younger brother Mahadev (Abhijit Kelkar) married to the adolescent Durga, who is later named Uma (Ketaki Mategaonkar). However, the happiness of the Damle family is short-lived as Mahadev passes away due to illness on the night his marriage was to be solemnized.
Being a widow, Uma now has to live life full of atrocities. But Haridada comes to her rescue. His affection and care towards Uma raises a lot of questions.
Review: It is believed that love is the greatest feeling on earth. And what goes hand-in-hand with love is loyalty. It is this loyalty that compels you to sacrifice everything, including your life, for the one you love. Director Mahesh Vaman Manjrekar presents this fact in his latest offering Kaksparsh, a film that leaves an impact long time after you leave the cinema hall. But one has to mention that the film caters more to the lovers of serious, hard-hitting cinema.
The makers succeed in the difficult task of taking the viewer back to the 1930-50s era right at the onset. For this, the art director’s sincere efforts need to be appreciated for creating the bygone era with realism. Ajit Reddy’s artistic camerawork too deserves equal applause. Rahul Ranade and Ajit-Sameer’s compositions and the background score (which are apt for the subject) add further realism. But these things wouldn’t have created much impact without a creatively written script (Girish Joshi).
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Slowly but surely you get involved in the tale and subsequently start relating with the characters; their joys and sorrows. The writer does well in not extending the death and post-death scenes which would have also increased the length of the film. Extinguishing a lighted diva (lamp) as a symbolism for death was impressive. The writer and the director also leave a mark in the all important issue of widow’s rights and Sachin Khedekar’s stand on it.
The idea of narrating the tale in the form of a flashback in the second half works very well for it makes the audience curious in knowing the final outcome. The pace does drop in the latter part of the second half. This is where the patience of the entertainment-hungry audience will be tested.
But the moving and thought-provoking climax, which follows, sums up a well-made product. This was largely possible because of Khedekar’s terrific act in the finale that touches you. It is the performance of this veteran star that is the backbone of Kaksparsh as he gets into the skin of Haridada and pours plenty of life in it. This one is easily one of his best acts.
After her impressive act in Shala, Ketaki Mategaonkar continues her good work by portraying a difficult character. Priya Bapat, who plays the elder Uma, too gives a terrific performance. The scenes where she depicts pain and tragedy prove her talent. Savita Malpekar easily essays a character which would have challenged any talented actor. Vaibhav Mangle excels in a negative role and so does Sanjay Khapare as Haridada’s friend. Fine acts are also provided by Medha Manjrekar and Abhijit Kelkar.
Overall, Kaksparsh is a moving saga which will surely interest the thinking audience. Due to the positive opening it has received, it will turn out to be a winner at the box-office.
Phalke’s 142nd Anniversary: Overshadowed National Event!
Over the decades, movies have become an integral part of the lives of Indians. People of all ages, gender, religion, caste, language and class have been regularly thronging movie theatres ever since cinema arrived in India 99 years ago. The choice of movies among people might differ but visiting cinema halls and getting amazed, inspired and influenced by movies and its actors has become very common. Therefore, it won’t be an overstatement to say that cinema has become a part of Indian culture.
For making this possible, we all movie buffs should be thankful or even indebted to the Father of Indian Cinema Dhundiraj Govind Phalke aka Dadasaheb Phalke. It was his strong dedication and belief that made cinema possible in India. But when Phalke decided to make India’s first film Raja Harishchandra in 1912, there were many who tried to discourage him. There were some who even considered him a mad man.
Dadasaheb Phalke (Picture courtesy - Wikipedia)
But his dedication and passion was so strong that it had no effect on him. This was also because his wife Saraswati and his two kids too joined him in the mission. So, it won’t be wrong to say that the first Indian movie was made by the whole Phalke family.
After that, he could have easily settled in England and made films for the English. Financiers from London were ready to shell out huge amounts of money to produce his films. But he chose to stay in India so that the film industry develops and flourishes in our country.
