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Rama Madhav (Marathi Movie) Review

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By: Keyur Seta

Director: Mrinal Kulkarni

Producers: Shivam-Jemin Enterprises

Writers: Mrinal Kulkarni and Manaswini L R

Cast: Parna Pethe, Alok Rajwade, Mrinal Kulkarni, Prasad Oak, Sonalee Kulkarni, Shruti Marathe, Ravindra Mankani, Dr Amol Kolhe

Genre: Drama

Rating: * * *

Story Outline: A bubbly and naughty Rama (Shruti Kalselar and later Parna Pethe) hailing from a middle-class background is married to Madhavrao Peshwa (Alok Rajwade), the prince of the royal Peshwa dynasty, during her childhood. As the two grow up, the political scenario lands the couple in some serious challenges that also affect their personal life. Madhavrao’s evil and scheming uncle Raghunathrao (Prasad Oak) makes things worse.

Review: The mention of the word ‘Peshwa’ instantly brings to our mind the glory of the Maratha Empire and the fearless battles of honor the Peshwas fought and won with style. But amidst such acts of bravery and fearlessness, the era also saw an episode of pure selfless love that is successfully portrayed in Mrinal Kulkarni’s Rama Madhav.

The film takes the viewer back to the bygone era very successfully through some convincing set and costume designing (Poornima Oak) and finely sketched characters. But, obviously, the bigger reason why the film works is the honest approach while presenting a lesser known story.

This happens due to two reasons. Firstly, to see the spirit of the Peshwas in terms of the administration of the state and bravery in wars is sheer delight! Secondly, the love track between Rama and Madhav is smartly interwoven in between various political issues. The writers have also made sure the proceedings don’t become depressing even during tragic situations.

The only big problem here is the length of 147 minutes. There are times in the second half when the narrative loses the grip it had provided earlier. It is also unlikely for people of today’s era to accept the regressive-ness of that era, especially during the starting moments.

Rajiv Jain’s excellent camerawork adds more delight. You just can’t fail to notice the artistic touch in almost every frame, mostly during the scenes inside Shanwar Wada. Anand Modak, who passed away earlier this year, composed tunes are melodious and they go well with the genre. The Ganpati aarti song, ‘Loot Liyo’ and ‘Swapnihi Navhte Disle’ stand out.

Such a film needs to score high in performances and that is exactly what is provided by the actors. Parna Pethe is thoroughly convincing as the elder Rama. Shruti Kalsekar, as the younger one, is super cute. She displays great acting skills too. Alok Rajwade, as Madhavrao, shines with a thoroughly dedicated act.

Prasad Oak gets into the skin of the antagonist Raghunathrao with ease. Mrinal Kulkarni displays her utmost mature skills while playing Gopikabai. Ravindra Mankani and Dr. Amol Kolhe make sure they perfectly suit Nanasaheb and Sadashivrao. Sonalee Kulkarni and Shruti Marathe provide decent support as Anandibai and Parvatibai.

Overall: Rama Madhav is an honest effort that deserves to be seen. The film needs rapid word-of-mouth to have a big impact at the box office.

 

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Poshter Boyz (Marathi Movie) Review

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By: Keyur Seta

Director: Sameer Patil

Producers: Shreyas Talpade and Deepti Talpade under Affluence Movies Pvt. Ltd.

Writers: Sameer Patil and Charudutt Bhagwat

Cast: Dilip Prabhavalkar, Hrishikesh Joshi, Aniket Vishwasrao, Neha Joshi, Pooja Sawant

Music: Leslie Lewis

Genre: Comedy/ Drama

Rating: * * * ½

Story Outline: In Vadaner village, the lives of the aged, highly respected Jagan Deshmukh (Dilip Prabhavalkar), school teacher Sadanand Kulkarni (Hrishikesh Joshi) and youngster Arjun (Aniket Vishwasrao) come crashing down after their photos are printed on a poster encouraging Vasectomy (Nasbandi) without their knowledge. Now the trio must find the culprit responsible for printing their photos before it is too late.

