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Jarann review: Finely crafted psychological cum supernatural thriller

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Writer and director Rushikesh Gupte made his feature film debut with the Marathi film Dil Dimaag Aur Batti, which was a spoof of the formulaic commercial Hindi films of the yesteryears. But his next release titled Jarann (his second movie Hazaar Vela Sholay Pahilela Manus hasn’t released yet) falls in the diametrically opposite genre of a psychological cum supernatural thriller.

Jarann revolves around Radha (Amruta Subhash), who stays with her daughter Saie (Avanee Joshi) in a bungalow in a city in Maharashtra. Her husband Shekhar (Vikram Gaikwad) is abroad for work since a year. Radha and Saie once visit the former’s family’s wada (ancestral house) in a village in the state. The house is about to be sold, so this is Radha’s last chance to visit it and enjoy a get together with her parents and relatives.

Radha’s parents had once rented out a room in the house to a black magic practitioner Ganguti (Anita Date). The room where she lived is kept vacant as it still gives an eerie feeling. Soon after Radha visits the house, an incident happens with her and her behavior starts changing.

Jarann sucks you into the world of Radha right at the onset. The film starts off as a black magic supernatural drama but you soon realize that psychology plays a role too. The balance between supernatural elements and psychology is maintained throughout. A past incident featuring Ganguti, which is elaborated later, stands out. The twist revealed at the interval point is interesting and it makes you eager to know what happens next.

For a large duration, the film is not as much story related as it is about Radha’s journey and what all she goes through. But the main triumph of the film lies in the pre-climax and the climatic portions. Just when you think that the film is heading a certain way, the narrative throws in not one but two unpredictable twists. The twists are not just for the heck of it. They not only fit into the story but also provide a kick.

Jarann scores high in the technical department too. The film wouldn’t have been a finely crafted dramatic thriller without Milind Jog’s camerawork, Abhijit Deshpande’s editing and AV Prafullachandra’s background music.

Amruta Subhash carries the film on her shoulders exceedingly well. Playing such a complicated character with whole lot of emotions and moods deserved utmost dedication and that is exactly what she provides. Anita Date succeeds in scaring you as Ganguti. Kishore Kadam provides a mature act as Radha’s psychiatrist. Child actor Avanee Joshi does well. Rest of the supporting actors, however, don’t get too much scope to perform. They chip in with decent acts.

On the flipside, Radha’s work life is shown in one scene. But the audience is not made aware about how her terrible psychological condition affects her profession as that is bound to happen. Also, a lot of the mystery is revealed through dialogue instead of visuals. This stops the film from achieving greater heights. But, as mentioned above, the ending twists, clearly satisfy you.

Rating: 3.5 out of 5

Director: Rushikesh Gupte

Producers: Amol J Bhagat and Nitin Bhalchandra Kulkarni

Cast: Amruta Subhash, Anita Date, Kishore Kadam, Avanee Joshi, Vikram Gaikwad

Also Read: Criminal Justice (Season 4): A Family Matter review: Interesting murder mystery plus courtroom drama

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Ata Thambaycha Naay! review: This heartwarming tale restores your faith in humanity  

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Mumbaikars are often seen complaining about the BMC (Brihanmumbai Mahanagar Corporation) when it comes to running the city. While these criticisms might be valid, it is their poor workers who are always at the receiving end since they become the face of BMC at ground level. Debutant filmmaker Shivraj Waichal’s Ata Thambaycha Naay! is a much deserved tribute to them and their painstaking efforts to keep the city functioning.  

But the movie goes much beyond displaying their difficult lives. It is based on a true and heartwarming incident in the lives of a few BMC workers in 2016, although the film features fictitious characters and their sub-stories.

The Assistant Municipal Commissioner Uday Shirurkar (Ashutosh Gowariker) of BMC decides to get a group of its Class IV workers complete their 10th standard. They had to drop out of school due to some reason of the other. Shirurkar not only decides to provide them education free of cost at a night school but, on top of that, promises to pay them a remuneration for the same along with a chance of salary hike.

