Review: One and Three Quarters by Shrikant Bojewar
The protagonist, Langdya Pitambar, has flunked grade seven for the third time. Langdya – named so because of his prominent limp - wants to ensure that his father Ajabrao does not learn about his failure from Gengane-master, his mathematics teacher, at their nightly drinking adda. Pondering over ways to tamper with his mark sheet and escape his drunk father's wrath, he has a brainwave when he spots the newly appointed rather beautiful music teacher, Mrs Alaknanda Deshpande, heading towards a 400-year-old mud fortress in the village as the sun is setting. Landgya alerts two rival teachers, Gengane-master and Habib Sir. They take positions, Gengane-master hoping to catch Habib Sir red-handed and vice versa. However, it is Langdya who catches Mrs Deshpande and Dhamale-sir, the school principal, in a compromising position.
154pp, ₹399; Westland Books (Eka)
This sets off a chain of events and the tables are turned in Landgya's favour. Fearing an expose from Langdya, Dhamale-sir tells him not to waste his time in Grade 7 and allows him to appear for his matriculate examination, which he miraculously passes with 39 percent. Overnight, Langdya's limp becomes less prominent and he becomes the school principal's favourite student.
He exploits the situation to the maximum, knowing fully well that any proposal which has Mrs Deshpande at the heart of it, would be readily accepted by the principal. Then, a casual comment by a local paan-chewing journalist becomes his mantra: 'The marks you get in school have little relevance to life. What matters is how you fare in the school of life. That's what counts.'
Giving up all efforts to excel in school, the shrewd Langdya becomes an 'important person' - first in his school and then in his village. He is spotted by the local MLA, and then riding piggy-back on him, reaches the Mantralaya in Mumbai, becoming a much-sought after 'dalal' (middleman) in the corridors of power. By then, he is no longer referred to as Langdya, but as Pitambar-ji, the man in spotless white clothes, with the best mannerisms and a confidence that most MLAs and ministers lack. He becomes a 'catalyst' of change. Or so he likes to describe himself.
However, it is not his talent alone that leads to his meteoric rise. His unusual journey is facilitated by a tomcat called Latthya. It is Latthya who changes Langdya's destiny – consolidating his reputation of 'only Pitambar can do this job'. To stress Langdya's conspiratorial powers, Bojewar writes: 'Godfather is a movie that Langdya may not have seen. But he adopted its famous dialogue, 'I will make him an offer he can't refuse.''
A hitherto cat-hating Langdya, who despised them even more if they were black and crossed his path, mysteriously begins to understand Latthya's meows, and both develop a shared understanding. Whenever Langdya's magical powers fail, Latthya waves his magic wand. He dutifully brings his master political gossip and the big scoops. In return, he gets chicken and fish treats for dinner.
Bojewar takes this social satire, which captures the moral decrepitude of society, up a notch with every turn of the page. His vivid details bring to life the littlest manoeuvrings at cat-addas in remote bylanes, which are 'a sucker for gossip and local politics', and the human-addas such as the village bar and the Mumbai Secretariat. The author compares the politicians at Mantralaya to laboratory frogs in a school – of different sizes but when dissected their internal organs are the same. Nothing escapes the author's eye.
He deftly outlines human and feline values and reminds readers how animals are a lot fairer in their dealings than humankind. Though both Langdya and Latthya are fixers, it is only Latthya who feels a great deal of guilt when he crosses a line. In Mumbai, Latthya makes it a point to not mix around too much as he didn't want any cat to 'propose to him'. After the death of the love of his life, Ghaari, Latthya had taken an oath to remain alone for the rest of his life and breaking oaths was 'a human trait'.
It isn't easy to read this novella with a straight face. The quiet chuckles soon change into laugh-out-loud moments. One such moment comes when Pandurang, the local MLA, lands a ministerial post thanks to Langdya and Latthya. Baffled at his new position, he asks Langdya, 'What does this ministry do, Pitambar?' When a film delegation from Bollywood arrives to meet the minister, who, in his previous avatar, had owned grocery stones, he is smitten by an actor and compares her silky strands of hair to well-cooked grains of basmati rice that don't stick together.
Author Shrikant Bojewar (Courtesy the publisher)
And when a local Marathi film delegation visits the minister and raises the problems that plague Marathi cinema due to lack of grants, he says, 'All I can advise you is that if the shop doesn't make a profit, one must shut it down. If Marathi films don't make money, don't produce them. I can assure you that the government will not penalise you.'
Bojewar has been a journalist for 32 years, and has been writing political satire for 23 years. This novel, originally written in Marathi as Pavane Don Payancha Manus, which won the Baba Padmanji award, has been translated by Vikrant Pande. Pande has successfully retained the essence of the novel, which must have been a challenging task. Bojewar's prose is deceptively simple and unadorned and his understanding of the human and the feline worlds is unsettling. A delightful read, One and Three Quarters is highly recommended.