Review: Most of the times, when comedy is born out of a serious issue, the humor takes a backseat at some point in the film, mostly the latter part of the second half. But debutant Sameer Patil’s Poshter Boyz doesn’t fall in that category. The film achieves a rare feat of being a laugh-riot for the entire duration despite the fact that it also raises few important social issues.

Confusion comedies are not novel by any means but Poshter Boyz manages to stand apart due to the subject of Vasectomy, which is unheard of, and the smart manner in which it arrives at the main point. From here on, the fun just doesn’t end.

Generally, we associate a laugh-riot falls with mindless or slapstick comedy. But this is a rare example of a non-stop laugh-riot only using sensible situational humor. And when your laughter doesn’t fade even long after the joke, you know it is a huge achievement for the writing, more so when the humor is maintained even during serious situations.

This is not the only reason why Poshter Boyz works. Just like Satish Rajwade’s Popat, this film also manages to present a sex-related social issue in a manner that not a single family member of any age group would feel awkward. The only drawback here is that it treads on the tried and tested route in the closing moments.

Composer Leslie Lewis makes a successful Marathi film debut with this film. The song ‘Deva Deva’ is a sheer pleasure as it skillfully mixes three different genres – spiritual, romance and lawani – in one song. The title track and ‘Kshan’ also score high marks. Pushpank Gawde makes a mark with his artistic camerawork even during simple situations. The background score is effective, although unnecessarily loud at times.

A film of this genre requires skillful comic timing and that is exactly what the actors present. The ever-reliable veteran Dilip Prabhavalkar once again gives a thoroughly mature and sensible act. He underplays himself during the comic moments, which works well. Hrishikesh Joshi continues from where he left in Yellow with another terrific performance. He portrays humor born out of frustration brilliantly. Aniket Vishwasrao is perfect as the hot-headed youngster.

Neha Joshi, as Kulkarni’s wife, is first-rate as an angry, frustrated wife. Pooja Sawant does what was asked from her and looks mesmerizing. The rest of the actors provide decent support.

Overall: Poshter Boyz is a rib-tickling laugh-riot with a timely message. The positive word-of-mouth coupled with a good promotional strategy will make it a winner at the box office.

 

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Lai Bhaari (Marathi Movie) Review

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By: Keyur Seta

Director: Nishikant Kamat

Producers: Mumbai Film Company and Zee Talkies

Writers: Sajid Nadiadwala, Nishikant Kamat and Sanjay Pawar

Cast: Riteish Deshmukh, Sharad Kelkar, Radhika Apte

Music: Ajay-Atul

Genre: Action/ Family Drama

Rating: * * ½

Story Outline: Mauli (Riteish Deshmukh) is a carefree youngster living in the holy village of Pandharpur. As his parents are unknown, he considers Vitthal-Rakumai as his parents. He is in love with his childhood sweetheart (Radhika Apte). His free-flowing life comes to a halt when he gets to know a shocking truth about his past. This revelation also brings him at loggerheads with the evil Sangram (Sharad Kelkar).

Review: From the trailers, Nishikant Kamat’s Lai Bhaari looked like a typical hero-oriented masala film. While it surely is one, the film in totality is much, much more than what is revealed by the promotional material. This doesn’t ensure a quality product though due to an age-old storyline, done-to-death narration and few other issues. However, there are enough paisa-vasool moments due to Riteish Deshmukh’s heroics that make the film a one-time watch for the lovers of this genre.

The surprise element is surely refreshing but it gives you a feeling that the film is a complete remake of a Hindi blockbuster released in 2000 (mentioning the name will be an obvious spoiler). It also makes us feel as if we are watching two different movies in two halves. The first half is quite non-happening since nothing substantial happens until its end. A lot of screen time is given to elements that make the film appear like a high on culture family drama.

The turnaround at interval point takes the film to a different level but one is able to guess the plot twist long back. Nevertheless, the genre comes alive in the second half with many cheering and whistling moments born out of Riteish’s antics.

