natarang
‘natarang’ is a film that comes once in a while. see it asap !
apsara aali full song | natarang | best dance performance by 10 yrs. old girl
the film is a cinematic adaptation of the marathi novel named natarang by dr. anand yadav .
last sunday was day booked for movies. first on the slot was natarang (नटरंग). natarang was my first marathi movie and perhaps the second regional language movie after the classic nadiya ke paar (नदिया के पार) .
natarang is the story of a creative mind that dares to think different. the well built guna, takes it in his stride to the play a woman only for his immense love for the art. natarang tells you the story unspoken of .
official twitter handle for zee studios. winner of national awards for natarang, fandry, elizabeth ekadashi, killa & ventilator .
the september 23 release banjo marks the hindi film debut of director ravi jadhav, whose marathi debut natarang (2010) won a national award for best feature film. he followed the success of natarang with balgandharva (2011) and balak - palak (2012) .
mifta awards (marathi international film and theatre awards) dubai 2010 - best playback singer for wajle ki bara from the film natarang .
natarang is indeed filled with many colors which is a treat to watch. indeed a grand way to start off in the year 2010 .
ravi jadhav is an indian director whose marathi films, natarang and balgandharva have won national film awards. | dimensions mumbai i mff i 2013 | pinterest | …
natarang pratishthan has taken over the publication of natarang which is the only journal of its kind dedicated to the development and documentation of activities and ideas in theatre. natarang is also the only theatre quarterly that has survived for the past 35 years providing a pan indian forum for information, dialogue and debate on contemporary theatre. the journal is an important reference manual for anybody who wants to know what is happening in hindi theatre, theatre in other indian languages and indeed in the world .
for subscribing to the quarterly journal natarang, please send in your money order or drafts (payable at delhi) in favour of' natarang' to 706, sumeru apartments, near edm mall, kaushambi, gaziabad, u. p. 201 010, india. telefax: + 91 - 120 - 4284132 email: natarangpratishthan @ urltoken
useless trivia: the film is an adaptation of the play ‘natarang’ by dr. anand yadav. ‘natarang’ was nominated for this year’s national awards for best film and best actor and won the rajat kamal for the best film. i would have chosen atul kulkarni, over amitabh bachan, any day among the films i have watched this year .
hcb – ‘natarang’ focuses on lavani and tamasha (popular genres of marathi music and theatre respectively) to tell its story. are these cultural traditions that you have been acquainted with yourself ?
natarang, also spelled natrang (marathi: ?? ?? ?, an ornamental word for
artist
, especially a theatre artist) is a 2010 indian marathi film directed by debutant ravi jadhav and starring atul kulkarni and sonalee kulkarni. veteran music composer duo ajay atul composed the original score for the film. based on natarang, 1978 marathi novel by dr .
i watched natarang two years ago and this was first marathi film i watched. and wow what a film it was! ! i got aware of the potential of marathi cinema along with tamil - telugu. after natarang i watched harishchandrachi factory and recently i watched deool. these all movies are excellent and shows the power and capabilities of regional cinema mainly in finding very indian story .
the honors are not just for natrang but for all lovers of marathi cinema who have whole - heartedly supported it through houseful theatres all across maharashtra said atul kulkarni, the lead protagonist of natarang .
debutant ad - filmmaker ravi jadhav’s ‘natarang’ is a film that has raised the bar for quality marathi films. the film adapted for screen from dr. anand yadav’s classic novel, is a bench mark in marathi films made on rural backdrop .
natarang was released in india on 1 january 2010. for the first time in marathi film industry, premier for a film was held which was attended by many well known people in marathi cinema and also some of the actors from hindi television industry .
incidentally, ravi jadhav has garnered overwhelming reviews for his work in marathi films like natarang, bal gandharva and riteish deshmukh’s balak palak. earlier, he had directed tomorrow' s decided a music video for pentagram based on an electro - rock band based in mumbai .
