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JOGWA (2009)ĭirector Rajiv Patil explores a harsh reality of cultural alienation in Jogwa. It finds its place among the best Marathi films of the 21st Century. This is a film that we needed, the one we merited. It just wants to carouse a myth, a legend that brought us, the people at the movies, closer to the craft that we relish the most. It is not a film that is concentrated on recreating an era gone by. The lightness and humor have been treated with the utmost compassion. The film also carries an extraordinary leading performance- Nandu Madhav plays Phalke as the writing supposes him to, but he instils love and affection in his performance as well. In the end, it felt like I just beheld the breakthrough account of my friend on the screen. But that’s what makes him a clever, credible figure. He rises and he falls, he loves and he gets laughed at. Dadasaheb Dhundiraj Phalke, the father of Indian cinema, is a Charlie Chaplin figure here. It works better as a tender ode to the art of storytelling. The debut film of director and writer Paresh Mokashi, Harishchandrachi Factory is not so much a biopic of Dadasaheb Phalke, the man who introduced India to the idea of moving pictures with Raja Harishchandra, the first Indian feature film.
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And it also succeeds to stabilise Jadhav as an efficient storyteller. However, the film makes its point with honesty and utmost clarity. Naseeruddin Shah is offered strange, staunch Urdu verses for his cameo performance. The decision of Yamuna to continue her work could have been handled with a little more empathy.
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However, the last thirty minutes of the film are too trite and melodramatic, which ruins an otherwise powerfully written climax. The cinematography of Amalendu Choudary is the most fascinating aspect of the film- the way it rushes through the characters and the atmosphere is so moving and beautiful to look at at the same time, that the scenes where Yamuna is posturing feel like paragraphs of poetry. The musical compositions by Cyli Khare are consistently innovative and the songs are incredibly timed. Mulay, in particular, delivers an excellent performance as the injured and insubordinate Yamuna. The chemistry of Chhaya Kadam and Kalyanee Mulay as the two leads is exquisite. SIMILAR TO THE BEST MARATHI FILMS OF THE 21ST CENTURY: KESARI REVIEW: AN EXQUISITELY-SHOT YET MIDDLING SPORTS-DRAMA
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The bitter truth of poverty in India and its lack of acceptance for art, which is often termed offensive under the curtain of superficiality and lust, has been cleverly traversed by Ravi and Sachin in their writing. In the end, the work she started for earning her bread and providing education to her son, becomes her coming-of-age journey. Initially disgusted and hesitant, she finds her rhythm in posing for these students. She poses for aspiring painters and sculptors. In Mumbai, she enrolls herself at the JJ School of Arts, working with her aunt as a nude model. She then goes to Mumbai with her son to live with her aunt. Yamuna is an abused housewife who runs away from her small village and toxic husband. Ravi Jadhav dissects the politics of art and comments on the artistic freedom of expression in our country with Nude. In this piece, we curate the best of the 21st-century Marathi cinema. However, in a period of the last five years when the regional-language cinema is getting more acceptance beyond the nation, the Marathi films are soaring once again for the plinth they once owned exclusively. With Mumbai becoming the dominant kernel for the more successful and more extensive cannon of Hindi cinema (or Bollywood), the theatre-oriented Marathi cinema seemed to shrink in size before the titan. The Marathi cinema suffered a significant comedown after the 1970s. Marathi cinema also gave Indians the first feature film- Shree Pundalik, directed by Dadasaheb Torne, released on. One of the first pioneers of Marathi cinema, Dr Dadasaheb Phalke, brought the moving images to the audience with Raja Harishchandra, the first Indian silent film, in 1913. The 10 Best Marathi Films of the 21st Century: Marathi cinema has come a long way from introducing the Indian audience to the medium of film.