Tag Archives: Marathi movie reviews

Popat (Marathi Movie) Review

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Director: Satish Rajwade

Producers: Mirah Entertainment Pvt. Ltd and Citrus Check Inns

Writer: Satish Rajwade

Cast: Atul Kulkarni, Siddharth Menon, Ketan Pawar, Amey Wagh

Music: Avinash-Vishwajeet

Genre: Drama/ Comedy

Rating: * * * *

By: Keyur Seta

Story Outline: In Kulpe village, youngsters Raghu (Amey Wagh), Mukund (Ketan Pawar) and Bala (Siddharth Menon) are the best of friends. Unfortunately, they are not able to make a name for themselves, despite each one possessing some skill. To make use of their various talents, they decide to make a movie.

At the same time, Aids awareness campaign is on full swing in their village. Hence, they choose Aids awareness as the topic of their film. As they lack a proper camera and shooting equipment, they include marriage video shooter Janardhan aka Janya (Atul Kulkarni) in their team. What starts off as a fun activity ends up being the most soul-stirring journey of their lives.

Review: The year started with Ravi Jadhav presenting a serious social message in a lighthearted manner in BP (Balak Palak). Now, Satish Rajwade does the same in Popat. Although the topic explored in Popat is hugely different from the one explored in BP, the end result of both the films is the same. After Premachi Goshta, Rajwade has once again churned out a delightful saga, which also has a repeat value.

Like various rural flicks, the aim of the writer here is to make sure the audience connects with the characters, their missions and the location. This means that the film doesn’t follow a conventional storytelling method. But this doesn’t affect the audience in any manner whatsoever. In fact, it works very well as the writer succeeds in the aforementioned aim. The ever-present lighthearted and hilarious moments keep the entertainment quotient high.

But the bigger challenge for the creative think tank was to present an unusual yet important social issue. The creatively witty and yet powerful manner in which they succeed in their task make sure they deserve nothing short of an applause. The reason for this is that it is no mean task to enlighten, delight and entertain simultaneously. The climax deserves a special mention for it leaves you overwhelmed.

The only negative aspect that appears is the overall length of 154 minutes, which could have been shortened, especially in the first half. But this won’t trouble you much as the film never treads on a slow path.

The locations look enticing due to Bhaskar Samla’s cinematography. Music doesn’t have an important part to play but the tracks by Avinash Vishwajeet suit the needs. Thankfully, songs are used only when required. The background score too is impressive.

Atul Kulkarni shows his versatility and talent in his portrayal of Janya. His sudden switch from underplaying the character to acting loud is the best part of his brilliant act. Amey Wagh, Ketan Pawar and Siddharth Menon too play their parts exceedingly well. They are impressive in both humorous and serious moments. The unusual chemistry between the four is always visible. Anita Date, Neha Shitole and Megha Ghadge shine in supporting acts.

Overall, Popat is yet another winner from Rajwade. The content has the potential of doing well at the box office. This parrot deserves to fly high!

Anumati (Marathi Movie) Review

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By: Keyur Seta

Director: Gajendra Ahire

Producers: Sri Pant Production Arts, Navalakha Arts Media Entertainment and Holy Basil Production

Writer: Gajendra Ahire

Cast: Vikram Gokhale, Neena Kulkarni, Rima (Lagoo), Subodh Bhave, Saie Tamhankar, Kishor Kadam, Neha Pendse, Arun Nalavde

Music: Gajendra Ahire

Genre: Drama

Rating: * * * ½

(Review taken from the website HALTI CHITRE.)

Story Outline: Anumati is the story of the elderly Ratnakar Pathare’s (Vikram Gokhale) attempts to save his dying wife (Neena Kulkarni), who has suffered brain hemorrhage. His son (Subodh Bhave) urges him to sign the DNR form (to remove life support) since the former has already spent a large share from his savings. However, Ratnakar refuses to budge as he is hopeful that his wife will survive. But how will he manage to find substantial financial support for further treatment?

