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Jhimma 2 Review

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Filmmaker Hemant Dhome’s Jhimma (2021) told the story of a group of seven women – played by Sonalee Kulkarni, Suhas Joshi, Sayali Sanjeev, Kshitee Jog, Suchitra Bandekar, Nirmitee Sawant and Mrinmayee Godbole – going on a trip to London through a travel agency run by Kabir (Siddharth Chandekar).

The trip turns out to be a life-changing affair for them with each battling something or the other internally. As they break the shackles, rediscover and heal themselves, as an audience it moves and uplifts you. In terms of the writing and direction, Jhimma scored high despite being on the lengthier side.

The mere announcement of Jhimma 2 meant that the group of ladies would be embarking on another trip organized by Kabir and that’s exactly the case with the sequel. They yet again travel to Britain, but this time it’s the Lake District. Jhimma 2 doesn’t feature Sonalee Kulkarni and Mrinmayee Godbole. We see the inclusion of Rinku Rajguru and Shivani Surve to make it a total of seven.

It is difficult to explain the story of Jhimma 2 because it doesn’t have one. It simply carries on the formula about a group of women going on a foreign trip without their family. The premise and the characters were new in the first film. Hence, it turned out to be interesting to explore one character after another and their backstory. Jhimma 2 simply carries on to do the same, although this time the backstory is not given to all the characters. So, it just turns out to be a repeat exercise. For example, Nirmiti Sawant’s conversation with her politician husband had purpose in the first film. But here it’s just used as a filler. Even the humorous scenes given to her, and other characters, aren’t funny enough.

The narrative does include a few conflict elements but they are episodic and not interesting enough for you to develop concern. For example, the character of Shivani Surve is troubled but you don’t feel much for her because her issues are touched only on the surface. A serious incident during the interval point appears more forced than organic. It also defies logic.

Also Read: Naal Bhag 2 Review: Continues the heartwarming tradition

The strongest point about Jhimma 2 are the performances by all the eight actors. In fact, it is the acting that ensures that you don’t give up on the film, followed by the visuals of the picturesque locations. But you might wonder why the same group of friends visited England yet again. The answer lies in the word ‘subsidy’.

Rating: 2 out of 5

Director: Hemant Dhome

Producers: Chalachitra Mandalee, Jio Studious, Colour Yellow Productions and Crazy Few Films

Writers: Hemant Dhome and Iravati Karnik

Cast: Suhas Joshi, Sayali Sanjeev, Kshitee Jog, Suchitra Bandekar, Nirmitee Sawant, Rinku Rajguru, Shivani Surve and Siddharth Chandekar

Baaplyok (Marathi movie) review: A sweet journey about a bittersweet relation

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Filmmaker Makarand Shashimadhu Mane made his Marathi feature film debut by presenting a story about a father and son titled Ringan (2017). It had Shashank Shende in the role of the father. His recently released film Baaplyok, as hinted by the name, is also about a relationship between a father and son and this time too Shende plays the father.

There is one similarity and dissimilarity between both the films. Baaplyok is way different than Ringan but it turns out to be just as heartwarming.

Baaplyok takes place in a village in Maharashtra in today’s times. The story starts when Sagar (Vitthal Nagnath Kale) gets engaged to a girl (Payal Jadhav). Although their relation is arranged by their respective parents, there is immense love between the two. So much so that Sagar never leaves any opportunity to meet the girl or have a pep talk with her over the phone. But the only problem in Sagar’s life is his father (Shashank Shende). The two can’t see eye-to-eye and they don’t leave any opportunity to take a jibe at each other, be it for anything.

So when it is decided that Sagar will have to accompany his father to visit their relatives and friends in neighborhood villages on his bike to invite them for his marriage, he initially backs out. But as he realizes that he has no other choice, he hesitatingly agrees. What all happens during their journey forms the rest of the film.

Baaplyok makes it clear at the start that the film is about a journey and you probably also guess how it will end. But not once does it appear uninteresting. This is largely because of the constant humour born out of the conversations between Sagar and his father. The situations they encounter is another reason why this doesn’t appear like any other film about a journey that changes something in the main protagonists. In other words, there are constant doses of sensible and realistic entertainment and at the same time, nothing seems forced.