natarang has changed my perspective towards marathi films. filled with deep pain and struggle of a farmer changed his life completely. even the songs of this movie are breath stopping, hardcore meaning of life and difficulties faced by everyone. must watch film. please review this content
' the rural marathi dialect was used. this type of marathi was incidentally common in films that were made in the 1960s and 1970s in kolhapur, an area in southwestern maharashtra where the per capita income is quite huge. the novel' natarang' had the kolhapur dialect and
the film marks the hindi film debut of popular marathi director ravi jadhav, who has made popular films such as natarang, balak - palak, timepass among others. the film traces the story of banjo players from maharashtra and how the relevance of the art is deteriorating nowadays .
ravi jadhav was born in mumbai in 1971. he studied applied art at sir j. j. school of art. he has worked with multinational advertising agencies as a creative director. his advertising work has received numerous awards. though natarang is his debut film as a director, he has done a great work .
the balak palak actor maintains that the language of cinema is understood my maximum people! noted marathi filmmaker ravi jadhav, who has dabbled in bold topics including homosexuality, transgender culture and sex education in films including natarang, bal gandharv, and balak palak, says he needed a strong medium like cinema to communicate with the audience .
zee talkies' natarang, undoubtedly one of the most talked about and highly appreciated marathi films of recent times has scaled even greater heights by winning the top honor of national award for the best marathi film of the year. the whole team of natrang is most excited about these new feathers in its cap as this is no mean achievement .
zee talkies deserve kudos to back a project like ‘natarang’ and actor atul kulkarni who in true robert de niro style, had to build a strong physique by extensive workout and diet and then losing it all for the role. the film is a must - see for atul’s performance and ravi jadhav’s good debut (his flashback style is very impressive) .
ravi jadhav (natarang), umesh kulkarni (valu, vihir), mangesh hadawale (tingya), paresh mokashi (harishchandrachi factory), satish manwar (gabhricha paus), sachin kundalkar (gandha) and quite a few others are sure doing the film industry proud and really reviving the marathi industry. yet to watch the last two in this list .
with a flurry of films on
follow your passion, the world be damned
in both marathi and hindi, you' d think there is only so much you can add. but, natarang takes the concept a few notches higher. and this can be said about both the lead performance and the story. i very reluctantly confess that all of this happens only in the second half .
the natarang pratishthan was set up in 1989 to fill the void in the knowledge and research of theatre activities, particularly in north india where theatre movement, though multifaceted and innovative, has not been collectively recorded at any one centre for posterity. established by eminent author, poet and critic nemichandra jain as a charitable trust, the pratishthan has since grown into a valuable resource centre for indian and asian theatre .
though i am not a regular marathi movie - goer, i found natarang extremely heart wrenching and a beautiful movie to watch which tells us about the dark side of success. debuting into film direction, ad maker ravi jadhav gives us the adaptation of dr. anand yadav' s classic novel which he directs with a lot of finesse and topnotch screenplay that keeps you glued to your seat till the end of the movie .
of course, if we are talking about natarang we cannot leave out music from it which is actually the strong point of the movie. the initial song ,
mala jaau dya na ghari
which erupts while the titles are rolling is a nice fast pace tamasha - lavani song. soon to follow
khel mandla
is a nice slow song that has some awesome drum effects and the song gradually creeps on to your lips. but, ajay - atul gives you the maximum with
apsara aali
which is undoubtedly the most popular song of the movie. getting into the technical aspects of the movie, natarang has a very good screenplay and cinematography which are equally important and have contributed a great deal to the success of this film. the sound mixing department also should receive a good amount of appreciation for excellent dolby sound mixing of background score which works subconsciously on the minds of viewers .
rada, sung by dadlani, nakash aziz and shalmali kholgade, is a track about friends having a blast. it is trying hard to be the rousing number that zingaat (sairat, 2016) was, but it doesn’t have the same spunk. rada is a sore example of why sairat composers ajay - atul, who previously worked on natarang, would have been a better bet for banjo since they have a proven record of putting street sounds to good use .
popular lavani singer of yesteryear - sulochana chavan was invited as the chief guest to release the music cd of zee talkies’ film ‘ natarang ‘ which is due for release shortly. while speaking on the occasion she said that it was a happy moment for her to revive the popularity of maharashtra’s most popular folk art through the music of this film. music directors ajay - atul have given a new look to the traditional tamasha art, by almost recreating it with their modern beats of technology .
