#PareshMokashi calls his latest film #Vaalvi on #Zee5 a thrill-com or RA-HASYA ( a curious mix of mystery and humour). For sure, this is a rarity in Marathi cinema. In terms of regional cinema in India, I have often wondered why Marathi cinema does not break the limits of innovation like Malayalam does. It is strange given the kind of potential it has. Of course the affinity for Hindi is a limitation; so is the breadth of market available. Even today, Marathi cinema is released in only four cities - Mumbai, Pune, Thane and Kolhapur. A trip down history will perhaps give us some insights into where Marathi cinema is going and why they come up with such innovations.
1932 saw the launch of Marathi cinema. Till 1960, the category saw a lot of small budget, lifestyle based movies that espoused cultural aspects like Lavani and Tamasha. In 1970, V Shantaram made #Pinjra, the first marathi film in color. The tax refund scheme helped sustain the industry. #DadaKondke’s innuendo style humor kept things going for a while. In the 1980s, #SachinPilgaonkar and #MaheshKothare ventured into urbane themes but between 1990 and 2004 the industry became stagnant. In fact, consider this … Marathi cinema won its first National Award for regional cinema for #ShyamchiAai in 1952. It took 52 years for the next one when #Shwas won in 2004. In summary, it has been a battle for viability and of late, it has been a tussle between glamor and content. No wonder, niche, innovative content has become the go-to theme for filmmakers wanting to break through. #Mokashi had previously made #HarishChandrachifactory in 2009 and that had gone on to become India’s official entry to the 82nd Academy Awards.
The story is the hero in #Vaalvi and the mystery behind the title and the surprise ending are stunning. Aniket (#SwapnilJoshi) and Avani (#AnitaDate-Kelkar) decide to kill themselves, even as Aniket is having an extra marital affair with Devika (#ShivaniSurve). Things go south in spite of extensive planning, Enter Avani’s psychologist (#SubodhBhave) and the three have a roller coaster of a ride replete with moments of tension and witty humour . Nothing prepares you for that whiplash of an ending, watch out !
All the three leads are an unusual casting and not known for such roles in the past. The screenplay is pacy and keeps you on the edge well. The editing is sharp enough to sustain the pressure and the scenes are long enough to keep the engagement going. #MadhugandhaKulkarni’s (Mokashi’s wife) dialogues are a rage and there are no songs to break the tempo. #Vaalvi comes as a breath of fresh air in a category dominated by love stories and drama. The second half does tend to drag a bit at times but does not distract. The makers released the trailer only a week before the release of the movie and the strategy was unusual and amped up the curiosity.
#Vaalvi is a highly recommended watch. What stood out for me in particular was the sharp writing - a commodity that is not common currency these days. That scene where the trip discuss chopping up Avani’s body into pieces is a prime example; Devika says the two men should do it since they are both men. To this, Aniket comes up with a sharp repartee “You guys should do it because you are both doctors”. The movie goes down to the wire and just when you start wondering if it will leave you hanging on the pretext of a part two, there is a spitfire ending that leaves you gasping and in spits at the same time. Now that's a new one !
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