Lokmanya: Ek Yugpurush (2015)

Potential “influencers” ahead. AKA Spoilers.

I highly recommend that you watch this movie. If you do not want to be influenced with what I think, read this after you have seen the movie. You have been warned.

*

I cannot write the review of this movie without invoking three other movies which I have watched, enjoyed, and respected. Sardar (1993), Rang De Basanti (2006), and Lincoln (2012). All in good time, but first things first. I hardly ever say this; I highly recommend Lokmanya: Ek Yugpurush (2015).

Lokmanya-Ek-Yugpurush-Marathi-Movie-Poster

In recent times, this movie has to rank the highest, as far as performances go. Subodh Bhave, who plays Shri BG Tilak, brings to you, an outstanding performance. To play Tilak’s role is automatically a challenge. To see a historical character come to life, in the way that the actor has, is a revelation. It is a stellar performance and more adjectives will follow. None of us alive will ever know how Tilak lived. Of what we know of Tilak, Bhave does due justice. To glean a character from flat documents and give us a sense, meaning, and a visual is a daunting task. Bhave does it, apparently effortlessly. The actor may have gone through much effort; nothing shows on the screen. Here, I invoke the first of the three movies I mentioned above. In terms of a powerful performance, Bhave is akin to Daniel Day-Lewis in Lincoln (2012). As enraptured as you are, if every other scene is giving you goosebumps, and you know it has nothing to do with the AC in the cinema hall, that is a powerful performance. I cede, that part of it has to do with my love and respect for Shri BG Tilak.

The production quality is outstanding. I am glad that Marathi movies are embracing production quality as an essential aspect of film-making. Art direction, equally is worth all that meets your eye. When possible, light has been used to dramatic effect. Angles of the camera are often philosophical. While I may have missed things, there’s nothing jarring, in the creative department.

There is no reason you would not want to watch this movie in a theatre. I highly recommend it. Especially for the performances.

*

All, is not good, however.

And this ails the industry more than it ails this movie. Consider Sardar (1993) — a biopic on Sardar Vallabhai Patel. It starts with a contemporary event (just like in Lokmanya: Ek Yugpurush, but gracefully gives way to the biopic and respects the audience, right until the movie ends). Lokmanya: Ek Yugpurush insists on violating the biopic. That is jarring. If you aren’t alert, you will miss that you will see two movies for the price of one: one an extremely high-budget, production and performance focussed movie on the life and times of Tilak, and the other a low-budget, shoddily directed, low-budget contemporary confusion of the new generation. The second movie is embedded to insult you — the audience; shooting from behind Tilak’s shoulder. The difference in the quality of the two films indicates two directors (although I don’t know it for a fact).

I am not against non-linear presentations. In fact, I love them. I finally invoke the third film I mentioned above: Rang De Basanti (2006). Period-shifting was done tastefully in Rang De Basanti. It perhaps had to do with the reuse of the cast. Irrespective, the time shifts in Rang De Basanti were not jarring.

I have to make special mention of a few things about this movie. Veer Savarkar was badly cast. Swami Vivekananda could have been better. Khudiram Bose was wonderfully cast and cinematically presented. I would’ve like to see at least one shot in which “Lal, Bal, Pal” — the triumvirate of assertive nationalists — were seen together.

If this is the harbinger of what we will see in the days to come from the Marathi Film Industry, I am mighty proud.

Do us, one favour, ye mighty producers and  storytellers. Spare us the social messages. The fact that you have to spell it out to us means two things: (a) you assume your audience is idiotic, (b) you have no faith in your craft.

Here goes my **SPOILER**

3-odd minutes before the end of the film, when Tilak replies to “what next” is the perfect time when the movie should have concluded. We don’t need a very well-defined, vocabularised, trivialised, dumbed-down version of Tilak’s legacy.

Dear director, from the moment when, I think, you should have shut down the film, (and you didn’t) you undid everything that could have qualified as the classiest film ever. It never is and never will be easy to capture the life of such a great personality; hats of to you, nonetheless

*

Watch this movie. If you love a performance, this is a must watch.

Dr. Prakash Baba Amte – The Real Hero (2014)

What do you call a cross between a biopic, documentary, and a feature film? Well, whatever you call it, that is what Dr. Prakash Baba Amte – The Real Hero is. Someone on Facebook or Twitter reviewed this movie in a single sentence, a phrase almost: Great movie, bad title. (Or something to that effect, It is a big pain to search in Facebook, so, I will not try). The reason I put up that phrase is that I agree with it. At the same time, I cannot, in the absence of any authority, tell you what it should have been called.