Review: How practical it is to spend a large amount on someone who is in her last stage of life? Shouldn’t senior citizens have a right to think about their future just like youngsters? Why is it that someone’s survival only depends on his or her financial condition? While writer and director Gajendra Ahire raises these questions in Anumati, he presents a heart-wrenching, soul-stirring saga that isn’t short of a blissful cinematic experience. He is also largely helped by a movingly dedicated performance by veteran Vikram Gokhale.

The most vital task for the writer was to make sure the audience feels for Ratnakar’s character. That happens here truly convincingly. As the protagonist struggles to find financial support against all odds, the audience is constantly rooting for him. Needless to say, this gets them glued to the proceedings despite the pace not being rapid. Subplots about Ratnakar’s son, daughter, village folk and an old college friend are important aspects of the story that are smartly woven.

There does come a moment when Ratnakar’s struggle for generating funds starts becoming repetitive and tedious. But just then, Rima’s (Lagoo) entry not only gives a fresh dimension to the story, but it also conceives moments that are profoundly heartwarming. The scene where she is having a chat with Gokhale’s character in the kitchen is one of the most memorable instances in recent years. Lastly, the film strikes a chord in a creatively moving climax too.

In the midst of these positive points, the biggest questionable aspect is Ratnakar’s wife not having a mediclaim, considering their well-educated background. Apart from this, the very serious topic and the fact that the pace drops on few occasions might not go well with a section of the audience.

The film pleasantly surprises by the portrayal of some scenic locations, especially the Konkan. Govind Nihalani’s artistic camerawork is responsible for this. He has also shown his class in capturing simplest of scenes creatively. His first outing in Marathi cinema is surely successful. Music wise, Ahire’s soulful compositions go well with the subject and are nicely used in the background. The background music too is apt.

Some performances force you to stand up and applaud. Vikram Gokhale’s act also compels you to do the same. His brilliant portrayal of a struggling senior citizen will move even a stone-hearted person. It isn’t a surprise that he won the National Award for this act. Neena Kulkarni plays her part very well too. For a good amount of screen time, she is just lying down but to stay still with the hospital equipment on, needs a lot of patience.

Rima (Lagoo) is simply brilliant! You easily fall in love with her character. Subodh Bhave and Kishore Kadam get it right once again. Saie Tamhankar shows perfect support. Playing cameos, Neha Pendse is effective while Arun Nalawade brilliant.

Overall, Anumati is an honestly made moving saga that deserves to be seen. The film needs some rapid word-of-mouth to succeed at the box office.

Zapatlela 2 Review

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By: Keyur Seta

Director: Mahesh Kothare

Producers: Kothare & Kothare Vision, Viacom 18 Motion Pictures and Moving Pictures

Writer: Mahesh Kothare

Cast: Adinath Kothare, Mahesh Kothare, Sonalee Kulkarni, Sai Tamhankar, Makrand Anaspure

Music: Avdhoot Gupte

Genre: Horror/ Comedy

Rating: * *

(Review taken from the website HALTI CHITRE.)

Story Outline: At the end of the first movie Zapatlela (1993), Tatya Vinchu (whose soul was inside the puppet) gets killed by Inspector Mahesh Jadhav (Mahesh Kothare) while his henchman Kubdya Khavis gets arrested. Twenty years later, Khavis runs away from prison and lays his hands on the puppet that had Tatya Vinchu’s soul.

He visits Baba Chamatkar and forces him to bring Tatya back to life. Although Baba refuses, circumstances make sure Tatya regains his life inside the puppet. After twenty long years, Tatya finally gets the license to create havoc, especially for the late Lakshya’s (Laxmikant Berde) son Aditya (Adinath Kothare).

Review: (TO READ THE REVIEW, PLEASE CLICK HERE.)

