Monthly Archives: January 2025

Why Vikramaditya Motwane’s documentary on Emergency is more powerful than Kangana Ranaut’s feature film on the same

Kangana Ranaut’s directorial venture Emergency tells the story of India’s former Prime Minister Indira Gandhi with the main focus being on the Emergency imposed by her from 1975 to 1977. In terms of visuals, the movie recreates the bygone era and various important historical events in a fine manner. Production designers Wasiq Khan and Rakesh Yadav deserve all the accolades for that.

The movie scores well in the performance area too. Kangana, by and large, succeeds in making her portrayal of Indira Gandhi believable. There are some inconsistencies in between but her emotional acts cover that up. The film has convincing acts from the likes of Anupam Kher and Shreyas Talpade too, who play Jayaprakash Narayan and Atal Bihari Vajpayee respectively.

Unfortunately, the visual appeal and performances don’t count for much because Emergency seriously lacks behind the most important aspect – storytelling. Right from the very start, the movie suffers from a haphazard narration and, sadly, continues this throughout its runtime. The events are presented one after the other without proper flow. The writers have just compiled them without any smooth narrative.

Strangely, even the all-important events leading up to the Emergency face the same issue. Hence, the film severely lacks the impact one would hope from such real and serious events. There is some respite later on in the second half when Gandhi goes through a whirlwind of emotions, but that is too late in the day.

While the non-happening events of the film were being played on screen, I could not help but continuously think at the back of my mind about filmmaker Vikramaditya Motwane’s documentary on the Emergency titled Indi(r)a’s Emergency.

Despite it being a documentary, it’s more engaging, entertaining and thrilling than not only Kangana’s movie but most of the fictional mainstream films of today’s times. It is narrated not just through a fast-paced screenplay but also with a lot of intelligence. It gradually brings in the character of Indira Gandhi and her act of imposing the Emergency after a fine build-up of background events. The film uses archival footage and animation as tools of storytelling, which works effectively.

The biggest strong point of Indi(r)a’s Emergency is the witty and powerful dialogue. And this is delivered with finesse by lyricist cum actor Swanand Kirkire. What’s noteworthy is that although the film speaks about the bygone era of the Emergency, the dialogues are more relevant to the events taking place in the country currently. This relatability factor comes as a surprise and becomes the biggest takeaway from the film.

Some of us were fortunate to see Indi(r)a’s Emergency at MAMI Mumbai Film Festival in 2023. Unfortunately, there is no news about its release either in theatres or on any platform.

Sangeet Manapmaan Review: Subodh Bhave’s second directorial turns out to be just a one-time watch

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Actor Subodh Bhave’s directorial debut Katyar Kaljyat Ghusli (2015) turned out to be a spectacular affair. There were much expectations for his second film as a director Sangeet Manapmaan, not just because he is in the director’s chair. This film is also adapted from an old classic musical play, just like the 2015 movie. But this time, the end result turns out to be just a one-time watch.

Sangeet Manapmaan is adapted from Krushnaji Prabhakar Khadilkar’s musical play of the same name, which was first staged way back in 1911.

The story takes place in a kingdom in Maharashtra called Sangrampur in an unspecified era. The chief of army Kakasaheb (Shailesh Datar) expresses his wish to the queen of Sangrampur (Nivedita Saraf) to retire from his services because of his advanced age. Although the queen believes he is irreplaceable, she suggests Kakasaheb’s deputy Chandravilas (Sumeet Raghvan) as the next chief. Kakasaheb subtly disagrees with the queen as he believes, despite being a brave warrior, Chandravilas doesn’t possess the exact qualities to be the next chief.

Chandravilas is arrogant and proud about his position as the deputy chief. He has a deep desire to be the next army chief after Kakasaheb retires. He also wishes to marry Kakasaheb’s beautiful daughter Bhamini (Vaidehi Parshurami), who has been his childhood friend.

Meanwhile, Dhairyadhar (Subodh Bhave) is an ordinary villager from the same kingdom, who stays with his doting mother (Neena Kulkarni) and does odd jobs for a living. Being brave and strong, his wish is to join Sangrampur’s army. One day, he saves Kakasaheb from a life-threatening attack from King Dhiren’s (Upendra Limaye) soldiers from the neighborhood kingdom. Impressed by Dhairyadhar, Kakasaheb inducts him into Sangrampur’s army, much to the jealousy of Chandravilas.