But barring this, there is nothing much to keep the entertainment quotient high due to some tried and tested situations that we have been witnessing in Hindi films since 1970s. One might argue that such things haven’t been seen in Marathi films before. Although this is true, one can’t deny that the Marathi audience has been watching such genre of Hindi films since decades, more so since last few years. And to tell such a tale in over 2 hours 30 minutes is also not a good idea. Plus, mentioning Vitthal-Rakumai after every few minutes post interval becomes an overdose after a while.

The theme track ‘Mauli Mauli’ becomes one of the plus points of the film due to the overwhelming effect it provides. Apart from this song, ‘Aala Holicha San’ is noteworthy. The camerawork is impressive, especially during the aerial shots. The background score is as per the need.

Talking about the performances, it is Riteish Deshmukh all the way, especially in the second half. The actor packs a punch through a powerful act that is sure to delight his fans. After a terrific act in the recently released Hindi movie Ek Villain, he is going through the form of his life. But despite his towering performance, Sharad Kelkar makes his presence felt through a convincing portrayal of the bad guy.

Tanvi Azmi plays Riteish’s mother with conviction. Radhika Apte, as the protagonist’s love interest, is decent. The actor in the role of a kid girl displays plenty of cuteness. Aaditi Pohankar and the rest of the actors play the parts as per the requirement. Salman Khan is super-impressive in a cameo. Genelia D’Souza too provides the surprise element in another cameo.

Overall: Riteish Deshmukh’s powerful act makes Lai Bhaari is a one-time watch. With the terrific hype and the main lead’s heroics, the film will surely turn out to be a blockbuster at the box office.

 

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Ajoba (Marathi Movie) Review

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Director: Sujay S. Dahake

Producers: Supreme Motion Pictures Pvt. Ltd and Illusion Ethereal Film Company

Writers: Sujay S. Dahake and Gauri Bapat

Cast: Urmila Matondkar, Hrishikesh Joshi, Dilip Prabhavalkar, Shashank Shende,s Shrikant Yadav, Om Bhutkar, Neha Mahajan

Genre: Adventure/ Drama

Rating: * * * *

By: Keyur Seta

Story Outline: Ajoba is based on true events experienced by wildlife conservationist Vidya Athreya between the years 2009 and 2011. A leopard is found in a well in Junnar village in Maharashtra. Wildlife Biologist Purva Rao (Urmila Matondkar) gets the animal rescued with the help of forest department workers.

She fits an electronic chip at its tale and, as per the procedure, frees it. She names the animal Ajoba. The whole idea is to trace Ajoba’s journey in order to learn more about it and its thinking. Although the leopard is on a journey, Purva and his team are experiencing the adventure out of it.

Review: When a leopard enters a city and kills a man, naturally, the wild animal is labeled as the devil. But this is far from the actual fact. Such incidents have a much deeper meaning, which is explored by Sujay S. Dahake in Ajoba in a manner that would compel you to applaud not only his end product but also his act of bravery towards creating such bold genre of cinema.

Firstly, it can be a stressful nightmare for anyone to make a film on this subject. To create such an experience on screen not only requires painstaking patient efforts but also some great talent. As Dahake manages to go through the grind, half the battle is won.

The second half is won by a gripping narrative that either thrills or moves you throughout the duration. Soon you realize that the film is not story-based but treatment-based. The journey of the leopard and the subsequent twists keeps you glued. The smart characterization and the internal drama between characters also play their parts in making sure the film doesn’t go into the docu-drama mode whatsoever.

But there does come a period in the second half where the narration slows down thereby making you a bit impatient. Thankfully, this period doesn’t last long due to what follows. The closing moments and the climax deserve special mention for the soul-stirring effect it produces and the questions it raises about the indirect dangers and hypocrisy of ‘human nature’.

Apart from the above-mentioned point, what can go against the film is that the Indian audience isn’t friendly with such genre of films. Needless to say, those wishing for conventional entertainment might be disappointed.