Tuhya Dharma Koncha? (Marathi Movie) Review

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By: Keyur Seta

Director: Satish Manwar

Producers: IME Motion Pictures and Sprint Art Creations Pvt. Ltd.

Writer: Satish Manwar

Cast: Upendra Limaye, Vibhawari Deshpande, Kishor Kadam, Suhas Palshikar, Suhas Shirsat, Gauri Konge

Music: Dattaprasad Ranade

Genre: Drama

Rating: * * * *

(Review taken from the website HALTI CHITRE.) (To join us on Facebook, click HERE.)

Story Outline: Kavudu (Upendra Limaye) lives a tribal life with his wife Bhulabai (Vibhawari Deshpande) and two children near a tiger sanctuary in the interiors of Maharashtra. After their already struggling life goes through another bad turn, Bhulabai has no option but to convert to Christianity. The film focuses on the consequences of the conversion.

Review: A character in Satish Manwar’s Tuhya Dharma Koncha? is once heard saying, “Our survival is more important that our religion and name.” The movie gives this bold message in such a realistically fearless yet enchanting manner that one is forced to stand up and applaud. In fact, Tuhya Dharma Koncha? is a high quality celluloid experience in all aspects that has the potential to please audiences world over.

Thankfully, the film doesn’t aim to be a tear-jerker about the tragic struggle of a tribal family. The focus is completely kept on how struggle for survival forces someone to happily change their religion or God. The issue of religious extremism is also portrayed in a bold manner. What makes the film special is how beautifully the visual medium is used to put forth the message rather than using any kind of dramatic dialogues.

As a writer and director, Mawar easily succeeds in getting us involved with the family’s tribal life without making the proceedings appear as a docu-drama whatsoever. Even the simplest of everyday scenes are presented in a manner that will amuse you. This ensures that you instantly feel for the characters and their decision to convert. The story flow is maintained perfectly with the important issue of conversion being introduced and developed in an intelligent manner.

There is always a danger of the writer or director going overboard with the consequences of such an act in such genre of films but fortunately that doesn’t happen here. That part is portrayed in a sensible yet mature manner which stops the proceedings from going chaotic or loud. But it is the climax that takes the cake for it delights you for the daring message it gives in such a simple yet most appealing manner.

There does come a moment in the second half where the film shows signs to become a drag. This is also felt during a song on Jesus which should have been shortened. But since that doesn’t happen for a longer period, it won’t bother you, especially after the final culmination. All in all, after Gabhricha Paus, Manwar has again given a loud message that he is here to stay.

What further gives an international feel to the film is the artistic camerawork (Parixit Warrier) and an impressive background score (Augustine Samuel). Perfect art direction (Ranjeet Desai) and costume designing (Geeta Godbole) help in adding realism. The taut editing also needs to be lauded. Dattaprasad Ranade composed tracks suit the subject. The song ‘Ravavani Lanka’ deserves special mention, also for the lyrics.

In a performance-oriented film, the actors rise to the occasion. Upendra Limaye once again proves himself as one of the top performers in the Marathi film arena by giving a realistically mature act. Vibhwari Deshpande is simply outstanding! The way she gets every nuance right in a difficult role speaks volumes about her talent.

Kishor Kadam shines as a Catholic Priest. Some earnest support is provided by Gouri Konge, Yash Sutar, Suhas Palshikar, Sneha Majgaonkar, Shashank Shende, Padmanabh Bind, etc.

Overall, Tuhya Dharma Koncha? is a superlative realistic saga that deserves to be seen by all. Due to the low hype, there film is in desperate need of positive word-of-mouth to have an impact at the box office.

