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Nishikant Kamat and his dialogue writer for ‘Dombivli Fast’ had listed 50 problems that a common man faces and finally chose five of them. What differentiates the writers in Marathi cinema is the kind of pain they take over bringing in the original voice and it shows as renowned Marathi actress Amruta Subhash who has acted in path-breaking films like ‘Shwaas’ and ‘Devrai’ says, “Valu’s writer Girish Kulkarni actually makes 4 to 5 drafts of the script before the shooting commences.” ‘Deool’ too has been written by Girish Kulkarni. “I felt I have to do this film! Can you imagine a film in which the love story between the only two actors unfolds amongst the crowd in Pune?” The film has achieved a cult status in Marathi cinema.
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For intellectual entertainment, they turn to Marathi cinema”, says Om Raut, chief creative officer of DAR Motion Pictures which produced ‘Lalbaug-Parel’.ĭirector Satish Rajwade who has made films like ‘Gair’ (made at a budget of Rs 1.5 cr) speaks how he was stunned when he read script of ‘Mumbai-Pune-Mumbai’. Marathi audience satisfies its hunger for the masala films from Hindi cinema. So how will they satiate the need of exploring social issues? Cinema is the obvious answer. Additionally, Marathi and Bengali people always have a greater urge for intellectual entertainment. “The literary trend of reading books is fast declining all over including the Marathi people. They are choosing such topics (in films) such as ‘Zenda’, ‘Morya’ and ‘Jogwa’ which are close and unique to Maharashtrian audience.” Chinmay Mandlekar, Marathi actor and writer says, “Today’s filmmakers are making films by keeping the audience in mind. When you remake a Rs 20-crore Hindi film into a Rs 50 lakh Marathi one, it obviously looks shabby.” Take the case of a regional genre like Malayalam cinema which always stuck to its soil.
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However, Marathi cinema faced a decline when some filmmakers began copying Hindi films.
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They worked because they were making films which were close to Indian people, their motherland. In fact, ‘Manoos’ was remade into ‘Aadmi’ in Hindi. He says, “In the ’50s and ’60s, directors like Raja Paranjpe and V Shantaram were making films like ‘Suvaasini’ and ‘Manoos’ that were at par with international cinema. Kulkarni does not agree to the wide perception that this is a new wave in Marathi cinema. Today, an upcoming film like ‘Deool’ is made for Rs 5.5 cr. ‘Dombivli Fast’ had a budget of Rs 95 lakh in 2005, which was too much for a Marathi film, then. Finally, when it did, it catapulted Kulkarni and director Nishikant Kamat into the international circuit. It wasn’t easy to get a producer for this urban film, considering the kind of cinema Marathi industry was churning out those days. When the film released in 2006, the audience were in the same situation. “I have spent my life on this fourth seat, can I have the window seat at least now?” says the protagonist while dying in a local train, essayed by Kulkarni. When Sandeep Kulkarni heard the climax of ‘ Dombivli Fast’ first in 2004 during a script-reading session, he could not control his tears.