Latest news with #Marathi-language
NDTV
13-07-2025
- Entertainment
- NDTV
Dhadak Was Ahead Of Its Time, So Was Karan Johar With Ishaan Khatter And Janhvi Kapoor
New Delhi: Five years later, Dhadak, the film that was dismissed as 'just a glossy remake', might have been ahead of its time after all. A boy with a bowl cut. A girl with a smirk that could burn down dynasties. A world that didn't want them together. When Dhadak hit theatres in July 2018, it was sold as a launchpad for two star kids, Janhvi Kapoor and Ishaan Khatter. It had Karan Johar's name on it, Dharma's polish over it, and Zingaat's bass booming beneath it. But behind the gloss, the chiffon, the lake views of Udaipur and the Marwari inflexions, lay a story far grimmer than many expected. Now, with Dhadak 2 's trailer making waves and the promise of a new chapter in the franchise, there's one truth we must acknowledge: Dhadak, for all its imperfections, dared to show us the brutality of caste-based violence and the social rot of honour killings within the framework of a mainstream Bollywood romance. In many ways, it was ahead of its time. A still from Dhadak 2 Why Touching Sairat Was Always Going To Hurt Let's not pretend Dhadak was born in a vacuum. Its DNA can be traced back to Sairat, Nagraj Manjule's 2016 Marathi-language masterpiece. A story of two teenagers, Archie (Rinku Rajguru) and Parshya (Akash Thosar), whose tender love is shattered by the violent realities of casteism, Sairat became the highest-grossing Marathi film of all time. Its rawness, realism and political courage sent ripples across the country. Naturally, any remake would invite comparisons. Brutal ones. Dhadak, helmed by Humpty Sharma Ki Dulhania director Shashank Khaitan, took the same skeleton: a lower-caste boy falls in love with an upper-caste girl, they run away, build a life and are murdered in the name of "honour." But Khaitan transported the story from the dusty fields of rural Maharashtra to the tourist-laden palaces of Udaipur. Archie became Parthavi. Parshya became Madhukar. And with them, realism became romanticism. Or so it seemed. Caste, Class, And That Sudden Ending Dhadak doesn't wear its politics on its sleeve. In fact, that was its biggest criticism. It tiptoes around the word "jaat" (caste), replaces brutal silences with montages and serves heartbreak with a side of designer outfits. But then, the ending comes. Unflinching. Merciless. The "star kids" you spent two hours watching in soft light are slaughtered. A baby toddles into a bloodbath. And just like that, Dhadak stops being a glossed-up remake and becomes a Trojan horse. It introduced the reality of honour killings to multiplex audiences who'd never otherwise watch a film on caste. It sparked dinner-table conversations, however surface-level, about whether caste violence "still happens" in modern India. It did the unthinkable: it brought Sairat's climax to a pan-India crowd, even those who never saw Sairat. Karan Johar Did What No One Expected It's easy to associate Karan Johar with chiffon saris, Pali Hill brunches, and nepotism discourse. But Dhadak was a different kind of risk for the filmmaker. He didn't just acquire the remake rights, he backed a story that punched upwards. "When you adapt a film from brilliant source material, you always know that comparisons are inevitable," Johar said at the press conference. "But all you can do is pay homage," he added. This was also a moment of genre expansion for Dharma Productions. Known for lavish love stories (Kabhi Khushi Kabhie Gham), urban angst (Ae Dil Hai Mushkil) and youth dramas (Student Of The Year), Dharma had never taken on a story about inter-caste romance and honour killings. Johar may have softened the edges, but his choice to greenlight such a story, while still launching Janhvi Kapoor was a balancing act only someone like him could attempt. How Janhvi And Ishaan Proved They Were Here to Stay Let's address the elephant in the room: Janhvi Kapoor and Ishaan Khatter came from privilege. She was Sridevi's daughter, he was Shahid Kapoor's brother. But in Dhadak, they didn't phone it in. Ishaan, all nervous energy and expressive eyes, brought vulnerability to Madhukar. Janhvi, though less assured, displayed a gentleness that suited Parthavi's arc. Their performances weren't revolutionary, but they were real. They didn't try to be Rinku and Akash. Instead, they made Madhukar and Parthavi their own. The chemistry was delicate, tentative, the kind that feels believable in a world