Baaplyok is also a visual treat for it goes deep into the village and its life. Yogesh M Koli’s camerawork is as per the need. He keeps it simple but at the same time ensures that the quality of frames is rich. The minimal use of background score too goes perfectly with the theme and mood of the film.

The subject is such that it relies heavily on the performances of Vitthal Nagnath Kale and Shashank Shende and both of them are up to the mark. After establishing himself as a son who doesn’t like his father, Kale’s transformation is gradual and natural. Shende, as one would expect from a seasoned performer like him, is thoroughly flawless, especially in scenes where he speaks through expressions. Payal Jadhav also makes her mark felt in a limited role while the rest of the supporting actors, who don’t get much screen time either, lend able support.

Also Read: Dream Girl 2 review: This film also has one Sakina falling for a Sardar

The scenes where the duo meets different families play a role in achieving the desired end. But a couple of encounters, one with a Muslim family and another with a city-based relative, are too short. There might also be a section of audience that would miss a major conflict in the whole narrative.

Overall: Baaplyok is a heartwarming journey about a father and son.  

Rating: 4 out of 5

Director: Makarand Mane

Writers: Vitthal Nagnath Kale and Makarand Mane

Cast: Vitthal Nagnath Kale, Shashank Shende, Payal Jadhav

Ghar Banduk Biryani review: Nagraj Manjule-starrer is a one-time watch 

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When a film has an unusual title like Ghar Banduk Biryani, the first thing one eagerly awaits to know is its meaning in the context of the film. During the movie’s first half itself, we get some clarity on the title. This is not the only plus point of the film though.

Directed by Hemant Jangal Awtade and written by him and Nagraj Manjule, the Marathi movie takes place in the interiors of Maharashtra infested by dacoits. They are led by the dangerous yet quirky Pallam (Sayaji Shinde). The fearless police inspector Raya Patil (Manjule) is transferred to the same area after he beats up some influential goons in his previous posting. Getting transferred is a regular feature for him and this is exactly why his wife (Deepti Devi) is fed up of his profession.

Meanwhile, the story also features the young and handsome Raju (Akash Thosar), who is an orphan. His uncle visits a prospective bride’s family for his marriage. Raju and the girl Laxmi (Sayli Patil) start liking each other. But as Raju doesn’t have any other skill apart from making delicious food, especially Biryani, Laxmi’s father isn’t keen to let his daughter marry him.

Raju, one day, without his will, gets involved in Pallam’s gang because of his qualities as a chef. On the other hand, Raya is hell bent in putting a full-stop to the activities of the dacoits. Will Raju’s be caught in the crossfire for no fault of his?

Ghar Banduk Biryani

Ghar Banduk Biryani basically has a tried-and-tested tale of cops versus dacoits. But the film doesn’t appear outdated due to quite a few reasons. The presentation is fresh and so is the narrative, especially for a Marathi film. Manjule’s character is shown as a heroic officer, akin Dabangg and Singham. However, he never goes over-the-top and gives a performance that is believable.

Just like his act, the film too has its share of funny moments but they nowhere tread into the mindless zone. Similarly, the narrative includes some whistle-worthy moments but they too are subtle in nature. For example, the scene where Chhatrapati Shivaji Maharaj’s statue is given focus suddenly in a scene.

A good part of the film is shot in the jungle. Cinematographer Vikram Amladi steers clear from the temptation of going overboard in creatively capturing the location. His portrayal is simple but creative enough.

Coming to the rest of the actors, Sayaji Shinde has played a baddie with a touch of humour numerous times before, both in Marathi and Hindi films. But the fact that he is here playing a dacoit who loves being trigger-happy brings in some difference. Akash Thosar stays out of his Sairat image despite him playing a rural character. He appears confident.

Sayli Patil and Deepti Devi chip in with decent supporting acts. Tanaji Galgunde (a favorite of Manjule) is memorable but doesn’t get much scope.

