सदस्य चर्चा:सागर श्रीमंत खंदारे

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Nuvola apps ksig-vector.svg आवश्यक मार्गदर्शन सागर श्रीमंत खंदारे, नमस्कार, तुम्हाला मराठी विकिपीडियावर पाहून आम्हाला आनंद झाला.

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-- साहाय्य चमू (चर्चा) १३:२५, १५ सप्टेंबर २०१७ (IST) FILM: BHIKARI By Ganesh Matkari, Pune Mirror | Updated: Aug 5, 2017, 02.30 AM IST

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.