These workers include the aged Sakharam (Bharat Jadhav), Maruti (Siddharth Jadhav), Apsara (Kiran Khoje), Jayshree (Prajakta Hanamghar) and others. The responsibility of teaching them is handed over to Nilesh aka Nilu sir (Om Bhutkar). The workers, however, are hesitant to study during this stage of their lives.

Ata Thambaycha Naay Marathi movie

Ata Thambaycha Naay! is a rare film where from the first scene itself you realize that it has been created with a lot of heart, be it any department. You, somehow, start trusting the film and the film, in return, never breaks that trust. The movie has a lot of Rajkumar Hirani-ness to it, although it is not similar even remotely to any of his films. The comparison is only soul wise.

You start rooting for the characters, not just in their new endeavor but also in their day-to-day challenges. The film makes you feel for what all they go through, especially, while cleaning drains. Although the narrative keeps the fun element alive through some smart humour, it doesn’t take away from the seriousness of the issues. To maintain this balance is the biggest triumph of the film.

The film is also blessed with a screenplay that smartly mixes the characters’ (including the teacher) latest challenge with their personal lives through sub-plots. The marriage angle between the teacher and a young girl (Parna Pethe) is simple yet appealing.

The performances rise as high as the content. Bharat Jadhav shows his experience while playing a complex character who is going through a lot internally. Om Bhutkar is remarkable as a passionate teacher who considers satisfaction over money. Siddharth Jadhav once again succeeds in displaying seriousness and humour. Ashutosh Gowariker gives a realistic act while playing the real character of Uday Shirurkar.

Kiran Khoje, Prajakta Hanamghar, Pravin Dalimbkar, Parna Pethe and Shrikant Yadav’s contribution as supporting actors is also noteworthy. The veteran Rohini Hattangadi leaves an impact despite playing a cameo.

There are no major negative points here. A tragic incident during an important moment could have been avoided or, at least, toned down, as the film had already won us over by then. It also somewhere doesn’t gel with the light tone of the film. But the heartwarming ending moments don’t let you think much about this point.

Overall: Ata Thambaycha Naay! is a heartwarming reminder that the world isn’t as bad as we might consider it to be.

Rating: 4 out of 5

Director: Shivraj Waichal

Producers: Chalk and Cheese Films, Film Jazz and Zee Studios

Writers: Shivraj Waichal, Omkar Gokhale, Arvind Jagtap and Dharam Valia

Cast: Bharat Jadhav, Ashutosh Gowariker, Om Bhutkar, Siddharth Jadhav, Kiran Khoje, Prajakta Hanamghar

Also Read: Devmanus review: This drama is a fine mixture of crime and emotions

Devmanus review: This drama is a fine mixture of crime and emotions

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Director Tejas Prabha Vijay Deoskar’s Marathi movie Devmanus is the official remake of directors Jaspal Singh Sandhu and Rajeev Barnwal’s Sanjay Mishra and Neena Gupta starrer 2022 Hindi movie Vadh (which this reviewer hasn’t seen). The movie is a fine emotional crime drama.

The story takes place in Kopargaon in Maharashtra. Senior citizen couple Keshav (Mahesh Manjrekar) and his wife Laxmi (Renuka Shahane) are staying alone after their son Madhav (Ruturaj Shinde) migrates to the US and gets married over there without their consent.

Keshav is a tuition teacher cum farmer, who somehow managed to gather loan to get Madhav educated in the US. Along with the bank, he also had to take money from the local contractor and an evil goon Dilip (Siddharth Bodke) while mortgaging their ancestral house.

Keshav was hasn’t been able to repay the instalments to Dilip for last four months as Madhav has stopped sending money. Hence, Dilip starts harassing them in worst and derogatory ways. The couple get some help initially from the newly transferred police inspector Deshmukh (Subodh Bhave). One day, Keshav gets involved in a crime, which changes his and Laxmi’s life forever.