Shooting such a film can also be a hell of a task for the cinematographer. Diego Romero has shot the entire movie using a hand-held camera. For getting his craft right, creating a visual treat and keeping the frame un-shaky, his work should be described as brilliant. The haunting background score suits the flick perfectly and stays with you. There is also some smart display of visual effects, especially the CGI image of the leopard.

Urmila Matondkar’s thoroughly dedicated performance too is one of the biggest plus points. Her Marathi film debut can move anyone due to the way she gets into the psyche of Purva Rao. It’s nothing short of excellent! After Yellow, Hrishikesh Joshi ones again turns up with an adorable act. Om Bhutkar, Shashank Shende and Shrikant Yadav give earnest support. Dilip Prabhavalkar and Yashpal Sharma create strong impact in cameos. Neha Mahajan and Anita Date are good in their cameos.

Overall: Ajoba is a spectacular cinematic treat; something that you haven’t experienced before. The film surely has a chance of making a good impact at the box office through positive word-of-mouth.

 

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Salaam (Marathi Movie) Review

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Director: Kiran Yadnyopavit

Producer: Calyx Media and Entertainment

Writer: Kiran Yadnyopavit

Cast: Vivek Chabukswar, Abhishek Bharate, Girish Kulkarni, Kishore Kadam, Atisha Naik, Jyoti Chandekar

Music: Rahul Ranade

Genre: Drama

Rating: * * * ½

By: Keyur Seta

Story Outline: In a picturesque village in Maharashtra lives Raghunath aka Raghya (Vivek Chabukswar), studying in seventh standard. His father (Girish Kulkarni) works with Mumbai police as a constable; he visits his family in between. Shankar aka Sada (Abhishek Bharate) is Raghya’s classmate and close friend. His father is an officer with the Indian Army.

Sada believes his father’s profession is more prestigious than Raghya’s father while Raghya feels vice-versa. Once, their school teacher (Kishore Kadam) hands over a voluntary task of collecting funds for a noble cause to the students. This exercise becomes the turning point in the friendship of Raghya and Sada.

Review: Kiran Yadnyopavit’s Taryanche Bait was about an obsessive desire of a child and his relation with his father. Although the storyline of his latest offering Salaam is entirely different, it also focuses on a fixated longing of a kid and his relation with someone, this time a friend. The similarities don’t end here as Salaam, just like Taryanche Bait, turns out to be a delightfully moving experience.

The film doesn’t follow a conventional storytelling method. Through the experiences and routine lives of the character, a plot emerges in the background. But this doesn’t test your patience whatsoever. Instead, you are treated to a series of pleasurable moments as the characters go about their business. The beautiful and utterly peaceful locations add to the delight. The effort to pay tribute to army officer and policemen is also laudable.

In the latter part of the second half, however, there comes a point when not only is your patience is tested but you are also left a bit confused by the turn of events. Thankfully, all your doubts are cleared by a soul-stirring climax that pleases you no ends! The simple manner in which Yadnyopavit has presented a pleasing message by just using the visual medium proves he is here to stay for long.

The scenic locations appear more beautiful through cinematographer Abhijit Abde’s lens. From Rahul Ranade’s music, the song ‘Timbacktoo’ is worth mentioning. His background score too goes well with the proceedings. But repeating a particular background tune too many times could have been avoided.

The performances of two kids play a large role in creating an impact. Vivek Chabukswar is excellent as Raghya! It is incredible how he can display such varied emotions at such a young age. Abhishek Bharate, as Sada, isn’t far behind either in a supporting role. Girish Kulkarni leaves a mark in a lovable cameo. Kishore Kadam too deserves a similar praise.

Atisha Naik, as Raghya’s mother, and Jyoti Chandekar, as his grandmother, also chip in with good performances. There are some well-enacted cameos also from Pravin Tarde, Shashank Shende, Savita Prabhune, Suhas Shirsat, Sanjay Khapre and few others.

Overall: Salaam is a gem of a film that deserves a salaam. But it is sad to see such lack of proper hype for such a good effort. Hence, it will struggle at the box office.