Lamat R Hasan is an independent journalist. She lives in New Delhi.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
India Today
a day ago
- India Today
Why Rajinikanth's Coolie is Lokesh Kanagaraj's weakest film in his filmography
Director Lokesh Kanagaraj has established himself as one of Tamil cinema's most promising directors, delivering a string of critically acclaimed and commercially successful films. From the breakout hit 'Maanagaram' to the gripping 'Master' and the ambitious 'Vikram', Kanagaraj has consistently delivered films that blend sharp storytelling with his signature cinematic his latest offering 'Coolie', starring superstar Rajinikanth, marks a significant departure from his usual standards and emerges as arguably his weakest offering to film generated massive expectations, thanks to the collaboration between Rajinikanth and Lokesh Kanagaraj. Even the trademark Lokesh elements that made him a promising director failed him in 'Coolie'. In this detailed piece, we discuss of Solid StorylineThe most glaring weakness in 'Coolie' is its foundational flaw - the absence of a coherent and engaging storyline. Unlike Kanagaraj's previous films that were built on a solid non-linear narrative, 'Coolie' felt like a collection of scenes stitched together without story fails to establish clear stakes or provide audiences with a reason to invest emotionally in the proceedings. In the spectacularly made flashback with the de-ageing technique, Rajinikanth's Deva says that he would be there for the coolie. If that was the intention, why was he silent for 30 years when the workers were suffering at the hands of Simon and his family? This narrative confusion extends to character motivations, which remain unclear throughout the film. Except for Dayalan (Soubin Shahir), Kalyani (Rachitha Ram) and Preethi (Shruti Haasan), none of the characters in the ensemble cast have intentions that will properl the story forward. Forget Simon's unidimensional character, Deva's intentions, too, go from avenging his friend Rajasekhar's (Sathyaraj) to fighting for the oppressed of Lokesh Kanagaraj's Tropes'Coolie' suffers heavily from Kanagaraj's overreliance on his established cinematic tropes, which have now become predictable rather than stylish. The director's signature elements - innovative fight sequenced in the backdrop of the 90s songs, non-linear narrative and a dark color palette - feel forced and mechanical in this film rather than organic storytelling tools. In his previous songs, the 90s songs that were used gave them quirky touches. But, the use of 'Loyola College Loyola', which was supposed to elicit applause from the audience, felt flat. The 'Va Va Pakkam Vaa' song worked fairly better than the other film's action choreography, while technically proficient, lacks the freshness that made similar sequences in 'Kaithi' so memorable. Take for example, the character Simon, played by Nagarjuna. He kills and kills people. But, that isn't the only character trait that should make him menacing. However, we are told that Simon is menacing, but never really given reasons to believe Crisis: Rajinikanth Film or Lokesh Kanagaraj Film?Rajinikanth's films are usually mass entertainers. It is almost impossible to make a full-fledged, content-driven film about a legend without playing to the gallery. But, young filmmakers and their inventive storytelling need to balance story and stardom and make a delightful the most fundamental issue plaguing 'Coolie' is that it suffers from an identity crisis - the film can't decide whether it wants to be a typical Rajinikanth mass entertainer or a Lokesh Kanagaraj film. While Rajinikanth gives his all as Deva in 'Coolie', the writing (or the lack of it) fails him. The more you think about 'Coolie', the more glaring the logical errors in the film are. Yes, it is a Rajinikanth film. Which automatically means that we expect all the ingredients of a perfect Thalaivar film, with only little focus on the story. However, the lack of better writing in the second half of 'Coolie' bogs down the film majorly. There are classing Rajinikanth elements, but the presence of Lokesh Kankagaraj's elements hardly had an impact when compared to his previous Many Sub-plots That Are Hardly Fleshed Out'Coolie' introduces numerous sub-plots without giving any of them adequate development or resolution. The film feels like Kanagaraj attempted to juggle too many story threads simultaneously, resulting in a scattered viewing experience that lacks focus and for instance, Preethi. She is a medical college drop-out, but has the responsibility of mothering her two younger sisters. However, when she is stuck doing favours for Simon, she does what it takes to make ends meet, even if it's ethically and morally against her Soubin's Dayalan and Rachitha Ram's Kalyani become pawns of their problems in need of money. While these morally ambiguous characters have a lot of layers in them, we are never really given backstories to invest completely in their Upendra's Kaleesha, who is severely underutilised. Alright, we get it that he's Deva's right-hand. But, in the present, he is either locked up in a room or standing behind Rajinikanth waiting for his instructions. Aamir Khan's Daaha is yet another addition that hardly makes an impact. While it reminds us of a Rolex-like climax from 'Vikram', it hardly adds value to the story, as is the case of Kaleesha. When a film leaves you with more questions than answers, it is an indication of a weak screenplay. And 'Coolie' is receiving polarising reactions because of this very narrative overcrowding ultimately undermines the film's emotional impact. Audiences never get the chance to fully invest in any single storyline because the film keeps jumping between different 'Master' and 'Leo' - both are successful ventures - had criticisms of the narrative, they had a solid emotional core and interesting characters that keep you invested. 'Coolie' lacked both and, hence, is more unimpressive and disappointing.'Coolie' represents a rare misstep for Lokesh Kanagaraj, a director who has otherwise shown remarkable consistency in his filmography. While the film isn't without its moments of brilliance, it falls short of the standards set by his previous works.- EndsTune InTrending Reel