I loved the movie.

Dr Prakash Baba Amte The Real Hero

Somewhere in my head, I loved it even before I entered the theatre. The lead role is played by Nana Patekar; I have great respect for that man. Very few people can make their presence felt without saying a single word. As far as intense performances go, he is one of the best. I am not a big fan of Sonali Kulkarni; I have always thought she has a tendency to over-emote. Note: I said over-emote, not over-act. After this movie, I have changed my opinion about her somewhat; except for a couple of scenes, she has done a good job. She feels real.

There is obvious dramatisation in the movie, but it has been used for good effect. That effect, is, however, to dilute the stark reality of the life of the protagonist. In its raw form, I doubt if we city-dwellers could have digested it.

Marathi movies and production quality: If I ever review a Marathi film, production values have to account in the review. US location and you use the Kohinoor hotel, in Andheri East, Mumbai? Fair enough, lack of budget, I am OK with it. Take some effort to mask the obvious. That’s my only peeve about the movie, really. The only reason, why I took away one star in my IMDB rating.

I will not even begin to question how Dr. Prakash Amte lived his life; I accept the hanging of saline bottles on tree trunks because I have no idea about how he lived his life. This movie gave me an insight into his life. The fact that I know that Nana Patekar is good friends with Dr. Prakash Amte, I took up the entire film on face value. And while I am an otherwise stoic person, I experienced the travails and cried in this movie.

There. I said it.

Something has to be said of the tears, though. They were never gushing; the eyes were swollen on continuous basis, even when I laughed during some scenes. The movie is a festival of faces. The protagonist’s faces and those that keep making their way in and out of the movie, lending credence to the protagonists. It’s a festival of places. It’s a festival of emotions. Not the festival of fire-crackers; however; a quiet one — one of emotions, motivation, and resolve.

Parts of the movie are gory. If you have young children, avoid taking them to the theatre. Your children might ask questions, you may not find it easy to answer. But the gory-ness is in perfect context and adds useful meaning to the film. And because it is the truth, more so.

The following note has nothing to do about this movie, but about Marathi movies in general:

I have no idea why, but this movie has English subtitles. (At least at INOX, where I saw it). That was a master stroke. Non-Marathi audiences can enjoy the film in almost the same way that Marathi audience can enjoy it. There is so much more in this film than meets the eye, but it cannot be included in this review.

Definite watch. It’s tax-free (if it matters to you). These are the filmmakers I would want to become wealthy and cross the magical Rs. 100-crore mark.

If nothing, it is an insight into a wonderful and an inspirational life. But do not attempt to live such a life; one thing that will become obvious after you see this film, it takes much more than simple motivation to live such a life.

These movies are not descriptions of social markers. They are a life-size question marks that we often see in mirrors. Enough said.

Duniyadari (2013)

Just when I was relaxing, feeling good about Marathi Cinema doing quality production and tangentially effective story-telling, along comes Duniyadari (2013). In less than five-odd minutes of the start of the film, the protagonist is supposed to go to SP College. You have the undivided attention of this movie-goer. SP College is my alma mater.

alma mater: noun (one’s Alma Mater) the university, school, or college that one formerly attended. ORIGIN mid 17th cent. (in the general sense ‘someone or something providing nourishment’): Latin, literally ‘generous mother’. [Italics, mine; just to give you a context of the post that follows]

Duniyadari_poster

So you are telling a story linked to my generous mother. You will of course forgive the current scandal – which I had nothing to do with – but my niece is affected and out on the streets, protesting and such; which, is a prerogative of every college student in India; and perhaps the world. I believe, that while you are in college, at least one such issue has to come up, where you can participate protest. When I was in SP College, the Mandal Commission had come out. We protested against that. Eventually, most of us will pay lip-service to social issues; but this is the time when you can express yourself as much as you can. Kudos to my niece! But, let us not talk about that for now, for this is a review of a movie.

So, this movie is about a few college going kids, who become friends due to certain unintended circumstances and towards the end of the movie – it all becomes quite lopsided and queasy. I’ll explain.

ENDNOTE:

Don’t take my word for it. Here’s an “opposite” review. Read it before you read any further.