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Postcard (Marathi Movie) Review

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Director: Gajendra Ahire

Producers: Smita Vinay Ganu and Prashant Gokhale

Writer: Gajendra Ahire

Cast: Girish Kulkarni, Sai Tamhankar, Dilip Prabhavalkar, Kishore Kadam, Vibhavari Deshpande, Radhika Apte, Subodh Bhave

Music: Gandhaar Sangoram

Genre: Drama

Rating: * * *

By: Keyur Seta

Review: A postman is considered a messiah when he brings delightful news. But he also has to bear the brunt of being labeled as inauspicious if the letter consist a tragic update. Ahire’s exploration of such interesting and unusual experiences of a postman in Postcard is not one of his best efforts but definitely worth watching for being visually stunning and heartwarming.

The three experiences of the central character of the postman are presented in three different stories. They are analyzed as under:

  1. Ever since the age of 10-12, Bhikaji (Dilip Prabhavalkar) has been working as woodcutting laborer at the same place. Now, in his 80s, he wishes to join his family staying in a nearby village and spend the rest of his days with them. But he is unable to leave as he faces severe exploitation from his boss. Bhikaji develops a bond with the postman (Kulkarni), who reads the good news of his newly born grandson.

    This is the best of the three stories simply because of a solid storyline. The happy and sad turn of events and the final emotional twist is enough to win your hearts. But it is Prabhavalkar’s brilliant act that plays a large role in the overall effect. It is incredible to see him carry out such a physical demanding role in this age with ease.

  2. The postman is transferred to a scenic hill station. While entering a school to deliver a letter, he is stopped by a soldier Kamble (Kishore Kadam). He hands over a letter to the postman and pleads him to deliver it to her daughter studying in the school. He finally agrees but the task lands him in some mysterious trouble.

    What starts as a funny tale turns into something unusually emotional. The intriguing narrative and an unexpected culmination are the strong points here. But it is strange to see some vital questions left unanswered. Also, the postman’s reaction to a shocking revelation is highly surprising. As expected, Kadam provides an aptly moving performance. In a limited screen time, Vibhavari Deshpande leaves behind a solid and memorable impact!

  3. The postman’s next destination is a village with some barren land. Here he comes across a young girl Gulzar (Radhika Apte), who is a courtesan. She entertains numerous guests but longs for her lover (Subodh Bhave). She waits for hours for the postman to receive a letter from her beau, who has promised to marry her.

    This story is beautifully shot and it also contains an earnest performance from Apte. She deserves to be seen much more. But this part tests your patience after a point of time as there is not much in terms of story development. Hence, it appears dragged most of the times. A surprising step taking by the postman also serves no purpose. Subodh Bhave provides a decent act.

Coming to the technicalities, cinematographer Yogesh Rajguru has presented a visual treat while capturing the beautiful locales, especially the hill station. There is not much scope for music (Gandhaar Sangoram) but the Mujra song featuring Apte is soulful.

Present throughout the film, Girish Kulkarni realistically gets into the skin of the character of a postman and gives a brilliant performance. Sai Tamhankar, as his wife, too plays a part well; she plays a rural character for a change.

Overall: Postman deserves a watch for being a realistically amusing tale of a postman. But it will have a tough time at the box office due to a low hype and the fact that three other Marathi films and three Hindi films have released simultaneously.

 

 

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Yellow (Marathi Movie) Review

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Director: Mahesh Limaye

Producers: Riteish Deshmukh and Uttung Hitendra Thakur

Writers: Kshitij Hitendra Thakur, Ambar Hadap and Ganesh Pandit

Cast: Gauri Gadgil, Mrinal Kulkarni, Upendra Limaye, Rishikesh Joshi, Manoj Joshi, Aishwarya Narkar, Usha Nadkarni

Music: Kaushal Inamdar

Genre: Drama

Rating: * * * * ½

By: Keyur Seta

Story Outline: The film revolves around Gauri (Gauri Gadgil), who is a special child for having Down’s Syndrome. Despite her condition, her mother (Mrinal Kulkarni) is hopeful of Gauri succeeding in life. But at the same time she is tensed and anxious about her future. Gauri’s father, however, is ashamed of her. After he rudely rejects her, Gauri’s mother breaks-up with him and relocates to her brother’s (Hrishikesh Joshi) place forever. Later on, Gauri’s life starts changing after she joins a ‘special’ school and slowly develops an interest towards swimming.

