As 2014 comes to an end, we look back at over 80 Marathi films that released during the year and, list some of the filmmakers, who left a significant mark due to either subjects of their films, their sensitivity towards the society, or just the style of their filmmaking.
(5) Rahul Jadhav (Hello Nandan)
Rahul Jadhav did a brilliant job in Hello Nandan by selecting an apt subject for a youth-centric film and combining it with an equally intense performance from his cast and crew. Jadhav’s direction itself took a big leap in the gap of just one film. While his Vijay Aso had appeared to be the work of a first-timer, Hello Nandan looked like the job of a seasoned filmmaker.
He took along AV Prafullachandra to compose the electrifying background score, made best use of his own camera, and didn’t give scope of any lazy moments to editor duo Imran Mahadik and Faizal Mahadik. Hello Nandan was not an extra-ordinary film but Rahul Jadhav at least tried to break away from Marathi cinema’s age-old frames.
(4) Paresh Mokashi (Elizabeth Ekadashi)
After a long gap, Paresh Mokashi came up with another beautiful and heart-winning film in the form of Elizabeth Ekadashi. Having backdrop of the famous vaari in Pandharpur, the film has kids playing the protagonists. In Harishchandrachi Factory, Mokashi has already displayed his mastery of extracting excellent performances from kids. He did it again in his latest film also. Elizabeth Ekadashi is packed with solid performances from all the actors, especially the smaller ones.
Elizabeth Ekadashi is not as great as Harishchandrachi Factory, but it’s undoubtedly a beautiful, intelligent and flawless film. One would certainly struggle to figure out even a single Marathi film of recent times that could stand in line with these two remarkable films.
(3) Kiran Yagnyopavit (Salaam)
After Taaryanche Bait, filmmaker Kiran Yagnopavit has once again tried to look at sensitive issues through children’s point of view. Salaam talks about friendship, humanity, imminent uncertainties and also the philosophy of life; in a very interesting manner. Yagnopavit’s script is balanced and has an interesting flow and pace that keeps the audience engaged with the story and its characters. The director should be credited for holding high the Army’s respect and at the same time highlighting in a very touching way that cops too perform an equally responsible and life-threatening duties for the nation. Salaam to you Mr Kiran Yagnopavit!
(2) Nagraj Manjule (Fandry)
Fandry has won numerous appreciations. But what makes Nagraj Manjule stand taller among the league of new-age filmmakers is his courage to make a film on a highly important issue of social discrimination that still prevails in the society of humans. At the time when Marathi filmmakers are fighting to prove their worth at the box office; Manjule lived the saying ‘Act Local, Think Global’ by rooting his story in a small hamlet but making the film that could win the international audiences.
The beauty of Nagraj Manjule’s this debut film is that it never imitates any other work. Instead, it establishes itself as an independent, original and raw creation. The director has made a no-nonsense and meaningful film as he holds a mirror in front of our faces showing some disturbing facts of our society.
(1) Abhijit Panse (Rege)
Rarely it happens that a first-time director makes a film that forces the audience to wonder as what they have been watching till now, and it also compels other filmmakers to introspect as what they have been making so far? Yes, Abhijit Panse debuted as a director with a same kind of film titled Rege, the most powerful Marathi film ever in terms of content and the style of filmmaking.
Marathi cinema has never witnessed the kind of detailing, scripting and technical expertise that Abhijit Panse used in his film. No other Marathi film has ever been so bold in showing the stark realities of underworld, police, politics, glamour and judiciary. With his brilliant debut film itself, Abhijit Panse has separated himself from the entire league of today’s Marathi filmmakers.