[FAIR WARNING: Guaranteed spoiler and influencer ahead]

Guy meets girl, falls in love, rest of his friends tease him. Standard. Some stupidity with a police officer and the revenge is to entangle the daughter of the police officer in a love game. [Long ago, we saw something similar in Tezaab] – the bet to entice a girl to fall in love. And of course, the bet works (with some implausible stupidity) and the protagonist is now conflicted between his real love and his wagered love. There’s some wishful slapstick comedy (which has been the survival mechanism of Marathi Cinema for a few years) that is extremely weak and in effective to buttress the plot. Because Marathi Cinema needs to be shown as progressive, there’s a small scene of physical intimacy – do not get your hopes up – you don’t get to see anything. The assumed prudery of the assumed audience is intact. I forgot to mention, this movie is set in the 70s apparently. The art director was probably born in the nineties. If you were 20-something in the 70’s, be ready for a shocker. In the late-eighties and early nineties, I often went to Alka Talkies – I can assure you – it was nothing like what has been depicted in the movie. SP College is along Tilak Road – and it could not have the amazing open space as depicted in the film. It is probably the same building that was used in Munnabhai MBBS. I don’t care. If you wanted to show SP College, and did not get permission to shoot there, call it something else! It’s fiction!

I’ll get back to my favourite concept that I use when I watch movies. Suspension of disbelief.

It didn’t work!

Let’s forget the art direction and the SP College and the Alka Talkies. Some repetition assured.

Dumb guy gets slapped because of mistaken identity – slapper eventually apologises for mistaken identity – slapped guy gets intimidated by rival gang – finds credo – and therefore finds place in slapper gang – falls in love with a medical student (SP College is and has never been anywhere near a medical college) – gets slapped by an inspector for a misdemeanour – gang wants revenge on inspector – entice daughter of inspector – she sees through the plan – yet falls in love [Erm. Where are the feminists?] – hero is conflicted – gang leader (non-hero) goes through love crisis – somewhere in the middle of the movie we get to know that hero’s nose bleeds “may” be life threatening [Prison Break?] – enticed daughter of inspector is advised to go find love elsewhere by our nose-bleeder with some heavy wordy dialogues (which none of us normal Maharashtrians use in our daily life) – in the meanwhile, just when the train is about to leave the station, you should have asked me to marry you, says the heroine (of course when he did try to ask, she didn’t allow him) – suddenly a guy [Who is called MK – and you will never know why; and BTW – he is some sort of professor] who commits suicide in a train is the hero’s mother’s lover, who, you have just learned that she sacrificed everything for legally sanctioned rape, i.e. marriage. [Topically speaking, very relevant] & [I assure you writing this is not easy] – and then, phew – our hero is dead all his male and female lovers [not homosexual @ men] are back on the stone benches [Flash-forward] where they smoked cigarettes (which I can assure you they did not do it very well, which anyway was ruined by the sub-titled warnings of how harmful smoking is; no mention was made by the surgeon general about how harmful failing in college and betting on enticing daughters of local inspectors is, which, if you ask me, is more detrimental than smoking). Friends getting together for a memory makes sense, but you know what gets to me? What makes me tear up the few remaining hair on my head?

I’ll tell you.

Remember that inspector’s daughter who was a bet? And was eventually let go with some really complex word jumbles? She married another guy, apparently. Here’s the worst part:

That extremely mis-casted meatpack, who ended up being the husband of the better girl – **actually talks** to a stone bench at the end of the movie – thanking our dead nose-bleeding guy, that he let this wager-woman go. So that he could have her. Seriously. If nothing, for this one scene, you *have* to watch this movie.

So, let’s talk about the music. Rather, let’s not. I forwarded (not email, FF-button) most of the songs in the movie – they were in Hindi. The first one was, so I assumed the other’s were too. I fail to understand why we have Hindi songs in Marathi movies. Let me say that again. They were in Hindi. Why? I know the answer. Marathi poetry is dead. The acting was lacklustre, loaded with hamming for equal measure. The story has nothing to offer and mo message is intended. The movie completely fails to entertain and struggles pathetically between attempting to entertain or posting a message. The emotions are hammed, and at the end of it, the movie does one thing with great clarity: It does a dis-service to the audience that has evolved more than the industry has.

Duniyadari, the word, to my mind – is being worldly-wise. There were many worlds I experienced when I was watching this movie; I can assure you there was nothing wise about it.