Devmanus takes time to get into an exciting and intense mode. The first half is largely about Dilip harassing Keshav and Laxmi. We are not given the backstory of how Keshav had to take loan from a person as horrible as Dilip. He surely must have known about the latter’s reputation. Dilip using Keshav’s house to get intimate with sex workers just because the latter hasn’t been able to pay him for last four months is a bit too much.

However, the film goes onto different level once the crime angle comes in. From here onwards, it becomes a fine mixture of crime and emotions and keeps you completely gripped till the end credits.

The film scores well in the investigation angle, which was very crucial. Care is taken to not make it look clichéd and similar to the various crime stories on TV. The whole Wari angle is nicely included in the narrative and it succeeds in moving you. The guest appearance by Mohan Agashe was smartly done. One expects such crime sagas to end in a particular way. But Devmanus surprises during this part too.

Cinematographer Amey Vasant Chavan has well captured the town. He scores high during the Wari scenes. The background score is simple, which goes with the nature of the film.

This is one of Mahesh Manjrekar’s finest acts. He lives the character of Keshav in every breath and doesn’t let the graph low at any moment. Renuka Shahane also displays her fine talent throughout, at times speaking jus through expressions. Siddharth Bodke is evil personified. You can’t stop hating him, except on a few occasions where he overdoes. \

Subodh Bhave’s character isn’t that of a typical cop investigating crime and he does full justice to it. Abhijeet Khandkekar also scores well while playing another antagonist. Vinod Vanve is likeable as a kind-hearted auto-rickshaw driver. Ruturaj Shinde leaves some impact despite playing a cameo.

Overall: Devmanus is a well-made crime drama that also moves you.

Rating: 3.5 out of 5

Director: Tejas Prabha Vijay Deoskar

Producers: Luv Films

Writers: Jaspal Singh Sandhu, Rajeev Barnwal (original film) and Neha Shitole (adaptation and dialogues)

Cast: Mahesh Manjrekar, Renuka Shahane, Subodh Bhave, Siddharth Bodke, Abhijeet Khandkekar, Ruturaj Shinde

Also read: Phule review: Pratik Gandhi excels in this decent period drama

Follower review: Realistic glimpse into the making of a political troll

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Since little over a decade ago, politics has become a major interest for the youth. But the problem arises when this interest turns into an obsession for one political ideology. This aspect about today’s politics is realistically portrayed in Harshad Nalawade’s Follower (Marathi with Hindi and Kannada) while keeping the Maharashtra-Karnataka conflict of Belgaum at the centre.

The film tells the story of a youngster named Raghavendra Pawar (Raghu Prakash) aka Raghu, who stays with his mother in Belgaum after his father passes away in an accident. His elder brother works in the US. Belgaum is always in the news for its Marathi-Kannada conflict. Raghu also faces the brunt for being a Marathi in various ways.

Follower Marathi movie

During these times, he gets attracted to the speeches and ideology of a star political leader (Atul Deshmukh), who claims to be the messiah of the Marathi speaking people of Belgaum. Raghu joins his social media IT cell in order to spread the leader’s message and help him in his ‘cause’. Raghu’s political stand and activities strains his relationship with his close friends Sachin (director Harshad Nalawade himself) and Parveena (Donna Munshi).

Follower provides a glimpse into the life of a not just a follower but someone who believes that he is doing social work through his online activities by basically just being a troll. Nalawade’s portrayal will be relatable even for those who aren’t deeply aware about the Maharashtra-Karnataka issue because youngsters are seen obsessing over quite a few political parties throughout the country. The film shows how they never realize that they are just treated as pawns in the hands of their political ‘heroes’ for their ulterior motives. In a way, the film gives a slight remembrance of Avadhoot Gupte’s Zenda.

