टिंग्या

ऑस्कर साठी चर्चिला गेला असल्याने श्वासप्रमाणे अपेक्षा ठेऊन मंगेश हडवळेंचा टिंग्या बघायला घेतला. ज्वलंत विषय, उत्तम स्थळ निवड, चपखल भाषा, खोलवर उतरणारे पार्श्वगीत तसेच योग्य वातवरण निर्मिती मुळे पहिल्या पाच-दहा मिनिटात या अपेक्षा अजूनच वाढू लागतात. परंतू दुर्दैवाने चित्रपट पुढे सरकने हळूहळू बंद पडते की काय येवढा संथ होतो. काही वेळाने तर पुढे काय घडणार, कशा प्रकारचे संवाद ऐकायला मिळणार याचा सुद्धा अंदाज बांधता येऊ लागतो. अन टिंग्या ऑस्कर साठी का निवडला गेला नाही याची एक एक करत कारणे समोर येऊ लागतात.

शरद गोयेकर या बालकलाकाराने टिंग्याच्या व्यक्तिमत्वाला खूप चांगला न्याय दिला आहे. निरागस खेडवळ भाषा, बोलके डोळे, तुडतुडीत देहयष्टी व कमालीची भेदक संवादफेक यामुळे तो तारे जमीं पर च्या दर्शील सफारी पेक्षाही उजवा ठरला आहे. तरण्णून पठाण व अजित गावंडे या बालकलाकांचे कामही सफायीदार झाले आहे. पण बाकी कलाकार निवड कथेला न्याय न देणारी आहे. कर्जबाजारी व कष्टकरी शेतकर्‍याच्या भुमिकेत सुनिल देव टिंग्याचा बाप केवळ देहयष्टीनेच नव्हे तर चित्रपटाच्या आशयामुळे सुद्धा वाटत नाही. डोळे बंद करुन तुम्ही पाहिलेले, तुमच्या माहितीतले कर्जबाजारी अल्पभूधारक शेतकरी आठवा व पुन्हा या कलाकाराच्या देहयष्टीकडे बघा म्हणजे मग मी काय म्हणतो आहे ते समजेल. गाल बसलेले आहेत? डोळे खोल चिंतेत आहेत? पोट पाठीला चिटकलेले आहे? नव्हे ना? म्हणून तर हे पात्र कथेला शोभत नाही. टिंग्याची आई, तसेच शेजारच्या कुटुंबातील प्रमुख पात्रे काही कमतरता सोडता बर्‍यापैकी चांगली जमली आहेत.

आता कथे बद्दल. कथेचा गाभा आहे एका मुलाचे त्याच्या बैलावरील प्रेम व त्याला या प्रेमाला मुकायला लावणारी त्याच्या कर्जबाजारी शेतकरी बापाची हालाखिची परिस्थिती. ही कथा दोन-तीन तास धगधगत जिवंत ठेवायला पुरेशी आहे. पण दिग्दर्शकाने अवास्तव व असंबद्ध विषय विनाकारण मध्ये आणून ताणले आहेत. जसे की मुंबईत दंगल सुरु असल्याने शेजार्‍याचा भाऊ तिकडे आडकला असल्याची घटना ही कथेचा केंद्रबिंदू असणार्‍या शेतकर्‍याला होणारा कर्जाचा तगादा या घटनेपेक्षा कितीपरी प्रखर करण्याचा प्रयत्न केला आहे. सावकार म्हणजे अगदी मनमोकळा माणूस आहे व हा कर्जबाजारी शेतकरी कसल्याही तगाद्यविना ते कर्ज फेडता येत नाही म्हणून जीवन संपवायला निघाला आहे हे पचने जरा जड होते. एक शेतकरी कुटुंबात वाढलेला असल्याने मला तरी असे वाटते की दिग्दर्शकाला हा भाग हाताळताच आलेला नाही. बैलाला विकण्याचा भाग मात्र फार छान जमवला आहे. कथेचा जास्त संबंध नसतानाही उगीच एका भटाच्या माध्यमातून हिंदूंच्या भक्तिप्रकारावर ताशेरे ओढलेले आहेत तर मुस्लिम धर्मावर जास्त श्रद्धा असल्याचा भाव निर्माण केला आहे. पिडीत शेतकरी भक्तिभावाने अंगारा आणन्यासाठी देवळात जातो तेव्हा भट समोरच्या नदीत धुणे धुणार्‍या बाईसोबत चावट नजरा नजरी करत असतो. मात्र त्याच वेळी मुस्लिम शेजारणीने ताईत देण्याची घटना खूप आदराने सादर केली आहे. यामुळे कथेला राजकारणाचा पिंड मिळाल्या सारखा वाटतो.