It was filmmaker Paresh Mokashi and his team that enlightened the cinegoers about Phalke through his first film Harishchandrachi Factory (2009). Personally speaking, I will always be thankful to Mokashi for giving this hugely needed tribute to the great man. Without going overboard, the filmmaker presented Phalke’s struggle and the subsequent achievement by just using the visual medium.
However, from the huge number of movie buffs, how many are truly aware about Phalke? And from those who know about him, how many are there who truly think about him? I am sure a lot of people from the Indian film industry might not know about him.
I think even the mass media hasn’t given much importance to Phalke in all these 99 years. It wouldn’t cost much to our filmmakers to give tribute to Phalke at the start of their movie. After all, they are able to make movies only because he brought the medium to India. Apart from Harishchandrachi Factory, the only movie I remember doing this was Swarajya (2011).
I would like to give special mention to Fame Nakshatra (Dadar) for honoring Phalke by putting his picture with a garland inside their theatre (See below picture). I haven’t seen any other theatre doing this.
Monday April 30, 2012 marks the 142nd birth anniversary of Phalke. As expected, there is just no excitement or even awareness about it. But that is not going to stop me from rejoicing for the Father of Indian Cinema since it's a day every cinema lover should be proud of!
Watch the 11 minute footage from Raja Harishchandra (1913), the very first film of India!
Nandu Madhav and Vibhawari Deshpande in a still from Harishchandrachi Factory
Picture of Dadasaheb Phalke inside Fame Nakshatra theatre, Dadar.
Masala (Marathi Movie) Review
Direction: Sandesh Kulkarni
Production: Umesh Kulkarni and Girish Kulkarni for Aarbhat Nirmiti, Pravin Masale
Story: Girish Kulkarni
Screenplay: Girish Kulkarni
Cast: Girish Kulkarni, Amruta Subhash, Mohan Agashe, Hrishikesh Joshi, Sneha Majgaonkar, Dilip Prabhavalkar
Music: Anand Modak
Rating: * * * ½
Plot: Revan (Girish Kulkarni) tries out a number of businesses but fails to find success in any. Due to this, he is forced to live a nomadic life in order to escape his creditors. Being an obedient wife, Sarika (Amruta Subhash) agrees with whatever her husband decides. Circumstances land the couple in Solapur, which is the hometown of Sarika’s cousin Kalyan (Hrishikesh Joshi).
Revan and Kalyan decide to join hands and start a business of selling groundnuts. Will Revan finally achieve success?
Review: Starting a business and running it successfully are two different things altogether. But if you keep your passion alive and learn from your mistakes, even fate will be forced to come by your side. This phenomenon is presented in Sandesh Kulkarni’s Masala in a light hearted manner that produces plenty of smiles.
As a writer, Girish Kulkarni continues from where he left in Deool (2011). He presents another subtle rural script that doesn’t go overboard and involves the audience right from the onset. Although there is not much romance shown between the lead couple, the interactions and actions between them clearly indicate the deep love they share hence making the audience feel for them.
Apart from this what keeps you entertained and provides humour is the inclusion of some interesting characters and incidents. The writer and director’s (Sandesh Kulkarni) efforts are seen in the realism that is oozed from the proceedings in terms of the conversations and truly realistic performances. Things do become a bit slow in the latter part of the second half. However, the climax makes up for it as the conclusion of the tale will move as well as delight you.
Top-notch effort is shown by M H Ramachandran as a cinematographer. A single take scene where Revan and Kalyan ride a bicycle together deserves special mention. Narendra Bhide’s background score is apt. Although there is not much scope for music, songs ‘Yan Madti’ and the title track go well with the film.
Girish Kulkarni gets into the skin of his character wonderfully. His portrayal of Revan is sure to fetch him lots of appreciation. Amruta Subhash deserves similar applause for playing Revan’s wife with realism. Mohan Agashe (as businessman Mehta) and Dilip Prabhavalkar (as a scientist) once again prove why they are respected names in Marathi cinema.