What makes Follower more interesting and intriguing is that it organically weaves a story of close friendship between three friends and perfectly joins the same with the political conflict. It also makes fine use of flashback. The story could have been narrated in a linear form and it still would have been likeable. But the back and forth narrative converts the film also into a mystery drama. The events that lead Raghu into becoming a staunch supporter of the star political leader is the biggest triumph of the film.

The production value makes the film look more like a telefilm. The lack of proper resources is clearly visible. This, however, doesn’t turn out to be a major issue because of the strong content at hand. The film is also shot in a creative manner by cinematographer Saket Gyani. It is laced with a number of impressive long one-take shots. The one that takes the cake is between Raghu and Parveen when both are riding their respective two-wheelers while conversing. The background score is minimally used, which goes with the nature of the film.

The performances are all natural. Raghu Prakash is fully suits the role of Raghavendra. He goes through the entire journey of his character in a dedicated manner. Harshad Nalawade also adds plenty of life to the character of Sachin. Donna Munshi also performs well and is also aptly cast as Parveen. Atul Deshmukh, the political leader, is thoroughly believable as someone who can brainwash the youth.

The issue about Maharashtra-Karnataka has toxic politics from both sides. For a major duration, it seems that the film shows the evil face of only one side. However, things even out later, which makes the movie neutral in its overall stand. The only questionable aspect is a sudden intimate moment between two pivotal characters, which appears forced.

Overall: Follower is a gritty realistic glimpse into the making of a political troll and its consequences.    

Rating: 4 out of 5

Director: Harshad Nalawade

Writer: Harshad Nalawade

Producers: Humara Medialabs and Causality Films Production

Cast: Raghu Prakash, Harshad Nalawade, Donna Munshi, Atul Deshmukh

Also read: The Diplomat review: Realistic version of Gadar

Sthal (Marathi Movie) review: Subtle yet powerful critique of forced arranged marriages of girls

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India is obsessed with marriages. Weddings take place all over the country in different regions and among different communities and they are celebrated like anything. However, even in today’s times in rural India, the practice of a girl’s forced arranged marriage still exists. Filmmaker Jayant Digambar Somalkar’s Sthal (A Match) boldly highlights this social evil.

The movie takes place in a village in Maharashtra named Dongargaon and it revolves around Savita Daulatrao Wandhare (Nandini Chikte). She is in her Final year of Bachelor of Arts course and her specialization subject is Sociology. Her father (Taranath Khiratkar) and mother (Sangita Sonekar) wish to get her married off soon but she wants to study further.

Prospective grooms regularly visit her house but eventually reject her. This increases the stress for Savita’s parents. Her elder brother Mangya (Suyog Dhawas) loves a girl from their village but he won’t be able to marry her until her sister gets married.

Sthal doesn’t waste any time in presenting the picture of an arranged marriage setting in a village. The elders from both the families have a chat. The girl is then made to sit uncomfortably on a stool and asked questions about herself as if she is accused of a crime. Without saying it, the film speaks out that this is nothing but humiliation for her. All this is achieved in a realistic and bold manner.

Sthal becomes all the more appealing because of the irony it presents through the subject Savita is studying in college – Sociology. In one of the lectures, she, along with her fellow students, is taught about Women Empowerment. The professor says that it roughly means that a woman should have the right to take her own decisions.

In another moment, the birth anniversary of the social reformer Savitribai Phule is celebrated in the college in a grand way and she is hailed as the torchbearer of progressive ideas for women. This is juxtaposed with the arranged marriage scenes at her place where Savita goes through the dreary exercise repeatedly.

The movie also throws light on the evil of dowry, which is very much practiced today. There is a scene where Savita’s friend tells her that their professor teaches women empowerment but doesn’t practice the same. To this, Savita points out that he is teaching it only because it’s a part of the syllabus. It indirectly means that the progressive ideas are only meant to remain in the books.