Jai Maharashtra Dhaba, Bhatinda Review

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Director: Avdhoot Gupte

Producers: Ekvira Productions, A Square Entertainment and Black Gold Films

Writer: Avdhoot Gupte

Cast: Abhijeet Khandkekar, Prarthana Behere, Vikram Gokhale

Music: Avdhoot Gupte

Genre: Romance

Rating: * * ½

Story Outline: In order to prove to someone that a Marathi person can be a successful businessman outside Maharashtra and Maharashtrian food can impress even non-Maharashtrians, Sayaji Nimbalkar (Abhijeet Khandkekar) starts a dhaba in Bhatinda (Punjab) named Jai Maharashtra Dhaba, Bhatinda.

Within a year, his dhaba crosses great levels of success as the Maharashtrian cuisine makes the local Punjabis go crazy. In the meantime, Sayaji also falls for a Punjabi girl Jaspinder Kaur (Prarthana Behere). But is the couple destined to be together?

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Review: Avdhoot Gupte’s unique idea of mixing Maharashtrian and Punjabi culture with the use of food in Jai Maharashtra Dhaba, Bhatinda should be lauded for it gives rise to a number of smile-producing moments. But the overall satisfaction derived from the dish isn’t as mouth-watering as expected due to a not-so-perfect writing among other things.

From the positives, the film hits bulls-eye right at the start in mixing the two cultures with the song ‘Bolato Jithe Chaughada’. Likewise, the rest of the songs are also a very intelligent blend of Marathi and Punjabi music which is a remarkable achievement by Nilesh Moharir. Narration-wise, the first half makes for a decent watch, mostly due to some scenes between the lead pair and Sayaji’s warm relationship with the locals of Bhatinda. The short length of this part works well too.

Now, onto some flipsides. The very vital moment of the protagonist seeing the leading lady for the first time and falling in love doesn’t appeal much since he behaves more like a flirt than a lover boy. There is also a lack of proper aim or focus in the second half due to few sub-plots, including the forceful humorous track of Sayaji’s sardar friend. The pro-Marathi heroic dialogues don’t produce the kind of impact that was needed. Lastly, the all-important twist, although unpredictable and heart-warming, doesn’t convince entirely.

The film also doesn’t appear like a love story between a Mahrashtrian and a Punjabi because firstly, Behere doesn’t look like a Punjabi. And since we have seen her in Marathi serials and the fact that in the movie she is shown as someone speaking Marathi flawlessly also doesn’t help.

As mentioned above, the fusion music is one of the biggest strong points with all songs making a mark. The technical areas (cinematography, background score and editing) are praiseworthy too.

The performances of the debutant lead pair add to the plus points. Abhijeet Khandkekar succeeds in the difficult task of playing a tough guy and a lover boy simultaneously in his first film. Prarthana Behere also displays the acting skills and cuteness needed by her character. But there is still scope for improvement for both.

Although the sardar actor playing Abhijeet’s friend provides some laughter, he is over-the-top on a number of occasions. Veteran actor Vikram Gokhale plays his part well but he doesn’t get much scope. The rest of the supporting actors are adequate.

Overall, Jai Maharashtra Dhaba, Bhatinda can be seen only because of the fusion of Marathi and Punjabi culture. It requires some rapid word-of-mouth to succeed at the box office.

Pune 52 (Marathi Movie) Review

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By: Keyur Seta

Director: Nikhil Mahajan

Producers: IME Motion Pictures and Arbhaat Nirmitee

Writer: Nikhil Mahajan

Cast: Girish Kulkarni, Sonali Kulkarni, Sai Tamhankar

Music: Atif Afzal

Genre: Dramatic Thriller

Rating: * * ½

Story Outline: Working as a private detective in the early 90s, Amar Apte (Girish Kulkarni) struggles to make a living which becomes a reason for his wife Prachi’s (Sonali Kulkarni) constant nagging. Like most of the private detectives, Amar often gets into trouble due to his profession. His life takes an unexpected turn when the beautiful Neha (Sai Tamhankar) offers him the task of unraveling her husband’s extra-marital affair. Unknowingly, Amar gets into the nasty world of seduction and deceit.