Review: A film revolving around a patient suffering from Down’s Syndrome obviously sounds depressing or, at least, too serious. But it takes director Manish Limaye’s just first effort Yellow to prove that even a film dealing with such a subject can be told through continuous flow of delightful and humorous moments. But having said this, it also does complete justice to the subject by being an inspiration for its sufferers and their parents.

To talk about the plus points, they are aplenty. In fact, Yellow is one of the rarest films to score brownie points in every department. Talking about the writing, Kshitij Hitendra Thakur, Ambar Hadap and Ganesh Pandit have achieved brilliance. To narrate a story of a child suffering with such condition in such a light-hearted manner while making sure the focus isn’t shifted even a bit is something special. The conflict aspect later on too is interesting.

But the subject is such that it requires some skillful and mature handling by the captain of the ship and that is exactly what Manish Limaye does. And to see him carry out such a task in his very first film as a director is a remarkable achievement. Although it is difficult to list down few memorable moments, Gauri’s scenes with her uncle and coach (Upendra Limaye) deserve special mention.

It is very difficult to find a flaw from Yellow. You can only point out that the tragedy fallen upon a cameo character should’ve been avoided as that sub-plot gets no place later on. Also, the film could have been told in a shorter duration.

The song ‘Special’, sung by Apeksha Dandekar and composed by Kaushal Inamdar, is soulful and it perfectly suits the subject. Inamdar’s background score too invokes the right effect. Manish Limaye has shown his skills as a cinematographer too, especially during the swimming competition scenes.

The film rides high on performances. Gauri Gadgil is outstandingly heartwarming! She had a very difficult task but she carries it out effortlessly. The girl playing the younger Gauri too is excellent. Upendra Limaye displays his acting prowess in a first-rate performance. It is also good to see him play a non-rural character for a change. Mrinal Kulkarni gives a performance that moves you.

Hrishikesh Joshi is just lovable due to the comic timing he brings in even during serious moments. Manoj Joshi brings in the right emotions while playing Gauri’s father. Aishwarya Narkar too plays her part well. Usha Nadkarni is excellent in a cameo.

Overall: Yellow is simply a must-watch. It has the potential of being a box office winner. With the makers providing English subtitles, the non-Marathi crowd too will chip in once the word spreads.

 

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Taptapadi (Marathi Movie) Review

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Director: Sachin Baliram Nagargoje

Producers: Sachin Baliram Nagargoje and Hemant Bhailal Bhavsar

Writers: Rabindranath Tagore (original story) and Sachin Baliram Nagargoje

Cast: Veena Jamkar, Kashyap Parulekar, Neena Kulkarni, Shruti Marathe, Ambarish Deshpande

Music: Sumeet Bellari and Rohit Nagbhide

Genre: Drama

Rating: * * ½

By: Keyur Seta

Story Outline: Based on Rabindranath Tagore’s short story, the film is set during the pre-independence era in Maharashtra. Meera has been staying with her aunt (Ashwini Ekbote) and uncle (Sharad Ponkshe) ever since her mother passed away when she was six years old. Over there, Meera develops a close bond with her cousin Madhav.

As they grow up (as Veena Jamkar and Kashyap Parulekar), their friendship slowly blossoms into love. When Madhav is studying to become a doctor, they get married. The couple is enjoying their marital bond until Meera has a miscarriage. There’s further agony in store for her when she becomes disabled. This results in another woman Sunanda (Shruti Marathe) entering Madhav’s life. Will Madhav betray Meera by marrying Sunanda?

Review: Adapting Rabindranath Tagore’s story on celluloid in a different cultural setting and that too in your first film is no mean task. Debutant Sachin Baliram Nagargoje does show signs of maturity in his adaptation of the legendary writer’s tale in his Marathi film Taptapadi. However, few problem areas stop the film from being superlative. Nevertheless, it is worth watching once due to Veena Jamkar’s outstanding act.