where love itself is a risk. As Johar put it, "We keep using the word nepotism. But people are not here because of that word but because of their talent." How Dhadak Quietly Changed The Conversation When Dhadak released, it wasn't embraced by critics and fans alike. Many saw it as a watered-down version of Sairat. Others accused it of glamourising caste violence without addressing it head-on. And yes, those arguments weren't unfounded. But as time passed, Dhadak quietly entered the cultural bloodstream. It became a conversation starter. It made "honour killing" a searchable term on Google for a new generation. It dared to not give its love story a happy ending. And today, as Dhadak 2 promises to explore themes of "identity, power and the emotional price of love," we can finally look back and admit: Dhadak walked, so this sequel could run. Five Years On, Dhadak Deserves A Second Look Dhadak may not be flawless. It may not even be close to Sairat in terms of cinematic urgency. But it cracked open a space in Bollywood that didn't exist before, a space where caste-based stories could exist in multiplexes, not just film festivals. Where tragedy didn't need to look grainy to be taken seriously. Where a filmmaker like Karan Johar, known for everything but realism, chose to engage with one of India's most uncomfortable truths. It wasn't just a love story. It was a love story marked for death. And perhaps now, five years and one sequel later, we are finally ready to see it for what it really was.
News18
11-07-2025
- Entertainment
- News18
Actor Zain Durrani Reacts To Marathi-Hindi Language Row: 'Many People From South…'
Last Updated: Aankhon Ki Gustaakhiyan actor Zain Durrani spoke to News18 Showsha about the ongoing Marathi-Hindi language controversy. Actor Zain Durrani, fresh off his performance in Aankhon Ki Gustaakhiyan, continues to impress audiences not only with his nuanced acting but also with his thoughtful outlook on life and the film industry. In an exclusive chat with News18 Showsha, the Kashmir-based actor spoke about the ongoing Marathi-language war, his perspective on cultural respect, his journey in Bollywood as an outsider, and what lies ahead in his career. When asked about the ongoing controversy around Marathi-Hindi language in Maharashtra, Zain Durrani was measured yet candid in his response. 'We really need to respect every culture," he said, adding, 'There are so many languages in this country. These days, when I sit with my team from Maharashtra, I try to pick up their language – not to appeal to anyone or to blend in, but just out of respect. There's so much to learn in this country, so many different cultures and languages. At the end of the day, it's about respecting where the other person comes from –whether you're from Kashmir, Punjab, or Maharashtra." He further noted how unfair it is when people ridicule others' language skills without making similar efforts themselves. 'So many people from the South can speak Hindi, right? But how many of us try to learn their languages? Yet I see people poke fun at them when they speak Hindi. That's very unfair," he stressed. 'What's most important is that we respect all our cultures and hold on to them because that's what will help these traditions survive for the next generation," he explained. Zain also spoke about his journey in the film industry and whether it's particularly difficult for someone without a film family to crack connections as an outsider. The Shikara actor said, 'Everybody needs to do a certain amount of self-analysis. If you believe you have what it takes to survive, and it's not just about talent – you also need support. You need people around you, whether it's parents or friends. It's not a lone fight. My parents have helped me a lot, and I will never deny the privilege I've been offered from them. I couldn't have survived in this city for so long if not for them. I told them: just think of it as investing in my education until I can stand on my own." At the same time, he pointed out that even those with a film family face their own pressures. 'Yes, you might have a head start if you belong to a film family, but you also carry a huge weight of expectations. Those of us starting at the back don't have those external expectations. At the end of the day, what really matters and maybe I'm telling myself this too is that it's your resilience, your hard work, and your talent that help you in the long run. Nothing else can." As for what's next, Zain teased several projects in the pipeline. 'There are plenty of things," he said with a smile. 'I'm not at liberty to name them yet, but there are web projects, and a couple of OTT projects that I've already shot for. We're just waiting for the release dates to be announced. I'm excited for people to see the kind of work I've done because all of the characters are so varied. I can't wait for audiences to see all those colours." Zain Durrani's latest film, Aankhon Ki Gustaakhiyan, with Vikrant Massey and Shanaya Kapoor is currently in cinemas. First Published:
Scroll.in
27-06-2025
- Entertainment
- Scroll.in
‘Maa' review: A feeble and dull battle between mothers and monsters
Forty years ago, a girl was born in a landlord's family in Chandarpur village in Bengal. The girl was immediately sent to her death – the landlord was steeped in Kali worship and believed that the girl infant must be sacrificed if Kali's adversary, the demigod Raktabeej, was to be vanquished. In the present, the landlord's son Shubhankar (Indraneil Sengupta) has a mysterious accident while visiting his ancestral mansion. Shubhankar and his wife Ambika (Kajol) have avoided visiting Chandarpur for years. They especially don't want to take their 12-year-old daughter Shweta (Jherin Sharma) there. Yet, here is Ambika and Shweta in Chandarpur, fulfilling the first rule of the horror film formula: the lead characters will walk resolutely towards peril, ignoring every warning sign. Ambika finds herself battling a manifestation of a demonic force that has ghastly designs on Shweta and the other girls in the village. The problem with Maa isn't Ambika's unreasonable actions – irrationality is a cornerstone of horror. Rather, the trouble with Vishal Furia's movie is how literal-minded and feeble it turns out to be. For a film about a potent and fierce goddess, Maa is a resolutely tame affair. Like Ambika, Maa too in constantly looking for miracles – a tough ask, given Saiwyn Quadras's plodding screenplay, a barely scary monster created with pedestrian visual effects, and clumsy links between Ambika's maternal instincts and Kali's divine powers. Furia's previous three films – the Marathi-language Lapachhapi, its Hindi remake Chhorii and the sequel Chhorii 2 – have all been about women trying to protect their daughters from malevolent beings who represent the very real horror of patriarchy. Furia is admirably dedicated to making pure horror films rather than follow the trend of horror comedies. Maa is a poor showcase of Furia's feel for the genre. The film neither creates emotional engagement with its characters nor has the technical polish to be a convincing scare-fest. Except for a few scenes, there is a lack of atmospherics needed to carry off a tale of demonic possession. No heart beat is skipped when the monster, looking like a mean-tempered version of the tree spirits from the Lord of the Rings films, makes its appearance. Nor is the big revelation about the monster's human helper a real surprise. A haunted jungle that is right next to the mansion, separated by a crumbling wall or two? A concerned mother who drags her daughter to a place that has never been good to young girls? A Bengali pre-teen who has been raised in Kolkata but has no idea about the belief system in Kali? Maa isn't even trying. The 135-minute film gains some traction towards the climax, when Ambika channelises her inner goddess. A heavily made-up Kajol tries her best, but the battle was lost even before Ambika set foot in Chandarpur. Play
Scroll.in
23-05-2025
- Entertainment
- Scroll.in
‘April May 99' review: An irresistibly charming summer vacation
The summer of 1999 in the Maharashtrian coastal town Shrivardhan promises to be like any other. The school term will end. Krishna (Aaryan Menghji), Prasad (Shreyas Thorat) and Siddhesh (Manthan Kanekar) will spend the break loafing about. However, a tsunami is gathering. Prasad's father Suresh wants to send him to Mumbai to improve his English. Krishna and Siddhesh see this as nothing short of a betrayal. A solution is presented by Jaie (Sajiri Joshi), a neighbour's niece, who comes to Shrivardhan for a vacation with a camera, curiosity about the ways of the fishing town, and an enviable command over English. But Jaie's entry into the boys' lives causes turbulence for which they are unprepared. Rohan Mapuskar's Marathi-language April May 99 is out in cinemas with English subtitles. Mapuskar's directorial debut is an irresistibly charming account of the comforts of the old clashing with the