natarang, indian marathi film directed by ravi jadhav and starring atul kulkarni and sonalee kulkarni. veteran music composer duo ajay atul composed the original score for the film. song: khel mandala singer: ajay gogavale lyrics: guru thakur music by: ajay atul starring: atul kulkarni, sonalee kulkarni, kishor kada, vibhavari deshpande, priya berde directed by: ravi jadhav produced by: zee talkies, nikhil sane, amit phalke, meghana jadhav to catch all the updates on - log on to: twitter - urltoken facebook - urltoken zee music company
natarang, indian marathi film directed by ravi jadhav and starring atul kulkarni and sonalee kulkarni. veteran music composer duo ajay atul composed the original score for the film. song: apsara aali singer: bela shende, ajay atul lyrics: guru thakur music by: ajay atul starring: atul kulkarni, sonalee kulkarni, kishor kada, vibhavari deshpande, priya berde directed by: ravi jadhav produced by: zee talkies, nikhil sane, amit phalke, meghana jadhav to catch all the updates on - log on to: twitter - urltoken facebook - urltoken zee music company
natarang, indian marathi film directed by ravi jadhav and starring atul kulkarni and sonalee kulkarni. veteran music composer duo ajay atul composed the original score for the film. song: wajle ki bara - amruta khanvilkar singer: bela shende and chorus lyrics: guru thakur music by: ajay atul starring: atul kulkarni, sonalee kulkarni, kishor kada, vibhavari deshpande, priya berde directed by: ravi jadhav produced by: zee talkies, nikhil sane, amit phalke, meghana jadhav to catch all the updates on - log on to: twitter - urltoken facebook - urltoken zee music company
intellectual debate is one of the prime objectives of natarang pratishthan, and an ongoing process that allows theatre professionals to engage in it is the recourse of seminars on select, opportune themes and subjects. this allows critics, actors, directors, playwrights and opinion makers to air their views and generate new and exciting ideas. the pratishthan is lucky to have in its archives 250 rare seminar materials and reports. some of the more important of these pertain to the 1956 conference of asian writers, a 1964 shakespeare seminar, the 1958 - 62 indian theatre fact book, and other important reports on national symposia .
filmmakers rajiv patil, ravi jadhav, renuka shahane, sujay dahake, and others, have worked on literary works with remarkable results. in addition, established writers such as ratnakar matkari, abhiram bhadkamkar have turned to filmmaking, bringing their own works on screen. film critic ganesh matari shared, “the marathi kari shared, “the marathi film industry seems to have come to terms with good literature, once again. it is a nice trend but audience response to an adaptation depends on the film' s entertainment value. for instance, natarang (an adaptation of anand yadav' s work) was able to maintain the entertainment quo tient and proved to be a hit. “
the collection has some rare recordings of interviews, conversation, lecture, performances and events exclusive to the pratishthan. among the achievements of natarang pratishthan, and part of its original activities, has been the recording of the work - processes of well - known directors, actors and others related with theatre performances. this rich reference resource has as many as 470 audio and 970 video discs, and additions have more recently included the work - processes of asian women directors and actors. it is useful not only for a deeper understanding of how the greats of theatre approached their work, but also in evaluating their responses to subjects, materials and aspects of tackling production problems as well as human issues .
essel vision' s film elizabeth ekadashi has got the national award golden lotus (swarna kamal) back home for essel vision 4 years after natarang won the same award back in 2010. the production house' s other film, killa also got 3 awards making it a proud moment for the makers and presenters. within a week of receiving an array of awards in zee gaurav, mataa sanman and fipresci, elizabeth ekadashi receives swarn kamal for the best children' s film. killa which had the honor of receiving crystal bear award, berlinale 2014 and several other awards gets best marathi film and two special mentions from the jury - one for best film & other for parth bhalerao as an actor .
anybody remember dd2 channel - metro, and if so, anybody remember fri / sat late night english movies, and sunday' s regional movie broadcast. i have seen many english movies during those time, when we don' t have cables in our house, but never seen regional movies. first regional movie i remember i watched in latest times in
mungaru male
( kannada) and just yesterday i watched another, this time it' s
natarang
( marathi). marathi is quite similar to hindi, plus the version i saw had english subtitles, so i understand it quite fully. i liked both the movies, but let us now discuss about this 2010 movie, i loved this movie, and i must say that its a must watch for any movie - lover .