Although the story takes place in the very olden days of the pre-independence era, it is shot and narrated in a completely new age manner. As a writer, Nagargoje has used simple yet smart techniques to connect scenes and take the story forward. The important and delicate issue of Meera’s disability too is introduced and developed intelligently. Santosh Suvarnakar’s artistic camerawork is also something that makes the film a visual treat.

However, all is not hunky dory for Taptapadi. The film loses pace after a point in the second half. But there are two other questionable aspects that hurt the most. Firstly, the change of heart of an important character doesn’t appear convincing. You can’t ignore this point since it is an important development in the story. Lastly, although the twist at the very end takes you by surprise and appears pleasurable, it lacks proper logic and appears incomplete. It also brings back memories of Sarat Chandra Chattopadhyay’s Parineeta.

Sumeet Bellari and Rohit Nagbhide composed songs are soulful and apt for the situations but a couple of songs affect the narration. The background score is as per the need.

Talking about the performances, it is Veena Jamkar all the way! She gets into the skin of a difficult character and produces a performance that is worthy of all the applause. In fact, this will be one of the talked about acts of her career. Kashyap Parulekar too plays his part perfectly. It’s just that he doesn’t appear a college student on few occasions.

Neena Kulkarni, as Madhav’s aunt, is excellent as the regressive and manipulative lady. You just love to hate her! Shruti Marathe fits the character well and gives a good performance. As Meera’s brother, Ambarish Deshpande is perfect as the revolutionary and a protective elder brother. Sharad Ponkshe and Ashwini Ekbote and the rest of the supporting actors offer decent support.

Overall: Taptapadi is a one-time watch, mostly due to Veena Jamkar.

 

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Fandry (Marathi Movie Review)

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Director: Nagraj Manjule

Producers: Holy Basil Pictures, Navalakha Arts and Zee Talkies

Writer: Nagraj Manjule

Cast: Somnath Avghade, Suraj Pawar, Kishore Kadam, Rajshree Kharat

Genre: Drama/ Romance

Rating: * * * ½

By: Keyur Seta

Story Outline: In Akolner, a small village in the interiors of Maharashtra, lives an adolescent Jambawant Kachru Mane aka Jabya (Somnath Avghade), who constantly faces wrath of his father (Kishore Kadam) for his mischievous ways.

Jabya secretly loves Shalu (Rajshree Kharat) but she is hardly aware about his existence. But the bigger hurdle for Jabya is that Shalu is from a well-to-do higher caste while he is from the lowest one. Hence, his family is forced to carry out tasks that are considered dirty, like killing wild pigs aka Fandry. How will Jabya overpower this social barrier?

Review: From the promotional material, Nagraj Manjule’s directorial debut Fandry appeared similar to Shala and Timepass due to the adolescent love angle. Although that is very much its subject, it is far different from these two films since it mainly deals with the issue of caste discrimination. But instead of being a direct attack on casteism, it follows an indirect hard-hitting route full of artistic brilliance. Such a description, however, also means that the film suits more for the lovers of art-house or festival cinema.

As expected from a contemporary village flick, Fandry slowly but steadily gets the audience involved into the world of Jabya through a series of appealing moments born out of his daily routine. The protagonist’s restrained yet strong desires mostly portrayed through his innocent conversations with his best friend Piraji (Suraj Pawar) instantly make you sympathetic towards him.

It is remarkable how in his very first film Manjule has presented the issue of casteism and exploitation of the supposed lower castes by simply using the visual medium. This ensures you are glued to the screen despite the film not having a conventional storyline. Along with the fixing of Jabya’s sister’s wedding, jatra scene and the long climax, the very last second deserves special mention for its symbolism and the thrilling 3D-like effect it generates (watch the film to know more about this). It also brings back memories of Shyam Benagal’s Ankur.

The only negative aspect is that such an arty film should have been told in a lesser duration. They could have shortened few scenes. And needless to say, the film won’t appeal to those who prefer conventional entertainment.