How much do you value your 2-3 hours? If you really value them; avoid this movie. And if you are really set to watch a Marathi Movie, watch Ashi hi Banva Banvi, instead. It makes no excuses, unlike Duniyadari.

At least you won’t go to bed wondering what it was all about.

Skyfall (2012)

Let me write this before I get influenced by many conversations that will now take place about Skyfall: I liked it.

Potential Spoilers Ahead

Now that I have got that out-of-the-way, I was disappointed by Javier Bardem – he looked ridiculous in that get-up and as far as Bond villains go – was the least intimidating of all. My personal issue? I like Javier Bardem. He is a very good actor. I raised my expectations. He stamped on those. Bérénice Marlohe’s role seemed to be furiously edited, and the women in the recent Bond movies who have received their politically correct place in what was always supposed to be a Bond movie, have not received their rightful place, either.

My friend, (thank you for the tickets!) was quite disappointed with the plot. To my mind there wasn’t a plot, as such. To my mind Skyfall is a set up for the next Bond movie. I do not remember the last time, they announced on the credits that, “Bond will be back soon” (I may be wrong – but this hasn’t happened before.) But let’s speak about the plot a bit. A list of undercover agents is now out in the open (something like what we saw in Mission Impossible – the NOC list) and Bond works to get the list back. It is fair to assume that after all that Bond does in the movie, MI6 do get back the list. (It isn’t obvious.) After 50 years, we get an idea about his past life.

They undid the gadgets and the girls, but not the guns. And at times I was reminded of Die Hard – with the volume of the firepower.

The movie ended on a wonderful note, introducing us to a character we have known for long. There is a circularity of the stories that we seem to be missing. Non-linear story-telling is in vogue, and so is Bond-bashing. Someone decided that he had to be corrected politically, and we are now paying the price. There is hope because of M. We are hopefully coming back to the Bond we know, because of what happens at the end of the movie.

But the coolness of James Bond is intact. No doubts there. Should you see this movie? If you love James Bond, you will; I do not have to tell you. If you don’t care, you don’t care. Right?

Skyfall was a trailer. A 140mins trailer. Wait for the next one. The few ingredients missing were added in the last few minutes.

Wait for the next one.

Moneyball (2011)

I first noticed Moneyball (2011) at the BAFTAs. I am not a huge Brad Pitt fan, but it was interesting to see the continued nominations in quite a few categories. While they were showing the clips of the movie, I did notice Jonah Hill and somewhere a mental note wrote itself down. It would be worth watching. After the BAFTAs I conveniently forgot about the movie.

And quite by chance, we ended up seeing Moneyball, a couple of days ago. The theatre was empty – there were less than ten people – a strong indicator that the movie was really good or really bad.

As the movie started, I was happily surprised to see the names of Robin Wright and Philip Seymour Hoffman; I adore both of them. One advantage of not knowing much about a movie that you are seeing, is the ability to see it with clear, un-influenced eyes.

[Depending on what you consider to be spoilers, potential spoilers ahead]

The movie has a slow but consistent pace, except for a small patch that describes passage of time. Every character eases into the story gracefully. Every character (almost) is quite real. I did feel that the Robin Wright was wasted on a very small role that didn’t have any meat – and since I do not understand the logic or the politics of the casting concept, I will let that go. I had mentioned this issue in my review of Inception.

The movie starts with a quote by Mickey Mantle, “It’s unbelievable how much you don’t know about the game you’ve been playing all your life.” While the movie itself is about baseball, there are subtle layers of human strength and weaknesses. You may have heard the quote – “Winners don’t do different things. They do things differently.” This movie is about that. In fact, while difficult to let go of the baseball theme, it would serve as a good film on management thinking.

Over all, a good watch, worth going to the theatre for and even owning a DVD.

The Dirty Picture (2011)

At the end of it, I felt that The Dirty Picture belongs in the trash.

And if you haven’t seen the film and are looking forward to see it because it is based on the life and times of Silk Smitha, don’t. It is not. The movie begins with a disclaimer that it is a work of fiction.

Rumour and chatter has it that it is indeed (loosely?) based on the life and times of Silk Smitha. In an interview on TV, the writer says, that Ekta Kapoor wanted to make a movie about the underbelly of the film industry in the 80s.

