The director’s approach here is to treat the story beyond the scope of a biopic - to look at it as a story of struggle, inner as well as outer as a story of two individuals who strived for what they believed in and as the love story of a couple, which can be as relevant today as it was a century and a half ago. In her short lifespan, she managed to set an example for all to follow. Anandibai was the first Indian woman to become a medical doctor. His fans know P L through his writing but the film attempts to introduce them to the person he was, perhaps for the first time.įollowing the biopic theme, is Zee Studios’s production of Anandi Gopal, based on the life of another inspiring Maharashtrian couple, Anandibai and Gopalrao Joshi. Sagar Deshmukh and Iravati Harshe essay the central roles of P L aka Bhai and his illustrious wife Sunitabai, and are joined by a large cast of 70-odd actors to bring this life-story on screen. Matkari previously adapted a couple of famous literary works by P L, ‘Vyakti ani Valli’ and ‘Asa Mi Asami’ for theatre, and has written the dialogues for Bhai. Bhai is an ambitious undertaking considering the vast scope of work as well as the responsibility to please the phenomenal fan base of P L Deshpande.īhai sees Manjrekar teaming up with the renowned playwright Ratnakar Matkari. A veteran director of more than 30 films, Mahesh Manjrekar has handled a vast variety of subjects, from comedy to crime and everything in-between, but the biopic is a genre he hadn’t yet touched upon. Backed by Viacom 18, the film is in two parts, Poorvardh and Uttarardh, releasing in January and February respectively. The year begins with one of the most awaited films of the year - a biopic on P L Deshpande, among the greatest humorists of our times. █ 01 Bhai – Vyakti Ki Valli (Poorvardh & Uttarardh) Kashinath Ghanekar, Naal and Mumbai Pune Mumbai 3, which pulled large crowds into the theatres, raising the bar for the coming year. The year ended on a high note with a number of successful films like Ani Dr. Happily, the number of Marathi shorts and documentaries was unusually large in the non-fi ction category of the Panorama, which more or less compensated for it. Although the unexpectedly low number of feature fi lms in the fi ction category of the Indian Panorama at International Film Festival of India was a surprise in 2018, we can overlook this as a oneoff incidence and hope for a better performance this year. The uncertainty of the past couple of years has disappeared and the industry is ready to face new challenges. The year 2018 was a good one for the Marathi film industry, which seems to have gotten back on its feet.
The success of 2018 raises the bar for films releasing this year
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