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natarang is a story of a passionate art - lover (aka natarang aka theater artist) named guna kagalkar (atul kulkarni), who is a poor labourer and has a wife daarki (vibhawari deshpande), a son and an old father to take care of. but whatever meager income he got, he wasted it on watching theater aka nautanki. he didn' t take care of his family, but one day he lost his job due to an engine installed on the farm, he alongwith his friends think to start their own theatre company, but they lack a female lead, only she can draw the crowds, so guna' s friend and mentor pandba (kishor kadam) started searching for one, and one day they find the female lead - naina (sonali kulkarni), daughter of yamunabai (priya berde), pandba' s ex - love interest. but naina put a condition before joining - she want a panzy character, an eunuch to dance with her in the nautanki. guna and pandba started searching but didn' t find anybody to act as eunuch in their drama shows. just because of his unconditional love for art, guna himself decided to act the role of eunuch, although he is aware of its consequences. their drama company
naina kolhapurakin - guna kagalkar theater company
become famous because of their shows, all are written by guna himself, but it deteriorates guna' s image in front of his family, and people of villages, they started thinking him as a real eunuch. during one big show duration, because of two rival politician' s power war, his drama company got attacked and burnt, and because of guna' s saying no to one politician, he alongwith his gang, raped him. but he continued doing drama, and in the ending scene, he was shown getting a lifetime achievement award .
except for a few words, i don’t understand marathi, and thus watched the subtitle version. but, i was so engrossed in movie that for the times was feeling the movie and not reading it. may be, as said by paulo coelho in the alchemist, the characters were speaking world’s unified language. the best side of the movie was its ability to keep the viewer enthralled throughout. story line was about a body - builder farmer taking the risk of opening a theatre company, putting all his emotions on stakes; finally dares to take the role of a eunuch - character on stage. for the purpose, the hunk villager, played by atul kulkarni, shaved off his thick manly moustaches and had to lose his muscles. he learns the ways a woman walks talks and plays with different gestures. in the course, he gets far and far from his family. film’s plot was too genuine and free - flowing. i was all set to doze off for a rare afternoon nap, accessible only on sundays; but, the movie did not allow me to. all the actors were suiting their characters, and tight direction on a well written script was undoubtedly perceptible. make - up of the natarang, atul kulkarni, was so good that it reminded me of launda - naach (a rural band performance by opposite - sex clad males in rural up - bihar) i saw a few years ago in a friend’s marriage. this is, what i say researching the basics, exploring the roots before diving in to the act of delivering! on the negative side, i felt the movie ended abruptly. last few scenes were on a rather fast track, and reminded me of bunty & bubly’s theme song, where a lot of things happened in a very small time. for me, the movie falls in the must watch recommended to go & watch category. so, rush and watch the movie .
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a poor working man loses his job and decides to start a theater troupe .
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guna is a village labourer in the hinterlands of maharashtra. holding a passion for the' tamasha' theatre shows, he decides to start his own troupe. instead of the prestigious role of the king he always dreamed of, he ends up having to play a' nachya', an effeminate, homosexual man. he goes ahead with the decision, which forever changes him and his family, as he ends up torn between his artistic passion and his societal prestige .
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me raat takli मी कात टाकली. . jait re jait _ lata. . tribute to smita patil
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image: hayvadana (1983), writer: girish karnad, direction and music: b. v. karanth. (np acc. no. 463 )
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baba has not tied down himself with any particular form like his contemporaries - ratan thiyam, pannikar, habib tanvir. he has utilized all the forms like – dialects of madhya pradesh, folk tunes, rangpatti, style of south and elements of sanskrit theatre. with all this his productions appear like our own and not belonging to any particular form or style. he thinks only about theatre. when he was in jail he was doing theatre and thinking about theatre .
a writer composer, translator, film maker and teacher karanth is essentially a man of the theatre. about is film making he feels that acting in cinema is quite different from that in theatre. the favourable reaction about his film has proved that even a novel without any outstanding literary merit can be turned into an excellent film .
the success of bhopal rangmandal lies in the fact that karanth has used various local styles, conventions, behaviour patterns to make it easily communicable (acceptable) and creative which establishes the character of indian theatre .