Hrishikesh Joshi and Sneha Majgaonkar play their part well while Dr Shreeram Lagoo excels in a cameo. Jyoti Subhash offers good support.
In a nutshell, Masala acts as a breath of fresh air that will be appreciated by the lovers of meaningful cinema. The movie has a chance of clicking at the box-office.
Baboo Band Baja (Marathi Movie) Review
Direction: Rajesh Pinjani
Production: Neeta Jadhav, Rajesh Pinjani
Cast: Mitalee Jagtap Varadkar, Vivek Chabukswar, Milind Shinde
Music: Rohit Nagbhide
Rating: * * *
Plot: Jaggu (Milind Shinde) is a member of a local band in a remote village in Maharashtra. He wants his son Baboo aka Babya (Vivek Chabukswar) to join the same profession. However, Baboo's mother and Jaggu's wife Shirmi (Mitali Jagtap Vardkar) is determined to educate her child so that he can enter a more respectable profession. Will Shirmi succeed in her noble task or will Baboo too end up being a band baja wala?
Review: Not-so-long-ago, Amit Abhyankar’s Jana Gana Mana (2012) gave an important message that every child has a right to education irrespective of his social class. The same message is put forth in Rajesh Pinjani’s debut flick Baboo Band Baja, although in a different way. Like Abhyankar, Pinjani too succeeds in spreading the message with honesty. But one has to add that the product is more feasible for the classes, especially due of the climax.
The story hardly moves forward in the first half but the interesting sequences, conversations and confrontations and most importantly, the direction makes sure your interest is very much alive. In fact, it works well here as you become absorbed in the rural mood of the flick and even start feeling for the characters. The same absorption is continued even in the post-interval sequences, although things continue to go at the same pace.
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Some appealing events nicely lead up to the pre-climax portion. However, it would have been much bettr and pleasant if the pre-climax had been the climax. A twist after the pre-climax which is followed by a startling incident could have been avoided. This would have also made sure the film gets mass acceptance. But having said this, the makers surely deserve applause for the message given.
Rohit Nagbhide’s songs are apt for the subject and so is the background score. The cinematography is applause-worthy as it beautifully captures the remote village. The editing should have been tighter, especially in the funeral scenes.
Mitalee Jagtap Varadkar gets into the skin of her character with such mastery that it is difficult to believe that she is putting on an act for a movie. It isn’t surprising that she won a National Award for the performance. Milind Shinde moulds himself perfectly to play Jaggu. He gives a terrific act too.
A difficult character is played by ease by child actor Vivek Chabukswar. The actor deserves a lot of applause as it could have been a daunting task for any kid. He too rightfully deserves a National Award for the act. The surprise package is the actress who played the mad woman. She is outstanding!
Overall, Baboo Band Baja will please those who prefer off-beat cinema. The film is in desperate need of positive word-of-mouth. The fact that it is released with four other Marathi movies will surely affect its chances at the box-office.
Kashala Udyachi Baat Movie Review
Direction: Pramod Joshi
Production: Balasaheb Bhapkar and Shashank Bhapkar for Sai Prasad Media
Cast: Sachin Khedekar, Anupam Kher, Atul Parchure, Mrinal Kulkarni, Anjan Shrivastav, Suresh Menon, Suresh Menon, Kishori Ambiye, Kishor Pradhan, Rajesh Upadhyay
Music: Salil Kulkarni
Rating: * * * ½
Plot: IT professional Aditya Pradhan (Sachin Khedekar) has reached the pinnacles of success in no time. This has ensured he has everything in life. However, the race to become successful has just reduced him to a money-making machine as he has just forgotten to actually live life. In fact, he regularly faces wrath from his wife Sakshi (Mrinal Kulkarni) and daughter Tanisha (Shruti Welankar) for not being able to give time to them.