Also Read: Vaalvi (Marathi movie) review – Swapnil Joshi, Subodh Bhave-starrer is a finely crafted dark comic thriller

Despite these many positives, Ghar Banduk Biryani isn’t hunky dory all the way. The second half isn’t as entertaining and convincing as the first half. The post-interval portion also has a risky heroic act by one of the main characters but he doesn’t face any consequences for that. The background of the dacoits is also surprisingly missing. We are never told why have they gone onto the dangerous path and what exactly are their demands from the authorities. Hence, they only come across as negative characters and it also becomes difficult to take them seriously.

The film also needed to be crisper than 161 minutes. A few scenes and a couple of songs didn’t deserve to be so lengthy.

The very last scene, however, gains some interest as the makers give a clear indication of a sequel or a part 2.

Overall: Ghar Banduk Biryani is a one-time watch saga.

Rating: 3 out of 5

Director: Hemant Jangal Awtade

Production: Aatpat Production and Zee Studios

Writers: Hemant Jangal Awtade and Nagraj Manjule

Cast: Nagraj Manjule, Sayaji Shinde, Akash Thosar, Sayli Patil and Deepti Devi

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.

Shikshanachya Aaicha Gho Movie Review

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Satrah Saate Kiti? To hell with such questions!

Rating: – * * * *

Can you label a student as dumb if he fails to remember the tables of 12 and 17? Does the by-hearting of chemical equations and reactions determine intelligence? Is it really necessary for a student to mug up the centuries old unimportant happenings in order to prove his worth?

After 3 Idiots, Mahesh Manjrekar’s Shikshanachya Aaicha Gho shows the mirror to our faulty education system where kids are reduced to just coolies who are made to earn wages in the form of ranks. And when it comes to executing and providing justice to the subject, Shikshanachya Aaicha Gho rises much above than 3 Idiots.

Shreenivas Rane aka Shree (Saksham Kulkarni) is one amongst lakhs of student coolies. Shree possesses special talent in the game of cricket. However, his father Madhukar Rane (Bharat Jadhav) hates his son’s crazy interest in the game and turns a blind eye on his talent simply because he wants him to do well in studies. One day, a shocking incident forces Madhukar to change his belief. He realizes his mistake as well as the faults in the education system and goes on a quest to change it.

Only someone like Mahesh V Manjrekar can narrate such a hard hitting social subject in a manner which appeals to every section of the society. His mastery can be seen in each and every scene. Those which stay etched in your memory include Madhukar’s encounter with a school teacher and his interaction with the Chief Minister (Sachin Khedekar). The typical middle class feel with continuous situational humor makes it appealing to every common man. Such similar middle class scenarios were earlier seen in Manjrekar’s Vaastav, Tera Mera Saath Rahen, Ehsaas, Hathyar, Viruddh and Mee Shivajiraje Bhosale Boltoy.

Contrary to many, Manjrekar never ever rubbishes the need for education. Instead, he has put forth some changes which are required in our education system which include – lessening the syllabus burden, putting off the examination pressure and, most importantly, the elimination of ranking system. The criticisms of the education system are presented in a logical way without going overboard even a bit. The onus is also on those parents who make life hell for students with their overambitious expectations without realizing their children’s talent in other areas.

Such a relevant concept and a powerful script could not have looked so impressive without a superlative performance by Bharat Jadhav. The actor deserves high praise in each and every scene as he delivers one of the finest performances to have come in recent years. Saksham Kulkarni in the role of the troubled child is a perfect cast. He does full justice to his character while portraying every emotion with ease.

Gauri Vaidya plays the role of the younger sister perfectly. Kranti Redkar and the rest of the neighbors provide ideal support. However, it is Siddharth Jadhav who surprises everyone. His character of Ibrahim Bhai is lovable. The development of Ibrahim’s character is very similar to the one of Mukesh Rishi in Manjrekar’s own Kurukshetra. Lastly, Sachin Khedekar and Manjrekar excel in their cameos.

Shikshanachya Aaicha Gho is a must watch for everyone including the non-Marathi sections purely because of the urge it provides for a change in our education system, which is the desperate need of the hour. The unprecedented response at the box-office will make this as one of the highest money making Marathi movies of the year.