पार्श्वसंगित सुरुवातीला घेतलेला पगडा टाकून देऊन शेवटी शेवटी रटाळ वाटू लागते. "माझं आभाळ तुला घे, तुझं आभाळ मला दे" हे तेच तेच ऐकवत ऐकवत चित्रपटाचे पार्श्वसंगित गुंडाळले आहे. चित्रिकरण मात्र चांगले झाले आहे. कोठेही विसंगती नाही वा चकचकाट दाखवण्याच्या मागे लागून मूळ स्थळांपासून दूर रम्य स्थळे दखवून सवंगपणा आणलेला नाही.

चित्रपटाचा शेवट काय होणार याची झलक सुरुवातीच्या दोन्-चार मिनिटांत दाखवलेली असल्याने शेवट कळलेला असतोच. परंतू दिग्दर्शकाने विषेश लक्ष घालून शेवटचा भाग बनवताना ताळमेळ घातलेला असल्याने शेवटच्या टप्प्यात चित्रपट पुन्हा रुळावर येतो व शेवट गोड होतो.

टीप:
हा लेख येथे पूर्व प्रकाशित केलेला आहे.

Jodhaa Akbar - Beautiful Fiction

Can you present desert of Saudi as land of lakes, gardens and parks? But money and talent can make miracles. That’s what Ashutosh Gowarikar’s latest bollywood blockbuster “Jodhaa-Akbar” is. This movie’s box office collections are soaring every day and it could be one of the biggest bollywood super hits of 2008. It’s beautiful movie indeed.

Ashutosh Gowarikar didn’t short fund the movie on any of the aspects. Its set’s are rich and real, direction is wonderful, choreography is awesome, picturisation is amazing and music is outstanding. For a while Gowarikar’s direction makes us believe that the cast can not be more perfect than this. Movie begins with the background preparation in the form of wars that have been directed to Hollywood quality and one must accept that it is entertaining for the viewers who want Hollywood-like war movies from Indian industry. The movie starts with good pace and it is maintained through out till the end. The entry to climax settings for main casts of Hritik and Aishwarya are just perfect and entertaining. Hritik Roshan has conquered one more milestone as fine actor in the role of historical characters though this movie. Both Hritik and Aishwarya have exceeded the expectations while helping bring Jodhaa-Akbar very close to the Hollywood quality as well.



A R Rahman is once again exceptional through this movie. The song “Azeem-O-Shaan Shahenshah”, on which Gowarikar reported 37 crore spending, is well justified by Rahman. The other songs as well as instrumentals are melodious, too. The background sound is crisp and fresh.

The movie had a challenge of showing the political turmoil, which would become subjects to numerous such movies independently, and the so called love story of this movie. This challenge is successfully showcased in the fast flowing story which shows glimpse of complicated relations among the Rajput kings and even internal family disputes. In the background of this there a love story takes births and reaches to the height half way through the movie. Then there are tests for both the lovers which they pass in polished bollywood style. Gowarikar has put tasty mirch-masala which he admits saying seventy five percent of the events showed in movie are imaginary.

All well presented but still the movie doesn’t get deeper into the heart. Indian public has in impression that Akbar was mildest in cruelty among the Moghals who are regarded as one of the bloodiest emperor of the world. But the public might raise the question about the love story for which many historians do not recognize at all. Then in addition, it was same Akbar who fought a war with his own son against his love marriage proposal. Then it’s natural for even most dumb person on this earth to digest it was a true love story beyond political alliance, that too of a Moghal emperor who had thousands of women locked behind the huge palace walls merely for his entertainment and lust.

Hence it feels like a beautiful mansion without any base.

In the event this movie is hit on the base of its entertainment package, it will for sure help create a soft corner for the bloodiest rulers for whom generations of Indians, especially Hindus, never pardoned for their heinous deeds.

Taare Zameen Par (Must Watch)

If you want to pick only one movie and show it to current Indian public, it's Taare Zameen Par. British established education system to produce Brown skinned Englishmen to serve the empire during their colonial rule in India. They did not want this workers to think or imagine innovatively. Unfortunately the same education system is not only intact but flourishing in today's modern India. Very few parents are aware of their children's complete growth in the area of their interest while letting their imagination power work innovatively.

But dont misunderstand, this movie is not an art film or a training class either. It's a full fledged commercial movie with complete entertainment for a family. But unlike other bollywood movies you walk out of theaters with a proper mental attitude towards child development and education if you didn't had one.

Master Darsheel Safary has been extra ordinary playing role of a child suffering from dyslexia while struggling with the cruel world around. He picks your attention right from the shot one in the movie up to the extent that you wont even realize that Amir Khan is not on the screen for the first good half of the movie. Not only this child actor but the whole cast and crew is just perfect. The family and school set up is just natural and full with all day today characters a child may "face" in a big Indian city. A child who has difficulties in reading, and spelling and whose world is filled with amazing wonders of colours, fish, dogs and kites, is systematically abused by the current social system under the name of discipline, education and life readiness. Forget about even remotely appreciating his talent, his teachers and even parents (particularly father) scold and beat him from time to time.

