Almost every second film shows that our politicians are corrupt and opportunists. Very few films tell about the shrewd plans and modus operandi of these politicians that actually affects the lives of voters and poor party workers. Every politician has a loyal force of uneducated and directionless youth, who work round the clock to ensure their leader remains a hero. These dedicated workers execute plans, organize mob for rallies and demonstrations, and also influence the voters. But they don’t have any idea that they are being used against themselves and their own people.
Vijay Aso focuses on this important issue very courageously. The film doesn’t limit itself at just educating the voters; rather it hits the bull’s eye by focusing on exploitation of that loyal force of misguided youth, the real strength of fraud politicians.
Vijay Aso has a good story with a good subject. The story has no sub-plots and therefore it never skids from its point. Even the love-and-hate relationship between Shankar and Shaku never overpowers the film’s mood. Director Rahul Jadhav does a commendable job by bringing out excellent performances from all the actors. Rahul’s command over the team and understanding of the subject is visible in Vijay Aso. Music director Amitraj’s score suitably compliments the screenplay while the editing by Imran Mahadik and Faisal Mahadik maintains the needed pace.
The film gets a very strong support from remarkable performances by all the actors. The experienced Murli Sharma and Ganesh Yadav have given almost flawless performances even as their presence gives an extra weight to Vijay Aso. Murli plays a Maharashtrian leader with a great ease, while Ganesh as a journalist gets to voice some impressive dialogues. Chinmay Mandlekar successfully portrays the different shades of Shankar Gawde while Namrata Gaikwad looks beautiful as Shaku and leaves a mark as an actress. Kedar Shinde, Amita Khopkar, Janardan Parab and all other actors deserve appreciation.
Vijay Aso, however, also carries its part of errors. There are a couple of continuity goof ups. For example, during the item song at a dance bar, Shankar is shown riding his motorbike in the night, but in the next scene, when he reaches to rescue Jadhav’s younger brother, it’s the day time. Knowing that Rahul Jadhav is a very experienced and talented cinematographer, it’s also surprising to see that the camera irritates at a few shots. The most irritating thing was the chanting of ‘Aaova Aaova’. It must have been strictly avoided.
The influence of South cinema during the first 10 minutes gives some scary feeling, but thankfully it ends at the beginning only. Chinmay is a writer of very good caliber, therefore it is obvious to have huge expectations from his scripts. However, it seems that here he has missed the opportunity to make the story more authentic and matured.
But despite these negligible and behind-the-scene issues, Vijay Aso is definitely a watchable film. It tells us that the modern Marathi filmmakers want to serve something sensible to the younger generation. The Marathi audience should now start appreciating such good films by watching them in cinema halls. Because Vijay Aso is anytime better than the recent Bollywood flicks like Khiladi 786 and Dabangg 2.