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Deool (Marathi Movie) Review

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Direction: Umesh Vinayak Kulkarni

Production: Devisha Films

Cast: Girish Kulkarni, Nana Patekar, Dilip Prabhavalkar, Sonali Kulkarni, Mohan Agashe, Usha Nadkarni, Kishor Kadam, Jyoti Subhash, Atisha Naik, Naseeruddin Shah (special appearance)

Music: Mangesh Dhakade

Rating: * * * ½

Plot: In the rural areas of Maharashtra lies a peaceful village called Mangrul. One day Keshav (Girish Kulkarni), a village youth, sees lord Dattatrey (Datta) in his dreams while taking a nap under a tree. He makes a hue and cry in the village saying God made an appearance for him. Anna (Dilip Prabhavalkar), most respected figure of Mangrul, advises him against announcing such personal matter as it’s a question of faith.

However, it is too late as a journalist (Kishor Kadam) sensationalizes the news about Lord Dattatrey making an appearance in Mangrul. Hence, there is a demand for a Dattatrey temple. Bhau (Nana Patekar), a political activist, doesn’t approve it as he wants the funds to be used for better purposes but he seems helpless. The temple is built and the village becomes a holy place. Mangrul goes through a 360 degree change due to commercialization but nobody is complaining except Anna. Soon, due to the blindness of commercial progress, God is forgotten.  

Every village has a right to progress commercially but how ethical it is to use a temple and its God to achieve it? The question is raised in director Umesh Vinayak Kulkarni’s latest offering Deool. While it does this, the audience is treated to some quality cinematic experience that deserves applause.

Your heart is won right at the very start due to the brilliantly conceived artistic opening credits. For the first time I witnessed applause for opening credits. Girish Kulkarni’s screenplay is deliberately not pacy because it was necessary to set the mood for a soothing rural flick. It largely succeeds in keeping the audience interested due to the unfolding of interesting events and realistic humour, which regularly gets you in splits.

Having said that, several serious moments, after the story is developed, are well appealing and moving. Special care is also taken to give good amount of screen time to the mammoth star cast. Girish also excels as a dialogue writer. All in all, intelligent writing is the backbone of Deool.

After Valu and Vihir, Umesh Vinayak Kulkarni once again proves his mettle as a talented filmmaker. He deserves strong applause as directing a tale with a number of sub-plots and characters can be chaotic.

(Review continued after picture.)

What surprisingly amazes you is the splendid cinematography. The village landscapes are an absolute delight to watch. It won’t be an understatement to say the camerawork over here is of international standards. The background score too doesn’t lag far behind.

The only flipside is the slow pace after the start of the second half and few other portions. There are chances that the climax might not be appreciated by the commercial cinema admirers for being open-ended.

Music composer Mangesh Dhakade has complimented the film smartly. Songs ‘Deva Tula Shodhu Kutha’, ‘Datta Datta’ and ‘Welcome’ are hummable and emerge at the right situations.

In a performance oriented film it is vital that all actors are at their best and that’s exactly the case with Deool. Girish Kulkarni stuns with a brilliant act while showcasing amazement, anger and misery with utmost perfection. His act is worthy of all awards. Returning to Marathi films after long, Nana Patekar is lovable. His sense of humour is up to the mark.

Dilip Prabhavalkar once again shows why he is one of the most respected names in the industry. His act is moving as well as enlightening, although his character is similar to the one he played in Morya. Sonali Kulkarni displays another praiseworthy act and so does Mohan Agashe.

The film is well supported by the rest of the cast including Kishor Kadam, Usha Nadkarni, Jyoti Subhash, Atisha Naik, Hrishikesh Joshi and others. Naseeruddin Shah (making his Marathi film debut) leaves an impact in a cameo.

Overall, Deool proves to be a well-crafted piece of art which is enlightening. It is sure to enjoy good collections at the box-office. However, the collections might be affected from second week onwards once Swarajya and Dubhang release on November 11.

Arjun (Marathi Movie) Review

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Director : F M Illyas

Producers: Majit Burondkar, F M Illyas

Cast: Sachit Patil, Vidyadhar Joshi, Arun Tikekar, Amruta Khanvilkar, Varsha Usgaonkar, Vinay Apte

Music: Lalit Sen

Rating: * ½

Unlike the one in Mahabharat, this Arjun lacks focus!