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Review: Unconventional cinema can be a welcome break from the usual run-of-the-mill or tried and tested formulas. But there is also a danger of getting carried away by the genre. This is exactly the issue with Nikhil Mahajan’s Pune 52. The film surely has a number of praiseworthy moments to its credit but in trying to be too unconventional, the end result turns out to be not what we expected from it. One should also note that the film suits more to those interested in the film noir genre than the usual masses.

During the initial moments, the unhurried narration (Mahajan) works as it helps the audience get involved in the interesting yet unusual world of Amar, his working style and the issues in his life including his ever-taunting wife. What strikes you instantly is the characterization of Amar which is just like any other common, middle class man rather than a conventional or heroic detective. There is a high degree of smartness shown in the linking of few scenes and some witty dialogues.

Despite his first movie, Mahajan matches international standards in filming some extraordinary scenes. He should also be lauded for daring to try such a bold subject in Marathi cinema. However, the reason for setting the story in the early 90s is not clearly known.

Later on in the first half, the pace drops down after creating interest. Fortunately, there is an interesting turn in the pre-interval portion and some engaging and humorous moments in the second half. A shocking twist, the most defining moment in this half, raises your expectations for a thrilling culmination but this is where the film starts going downhill. Not only do the events from here on appear unconvincing and confusing, but also the slow pace starts testing your patience. Lastly, the sudden climax doesn’t satisfy you and leaves some important questions unanswered.

The film receives tremendous support from the technical department. Jeremy Reagan, cinematographer from New Zealand, has brilliantly captured the film according to its subject. He even shows his class in his first feature film in the scenes where a hand held camera was required. The same brilliance is acquired by Hyun-jung Shim’s impactful background score. Although the editing (Abhijeet Deshpande) is sleek and sharp, it should have shortened the length of the film. The song ‘Jag Sare Badle’ suits the subject.

The performance of the lead trio is a big plus point. Girish Kulkarni once again proves his versatility by playing a difficult character exceedingly well. He not only succeeds in speaking through his expressions but also impresses in the scenes where he has to shout out of anger. Sonali Kulkarni shows her class as a nagging, middle class housewife.

Sai Tamhankar is remarkable. She produces the subtle sensuality and mystery needed by her character with ease. Bharti Achrekar, Kiran Karmarkar, Shrikant Yadav, Swanand Kirkire and G P Deshpande play their supporting parts well.

Overall, Pune 52 is a bold attempt which could have been much better but for the writing. As the film suits more for the festival audience, its chances at the box-office rely only in the first week due to the hype.

Ajinkya (Marathi Movie) Review

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Director: Tejas Vijay Deoskar

Producers: S K Production Films and Sandesh Films International

Writers: Tejas Vijay Deoskar

Cast: Sandeep Kulkarni, Kadambari Kadam, Sarika Nilatkar

Music: Susmit Limaye

Genre: Drama

Rating: * * *

Story Outline: For Basketball coach Anant Dharmadhikar (Sandeep Kulkarni), winning is everything. But his intense passion for Basketball and a sharp ego separate him not only from his wife Sai (Kadambari Kadam), who is highly successful in the corporate world, but also from the game itself. Amidst such dire consequences, will Anant find a ray of hope?

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Review: Winning is the ultimate motto for any team playing whichever sport. But in the midst of winning all the time and maintaining the number one spot, we often forget to enjoy the game both on and off the field. With the use of a story of an egoistic coach, Tejas Vijay Deoskar succeeds in giving this message in Ajinkya in a heartwarming manner. Although the film doesn’t provide as much impact in few portions as needed, the realistic portrayal of the life of a coach and the simplicity make sure it’s worth watching.

The narration is intelligent in the first half. The main point of the story and the character definition of Anant is established right at the start. The way the background is narrated by using flashback in between deserves applause. There is realism induced in every situation which makes the audience feel for the characters. Anant’s interaction with his wife’s friend and his wife after separation deserve special mention. Even his struggle to keep himself away from Basketball is smartly shown without using dialogues, especially in the cupboard shifting scene.