Aditya’s life takes a drastic turn one day when he is confronted with a puzzling as well as a shocking situation. There is just nobody who can solve Aditya’s problem. Just then, he comes across a blind stranger (Anupam Kher). Is the stranger a solution to Aditya’s problem?
Review: You have a successful career, family, hefty bank balance, bungalow, expensive car and all the luxuries of life. But does that really mean you are living life and not merely existing? What is the use of such enormous success when you can’t share it with your family? Such harsh reality of today’s urban life is portrayed in Pramod Joshi’s Kashala Udyachi Baat! And while that happens, you get to experience a moving saga that will motivate you to live life to the fullest.
Although the puzzling situation, which Aditya faces, was earlier seen in the Hollywood flick Groundhog Day, it works very well here as it also gives a kick start to the proceedings. And those who haven’t seen the Hollywood film will be awestruck by the twist. Aditya’s confusion produces some humorous and interesting situations. However, dialogue writers (Joshi and Sanjay Dole) could have used the problem in increasing the funny situations.
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The hold is continued in the second half when Anupam Kher’s character gains full control. What follows is a series of incidents that will touch hearts of city dwellers as they will realize the importance of living rather than just being money-making machines. This is followed by a climax that will bring a smile on your face and you will come out of the theatre rejuvenated.
The film, however, also has few flipsides. At one point the events in the second half might appear stretched and preachy. This might not be accepted by entertainment-hungry audience.
Salil Kulkarni’s music suits the mood of the flick except the item number. Technical areas like cinematography (Salil Sahastrabuddhe) and background music (Bapi Tutul) score well too.
Sachin Khedekar once again gives a delightful performance. Whether it is comedy, tragedy, helplessness or anger; he portrays every emotion with flawlessness. Anupam Kher makes a grand entry in Marathi cinema. It’s a delight to watch him perform as he gives some valuable gyan and at the same time makes you laugh.
The film is well supported by cameos from Atul Parchure, Mrinal Kulkarni, Anjan Shrivastav, Suresh Menon, Suresh Menon, Kishori Ambiye, Kishor Pradhan and Rajesh Upadhyay.
Overall, Kashala Udyachi Baat! gives an important lesson that will surely move the urban workaholics. The film relies heavily on word-of-mouth if it has to succeed at the box-office.
Aayna Ka Bayna: Life is a dancing stage!
Since recent years, Marathi filmmakers have started making films on subjects which were never touched before. One filmmaker who has also tried to do that is Samit Kakkad in Aayna Ka Bayna, a film entirely based on different forms of western dance. The film stars well-renowned Marathi actor Sachin Khedekar along with Amruta Khanvilkar and Raqesh Vashisht.
The makers have claimed that this is the first Marathi film to be based purely on western dance. Director Kakkad, whose last flick being Huppa Huyaa, further explains this by saying, “Aayna Ka Bayna is all about dreaming with your feet and winning.”
As dance is an important ingredient of the story, the makers have tried to make sure that no stone is left unturned when it comes to the quality of dance. They have roped in dancers from Rohan N Group. The group has managed to impress viewers with their moves in dance reality shows like Boogie Woogie and Chak Dhoom Dhoom.
And if there is dance, there has to be music. For this, composers Ajit Parab and Sameer Mhatre are being signed. There are also action sequences imbibed in the script which are handled by Javed-Aezaz.
Now, only the release of the movie will determine whether the makers will ‘dance’ all the way to the bank as well as audiences' hearts!
Matter (Marathi Movie) Review
Direction: Satish Motling
Production: Poonam Shende for Saarthi Entertainment
Cast: Santosh Juvekar, Sushant Shelar, Rajesh Shringarpure, Jitendra Joshi, Usha Nadkarni, Sameer Dharmadhikari, Yogini Chouk, Surekha Kudachi, Minal Ghorpade, Megha Dhade
Music: Abhijeet Rameshrao Kawthalkar
Rating: * * *
Plot: Pakya, Babya and Raja (who are later played by Santosh Juvekar, Jitendra Joshi and Sushant Shelar) are forced to kill a gangster during their childhood. There are sent to the remand home where they join hands with the notorious Rony (later played by Rajesh Shringarpure).