To my mind it is a cheap, crowd-pulling, movie jammed with “sexy” scenes. A few scenes to that effect, would have given the audience an idea of the lead character’s profession, but no – the “sexy” scenes had to continue right to a few moments before the end of the film. The camerawork reinforces this with repeated close-up cleavage shots. Perhaps, close-ups of the actress’ face, would have helped us see some emotion? It is also not a movie about the underbelly of the film industry in the 80s. If it was supposed to be the ‘exposure’ of the underbelly, then for sure, the movie has lost its focus. If it was indeed about the underbelly, the lead character, definitely was the primary stomach content. Ekta Kapoor had an in-house subject matter expert, who worked in enough films in the south. Apparently, they did not consult him. It is not about the lead character, because we never get an insight into that character. Most dialogues are frivolous and misplaced. If you had to glean personality from the dialogues, all you could be sure was that she is a wordsmith. The dialogues are clever, in some instances, but that is all they are. What little insight you are provided is via Emraan Hashmi’s bad diction voiceover.

The performances are slightly above average, at best. Vidya Balan plays her strength: good diction, clarity, and delivery – the dialogues were in her favour. The rest of the film, however, doesn’t provide her a good support. She still does well. Naseer-saab probably underplayed – but it worked against him. The sharp Hindi dialogues did not work with the distinct south-Indian context of the movie – at all. For anyone. It feels dubbed, at most places. Anju Mahendru, for some reason reminded me of the Neeta’s Natter “logo” from Stardust. Small role, but good job. I’ll save your time and not talk about the performances by the others.

The music is a big disappointment – music in the movies of the 80s, whatever their character and content, was memorable. Think Himmatwala (1983)

The art direction was a bit mixed up, I feel. The costumes seemed to be in a moral dilemma to belong to the current decade, while being representative of the eighties. If I am not mistaken, there’s a fleeting shot of a packet of KS condoms – which were definitely not around in the 80s. But then, in all fairness, if they had shown Nirodh, the younger generation would not have understood the context of that scene. And, I believe, it was free then.

The worst part of it all is how Balaji Films has, unofficially, used Silk Smitha’s name to promote the film.

Inception (2010)

I think there is only one reason why Inception failed to impress me. It had nothing to do with the film – it had all to do with the brouhaha that surrounded the film when it was released. There may be potential spoilers ahead, but who cares – everyone has seen the movie – everyone has seemingly forgotten it.

In short, I was slightly unimpressed, to put it lightly.

If this film was released earlier, I would have squarely blamed it on Leonardo DiCaprio. But after watching Blood Diamond and The Departed, I’d refrain from blaming him solely for the failure of a film.

Inception, in spite of why you all liked it – created multiple levels of complexity without taking the time (footage) to create an experience. Think, The Matrix. We are talking dreams, aren’t we? We are talking of concepts here – which brings me back to a movie called Honey, I Shrunk the Kids or Flubber. Inception is The Matrix meets The Butterfly Effect meets hyper-layered story-telling

Concepts in these films were simple, they were easily cleared in about three minutes, and the rest of the experience of the movie was based on the automatic acceptance of the audience of that experience. The Matrix (not the trilogy), is an exception, of sorts. It took longer than three minutes to state the premise, before it started building on it. Inception missed that. Each stage of acceptance required some sort of a gating experience, before we could relate to the incident. Such conceptual films require a compelling statement of suspension of belief. That, is where, I think, the movie failed.

Pete Postlethwaite, who I admire to no end and Michael Caine have been terribly wasted in this film – I’ll not be a judge of why they took up these roles. If you need an actor who is wrapped up in tubes and lays on a bed all through the film, with just one dialogue, if at all, you are better off, saving money for the producers by taking someone less expensive.

I must say, I am surprised at a certain few folks I know, who have been raving about the film. It is perhaps that they have to pay respects to Mr. Nolan, for what he has achieved before Inception. They have been enamoured more by the artist than the art itself. It is a pleasure to watch the film for what it is. Be sure to have all your senses and few more, wide awake when you watch this film. It is good craftsmanship. But to say it is anywhere close to a paradigm shift (or any other elite adjectival phrases that you’d like to attribute to the film), is pushing it. Ellen page is extremely unconvincing as a 13-year old (maybe, a bit older) who understands the intricacies of extraction and inception. Ken Watanabe and Tom Hardy give some credence to the performances. DiCaprio is hesitant and out of character. Nowhere close to what he is capable of.