Sthal ends on an unexpectedly powerful note. The very last scene instantly brings back memories of Nagraj Popatrao Manjule’s Fandry. Nevertheless, it suits the film.

Nandini Chikte’s performance as Savita is as remarkable as the content of the film. She goes through the ordeal of being in front of the prospective grooms with a lot of realistic touch. She converses a lot through expressions and, at times, speaks out her mind with confidence. Sandip Parkhi does a fine job as the professor.

The rest of the supporting cast, including Taranath Khiratkar, Sangita Sonekar, Suyog Dhawas, Swati Ulmale (as Savita’s close friend Gauri) and others also bring about realistic performances.

Manoj Karmakar’s camerawork is simple, which goes with the nature of the film. The same can be said about the background score, which is minimally used.

The only negative point here is the length. This is felt the most when the entire wedding ceremony of Savita’s friend is portrayed, which could have been shortened.

Overall: Sthal is a subtle yet powerful statement against the social evil of girls’ forced arranged marriages, which take away their fundamental rights. The film is a perfect successor to The Great Indian Kitchen and its recent Hindi adaptation Mrs.

Rating: 4 out of 5

Director: Jayant Digambar Somalkar

Producers: Dhun Productions

Writer: Jayant Digambar Somalkar

Cast: Nandini Chikte, Taranath Khiratkar, Sangita Sonekar, Sandip Parkhi, Suyog Dhawas, Swati Ulmale

Also Read: Superboys Of Malegaon review: Heartwarming ode to cinema and friendship

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

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

Yek Number review: Ambitious propaganda that turns unintentionally hilarious  

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A couple of weeks ago, we saw the release of Dharmaveer 2, in which a deceased political hero, Anand Dighe, was used to glorify and popularize Maharashtra’s current Chief Minister Eknath Shinde. Now, the same kind of propaganda has become the core of another Marathi movie. Titled Yek Number, the film aims to glorify Raj Thackeray, the chief of Maharashtra Navnirman Sena (MNS).

As one finally leaves the cinema hall after this 160-minute saga, one just wonders whether, after Hindi cinema, Marathi too will regularly churn out political propaganda films.

Yek Number starts off in a small village in Maharashtra and it revolves around the life of a youngster Pratap (Dhairya Gholap). He believes he is the man Friday of the local MLA (Member of Legislative Assembly) but he is actually his slave. He dreams of becoming an MLA and his yes men continuously massage his ego.

Pratap’s second dream is to marry Pinky (Sayli Patil), his childhood love. She has been a die-hard fan of Raj Thackeray since she was a kid. When Pratap once asks for her hand in marriage, she promises to marry him if he convinces Thackeray to visit their village. Pratap readily takes up the challenge and vows to complete the task in the next 24 hours. However, when he reaches Mumbai, he realizes that his mission is far difficult than he imagined. Meanwhile, terrorists from across the border are planning something sinister in Mumbai.

Pinky’s demand and Pratap’s determination to fulfill the same is difficult to believe. Plus, there is a major flaw. When Pratap is unable to fulfill the task in 24 hours, it should mean that he failed in his mission. But he continues to pursue Thackeray for days.

However, what all happens in the film later makes this flaw appear minor. We are dished out various twists and characters with an ultimate aim of hero-worship and propaganda. Among these points, what stands out is the angle of a lookalike of Raj Thackeray and his acts. But what takes the cake is the Pakistani assassinators’ angle, which provides the maximum unintentional laughter (can’t reveal more to avoid spoilers).

Yek Number is filmmaker Rajesh Mapuskar’s third feature film after gems like Ferrari Ki Sawaari (2012) and Ventilator (2016). Needless to say, it is difficult to imagine that he has made this one. More so because there is absolute lack of subtlety when it comes to hero worship. The film is also packaged like many of those unconvincing action films of the 1990s.   