As the stigma of being murderers is attached to their name, the four friends neither find a job nor self-respect from the people around them. Left with no other choice, they are forced to join underworld don Bala’s gang. In the meantime, the commissioner of police appoints officer Vikram (Sameer Dharmadhikari) the task of cleansing Mumbai from the filth of underworld.
Review: Underworld of Mumbai is not a novel concept in Indian cinema. So, when a filmmaker decides to try his hand in the genre, it is vital that he provides the audience with an interesting and a memorable tale. Director Satish Motling touches the genre in his debut flick Matter. Although the end result might not be superlative, the film surely turns out to be a one-time watch due to the realism executed in terms of characters, dialogues, story and situations.
An exhibition of good writing (Atmaram Dharne) is seen at the start as no time is wasted in bringing the twist (murder) in the lives of three children. Things further brighten up when the four friends grow up. Their conversation and the regular addition of realistic yet rib-tickling humour scores well. The further unfolding of the events and an interesting twist at interval point sums up a good first half.
The same, however, cannot be said for the post-interval portion. The main reason for this is that too much of importance is given to Pakya, Babya and Rony’s love stories. In this, Babya’s marriage incident appears stretched. An unusual incident that deserves mention is that three prominent characters are not shown grieving when their loved one passes away. Strange! Fortunately, the twists and the events that follow, including the climax, ensure satisfaction.
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In the end, one has to say that the flick indirectly gives an important message that there cannot be any justification for crime, no matter how valid a reason you have.
Although there isn’t much scope for music in underworld films, Abhijeet Rameshrao Kawthalkar composed songs suit the flick well except the item number ‘Range Jawani’. Tracks ‘Bhenchik’ and ‘Bada Bada Ban Ne Ka’ are hummable, peppy numbers.
Talking about the technical department, the cinematography (Motling), editing and background score deserve immense praise for presenting a sleek and stylish flick in the offering.
Performances are another plus point. Santosh Juvekar displays his talent yet again as a hot tempered bhai. Sushant Shelar and Jitendra Joshi provide well-executed performances while Rajesh Shringarpure is likable. Usha Nadkarni is terrific as a ruthless politician.
Sameer Dharmadhikari is apt in the role of a cop. He gets to prove his mettle more in the second half. The actor playing Bala is average. The character needed to be more convincing. Surekha Kudachi shows maturity. Yogini Chouk provides good support while Minal Ghorpade and Megha Dhade are just okay.
Overall, the plus points of Matter make sure it’s worth a dekko, especially for those who enjoy such crime thrillers. It has a chance of making a mark at the box-office.
Jana Gana Mana (Marathi Movie) Review
Direction: Amit Abhyankar
Production: Golden Dreams Production House
Cast: Nandu Madhav, Chinmay Sant, Santosh Juvekar, Madhura Velankar Satam, Asmita Joglekar
Music: Dr Saleel Kulkarni
Rating: * * * ½
Plot: School teacher Ramchandra Sontakke (Nandu Madhav) is fed-up of teaching in a school in a tribal area of Maharashtra called Mhalunge. He longs to get a transfer to a school with more civilized students. In order to impress his senior, who will be visiting the school on Independence Day, he organizes a flag hoisting ceremony and a patriotic play to prove his mettle.
His student Katu (Chinmay Sant) is eager to sing the National Anthem on Independence Day. For this, he needs to be dressed up in new white clothes. However, his parents Dagadu (Santosh Juvekar) and his wife (Madhura Velankar Satam) can never afford it as they are struggling for even the basic necessities of life (food, clothing and shelter). Will Katu be heartbroken?
Review: Tribals are looked so down upon in our society that they are almost considered from different species. Naturally, their children are regarded the same. However, given a chance, these children can match up to their civilized counterparts and develop love for the nation if they are given proper education. This bold message is sensibly delivered in Amit Abhyankar’s Jana Gana Mana, a film which will change many a perception towards the so-called backward classes.