It is the second half which stops the film from becoming superlative. From the start of this part till the climax, there isn’t any real conflict and unpredictability. The story and the message should have been exploited more to create a much bigger impact. It is also in this period that the pace drops a bit. But due to Anant’s subtle return to the game, his change in outlook and a moving climax, you leave the cinema hall with a smile.

In a film where a sport plays an important part, there is a danger of the makers getting carried away by it. Thankfully, that doesn’t happen here. The game of Basketball is used only as per the need. It is also shot in a manner which makes it appealing even to those who aren’t interested in the sport.

The film has received apt support from the cinematography and editing. Although the background music suits the need, there are a lot of portions where they have simply not used it at all! Music wise, ‘Theme of Ajinkya’ and ‘Jari Maza Tuza’ are the tracks that go well with the situations.

Performances are a big plus point. Sandeep Kulkarni perfectly gets into the skin of a tough coach and delivers a top notch performance. He shows his talent in the emotional scenes too. His act is largely responsible for making you feel for his character and the story. Kadambari Kadam is also thoroughly mature as his wife. Sarika Nilatkar provides perfect support while the rest of the actors play their part well.

Overall, Ajinkya doesn’t win by 25 points (as said in the film) but it wins nevertheless. Due to the average hype, it needs some terrific word-of-mouth to succeed at the box-office.

(Personal Note: Recently, me and my friend had the privilege of having a long conversation with a tennis coach. He revealed about his coaching techniques and how his profession has badly affected his personal life. Whatever he told us, matched exactly with Sandeep Kulkarni’s character and his situation in the movie.)

BP (Balak Palak) Review

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Direction: Ravi Jadhav

Producers: Ravi Jadhav Films, Viva In-En and Mumbai Film Company

Writers: Ravi Jadhav, Ambar Hadap, Ganesh Pandit and Guru Jadhav

Cast: Rohit Phalke, Bhagyashree Sankpal, Shahwati Pimplikar, Madan Deodhar, Kishore Kadam, Prathamesh Parab, Sai Tamhankar, Anand Ingle

Music: Vishal-Shekhar

Genre: Drama

Rating: * * * *

Story Outline: The story takes place in the 1980s when Avya (Rohit Phalke), Bhagya (Madan Deodhar), Dolly (Shahwati Pimplikar) and Chiu (Bhagyashree Sankpal) are close teenage friends living in the same chawl. Circumstances and their school friend Vishu (Prathamesh Parab) introduce them to the world of sex through porn books and blue films (BP). But is this the right method of getting enlightened about sex? What would happen if the elders of their chawl find out about their secret activity?

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Review: In most Indian families, it is almost impossible for children to talk about sex openly with their parents since the topic is considered a taboo. Due to this, naturally, they receive half or false knowledge about it from their friends. Ravi Jadhav’s BP (BALAK PALAK) gives a bold message that instead of children or teenagers getting a wrong notion about sex from unreliable or harmful sources, it is better that the parents themselves enlighten them about the curious phenomenon. Jadhav comes out as a winner by putting forth the point without being vulgar or cheap. But what makes the film further special is the fact that he has narrated the tale like a laugh riot throughout!

Picture Courtesy – BP Twitter page

While dealing with such a sensitive subject, it is extremely vital for the writers to achieve utmost perfection. This is exactly what Jadhav, Ambar Hadap and Ganesh Pandit have done. They have encountered the very difficult task of narrating a curious tale about sex without making it look offensive whatsoever. Even the jokes or one-liners about sex are innocent than anything else. Since they are aplenty, there is nonstop entertainment!

The narration is smooth flowing yet very fast with a smart use of flashback. The introduction of the topic of sex through the proverb Shen Khane (eating cow dung) is an intelligent idea. Talking about intelligence, it is also seen in abundance in the dialogues, both funny and serious ones. Jadhav has also highly succeeded in getting top notch performances from his young cast. This greatly helps in generating great chemistry between the four friends.