The original story is not just interesting but it also weaves together drama, romance, politics and action seamlessly. What pleasantly surprises you is the character of Bhamini, who is shown to be brave, both from within and outside. Generally, stories about kings and kingdoms are male dominated and they display only their bravery. But here, a young girl is shown not just to be brave but also someone who doesn’t let others take decisions about her life, including her marriage. Interestingly, her father also lets her be free.

To find such a character in a play written over 110 years ago indicates the progressiveness of theatre back then. Bhave and the makers deserve credit for selecting a play with this story. The production designing succeeds in recreating the bygone era and ensuring that the visuals are eye-pleasing.

When it comes to doing justice to the original story, the movie does bring about sequences that either move or thrill, especially in the ending moments. However, they are not present throughout the film. In other words, there was scope for the narrative to be more dramatic as well as emotionally thrilling but somehow the film doesn’t turn out to be as gripping as one would expect from such an interesting original story.

The duration of 165 minutes also goes against the movie. Although Shankar-Ehsaan-Loy have succeeded in recreating Khadilkar’s songs and composing fresh tracks, the movie could have been easily trimmed if it didn’t have these many songs. There are quiet a few instances where a song applies brakes on the storytelling. Plus, a couple of song situations suit more in the medium of theatre than in cinema.

Subodh Bhave makes the internally and externally strong character of Dhairyadhar believable. He also succeeds in the subtle transformation in the latter stages once he joins the army. Sumeet Raghavan is fine as the scheming and jealous deputy chief. Vaidehi Parshurami does justice to the strong character of Bhamini and portrays different emotions convincingly.

However, there is an issue with the age factor of Bhave and Raghavan as they appear much older to Bhamini. As Bhave plays a 35-year-old man, you can still excuse him. But it is impossible to believe Raghavan as Vaidehi’s childhood friend. His fake moustache also affects his screen presence. Similarly, Upendra Limaye also appears older for the role of King Dhiren.

Coming to the rest of the performances, Shailesh Datar, Nivedita Saraf and Neena Kulkarni score well as Kakasaheb, the queen and Dhairyadhar’s mother.

Overall: Sangeet Manapmaan turns out to be a one-time watch saga. Don’t expect anything of the level of Katyar Kaljyat Ghusli.

Rating: 3 out of 5

Director: Subodh Bhave

Producers: Jio Studios and Shree Ganesh Marketing and Films

Writers: Krushnaji Prabhakar Khadilkar (original play), Shirish Gopal Deshpande, Urja Deshpande and Prajakt Deshmukh

Music: Shankar-Ehsaan-Loy

Also read: Mukkam Post Bombilwadi review: Decent entertainer trapped in the wrong medium

Elham review: Film about a boy’s attachment to a goat succeeds in moving you

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Hindi film industry brings about films on various subjects but the void of good children’s films has always been there. And children’s films that succeed in moving grown-ups are even rare. Filmmaker and writer Dhruva Harsh’s Elham contributes in filling that void.

The movie is set in a village in Uttar Pradesh. The story revolves around a school going kid Faizan (Taiyo Chan). He lives with his father Rafique (Mahmood Hashmi), mother Safina (Gunnit Kour), elder sister Fatima (Tot Chan) and grandfather Daddu (Umesh Shukla). Rafique is currently jobless, so, obviously, the family is going through a lean phase.

The day of Bakrid is nearing but the family is in no position to buy a goat in order to sacrifice it on the auspicious day. This saddens Faizan as he sees his friends’ families buying goats. But Rafique starts new work of making bedsheets. He does so for the neighborhood lady, who, much to his pleasant surprise, pays him by presenting him with the goat.

This delights Faizan. However, he develops a strange affection for the goat, who he nicknames Dodu. Hence, he shudders even by the thought of the animal being sacrificed on Bakrid. Will Dodu be sacrificed?

The tale of a boy getting attached to a goat was explored in the Marathi movie Peter (2021). However, the basic tale, setting and treatment of Elham are much different.

The biggest challenge for Elham was to establish the bond between Faizan and Dodu, which it does exceedingly well. It forms gradually without you even realizing it. The conflict angle is also played in a simple way without making the proceedings melodramatic. The finale, which is crucial in such stories, succeeds in moving you. It also gives a message without anyone spelling it out.

Elham is also an example of progressive cinema, both in terms of the behavior of characters and the presentation. The jobless father for once doesn’t face any taunts whatsoever from his wife, despite his situation. In fact, she even readily gives him money to buy things from the market. The film, overall, is quite minimal and intimate. There are limited number of main characters and the story is told through close quarters without any taam jaam.