And then comes an art teacher in Ishaan Awasthi's life. Ram Shankar Nikumbh, played by Aamir Khan, gets interested in this child because of his abnormal behavior. He digs down the life of Ishaan only to find himself in it. And then starts a journey to bring back this child into the normal life.

The soundtrack of the movie is catchy and cool. The trio, Shankar-Ehsaan-Loy has produced melodious songs with lyrics by Prasoon Joshi.
Amol Gupte's story line is perfectly canvased on the film under the banner or Amir Khan who is not only producer and actor for this film but a director, too. It would not be hypocrisy to say that Mr Perfect Khan has done the work which many government or social programs can't do at times. No wonder if the government has made it tax free. If taken seriously, this film has teachings and power that may ignite the educational transformation in the country.

Halla Bol (First tragedy of 2008)

The first most awaited film of this year (2008) is out in theaters in the form of Rajkumar Santoshi's Halla Bol. If you are planning to watch it, wait a moment. First try eating bhel-puri made with saambar-masala and then watch it so that you wont get disappointed much. Decide what you want to watch. If you want to see some good acting, its there with master class Ajay Devgan and Pakaj Kapur.
Ajay has exceeded what director might have expected from him. Not only his expressions and voice but also his composure, dialogues and body language is perfect for, Sameer Khan, reckless superstar who returns to his self in the later part of the movie. Sameer Khan's guru is a Sikh dacoit reformed into street theatre group owner and Pankaj Kapur has got into the role perfectly. The veteran actor has brought life to the script and up to some extent balanced one man show that would otherwise be just Devgan show. But that's it from acting. Be ready to ignore Vidya Balan who has no role to play and also Darshan Jariwala who has played a lifeless negative Marathi (Hindu) leader's role. Specially Darshan Jariwala has not justified his noticeable role he could have cashed for his future. Its pathetic to see his pronunciations of very common Marathi dialogues. Other cast are also average. Guest appearances of a dozen real life characters including Karina Kapoor, Tushar Kapoor, Jockie Shroff and Sridevi is one more marketing tactic that might help advertise this movie.

From the story line, one can clearly understand that Rajkumar Santoshi has picked up spices from real life incidents of Salman Khan, Jessica Lal murder case and Amir Khan's Narmada project incidents. But none has brought enough intensity. Efforts of trying to bring religious balance have also failed miserably as Sikh and Muslim characters are all portrayed as great (except one minute shot when Muslim leaders try to lure the hero) while all Hindu activists are in negative role. Santoshi is also confused while handling media as movie starts accusing media initially while it ends up with it's glorification.

Film is backed with average soundtrack as there are not many chances for romantic songs. The song More Haji Piya comes and goes as a cold drink ad while watching a games on TV channel.

Bottom line is you wont get enough frustrated with movie to walk out of theatre in the middle just because of Ajay Devgan and Pankaj Kapur.

Jab We Met

Jab We Met is one of a very few fine movies Bollywood produced in an average year of 2007. This cute love story starts with dull scene when heart broken Aditya Kashyap (Shahid) leaves his girlfriend, who is marrying someone else, and lands up on a train to meet Geet Dhillon (Karina).

Aditya is son of a well known industrialist who's died after a family breakup. Having left the world behind, Aditya has nothing to cheer about while Geet has every reason to celebrate. She wants to run away with her boy friend Anshuman (Tarun Arora) against her family elders' decision of wedding her off with her childhood friend. But the events on the train take them away together while Geet's nonstop engine is telling all about her.

The first one hour of the movie travels with Aditya and Geet from Mumbai to Bhatinda while exciting events keep happening one after another. After reaching Bhatinda, you see a perfect Panjabi environment where director Imtiaz Ali has set up three songs one after another. First song Nagada Baja is melodious Bhangda after which the music intensity has went down.

One night Aditya and Geet run away. Aditya leaves Geet to Anshuman and comes back to Mumbai as a new changed businessman who not only stops his business downfall and raises it up high but also solves his family problems, credit to the teachings from Geet. But all of a sudden Geet's family members attack Aditya assuming he has done something with her as she has disappeared since they left Bhatinda nine months back. Aditya leaves Mumbai to find out what happened to Geet and find her sheltered at a Christian school. Don't ask how a Sikh girl meets a Christean missionaries as its a style or side theme of many bollywood movies now a days. This is only scene in the movie which does not fit the overall environment of the movie. Aditya then tries to bring home Anshuman and Geet which leads to the Bollywood style climax.

Music director Pritam has continued his good form of 2007 while Irshad Kamil's lyrics is just average. Choreographers Ahmed Khan & Saroj Khan have also done quite a sensible job. Along with Shahid Kapoor and Karina Kapoor, rest of the supporting cast, specially Dara Singh as Geet's grandfather is wonderful.

Jab We Met is definitely a love story that would steal hearts of those who are in love!