Plot: Arjun Pawar (Sachit Patil), fresh after completing MBA, is eager to be a businessman unlike other Maharashtrian youngsters who opt for a job. His girlfriend Anushka (Amruta Khanvilkar) urges her father Mahajan (Arun Tikekar) to help him produce capital. Mahajan takes Arjun to the multi-millionaire businessman Ratan Shah (Vidyadhar Joshi) to gain finance. However, Mahajan and Shah use Arjun as a pawn to settle scores with their rival Jay Thackeray (Vinay Apte).

F M Illyas’ Arjun was supposed to be an encouragement tool for the Marathi manoos to excel in the field of business. But what we get is an over-desperate attempt to prove the point courtesy an immature script and over-the-top direction. Plus, the attitude shown by the protagonist can pose a threat to the unity of Mumbai.

The proceedings suffer right from the start as two songs are thrown in just when you feel the film is trying to gain momentum. What follows later is a series of tragedies thrown on Arjun. It is just not explained why he is the prime suspect in the murder of a businessman. It is mentioned twice or thrice that there are proofs against him but no attempt is made to enlighten the audience on the so-called proofs.

Later on, Arjun’s sudden emergence and success in the field of business due to a favor by Thackeray’s wife (Varsha Usgaonkar) is laughable. Once Arjun starts shining he starts hurling a chain of pro-Marathi lines which have no effect and fall flat!

If this wasn’t enough, the climax turns out to be the poorest and the most unintentionally hilarious scene of the film! The second most hilarious point is when Arjun builds a huge public toilet at the entrance of Shah’s business site in order to decrease its popularity! Phew!

Composer Lalit Sen doesn’t do a bad job but the songs only act as obstacles in the narration. The dialogues are too over-ambitious, amateur and loud although few are meaningful.

Thankfully, the performance area is respectable. Sachit Patil plays his part perfectly and displays helplessness and cruelty needed by his character with ease. Arun Tikekar, Vinay Apte and Amruta Khanvilkar too chip in with decent acts. The rest of the cast is nothing much to speak about.

Overall, Arjun fails miserably in its effort to be an eye-opener for the Marathi people which will affect its box-office collections.

Morya (Marathi Movie) Review

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Direction: Avdhoot Gupte

Story: Sachin Darekar

Production: Atul Kamble, Avdhoot Gupte

Music: Avdhoot Gupte

Cast: Santosh Juvekar, Chinmay Mandlekar, Dilip Prabhavalkar, Ganesh Yadav, Janardan Parab, Vijay Nikam, Spruha Joshi

Rating: * * * *

Story: There is a history of enmity between the youngsters of Ganesh Chawl, led by Manya (Santosh Juvekar) and Khatav Chawl, led by Sameer (Chinmay Mandlekar). Their rivalry intensifies during festivals like Gokulashtami and Ganeshotsav when both camps try to out-do each other.

They get the news that from next year, they will have to organize a combined Ganesh festival as both chawls will be redeveloped into a tower. Since there is ugly hatred between both gangs, they write-off the idea of a combined celebration. Hence, this year’s Ganeshotsav will decide which party will continue its Ganesh celebrations from next year onwards. This starts a warring competition between both parties. They try everything to cut-throat each other by also including politicians in the fight. Their battle gives rise to such dangerous consequences which they hadn’t imagined even in their wildest of dreams!

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Review: Since recent times, the festival of Ganeshotsav has become more of a rivalry between localities. While doing this, although some of the pandals might become victorious but its Lord Ganesha who always has to be on the losing side. Avdhoot Gupte’s Morya throws light on the issue and emerges an eye-opener. Gupte continues his legacy that he started with the daring Zenda.

Don’t get confused with the title which might indicate that it’s a religious film. Actually, it’s an aptly made thrilling drama about two warring camps with the festival of Ganeshotsav being the seed of the story. It wonderfully highlights the fact that the Ganpati Festival is becoming a medium of fight where even corrupt politicians are jumping in to gain personal benefits.

