Tag Archives: Marathi movie reviews

Astu – So Be It (Marathi Movie) Review

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By: Keyur Seta

Directors: Sumitra Bhave and Sunil Sukhtankar

Producers: Mohan Agashe and Sheelaa Rao

Writer: Sumitra Bhave

Cast: Mohan Agashe, Iravati Harshe, Milind Soman, Nachiket Purnapatre, Amruta Subhash, Devika Daftardar

Music: Saket Kanetkar and Dhananjay Kharwandikar

Genre: Drama

Rating: * * * *

Story Outline: The film revolves around a retired college principal and widower Dr. Shastri aka Appa (Mohan Agashe). He is highly respected for his wisdom and deep knowledge about the Vedas. But lately he has also become known for being handicapped with Alzheimer’s disease, which makes him forget anything, including the names of his own family members.

Appa’s daughter (Iravati Harshe) is married to Dr. Madhav (Milind Soman). Once she takes Appa to his old house. On the way, she leaves him in a car for few minutes as she needs to visit a shop. But in that short duration, Appa goes missing.

Review: There are innumerable films that speak a lot. But there are very few that say a lot of things without saying anything. Directors Sumitra Bhave and Sunil Sukhtankar’s Astu – So Be It is one of those rare films. On the surface, it appears as a lost-and-found saga but deep inside it brings to forth many layers that force you to think about it long after you leave the cinema hall.

Astu has Bhave and Sukhtankar’s stamp of uncompromising attitude all over when it comes to the utterly realistic manner in which the film is shot. This helps a lot in creating an intense atmosphere that helps the audience get involved in the proceedings. But of course, it is the watertight script, for most of the duration, which also largely helps its cause. The intelligent manner in which flashback is used deserves special mention.

But the bigger achievement is the message given with regards to the attitude of people from starkly opposite strata of society towards people with a condition like Alzheimer’s. One of the rich layers is also the equation of relationships. The film also manages to say a lot more through some sub-plots, moving images, conversations and conflict between characters. It will account to spoilers if they are listed here.

The only problem with Astu is its duration. The film should have ended much before and shouldn’t have been dragged during the ending moments. Thankfully though, the overwhelming climax won’t let these points bother you much.

There is no scope for songs as such. But a couple of tracks used in the background gel very well with the situations, especially the one in a South Indian language. Milind Jog’s camerawork creatively captures even the simplest of scenes. The idea of using a hand-held camera on a number of occasions adds to the intensity. The editing is fine but there could have been more use of scissors.

It is Mohan Agashe’s act that helps the film to rise at such a level. The veteran actor is simply outstanding in a role that can be hugely challenging for any actor. You just can’t help but applaud when he shows signs of Alzheimer’s and speaks with his expressions. But despite such a towering performance by the main lead, Iravati Harshe manages to super impress with a dedicated act.

Milind Soman plays his part well. There is some issue with his Marathi pronunciation though. Nachiket Purnapatre too is wonderful in a difficult role. Despite arriving in the latter part, Amruta Subhash leaves behind a tremendous impact through her brilliant portrayal of a tribal woman. Ila Bhate and Devika Daftardar too shine in extended cameos.

Overall: Astu –So Be It is a must watch for the lovers of sensible cinema. It is sad that such a film is unable to get a proper release. Needless to say, it needs some tremendous word-of-mouth from all those who have been fortunate enough to have seen it.

Rege (Marathi Movie) Review

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By: Keyur Seta

Director: Abhijit Panse

Producers: The Art Beat Productions

Writer: Abhijit Panse

Cast: Mahesh Manjrekar, Aroh Welankar, Pushkar Shrotri, Santosh Juvekar

Music: Avadhoot Gupte

Genre: Underworld Drama

Rating: * * * ½

Story Outline: Rege is inspired from the real-life story of the encounter specialist Pradeep Sharma. The film revolves around the final year M.B.B.S student Aniruddha Rege (Aroh Welankar). By being in the company of the ruffian Pakya, he gets introduced to the gangster Manohar Bhai (Santosh Juvekar). Impressed by the style and aura of Manohar, Rege starts idolizing him. But being in the bad company proves costly for Rege as he, along with other gangsters, gets involved in a murder. This brings Pradeep Sharma and his men on Rege’s trail.

Review: When we think about films on the underworld, we instantly visualize bullets flying and dead bodies collapsing either through gang wars or battles between gangsters and police. This is exactly what we are fed by films of this genre, mostly by Bollywood. But in his very first film Rege, director Abhijit Panse brings in a completely fresh approach while narrating a tale about the underworld resulting in a compelling, intense drama that is thoroughly impressive.