Coming to the negative points, there is a moment in the pre-climax portion where the story appears stretched, especially due to the inclusion of a song. But this doesn’t cause any problems as such due to a greatly moving climax. Apart from this, the nature of the subject doesn’t ensure much of a repeat value.

Perfection is also seen in Mahesh Limaye’s cinematography and Dilip More and Santosh Phutane’s art direction. The editing is perfect while the background music (Chinar-Mahesh) is effective. From Vishal-Shekhar’s music, ‘Karuya Danga’ is a well composed, peppy number that stays with you.

The film is blessed with excellent performances. Rohit Phalke, Madan Deodhar, Shahwati Pimplikar, Bhagyashree Sankpal and Prathamesh Parab are flawless and mature in their respective acts. It’s a pleasure to see them perform! Kishore Kadam is wonderful in a difficult role. Sai Tamhankar provides perfect support while Anand Ingle, Avinash Narkar, Vishaka Subedar and Supriya Pathare play their parts well. Subodh Bhave and Amruta Subhash shine in their cameos.

Overall, BP (Balak Palak) succeeds in dealing with a sensitive issue in a non-offensive and entertaining manner. The film is sure to earn accolades at the box office due to a positive response. It has a good two week period to earn before Pune 52 and Hou De Jarasa Ushir release on January 18.

Vijay Aso (Marathi Movie) Review

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Direction: Rahul Jadhav

Production: Artha Motion Pictures and Nirmit Nirmitee

Writer: Chinmay Mandlekar

Cast: Chinmay Mandlekar, Murli Sharma, Namarata Gaikwad, Ganesh Yadav, Kedar Shinde

Music: Amit Raj Sawant

Genre: Political Drama

Rating: * * *

Story Outline: Shankar Gawde (Chinmay Mandlekar) is not just a karyakarta (party worker) for Forest Minister Prakash Jadhav (Murli Sharma). He considers the politician as his demigod. He helps fulfill Jadhav’s political motives by staging fake protests, gatherings, etc.

All hell breaks loose for Jadhav when television journalist Shrikant Pathak (Ganesh Yadav) exposes him for corruption in the land sector. Hence, the party chief demands Jadhav’s resignation. In order to show his power and hit back at the party chief, Jadhav orders Gawde to organize a violent protest outside the party chief’s office. An emotionally charged Gawde obeys the orders only to realize that he has been taken for a ride. Angry and heartbroken, Gawde sets out to take revenge from Jadhav for the betrayal!

Review: There have been a number of political dramas in recent years. But despite that, debutant filmmaker Rahul Jadhav’s Vijay Aso stands out for portraying the real picture on the working of a karyakarta (party worker). Although there is an absence of flawlessness, the above mentioned point, a fast narration and above all, Chinmay Mandlekar’s bravura act make sure that Vijay Aso is surely worth watching.

What works most for the movie is a fast paced narration with hardly a dull moment. After an average beginning, the writers have nicely presented a number of interesting events one after the other. But the biggest plus point has to be the inside story behind political events like rallies, gatherings, protests, etc.

This surely brings back memories of Avdhoot Gupte’s Zenda. But Vijay Aso treads on a different path by focusing more on their working style with respect to the manner in which they organize staged political events. Later on, the most defining moment and Mandlekar’s transformation take the movie to a new level.

Picture Courtesy – Vijay Aso Facebook page

The film, however, would have been superlative but for some negative points. The evil motto of one of the main characters is not clearly explained. The writers should have exploited Mandlekar’s transformation by including more clap-worthy moments. An important incident in the pre-climax portion and the events in the climax needed to be presented in a more impactful manner.