Sachin Darekar’s story and screenplay might make you recall Mansoor Khan’s Josh but the proceedings in no way look inspired from it. The strong points are the fast narration, intelligent scenes especially the confrontational ones and some creative direction. Special care is taken to show both gangs equal in the fight. It would have been difficult not to keep one gang ahead of the other but the writer manages perfectly.

However, the story is not just about a fight between two rival groups. It is the consequences and the political twists in the second half that keep you grabbed. The writer and director also manage to pull off the most important part – the conclusion, which is meaningful as well as touching.

Gupte has imbibed lots of reality in the proceedings. The conversations and happenings in the chawl are straight from real life, whether it’s a heated argument or a moving incident. The scenes showing the idols of Lord Ganesha fill you with joy. Fortunately, it doesn’t become redundant at all.

It is crystal clear that Gupte is here to stay. He started his career as a music director so one also expects a rich dose of music from his films. That is exactly what you get here as the songs will guarantee that the music album too will attain success. Religious mantra song Gananayakaya Ganadhishaya even makes a number of scenes more interesting while other songs too deserve credit especially the Lavani number Internet Var Gela.

It was highly vital that both Juvekar and Mandlekar provide top-notch performances that match each other. They manage to do it so well that it is difficult to judge who the better of the two is. The former is emotional and expressive while the latter is more cool-headed but equally aggressive.

Veteran actor Dilip Prabhavalkar once again shows why he is one of the most respected artists of Marathi cinema. Needless to say, he is exceptional. But what comes as a surprise is Ganesh Yadav in the role of the inspector. Despite the presence of number flawless performers, he manages to impress very well. Plus, there is a large number of supporting cast which excels too especially the two politicians, Diwakar Pundir and Spruha Joshi.

Overall, Morya is a delightful eye-opener which is a must watch in today’s times. It will surely prove to be a winner at the box-office mostly because of the upcoming Ganeshotsav festival.

Balgandharva (Marathi Movie) Review

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Director: Ravi Jadhav

Producer: Nitin Chandrakant Desai

Music: Kaushal Inamdar

Cast: Subodh Bhave, Abhijit Kelkar, Siddharth Chandekar, Vibhavari Deshpande, Kishore Kadam, Prachiti Mhatre

Rating: * * *

Musical plays with men impersonating women might sound unusual in today’s times but this was common in the pre and post 1900 era as women weren’t allowed to act or perform back then. This phenomenon is brilliantly presented in Ravi Jadhav’s Marathi movie Balgandharva, a biopic on the life of Narayan Shripad Rajhans aka Narayanrao aka Balgandharva, produced and designed by Nitin Chandrakant Desai. However, apart from a superlative presentation, the film lacks a powerful script.

The film follows the story of Narayanrao, a gifted singer with impeccable acting skills who won many a hearts with his performances as a woman (most of them) in Marathi natya-sangeet and how tragedy struck him.

Jadhav’s presentation and Desai’s realistic and stunning sets submerge the viewer into an extravagant yesteryear world. For this very experience, the duo deserves a huge thumbs-up. The film is loaded with a number of scenes which can move anyone. The one where Narayanrao performs even on the day of his daughter’s death takes the cake. Add to this, Kaushal Inamdar’s music, Mahesh Limaye’s cinematography, some heartfelt choreography and what you get is a treat for your senses.

Unfortunately there are flaws or setbacks in the script mostly in the form of too many songs. Although songs are an important part when a film is based on musical plays, it tests the patience of the viewer as they pop up after almost every five minutes throughout the film. Hence, viewing will be very difficult for those who aren’t interested in natya-sangeet. Apart from that, the writing slows down on numerous occasions.

As he had a mammoth task of playing a central character in such a movie, it was vital for Subodh Bhave to give a mind-blowing performance and this is exactly what he does. His acts as women appear so real that it is difficult to believe that it is a male portraying a woman. In short, he forces the viewer to stand up and applaud his act.

Vibhavari Deshpande also makes her presence felt with a mature act. Narayanrao’s comrades – Abhijit Kelkar, Siddharth Chandekar – are also lovable especially in their women acts while Kishore Kadam and Vidyadhar Joshi are perfect. Manoj Joshi does well in a cameo and Prachiti Mhatre impresses in a small role and looks naturally beautiful. Other supporting actors also deserve praise.