Dabangg (2010)

This review is a bit difficult to write. The paradigm to watch this movie has already been set. And nearly everyone I know has endorsed this paradigm. Watch it in a single screen theatre, whistle, dance, and enjoy the mindless entertainment. I do insist on folks not telling me the story or the context of a movie before I see it. There is a good reason; it affects the objectivity with which you watch a movie.

Nevertheless, that’s what the movie is all about. There’s the review.

People have said things like this movie is now setting the standard; I am not sure how. Violating laws of physics and the limit of enduring pain have been a common feature in Bollywood films, though less common than it has been used in the South. This device has been prominent for a while now. From Amitabh Bachchan to Mithun Chakraborty to Govinda to Salman Khan. Dabangg (2010) has not necessarily used this device for the first time. The larger-than-life image of the protagonist has been the most successful for Indian movies, so I fail to see anything spectacularly different that Dabangg has done, in the use of this device. What it has done, if at all, is that it has revived this device after a considerable gap. To my mind, however, there is perhaps another reason why this has appealed to the otherwise intellectual movie-goers – the ones who like movies in the genre of The Transporter (any of the three) or Shoot ‘Em Up (2007).

It’s the quality of production and the manner of presentation.

These Hollywood films are equally mindless and use the same device. With some application of the Coleridgian concept of “willful suspension of disbelief,” the use of this device is quite entertaining. Earlier Indian movies, with their lack of quality of production, made the intellectual movie-goer drop this suspension and deride the fantasy. With Dabangg, you are able to sustain the suspension of your disbelief.

And this quality is apparent throughout the craft – cinematography, the editing, the music. The flagship song is reason enough to pull you to the theatre. Performance doesn’t count heavy in such a film – so I’ll not make a note of that.

This movie is all about presentation. See it, for that.

Raavan (2010)

If I have a choice, give me Isha Sharvani in Kisna over Aishwarya Rai in Raavan. At least Isha does real gymnastics.

And if you have a choice (I am addressing the casting directors, here) please do not cast her in any film. If you do have to cast for any reason, please make sure she doesn’t dance. And for any reason, if you cannot stop her from dancing, please, please, do not make her shriek! Give her the role of a mute.

I have no idea if Raavan is a good film, I was under huge mental stress the moment she stepped in the frame. It didn’t matter what she did (or not), but I was completely unable to concentrate on anything due to a high level of stress watching her dance (I checked; they call what she does dance; they should have a different name for it, just to avoid confusion) or watch her shriek. But then everybody was shrieking in the film.

That’s the only thing that I noticed. Apart from the shrieking.

Jogwa (2009)

I’ve said it before and I’ll say it again. Marathi cinema is coming of age and Jogwa is a shining example.

Jogwa is a story based on the superstitious principle of enslaving men and (mostly) women to the service of God or a Goddess. This unfortunate practice continues to this date. In fact, I was at the temple of Yellamma (the Goddess) this March. It didn’t strike me then, about this practice, though I saw these people in the temple vicinity.

Jogwa can be a very disturbing movie. If you are like me, the kind who is city-bred and most of our knowledge is theoretical, it can be an almost shocking experience. For one, it is about a disturbing practice in our society, secondly, it is a very intense narrative. Importantly though, it has extraordinarily powerful performances. Needless to say, the most powerful performance is by Upendra Limaye. Mukta Barve’s performance is also impressive. Vinay Apte delivers very well, unlike his presentation in Raajneeti (Review).

One happy surprise of the movie is Kishore Kadam. He is proving to be the perfect part in stories like these (he has delivered very well in Natarang (Review Pending) to the same effect) where he provides just the right amount of tension that certain characters in a story create. The character that is both black and white but neither, yet not grey. A character that humanises the story. Very few are able to play this part – I think Kishore Kadam does this with ease. It will be interesting to see if there are any more flowers in his bouquet.

The execution and production values are very good. Though I’ll admit there is a Santosh-Sivan-like ghost that haunts the cinematography and most of the movie uses high-contrast and high-saturation. Why do most Marathi movies occur in the Sahyadris in the Monsoon or just after it? I’d like to believe that a high-level of de-saturation would have intensified the performances. The bright and rich colours seem to betray a need to soften the impact that this film can have on you.

Even the bright colours however, could do little to hit you in the head with a hammer, the way the movie does. To call this a serious film would be an understatement. If you get affected by a raw presentation of social issues, you may want to opt-out. I’d however recommend it for Limaye’s performance. He is well supported by a some very smart performances by the rest of the cast.