Jadhav shows his class in his cinematography, which is a big plus point of movie. The background score succeeds in creating the desired effect. The tune after Mandlekar’s transformation is very impactful! Music (Amit Raj Sawant) doesn’t have much scope in such films but the title rock track manages to impress and suits the subject. ‘Holicha Danka’ too is memorable but the item song ‘Ishqachi Boat’ is just average.

Chinmay Mandlekar is brilliant as the central character Santosh Gawde. He shows his acting prowess by playing two different characters with perfection. This is the first time that Murli Sharma is playing one of the main characters in a Marathi movie. He gives a terrific act as a cunning, manipulative politician. His Marathi pronunciation should be applauded except on a couple of occasions which is surely forgivable considering his background.

Ganesh Yadav is mostly famous for playing the role of a cop in Marath films. For the first time, he plays a television journalist and he is just outstanding! Namrata Gaikwad fits the bill as Gawde’s love interest, although she is more of a supporting character. Kedar Shinde, Janardan Parab, Amita Khopkar and the rest of supporting cast play their parts well.

Overall, if you enjoy realistic political dramas, Vijay Aso won’t disappoint you. The film desperately needs a strong word-of-mouth due to the average hype and the fact that it is clashing with a number of other Marathi movies.

Masala (Marathi Movie) Review

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Direction: Sandesh Kulkarni

Production: Umesh Kulkarni and Girish Kulkarni for Aarbhat Nirmiti, Pravin Masale

Story: Girish Kulkarni

Screenplay: Girish Kulkarni

Cast: Girish Kulkarni, Amruta Subhash, Mohan Agashe, Hrishikesh Joshi, Sneha Majgaonkar, Dilip Prabhavalkar

Music: Anand Modak

Rating: * * * ½

Plot: Revan (Girish Kulkarni) tries out a number of businesses but fails to find success in any. Due to this, he is forced to live a nomadic life in order to escape his creditors. Being an obedient wife, Sarika (Amruta Subhash) agrees with whatever her husband decides. Circumstances land the couple in Solapur, which is the hometown of Sarika’s cousin Kalyan (Hrishikesh Joshi).

Revan and Kalyan decide to join hands and start a business of selling groundnuts. Will Revan finally achieve success?

Review: Starting a business and running it successfully are two different things altogether. But if you keep your passion alive and learn from your mistakes, even fate will be forced to come by your side. This phenomenon is presented in Sandesh Kulkarni’s Masala in a light hearted manner that produces plenty of smiles.

As a writer, Girish Kulkarni continues from where he left in Deool (2011). He presents another subtle rural script that doesn’t go overboard and involves the audience right from the onset. Although there is not much romance shown between the lead couple, the interactions and actions between them clearly indicate the deep love they share hence making the audience feel for them.

Apart from this what keeps you entertained and provides humour is the inclusion of some interesting characters and incidents. The writer and director’s (Sandesh Kulkarni) efforts are seen in the realism that is oozed from the proceedings in terms of the conversations and truly realistic performances. Things do become a bit slow in the latter part of the second half. However, the climax makes up for it as the conclusion of the tale will move as well as delight you.

Top-notch effort is shown by M H Ramachandran as a cinematographer. A single take scene where Revan and Kalyan ride a bicycle together deserves special mention. Narendra Bhide’s background score is apt. Although there is not much scope for music, songs ‘Yan Madti’ and the title track go well with the film.

Girish Kulkarni gets into the skin of his character wonderfully. His portrayal of Revan is sure to fetch him lots of appreciation. Amruta Subhash deserves similar applause for playing Revan’s wife with realism. Mohan Agashe (as businessman Mehta) and Dilip Prabhavalkar (as a scientist) once again prove why they are respected names in Marathi cinema.

Hrishikesh Joshi and Sneha Majgaonkar play their part well while Dr Shreeram Lagoo excels in a cameo. Jyoti Subhash offers good support.

In a nutshell, Masala acts as a breath of fresh air that will be appreciated by the lovers of meaningful cinema. The movie has a chance of clicking at the box-office.