Overall, it takes a big heart to make something like Balgandharva. Despite shortcomings, the film is worth a watch because of the performances, music, sets and direction. At the box-office, it will surely be one of the highest grossing Marathi films of the year.

Taryanche Bait Movie Review

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Director: Kiran Yadnyopavit

Cast: Sachin Khedekar, Ashwini Giri, Ishaan Tambe, Asmita Joglekar, Shubhangi Joshi

Music: Nandu Ghanekar

Producers: Friday Filmworks, Ekta Kapoor and Neeraj Pandey

Ratings: * * * ½

By: Keyur Seta

Ever seen a father urging God to make sure his son doesn’t come first in the class? Such is the novelty in the tale of director Kiran Yadnyopavit’s Taryanche Bait that it bewilders you but at the same time also moves you because of its hardcore simplicity.

This simple tale is about a simple man called Shreedhar Surve, working as a clerk in the gram panchayat unit of a village. Although he is not rich, he leads a satisfying life with wife Indira (Ashwini Giri), two kids – Omkar (Ishaan Tambe) and Meera (Asmita Joglekar) and his mother played by Shubhangi Joshi. Shreedhar’s office duties compel him to visit Mumbai frequently.

For one such prolonged trip, he takes his wife and kids to the city. Over there, Omkar becomes adamant in staying in a five star hotel but, naturally, Shreedhar can’t afford. After returning to their village, Omkar asks Shreedhar whether he will take him to the five star hotel if he tops the examination. As Shreedhar is sure Omkar can never top the exams, he agrees for it. This motivates Omkar to study hard to such an extent that he actually tops in the class, leaving Shreedhar in a pickle.

A well made simple film is always rich in story (Saurabh Bhave) and Taryanche Bait is no exception. Plus, the screenplay by Bhave, Kiran and Shailesh Dupare hooks you to the story right from the very first scene. All the small nuances of village life are taken care of beautifully. There are a number of sequences that will stay etched in your memory for years to come. Some of these include:

  • Shreedhar’s interaction with the idol of Lord Ganesh.
  • Shreedhar promising Omkar to take him to a five star hotel in Mumbai.
  • An over-excited Omkar revealing to Shreedhar about him topping in the exams.
  • Shreedhar’s struggle in fulfilling his promise.
  • Pre-climax and the climax.

Although the climax appears perfect and touching, it could have been framed in a different way. Nevertheless, it works well and is appealing.

The writing coupled with Kiran’s direction makes the movie a well furnished product. He also makes the whole cast deliver top-notch performances.  In fact, looking at the mature way in which Kiran has handled the subject, it is very difficult to believe that this is his debut film. After earning a name in the Marathi drama arena and as a film writer, he is sure to excel as a director as well.

The editing also deserves special mention for the tight length of the film (less than two hours).

Sudhir Palsane’s artistic cinematography captures the village with perfection while Nandu Ghanekar’s tuneful music and some simple yet powerful dialogues also add to the plus points.

Sachin Khedekar is one of the respected names in the Marathi film industry and he lives up to his image in this movie. After Mee Shivajiraje Bhosle Boltoy, he once again delivers a performance which deserves a standing ovation. The way he shows helplessness and tries everything possible to fulfill his promise shows the class of a genius. In my personal opinion, he is one of the finest actors India has ever produced.

Ishaan Tambe is wonderful in the role of an adamant kid while Ashwini Giri, Asmita Joglekar do well too. Other supporting actors Kishor Kadam, Jaywant Wadkar, Vinay Apte and Shashank Shende offer good support.

Overall, Taryanche Bait is one of the most touching and simplest films to have come in a long time. At the box-office, the film will surely earn good collections.

Mee Sindhutai Sapkal Review

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When Tears Stop, A Revolution Begins…

Ratings: * * * ½

Director: Anant Narayan Mahadevan

Production: Siddhivinayak Cine Vision

Story: Sindhutai Sapkal

Screenplay: Anant Narayan Mahadevan and Sanjay Pawar

Cast: Tejaswani Pandit, Jyoti Chandekar, Upendra Limaye, Suhas Palshikar

 

Women empowerment or women triumph isn’t a new topic for Indian cinema. The theme is explored in almost all Indian languages ever since the inception of cinema in the country. Despite this, Anant Narayan Mahadevan’s Mee Sindhutai Sapkal stands apart from all other pro-women films because of the heart-warming story of Sindhutai Sapkal and the interesting way in which the tale is narrated.