Time of India
a day ago
- Time of India
Raghava Lawrence retrieves pledged mangalsutra, continues to win hearts with acts of compassion
Chennai, Aug 18 (IANS)Actor Raghava Lawrence, who recently helped a man who had to pledge his late wife's mangalsutra to fund his daughter's education, has now said that his heart was truly full. Actor Raghava Lawrence , who recently helped a man who had to pledge his late wife's mangalsutra to fund his daughter's education, has now said that his heart was truly full. The actor, who is known for lending a helping hand to the poor and financially weak through his movement Maatram, recently chose to retrieve the gold mangalsutra that a poor father had pledged in order to pay the college fees of his daughter. Taking to his X timeline to share the development, he wrote, "Hi everyone! I came across a story about a father who had pawned his late wife's thali to pay for his daughter's education. This touched me deeply, because my own family once went through a similar struggle. Through Maatram, I was able to retrieve the thali and return it to him. It was not just gold, but a precious memory of his beloved wife. My heart is truly full today. #Maatram #serviceisgod" This isn't the first time the actor has been seen lending a helping hand. Last year, the actor bought 10 tractors and distributed it to poor villages all across the state for the benefit of poor farmers. Several poor farmers from the state who stood to benefit from the free tractors that actor Raghava Lawrence had donated to them last year expressed their gratitude to him this year by coming in person and gifting him a portion of their produce. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Could This NEW Collagen Blend Finally Reduce Your Cellulite? Vitauthority Learn More Undo The actor, director and producer had taken to his 0X timeline to share this news earlier this year. He had then said, "Hi friends and fans, You are all aware that I handed over 10 tractors to farmers through the Maatram Foundation with my own money. The farmers called me and wanted to bring all the grains and vegetables they farmed using the tractors. My heart feels so full to receive it from their hands and I wish to contribute more for farmers in the future.#Serviceisgod #Mattram." He also posted a video clip of the farmers meeting him with their produce. Some of the farmers who had come to greet the actor were also seen speaking in the video clip. One farmer said, "The tractor that Master(Raghava Lawrence is also referred to as Master as he was a dance choreographer before turning actor)came and gave us last year was not just beneficial to us but to every poor farmer around us. The entire village thought that we should present what we produced using the tractor to the master as a gift." Another young farmer pointed out that each of the tractors that he presented cost Rs 10 lakhs while a woman farmer expressed the wish that the actor must present many more such tractors to farmers across the state. "Get the latest updates on Times of India, including reviews of the movie Coolie and War 2 ."
Hans India
2 days ago
- Hans India
Gouri Kishan's character in medical crime thriller 'Others' revealed
Chennai: The makers of director Abin Hariharan's upcoming medical crime thriller 'Others', on Sunday chose to mark the birthday of the film's lead actress Gouri Kishan by announcing the name of the character she plays in the film. On Sunday, the production house Grand Pictures, which is producing the film, released a poster of the actress from the film in which it disclosed that the actress plays a character called Dr Madhumitha. In fact, the first look of Others showed debutant actor Aditya Madhavan as a resolute police officer and Gouri G. Kishan, known for her roles in 96 and Master, as a doctor in the film. However, their character names had then not been disclosed. Apart from Aditya Madhavan and Gouri Kishan, the film, which has triggered immense curiousity among fans and film buffs, will feature a host of actors including Anju Kurian, Munishkanth, Harish Perady, Mala Parvathy, Jagan, and R. Sundarrajan in pivotal roles. The film's arresting visuals have been crafted by acclaimed cinematographer Aravinnd Singh, renowned for his work in Demonte Colony. Adding depth to the narrative will be the music of celebrated music composer Ghibran, who is best known for having scored music for superhits such as Theeran Adhigaaram Ondru. The lyrics, penned by Mohan Rajan—known for chart-topping albums like Tourist Family, Lover, and Lubber Pandhu— are likely to elevate the project further. Editor Ramar, who has shaped cinematic gems like Vetrimaaran's Asuran and Viduthalai, will be seen bringing his expertise to the editing table in this film, which is being shot on meticulously designed sets by Uma Shanker. Produced by Murali of Grand Pictures and co-produced by Kartik G, Others is an ambitious medical thriller filmed entirely in Chennai and its outskirts. The makers are gearing up for a grand theatrical release in September.