The entire is film is filled with realistic situations that are narrated with some brilliant creativity leaving you completely gripped. You just can’t help but applaud the intelligent use of non-linear screenplay and the manner in which some vital events are revealed indirectly just through the visual medium. This is also seen in the manner in which Panse has used such minimal use of violence despite the film being about ruthless gangsters and encounter specialists.

Through the events of the film, the audience is also given a message without anyone uttering it. However, the very last scene is a bit questionable. There is also some issue in the placing of events in the latter part of the second half.

Nevertheless, these are minor issues that don’t kill your satisfaction. All in all, Panse becomes yet another debutant to excel in his very first film after Mahesh Limaye did in the brilliant Yellow. Co-incidentally, Limaye has handled the film’s cinematography by displaying his artistic skills.

From Avadhoot Gupte’s music, ‘Aswasth Sare’ leaves a big impact. It not only goes well with the theme but is also rich in lyrics. The lavani song is average. Due to some reason, the ‘Dishkyaoon’ track isn’t used.

Every actor has given quality performances, which was the need of the subject. Debutant Aroh Welankar is outstanding! To play such a difficult and emotionally draining character so convincingly and that too in your first film is a huge achievement. Mahesh Manjrekar gives a mature act as Pradeep Sharma. But on few occasions, he is unable to hide his Marathi accent.

Santosh Juvekar is simply amusing as he gets into the skin of Manohar Bhai with ease. Pushkar Shrotri is perfect as Sharma’s subordinate. The actor playing the character of Pakya and the rest of the actors offer good support.

Overall: Rege is a creatively mature take on the underworld. The film is receiving positive word of mouth which could help its box office prospects. But it will be affected by the super success of the Hindi film Singham Returns.

Picture Source: marathistars.com

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.

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.

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.

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.

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.

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.

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.

Rangkarmi (Marathi Movie) Review

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Director: Sanjiv Kolte

Producers: Shashi Sumeet Motion Pictures

Writers: Sanjiv Kolte and Sumeet H. Mittal

Cast: Dr. Amol Kolhe, Mohan Joshi, Sheetal Dabholkar, Sharmishtha Raut

Music: Pravin Kunvar

Genre: Drama

Rating: * *

By: Keyur Seta

Story Outline: Keshav (Dr. Amol Kolhe) acts in village tamashas much to the opposition of his father. This forces him to leave his house and migrate to Mumbai because acting in theatre means everything to him. Over there, he bumps into Dwarkanath (Mohan Joshi), the most famous make-up artist in Marathi theatre. Impressed by Keshav’s dedication and honesty, Dwarkanath not only offers him an odd job in his theatre group but also shelter at his residence.

Soon, Dwarkanath realizes Keshav’s excellent acting talent and helps him land the lead role of Karna in the play Shoor Karna. As time passes by, Keshav becomes a hugely successful theatre actor. But along with fame and success, pride and ego too take hold of him.

Review: An unknown common man becoming a celebrity and then having a great fall is not a novel concept. But predictability is not the biggest problem with director Sanjiv Kolte’s Rangkarmi. It is the disappointing finale that overshadows a number of plus points the film offers. You personally feel bad to see this as the film is quite a good tribute to Marathi theatre artists and theatre lovers.

The trailer of the film is a giveaway. But even if you haven’t seen a single promo, you will realize the plot in the first few seconds. Thankfully, you won’t mind sitting through the predictability due to a sincere and smart narration of Keshav’s journey from an unknown villager to a superstar. This ensures a number of smile-producing moments in the first half. Plus, the working style and the behind-the-scenes of a theatre group are presented realistically. In various ways, they have paid homage to the art of theatre.

Naturally, due to the developments, the second half isn’t as engaging, although your interest isn’t hampered. However, the pre-climax and the climax turn out to be highly disappointing. Even after the defining moment in the climax, the film keeps moving aimlessly just to dish out another disappointment right before the ending credits. (It is not possible to explain further to avoid spoilers.) The conclusion also makes you wonder at the aim of the makers. So much to give a message that success shouldn’t enter your head?

Pravin Kunvar composed songs are impressive and they suit the situations perfectly. Cinematographer Santosh Sindhe has captured even the simplest of scenes in an artistic manner. The background score is average and the editing is as per the need.

Dr. Amol Kolhe lives the character of Keshav perfectly through an act that is heartwarming. He also handles the transformation part well. As expected from a veteran artist, Mohan Joshi gives an earnest and honest performance. Sheetal Dabholkar and Prafull Samant play their respective characters well while Sharmistha Raut is decent.

Overall: Rangkarmi offers a good tribute to Marathi theatre but the film falters due to the concluding parts. It has a bleak chance at the box office.