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natrang movie cast, story, review, songs, actress, plot - marathi. tv
the story is based on how a body building wrestler guna kagalkar who agrees to play a role of a feminine dancer for a tamasha phad, because of his love for the art form .
this wrecks havoc for his personal and professional life. natrang had some really good songs, which became extremely popular after the release of the movie .
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rating: na presenter: zee talkies production: zee talkies, athaansh communications director: ravi jadhav story: dr. anand yadav screenplay: ravi jadhav dialogues, lyrics: guru thakur music: ajay – atul cast: atul kulkarni, sonali kulkarni, kishor kadam, vibhavari deshpande, kishor choughule… movie review by: sandeep
the story of ‘nararang’ is about guna kagalkar (atul kulkarni) a village wrestler with bulging muscles who is a farm worker by profession and lives happily with his wife (vibhavari deshpande) and children along with his old father (yakoob sayeed). it’s difficult for guna to make two ends meet, especially because of his passion for ‘tamasha’ a maharashtrian dance form with ‘lavnis’ (seductive songs) .
guna’s ultimate dream is to play a king’s role in ‘tamasha’and so he gathers a team of unemployed friends in the village and starts his own ‘tamasha’ troupe and a veteran ‘tamasha’ artiste (kishor kadam) helps them find the ‘dancer’ (sonalee) for their troupe. but, soon guna is in a soup to find a ‘nachya’ or the so called clown, who brings on the laughter in the ‘tamasha’ .
finally, the manly muscular guna has to play ‘nachya’ himself, much to his chagrin; but he does so for the sake of his troupe and gets a complete makeover by becoming thin and shaving his moustache off. guna’s troupe becomes the talk of the town but he has to lose his wife and children for his ‘tamasha’. interspersed in this narrative is local politics besides the competition between various ‘tamasha’ troupes, gay artistes, etc. but the film grabs your attention right from start to end because of atul kulkarni’s powerful performance, especially the scenes where he has to pose girlie in a wrestler’s body. the rest of the cast is also impressive, especially vibhavari deshpande, kishor kadam, sandesh jadhav, milind shinde, priya berde, etc. sonalee looks good and dances well. amruta khanvilkar’s cameo is also impressive .
the music by ajay - atul is already a hit with the masses especially the ‘apsara’ song and other folk numbers with good lyrics by guru thakur. the dialogues by guru thakur are well - written. the cinematography by mahesh limaye is slick with lots of night scenes and back lighting with soft focus lens capturing the village landscapes beautifully .
now, a marathi film on the first superstar of marathi stage dr. kashinath ghanekar
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the plot revolves around a village wrestler, guna (atul kulkarni) who does usual farm labour and stays with his wife (vibhavari deshpande), son and his elderly father, but has a deep passion for marathi tamasha, though he never receives any moral support from his family who are always nagging and who always turn a blind eye towards his passion. soon, guna and other farm labours are unemployed which makes their personal and financial situation worse. it is then that they together decide to start their own tamasha troupe in order to earn a decent income which would offer them some financial freedom and allow them to explore their untapped talents. they approach an experienced tamasha performer (kishore kadam) who provides them enough guidance and knowledge about tamasha performances. just when guna is happy playing the role of a king in their act, the group decides that they need a beautiful dancer who will be the show - stopper and without with chances of their show being a hit is out of question. though they finally find (sonali kulkarni), she puts forward her demand of having a nachya in their show. desperate and torned between many situations, guna decides to be a nachya himself. what follows next is something that you should watch for yourself on screen .