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Sameer Joshi’s impressive writing is seen right in the initial moments as the tribal life is presented realistically with the inclusion of simple but rib-tickling humour. The fact that these children are not aware even of the name of our country will come as a shocker for most of us. A well-performed humorous scene follows when Madhav’s character struggles to explain the name of our country and its history to the students.
But what takes the cake is the actor’s one-act play performance at the interval portion where he narrates a historic incident in one take. Talking of one-take scenes, there’s another one where Madhav, on a bicycle, tries to dodge bullock carts coming from opposite direction, which could have been dangerous. Looking at Madhav’s overall performance, you can’t help but applaud the actor’s talent and dedication.
Apart from few dragging moments in the later part of second half, there isn’t any flipside. Lastly, Chinmay Sant’s act in the climax touches your heart. This also gives rise to a twist (not possible to reveal) which sends a positive message that every child has a right to education irrespective of his or her social status.
Rajesh Khale’s camerawork and Dr Saleel Kulkarni’s music suit the mood of the flick. Editing department should be praised too for the tight length (less than two hours).
Child actor Chinmay Sant adapts a tribal lifestyle with ease and delivers a top-notch performance. Santosh Juvekar and Madhura Velankar Satam are remarkable in challenging roles. Asmita Joglekar as Chinmay’s sister does well too.
Overall, Jana Gana Mana deserves applause for presenting a serious issue in a light-hearted manner while retaining the sensibility of the subject. However, it won’t have an easy run at the box-office since it is released with the Bollywood biggie Agneepath. Hence, it is highly in need of positive word-of-mouth.
Marathi films shouldn’t compete with each other: Santosh Juvekar (Exclusive Interview)
After playing a wide range of characters in last three years or so, Santosh Juvekar has become one of the most sought after names in Marathi cinema currently. It is his quest of exploring different shades of his talent that has helped him reach this level.
The actor has continued this exploration in his upcoming flick Jana Gana Mana. In an exclusive chat, the Morya lads speaks about his movie and shares his views on Marathi cinema.
What is your movie Jana Gana Mana about? What is the context of the title with the movie?
As we all know, Jana Gana Mana is our national anthem which is sung proudly on Independence and Republic Days. In the film, my son wants to sing the national anthem in his school on Independence Day. However, only those with clean and white clothes get a chance to sing it. And we being tribals can’t afford such clothes. So, my character vows to get such clothes for his son so that he can sing the National Anthem in his school.
Tell us about your character in the movie.
I play a carefree and lazy character who doesn’t even shy away from stealing. But he goes through a transformation and sets a goal to fulfill his son's dream. 
It is visible from the promos and posters that the actors were made to wear a very dark make-up. Was this really necessary?
Yes it was. We play tribals in the movie who live in dirty and unclean surroundings. So, one can't expect us to be clean and tidy. And my character in the movie is such that he doesn’t take a bath for even 2-3 days (smiles).
What are your expectations from the movie?
We are surely expecting the film to succeed. It’s a movie for the whole family and we all have worked hard for it. The story is moving. So, we want people to go to the theatres to watch it.
Nowadays, there are too many Marathi films releasing simultaneously. We can even see three films clashing on the same day. Don’t you think this is a disadvantage?
This is definitely a disadvantage. This shouldn’t happen. It is up to the producers to sit and decide and make sure there is a gap between each release. Till now, Marathi films were competing only against Bollywood. There shouldn’t be a time when Marathi films start competing against each other.
Jana Gana Mana is directed by debutant Amit Abhyankar and produced by Sandeep Kadam and Sachin KAdam. Apart from Juvekar, it also stars Madhura Velankar Satam, Nandu Madhav, Chinmay Sant and Asmita Joglekar. The film is slated to release this Republic Day i.e January 26.
- Keyur Seta