|सागर श्रीमंत खंदारे, मराठी विकिपीडियावर आपले स्वागत आहे!
|सागर श्रीमंत खंदारे, नमस्कार, तुम्हाला मराठी विकिपीडियावर पाहून आम्हाला आनंद झाला.
मराठी विकिपीडिया हा मराठीतील मुक्त विश्वकोश निर्मिती प्रकल्प आहे.मराठी विकिपीडियावर सध्या ९५,१०८ लेख आहे व १९० सक्रिय सदस्य आहेत. तुम्हाला हा प्रकल्प आवडेल आणि तुम्ही या प्रकल्पास साहाय्य कराल अशी आम्हाला आशा आहे. तुम्ही येथील सदस्य होऊन येथे वाचन आणि संपादन कराल अशी आम्हाला खात्री वाटते.
कृपया प्रताधिकारित असलेल्या पुस्तकांतून किंवा संकेतस्थळावरुन (वेबसाइट) कोणताही मजकूर नकल-डकव (कॉपी-पेस्ट) करू नका. असे केल्यास तुमच्यावर प्रतिबंध घालण्याची किंवा येथून तुम्हाला तडीपार करण्याची शक्यता आहे. (जरी संबंधित मजकूराचे लेखक/मालक तुम्हीच असाल तरीही तो मजकूर येथे टाकण्यास योग्य त्या प्रक्रियेचे तुम्ही अनुसरण करणे आवश्यक आहे). तुमचे लेखन नेहमी तटस्थ दृष्टिकोनातून असू द्या. तुम्ही जोडलेल्या मजकूराचे समर्थनार्थ योग्य स्रोत उद्धृत करा.
शुभेच्छा आणि येथील लेखनास सर्व सदस्यांचे आपणास प्रोत्साहन आहे!!
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|सर्वसाधारण उत्तरदायकत्वास नकार
Critic's Rating: 2/5 Avg Readers' Rating: 2/5
REVIEW THIS MOVIE CAST:Swapnil Joshi, Rucha Inamdar, Guru Thakur, Sayaji Shinde, Narayan Jadhav, Kailash Waghmare, Milind Shinde DIRECTION:Ganesh Acharya █ BEG TO DIFFER!
Like every major star, Swapnil Joshi has a range within which he’s at his most effective. Swapnil’s range almost entirely consists of the romantic comedy genre. He has modelled his persona on SRK and that has worked well for him till now. In other genres, he has seen limited success. Last year’s Laal Ishq,a whodunit, can be cited as one of the examples of this. Lately, he seems to be trying out different things in an attempt to broaden this range, and Ganesh Acharya’s Bhikari is one such attempt. Here, romance is secondary and the focus is firmly on action and melodrama. A remake of Tamil thriller Pichaikkaran (2016), Bhikari tells the story of Samrat Jaikar (Joshi), a millionaire who poses as a beggar, as a last resort to cure his mother. Yes, the idea is preposterous, but we can allow it as an element of fantasy. The problem is the film’s inability to give a plausible framework of logic, for its implementation. If a character is given a task, it must come with certain rules. If the rules are broken, the task should fail. When Samrat is asked to pose as a beggar, he is asked to do so for a particular number of days. During this time he can’t keep daily earnings with him, and must keep his identity secret for the duration. The film remains true to the first rule while the others are bendable. The person who assigns the task doesn’t reappear in the film, and we are free to interpret who he was. So is it supposed to be a divine intervention or something along those lines? If so, how can the rules be flexible? If certain flexibility is allowed, we must know a plausible reason behind it. Bhikari chooses to ignore all these aspects.
Bhikari has a lot of action, which is not a strong suit for Swapnil. Even considering the theme, the focus on fights seems unnecessary. As South Indian cinema thrives on such ‘masala’, its presence in the original is likely, but here, the entire track of the so-called villain and his goons seems out of place. As that track gets the prominence, the romance of Samrat and Madhu (Inamdar) gets underplayed. The love story is not without its problems. In the pre intermission part, Madhu apparently does not realize that Samrat is a beggar, but when she meets him for the first time, he is in the attire he uses for the job.
He sits in front of a nearby temple regularly but neither she nor any of her friends realise it. The priority for Samrat is to remain as a beggar, so no one can guess who he really is. Despite that, he moves around like a regular person and risks being identified by someone.
In the final minutes of the film, we see a massive song routine with hundreds of dancers, the main cast and the director Ganesh Acharya performing for a grand curtain call. During the sequence, a beggar, who is completely out of place amidst it all, approaches the Jaikar family. What transpires is interesting and has a counter sequence in the original film. But there, it takes place in a very realistic, believable manner, on a busy street. This moment in Bhikari is notable, as it shows exactly what is missed in the adaptation. The script has remained true to the original, but seems artificial in presentation. And if a South Indian action film seems more realistic than its Marathi version, we have a problem.