The technical aspects (cinematography, editing and background score) are not much to talk about. Ajay-Atul’s music, ‘Jahir Jhala Jagala’ is the only impressive track, but even that one gives a déjà vu of their previous songs.

Dhairya Gholap has screen presence but his performance falls in just decent category. Sayli Patil shows promise, despite not having a large screen time. The actor playing Thackeray’s lookalike is the most convincing of all. Tejaswini Pandit, in a cameo, is passable.

The few plusses in Yek Number are the twists in the second half that make the film watchable, even if they lack complete conviction. But these positives are surely not enough to override the many negatives.

Rating: Yek.5

Director: Rajesh Mapuskar

Producers: Nadiadwala Grandson and Sahyadri Films

Writers: Tejaswini Pandit, Dhairya Gholap, Vinayak Purushottam, Mayuresh Joshi and Arvind Jagtap

Cast: Dhairya Gholap, Sayli Patil  

Also Read: Dharmaveer 2 review: The film is more like an election pitch

Dharmaveer 2 review: The film is more like an election pitch

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Filmmaker Pravin Vitthal Tarde’s Dharmaveer: Mukkam Post Thane (2022), the first film in the series, spoke about the rise and the greatness of the late Shiv Sena leader Anand Dighe, who was from Thane. The film was a good biopic that also worked as a commercial entertainer with a fine act from Prasad Oak as Dighe.

As the protagonist passes away at the end of the first film, one wondered what the film’s sequel, Dharmaveer: Mukkam Post Thane 2, would have in store. As it turns out, the movie is nothing but a 157-minute long campaign for the upcoming assembly polls in Mahahrashtra.

The narrative of Dharmaveer 2 runs two tracks parallel. One is based in 2022 when Eknath Shinde (Kshitish Date) is a minister in the Maha Vikas Aghadi government. The film starts off with the real incident of a gruesome lynching of two sadhus in Palghar. Shinde, along with a number of other MLAs, is disappointed with the way his government has handled this and various other issues in the state.

As Shinde and others wonder what to do next, they recall the life and incidents of their late hero Anand Dighe and how he used to solve various issues in his own way. Hence, the other track is the flashback featuring Dighe.

Right from the initial moments of the film, it becomes clear that this is a sequel made just for the sake of it. This keeps getting confirmed as the film starts moving ahead. The main aim of the narrative is to show Uddhav Thackeray’s then MVA government in a bad light. There are various potshots taken at him and their allies Congress and NCP (Nationalist Congress Party) without taking names.

Once the film moves into the second half, the narrative slowly makes Shinde as the central figure. For example, during the deadly second COVID wave, it is shown that Shinde and his aides alone were responsible for the lack of oxygen cylinders not becoming a problem in the state.

Similarly, the movie touches upon various aspects that would appease their target audience. Right from the utterance of the word ‘Bhagva’ every now and then to featuring scenes based around the staging of plays on Vinayak Damodar Savarkar and Nathuram Godse. In fact, in one scene it is also said that Hindi films are responsible for showing Hinduism in bad light. These are just a few examples.

From the few plusses, Tarde has shown that he knows the art of turning a simple scene in a whistle-worthy moment. But the biggest plusses here are the performances of Prasad Oak and Kshitish Date. Oak continues from where he left in the first film. He once again displays fear and switches onto compassion in a second in an effortless manner. Date gets ample scope this time and he succeeds in portraying the inner turmoil of Shinde, whether it’s through his body language or voice. The rest of the actors have cameos or extended cameos.  

But these points easily get overshadowed by the minuses. Surprisingly, the makers indirectly announce the third part of the series in the end.

Rating: 2 out of 5

Director: Pravin Vitthal Tarde

Producers: Sahil Motion Arts and Zee Studios

Cast: Prasad Oak, Kshitish Date

Also Read: Navra Maza Navsacha 2 review: Thoroughly entertaining surprise of the year

Navra Maza Navsacha 2 review: Thoroughly entertaining surprise of the year

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It is quite common for movies to not live up to its exciting trailer. It is extremely rare for the opposite to happen. Sachin Pilgaonkar’s Navra Maza Navsacha 2 is that rare film that turns out to be many times better than its trailer. In other words, the film’s promo was misleading, but in a good way.