Based on Sapkal’s book Mee Vanvasi, the film tells the story of 12-year old Chindi who is married to a middle aged man (Upendra Limaye) and is later (when she reaches 26) abandoned by her husband and family as she is wrongly accused of infidelity. Things get worse for Chindi as even her own mother refuses to give her shelter fearing the society. It is from here on that Chindi’s real journey begins. She abandons her image of Chindi and becomes Sindhutai, a social reformer and a shelter for all homeless children.

Mahadevan and Sanjay Pawar’s screenplay is the biggest winner. Adapting a biography on celluloid can be a daunting task which the duo completes with maturity. Especially the mixture of flashback with the present scenario makes the goings special. Special mention should be made of those pre-interval sections where Sindhutai’s mind shifts to the past because of the small incidents that take place during her plane journey. Very creative indeed! And the way the importance of a mother is highlighted is highly touching. Cinematography and background score are apt for the subject.

As a director, Mahadevan continues from where he left in his last brilliantly conceived Red Alert-The War Within.  He achieves utmost perfection in narrating the tale, capturing the location and bringing the best from his cast hence providing a number of brilliantly executed scenes. His first foray into Marathi cinema will be remembered for a long time.

Having said that, the film might not be admired by the commercial cine-goers who are looking for non-stop entertainment.

The efforts of the script writers, dialogue writer (Sanjay Pawar) the director wouldn’t have looked so impressive if Tejaswini Pandit hadn’t played the central character so wonderfully. Her performance is sure to touch you from start till the end as she gets into the skin of the character. In fact, she will be a contender for a National Award. Jyoti Chandekar’s portrayal of the older Sindhutai is equally lovable as one is forced to respect and admire her. The rest of the cast, especially Upendra Limaye leave an impact too. Neena Kulkarni is impressive in a cameo.

In a nutshell, Mee Sindhutai Sapkal is a must watch saga, which will move, inspire and motivate every human being irrespective of his/her gender who is eager to achieve something against all odds. The film should enjoy good collections at the box-office because of the strong word-of-mouth it’s receiving.

Haapus (Marathi Movie) Review

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True To Its Name

Ratings: * * * ½

In a particular scene of the movie, a group of soft drink company officials taste Ajit Gurav’s (Subodh Bhave) haapus (a breed of mango). The expressions on their faces after tasting the mango sum up the quality of the film. Abhijit Satam’s directorial debut Haapus offers an experience which is as delicious and refreshing as the fruit itself.

In the Vanarwadi village of Konkan, Anna Gurav (Shivaji Satam), the patriarch of the Gurav family is such a staunch believer in astrology that he doesn’t step out of the house without considering the day’s horoscope. He is always at loggerheads with his son Ajit whose opinion on astrology is contradictory to his father. Ajit grows haapus and is passionate about it. He also wishes to sell the fruit to the other areas of Maharashtra.

Ajit’s tussle with his father increases when Anna doesn’t allow him to trade in haapus because of astrological reasons. Things become tougher for Ajit as he has to face a hooligan trader called Chajed (Vidyadhar Joshi), who will go any heights to stop Ajit from entering the market.

There are also present a bunch of unusual characters like Anna’s twin daughters Amruta and Ankita (Madhura Velenkar Satam), both as different as chalk and cheese, Anna’s mother played by Sulabha Deshpande, Digambar Kale (Makarand Anaspure), son of Anna’s friend and rickshaw driver Subhya (Pushkar Shrotri).

The film works largely because the serious issue of Ajit’s struggle is peppered with large doses of humor. Writers Saurabh Bhave and Subodh Khanolkar and dialogue writer Sanjay Pawar deserve large applause for skillfully creating some rib-tickling moments throughout the film in the simplest of the situations. Having said that, they also make sure that the main issue is not left behind.

It can be a daunting task for a first time director to control such an ensemble cast and manage to get top performances from them and Abhiji Satam does the task with maturity. The way he has shot the film while portraying beautiful locales of the village is sure to keep one glued to the screen.