In a country like India, such subjects often face dangers of ruffling feathers with religiously conservative audience. But the makers ensure there is no scope for this in the movie.

The technical aspects, in terms of the cinematography and editing, play a major part in keeping things simple. The background score is minimal and used only when required.

The performances are a big plus point here. Taiyo Chan had a major responsibility while playing Faizan. In a way, he had to carry the film on his shoulders. He gets his act right and makes you root for him. Mahmood Hashmi gives an understated performance as his father, which goes with the nature of his character. Tot Chan, Gunnit Kour and Umesh Shukla, as the rest of the family members, chip in with good acts.

Coming to the minuses, the movie needed to be much crisper before the goat makes an entry in the story. The pacing is an issue during this part.

Overall: Elham is a moving saga with a message.

Rating: 4 out of 5

Director: Dhruva Harsh

Producers: Dr. Raj Kishore Khaware, Utpaal Acharya, Saurabh Varma, Vickey Prasad, Vikas Yadav and Rati Tandon

Writer: Dhruva Harsh

Cast: Taiyo Chan, Tot Chan, Mahmood Hashmi, Gunnit Kour, Umesh Shukla

Also read: All We Imagine As Light review: Poignant portrayal of life in a metro for the not-so-privileged

Mukkam Post Bombilwadi review: Decent entertainer trapped in the wrong medium

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Filmmaker Paresh Mokashi’s Mukkam Post Bombilwadi is based on his own Marathi play of the same name. The story takes place in 1942 when World War II is in full swing. Adolf Hitler (Prashant Damle) is under pressure for not having won the war despite fighting it for years, especially from his wife Eva (Deepti Lele). Winston Churchill (Anand Ingle), the Prime Minister of Great Britain, is making things more difficult for him.

Meanwhile, in Bombilwadi village in Maharashtra’s Konkan, Varvante (Vaibhav Mangle) heads a theatre group. He is struggling hard to rehearse for a play with the members of his troupe (Devendra Pem, Geetanjali Kulkarni and Ritika Shrotri). Vaidya Buwa (Sunil Abhyankar) and Bhaskar (Pranav Raorane), who are also a part of the theatre group, have made a bomb to blow up Britishers.

Back in Germany, Hitler gets to know that he can lay his hands on the secret formula of an atom bomb in Japan. He decides to take matters in his own hands and visit Japan all by himself. But his plane crash lands in Bombilwadi and this creates more madness and mayhem in the village.

Mukkam Post Bombilwadi by Paresh Mokashi

As evident from the above synopsis, the story of Mukkam Post Bombilwadi is fully absurd and one requires suspension of disbelief to enjoy it. Frankly, it doesn’t take much effort to do that as the movie starts on a hilarious note. To see Hitler, Churchill and others speak in Marathi gets you in splits and so do some other moments in Bombilwadi.

However, the level of humour goes downhill later on. Of course, there are plenty of one-liners, jokes and situations aimed to make you laugh. But they only produce occasional humour and giggles. This is simply because this type of comedy suits more to the medium of theatre instead of cinema. In other words, the film remains theatrical and is not cinematic enough. The makers could have exploited the medium of cinema more.

The performances fall in the positive though. Prashant Damle is hilarious as a Marathi-speaking Hitler. He excels even in scenes where his character is troubled or confused. Anand Ingale too shines as Winston Churchill, despite limited screen time. Vaibhav Mangle, Devendra Pem, Geetanjali Kulkarni and Ritika Shrotri also succeed with their comic timing.

Adwait Dadarkar as the British Inspector Cook is impressive and he holds various scenes on his own. The rest of the supporting cast, including Sunil Abhyankar, Pranav Raorane, Deepti Lele, Rajesh Mapuskar and Ganesh Mayekar, are fine too.

The film scores well in the production designing, more so when it comes to the recreation of Hiter’s office in Germany.

Overall: Mukkam Post Bombilwadi is a decent entertainer, more because of the performances than the content. Because of its family entertainment genre, it is expected to do well at the box office.

Rating: 2.5 out of 5

Director: Paresh Mokashi

Producers: Vivek Films and Mayasabha Karamnuk Mandali

Writer: Paresh Mokashi

Cast: Prashant Damle, Anand Ingale, Vaibhav Mangle, Geetanjali Kulkarni, Devendra Pem, Ritika Shrotri, Adwait Dadarkar

Also read: Amaltash (Marathi movie) Review: Tenderly created saga on love, life & music