Navra Maza Navsacha 2 is the sequel to the iconic and successful Navra Maza Navsacha (2004), which starred Sachin Pilgaonkar and Supriya Pilgaonkar in lead roles. The film ended with Vakratund aka Vacky (Sachin) somehow managing to fulfill his late father’s vow of visiting the Ganesh temple in Ganpatipule naked. He was pushed for the same by his wife Bhakti (Supriya). The couple also earns Rs. 8 crores as they help the police nab the criminal Babu Kalia (Pradeep Patwardhan).

Hence, in the second part Navra Maza Navsacha 2, Vacky and Bhakti are leading a comfortable life. Their daughter Shraddha (Hemal Ingle) has grown up. She is in love with Lambodar aka Lamby (Swapnil Joshi). Due to certain circumstances, this time Shraddha vows to get Lamby visit Ganpatipule temple naked along with other difficult conditions. Lamby somehow agrees and the four of them set out to for the trip through train.

Navra Maza Navsacha 2 pretty much follows the same template as its predecessor with the ST bus being replaced by train and Ashok Saraf’s character being the ticket collector (TC) instead of the conductor. However, the characters and their funny mannerisms and the overall jokes and gigs are quite fresh and genuinely funny. In fact, barring some emotional moments, which were necessary, the movie is a complete laugh riot where even little things play a big role in getting you in splits.

Navra Maza Navsacha 2

Unlike the first film, the journey in the second one starts in the second half. The first half has some major conflict and drama. This takes you by surprise because none of this is shown in the trailer.

Navra Maza Navsacha 2 brings back the nostalgia of the first film. But it is shot and presented like a film of today’s times. The balance is well maintained. The music falls in the decent category with ‘Dumroo Vaje’ turning out to be memorable.

Sachin Pilgaonkar and Supriya Pilgaonkar have carried on from where they left in the first film, bringing the same energy. Swapnil Joshi, despite his age, fits the character of a bachelor and succeeds in bringing Lamby alive. Hemal Ingle also performs well among the stalwarts. Like the first film, Ashok Saraf takes the cake despite arriving late. His act is not only funny but also moving.

The film has cameos and extended cameos from Siddharth Jadhav, Nirmiti Sawant, Jaywant Wadkar, Vijay Patkar, Vaibhav Mangle, Sonu Nigam, Ali Asgar, Johnny Lever, Shriya Pilgaonkar, among others.

Like the first film, there are a lot of creative liberties taken. But the major issue with the film is its timeline. The first movie ends in 2004. Considering Vacky and Bhakti had a kid right after the story’s completion, Shraddha would have been born in 2005. So her age should be 19. But there is no mention that she is very young and it’s difficult to believe that a modern girl like her decides to marry at such a young age in today’s times.

Vijay Patkar’s character is continued from the first film. But Nirmiti Sawant, who was Vacky’s aunt in the first movie, is now shown as Lambodar’s mother. At one point Ashok Saraf’s character is said to be the same from the first film. But then, Vacky and Bhakti never seem to recognize him. The same goes for a few other characters too.

But overall, Navra Maza Navsacha 2 is a thoroughly entertaining surprise of the year. And if you are a believer in Ganpati, you are in for a treat.

Rating: 3.5 out of 5

Director: Sachin Pilgaonkar

Producer: Sachin Pilgaonkar

Writer: Sachin Pilgaonkar

Cast: Sachin Pilgaonkar, Supriya Pilgaonkar, Swapnil Joshi, Hemal Ingle, Ashok Saraf

Also Read: Ashok Saraf on Lifeline, “More than the length, the strength of the character is important”