The only weak link is the length and the climax that should have focused more on the achievement of the characters.

As expected from a veteran like Shivaji Satam, the actor portrays the character with utmost ease. He commands respect as the head of the family and makes the role look tailor-made for him. Subodh Bhave stands apart from the crowd and plays a serious character with honesty and maturity. Madhura Velankar Satam deserves special mention as it’s utterly difficult to play two contrasting characters in the same film. Pushkar Shrotri and Vidyadhar Joshi are perfect.

Sulabha Deshpande, another veteran, proves why she is a respected figure in the Marathi film arena. Over here, she very well speaks with gestures and expressions as she plays a mute character. But it is Makarand Anaspure who takes the cake with a performance that gets you in splits whenever he speaks and appears. He is lovable throughout the film with his brilliant comic timing.

A large number of plus points make Haapus an entertainer with good values that will appeal to people of all ages. Because of the positive opening and mass value, the film is sure shot success at the box-office.

Lalbaug Parel (City Of Gold) Movie Review

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Almost There!

Ratings – * * ½

Today’s generation is absolutely unaware about the era of mill workers in the city of Mumbai during the 1980s. Director Mahesh Manjrekar’s Lalbaug Parel (City Of Gold in Hindi) brings to light the history of these workers and the pain they went through. For this, he surely deserves praise. However, the nature of presentation is too much to handle.

The film follows the story of the workers’ struggle against the insensitive mill owners (Sameer Dharmadhikari mostly). Anna (Shashank Shende) hasn’t got his due amount from the mill owners since six months. He lives in abject poverty with his wife (Seema Biswas) and four children, Baba (Ankush Chaudhary), a struggling writer, Mohan (Vinit Kumar), a bank employee, Naru (Karan Patel), a local thug and Manju (Veena Jamkar), who has is head-over-heels for a shopkeeper Jignesh.

Also woven in the story are union heads Rane (Sachin Khedekar), his partner played by Vinay Apte, Speedbreaker (Siddharth Jadhav) and a list other characters including the ones of Satish Kaushik and Kashmera Shah.

Manjrekar has succeeded in portraying the helplessness, tragedy and the everyday life of the workers in a manner which cannot be more realistic. Every minute detail is taken care of brilliantly. In addition, he manages to bring out some realistic and brilliant performances from each and every actor with Biswas, Jadhav, Khedekar, Chaudhary and Patel standing out.

Having said that, the negative points are too much to ignore. Although the film promises to deal with the battle of mill workers versus mill owners, the first half is loaded with too many daily events and encounters of the main characters leaving the main issue behind. The second half does touch the issues but the script suffers for being too lengthy and too emotional. Even after the culmination of the story, the film is still dragged unnecessarily. Most of the times, the film appears to be an underworld saga with shades of Manjrekar’s Vaastav appearing regularly.

However, the major drawback, as stated earlier, is the nature of presentation. The 2 hour 20 odd minutes are loaded with too much of violence. In fact, such high dose of bloodshed and hostility is hardly ever witnessed in any Indian movie. The sub-stories of the characters get a bit too emotional, wild and loud. After witnessing such disturbance, one hardly cares for the characters and the issues.

Despite many plus points, Lalbaug Parel falters for being too brutal, loud and distressing for an average viewer. Watch it only if you are ready to excuse these factors. Because of the sensitive local issue, the film is sure to enjoy very good returns. However, its Hindi version, City Of Gold, (slated to release on April 23) won’t stand a chance at the box-office.

Ringa Ringa (Marathi Movie) Review

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Unpredictably Perfect!

Ratings: * * * *

By: Keyur Seta

One thought that came to my mind after Ringa Ringa ended is that I’ve rarely experienced such thrill before as I did in this movie. The intense storyline, unpredictable twists and a sleek presentation make this Sanjay Jadhav’s work as one of the best thrillers to have hit the Indian screen.

The story deals with Rangarao (Ajinkya Dev), who is all set to become the Chief Minister of Goa despite his involvement with terrorist outfits. Rangarao’s aide Siddharth Desai (Bharat Jadhav) starts regretting his involvement with Rangarao after he gets to know about his links with terrorists. Siddharth reveals about Rangarao’s activities to the party chief Annasaheb (Uday Sabnis). Annasaheb assigns Siddharth the task of handing him evidences against Rangarao.