shock of the new. Mapuskar's screenplay, written with Kunal Pawar and Bimal Oberoi, is very good at creating low-key incidents that take on the air of massive problems for the impressionable boys. Much of the hilarity flows from the bad temper shown by the hosts when they have to take Jaie around, and then confusion when they begin to feel emotions they have never confronted before. Despite its subject matter, April May 99 isn't a typical coming-of-age movie. Puberty, adolescent sexuality, the dynamic between growing girls and boys – these themes get the kid-glove treatment in a film in which the boys behave like nine-year-olds rather than 15-year-olds and are treated as such by the grown-ups. Play The absence of sexual frisson is explained away by the year in which the film is set. In 1999, per Mapuskar, there is still scope for purity, innocence and freedom from the anxieties of the new millennium. Rather than hormonal stirrings, April May 99 is more interested in the tug of memories for guileless times. Mapuskar's deft characterisation, as well as the small-town setting, makes this idyllic view plausible. Mapuskar's control is most felt in his handling of the delightful quartet of lead actors. The boys have the shared bond of a relationship born while they were in their diapers. Sajiri Joshi, in her acting debut, provides a wonderful calming counterpoint to the frequently overwrought boys. The young performers are surrounded by adult actors who provide colour, comedy and wisdom without coming in the way. April May 99 is like travelling in a time machine back to the joys of childhood vacations where nothing of importance seemed to happen even though a great deal was churning under the surface. Mapuskar's film deftly shows how the holiday does more than improve English-speaking abilities, best captured in the earnest declaration 'I am thank you.' The final sequence is beautifully judged, poised as it is delicately between adolescence and impending adulthood. The gorgeous locales, which have been shot by Apoorva Shaligram, create their own kind of nostalgia for green and uncluttered spaces. The 129-minute movie also has a lovely soundtrack by the composers Rohan-Rohan, with Mann Jaie, soulfully sung by Sonu Nigam, lingering in memory long after the end credits have rolled. Play
Pink Villa
19-05-2025
- Entertainment
- Pink Villa
Cannes 2025: Laapataa Ladies' Chhaya Kadam reveals how debut at film festival helped her get past fear of wearing heels, western dresses
The Indian contingent has taken over the streets of France, proudly representing Indian cinema. Among them is ace actress Chhaya Kadam, who flew to Cannes 2025 with her Marathi-language movie, Snow Flower. In a recent interview, she stated that her debut at the festival last year helped her overcome the fear of wearing heels, western dresses, and more. Back in 2024, Chhaya Kadam and the team of All We Imagine as Light went to the 77 th Cannes Film Festival for the first time. As she flew to the global event for the second time this year, Kadam feels more confident and familiar with the city, the people, and the festival. While talking to The Hollywood Reporter India, the actress recalled how her debut at the event gave her wings and confidence. "Cannes Film Festival ne mera boht confidence badha diya hai (Cannes Film Festival boasted my confidence)" stated the Gangubai Kathiawadi actress. She went on to add that not just as an actress, but in her personal life too, she has become confident. She shared in Hindi, "Jiss jiss cheezon ka mujhey dar tha, ke ye mujhme kami hai, angrezi nhi aati hai, mai heels mein chal nhi paati hu, western kapde kabhi pehne nhi they. Ye sab cheezon ka jo darr thana, Cannes Film Festival ne pura nikaal diya. (All the things I was fearful of, like I don't know English or I can't walk in heels and wear western dresses, all the fears have gone, thanks to the Cannes Film Festival)." Having said that, she expressed her gratitude to all the people associated with the festival for teaching her that, however she is, she is the best. Talking about All We Imagine as Light, the Payal Kapadia directorial was nominated for the Palme d'Or and won the Grand Prix at Cannes 2024. The movie also starred Kani Kusruti, Divya Prabha, and Hridhu Haroon. Not just Chhaya, Payal also returned to the festival this year, but as a jury member. Apart from them, Janhvi Kapoor, Ishaan Khatter, Karan Johar, and Vishal Jethwa are also attending the event and representing their film, Homebound.