Vikram Amlady’s beautifully creative camerawork makes the film what it is. Aloknanda Dasgupta’s background score brilliantly complements various situations. Using loud drum sounds during thrilling moments works very well. There are no songs but the one recited by the character of Piraji a couple of times is super pleasing.

Manjule has churned out brilliant performances from his cast although most of them are non-actors. Somnath Avghade deserves immense praise for his excellent portrayal of Jabya in his first film. At times he had the difficult task of portraying emotions through expressions but he does that exceedingly well. The reliable Kishore Kadam scores brownie points this time too with a thoroughly dedicated act.

Suraj Pawar too is excellent as Piraji. Manjule himself plays the role of Charkhya perfectly. It is surprising to see Rajshree Kharat playing just a cameo and getting hardly any chance to speak. To be fair to her, she does well of whatever opportunity she gets. The film is also blessed with a number of good supporting acts.

Overall: Fandry is an artistically crafted hard-hitting drama that deserves a watch if you prefer unconventional, realistic cinema. The film’s triumph at various international film festivals has ensured a positive word-of-mouth, which is reflected in the good opening it has received. If the word continues to spread, it will be a winner at the box office.

 

fandry

 

Review: A Rainy Day (Marathi Movie)

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Director: Rajendra Talak

Producers: Rajendra Talak Creations, Iris Productions and M. B. Creations

Writers: Rajendra Talak and Abhiram Bhadkamkar

Cast: Subodh Bhave, Mrinal Kulkarni, Ajinkya Deo, Neha Pendse

Music: Ashok Patki

Genre: Thrilling Drama

Rating: * * *

By: Keyur Seta

Story Outline: Aniket is a successful executive in a big company. A project on which he has been working since long gets a go ahead. Not just that, he also gets promoted. Co-incidentally, he receives the news of his wife Mugdha’s (Mrinal Kulkarni) pregnancy too on the same day. But Aniket’s overjoyed mood suffers a jolt when he slowly realizes that Mugdha is getting to know a number of dark secrets related to his professional and personal life. Who is revealing those secrets to Mugdha? What will be its consequences?

Review: Director Rajendra Talak’s A Rainy Day has a lot of things working for itself – an intriguing story, crafty narration, intense presentation, good performances and a friendly length of just 89 minutes. But in a suspense thriller, it is absolutely vital for the final twist to be convincing. Unfortunately, that doesn’t happen here else the film could have been so much more satisfying. Nevertheless, the aforementioned points make sure it is surely a one-time watch.

a-rainy-day-marathi-movieThe opening credits of the film are smartly presented. Soon, you realize that was just the tip of the iceberg as a simple story is narrated in the most creative manner possible. For this a large part of the credit should be given to Sanjay Jadhav’s camerawork, which is simply outstanding. In fact, his work matches international level! Well-shot rain scenes almost throughout the film is also a sheer pleasure.

Oscar winning Resul Pookotty and Amrit Pritam Dutta too deserve equal praise for creating an intense feeling through their sound designing. Ashok Patki’s soulful compositions add to the effect.

Talking about the writing, the development of Mugdha getting to know Aniket’s secrets is brought and handled smartly, especially the manner in which flashback is used. Due to this, one is constantly glued to the proceedings. The pace does dip a bit in the second half though. But the biggest problem is the last five minutes. The all-important climax is incomplete and confusing as the biggest and the only mystery of the story isn’t solved. I didn’t feel like leaving the hall after the film was over, unable to believe that it was ended this way.

Subodh Bhave displays his acting prowess while playing a character with different shades with ease. Mrinal Kulkarni puts on a very convincing act of a disturbed woman. She deserves to be seen more. The film has some decent supporting acts from Neha Pendse and Ajinkya Deo and some good cameos by Manoj Joshi, Harsh Chhaya, Kiran Karmakar, Sulabha Arya, Sanjay Mone and few others.

Overall: Despite a big issue, A Rainy Day is a thriller worth watching once. It needs some rapid word-of-mouth to make a mark at the box office.