Rangarao’s man, a local goon called Anthony, babbles Rangarao’s activities to inspector Sawant. But, Rangarao’s hit-man Johnny (Santosh Juvekar) kills Anthony. In the meantime, Rangarao’s left hand, Vishwas (Ankush Chowdhary), a smooth-talking conman, gets hold of the evidence by bribing Sawant. Despite this, Siddharth lays his hands on the evidence and flees. After a series of unusual encounters, Siddharth’s wife Manasi (Sonali Kulkarni) enters the scene and becomes the most important player in this cat and mouse game.

What follows after this is a series of unthinkable events which keep you at the edge of the seat throughout. The strange thrills and twists till the very end give way to an unforgettable rollercoaster ride.

Sanjay Jadhav as a director as well as a writer invents an innovative style of narration, which will impress any international audience. To write such a script and then to present it onscreen requires brilliance. He is surely a lookout for the future. Plus, a powerful background score, taut cinematography and a sleek editing add on to the plus points.

This was one of the most challenging roles for Sonali Kulkarni. The suspense and twists wouldn’t have appealed this much if she had faltered even a bit. However, she rises to the occasion and gives one of her career best performances. In fact, it’s one of the best in the past few years. Also, she looks amazingly stunning. Bharat Jadhav, in a totally different avatar, proves why he is one of the finest performers around while Ajinkya Dev portrays the role of a baddie with perfection. Santosh Juvekar, Ankush Chwodhary and Uday Sabnis play their part well too.

Ringa Ringa deserves to be watched even by the non-Marathi audience purely because it leaves you spellbound.

Harishchandrachi Factory Review

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Witnessing the Birth 

Ratings: * * * * ½

The cinema industry is flourishing in India since close to a hundred years. Thousands and thousands of films have been made in a number of languages and genres. But ever wondered how the gates of the Indian film industry were opened and by whom? Paresh Mokashi’s Harishchandrachi Factory enlightens on the birth of Indian cinema. The end result is an exciting journey of the Father of Indian Cinema, Dhundiraj Govind Phalke (respectfully known as Dadasaheb Phalke) – the person who made cinema possible in India.

Right from the time he saw a movie for the first time, Phalke became eager to make a movie himself and join the filmmaking profession. However, he possesses zero knowledge about the art of filmmaking. His eagerness to learn and master the art triggers his journey to make India’s first motion picture. He receives moral, practical and emotional support from his wife Saraswati (Vibhawari Deshpande). Phalke doesn’t even hesitate to go to London by putting his financial future at stake.

The uniqueness about Harishchandrachi Factory is the feel-good factor throughout. Although this is a story of a struggler, Mokashi, as a writer, has added humor in each and every scene and that too in the most simplest of situations. He proves that one doesn’t always need slapstick and sarcastic jokes to make people laugh. Even simple and clean humor can produce hundreds of rib-tickling moments.

To direct a movie about a movie isn’t everyone’s cup of tea and Mokashi shows that the cup is certainly his. He has shown every aspect of filmmaking from story idea to script preparation, from reel development to camera operation, from cast selection to scene narration and finally, from the final shoot to the actual screening. During all this, the goings doesn’t appear like a documentary or a learning activity even for a minute. However, amidst all the fun, there should have been more footage to the struggling factor considering it was a daunting task for India’s first filmmaker.

Art Director Nitin Desai produces a visual treat by building sets which take you back to the 1911-1913 era. In fact, Desai’s work makes sure that the art direction turns out to be one of the main characters of the movie.

Nandu Madhav in the central role of Dadasaheb Phalke is tremendous and flawless. The film would not have looked so beautiful if Phalke’s character was not played with conviction but Madhav takes full care that doesn’t happen as he oozes perfection in every frame. Vibhawari Deshpande (Savitri) and the rest of the actors playing the film crew and the neighbors give sound performances too.

It would be unfair to label Harishchandrachi Factory as a Marathi movie. It’s one of those rare films which crosses all language and cultural barriers. And if you like cinema, you will love this one.