inspite of having a rural backdrop in the movie, the story is very contemporary and focuses on various smaller issues that are rarely brought into limelight. in the earlier minutes of the movie, the story is quite humorous but gradually the plot takes us for a ride into the darker territories of what an artist has to go through to reach the pinnacle of success. the movie also gives us a glimpse of other issues like local politics, lack of appreciation, rural mentality and disrespect for effiminate tamasha characters who are cast out from the society and family and are often victims of physical assault. atul kulkarni' s performance is breath - taking and from the very first scene he gets into the skin of the character he plays. the amount of dedication and hard work that he has given to this movie is clearly visible on the celluloid screen. sonali kulkarni looks good and dances really well while you are thumping your feet unawarely to the melodious folk music. vibhavari deshpande as a typical maharastrian wife plays her part superbly of being disrupted between handling her family and what the villagers comment about her husband. kishor kadam also receives enough on - screen time along with atul kulkarni to display his variations of emotions .
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the movie goes on for 2 hrs, and is wonderfully directed by ravi jadhav, it was released on 1st jan, 2010, and is a must watch for cinema lovers. if you like watching good cinema, you can watch it on youtube, it has english subtitles. my take 4 / 5. soon will be writing review on' mungaru male' and as of now started downloading one more marathi movie' harishchandrachi factory' .
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goshta choti dongraevadhi movie, deool movie, bharatiya, balak palak, premachi goshta, prabho shivaji raja, zhapatlela 2 movie, dhag, fandry, yashwantrao chavan, ajoba, yellow, lai bhari, mitwaa, dr. prakash baba amte, timepass 2, killa, 72 miles - ek pravas, happy journey, aga bai arechyaa 2
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', ravi jadhav' s filmic anthem to a man' s passion for art and to standing for what one believes in, based on a novel by dr. anand yadav. a story that has the capability of stirring audiences throughout the world, this is unquestionably one of the best indian films we have come across this 2010! (see the
) who decides to create his own village troupe when he and his friends are suddenly hit by unemployment. strong and manly, guna dreams of writing a play in which he will portray a king but things take a different turn as he becomes confronted with the choice of playing a'
' (effeminate character), without which he would have to say goodbye to any possibility of making his artistic dreams come true .
the film about his ravaging passion for popular theatre begins as a lighthearted story and progressively evolves towards the dramatic destiny of its main character as the plot thickens.'
' touches such sensitive subjects as gender roles and expectations in 1970s maharashtra, the fear ofsurpassing oneself, art politics, family ties and society' s prejudices .
ravi jadhav has brought together an extremely talented cast in which everyone should be mentioned, from the villagers to the politicians or to the beautiful heroine embodied by stunning sonali kulkarni. ﻿ ﻿ ﻿﻿﻿﻿﻿﻿﻿﻿
﻿nevertheless, the film' s piece de resistance is atul kulkarni' s performance. whether it be as a wrestler or a man who plays an effeminate character, he has surpassed in our eyes many other actors of his generation in indian cinema, firstly, for accepting to give it all to such a rich role, and secondly, by fulfilling it brilliantly to its absolute and full extent with a solid stroke of acting genius .
– i have not seen tamasha the way you see it in the film because plays are no longer like this anymore and the tradition has lost its original form. the reference point in the film was old marathi films from the 1960s and 1970s which were based on the
' is based on this type of film. of course, there are also photographs or books of old
are still sung at shows, just the music, without a traditional (theatre) play .
hcb – the soundtrack is absolutely lovely. do you have a favorite song from the film ?
- yes, i have a song i like very much, it is a background song: ´khel mandal’ .
’ is ravi jadhav’s maiden film, tell us how both of you met and how your collaboration on this film came about .
- actually the producers knew him and they called me up. i had not met ravi before that. when we met he had already done a lot of preparation as he was already working on the music, was preparing the screenplay and had downloaded several photos of myself on the internet and had worked on them to show me how my character would look. he narrated the story in a nutshell to me and i requested to wait for some time and eventually i read the screenplay. when i read it, i had some creative ideas for him and that is how we started working together .
- as soon as i heard the story i knew the basic challenge was physical. i have never had a muscular body, so i went to my personal trainer, shailesh parulekar, who knows my body, how i can work out, etc. he read the script and calculated until he figured out how much time i would require to build my body as i was required to weigh 85 to 86 kilograms. he also calculated the time needed to lose that weight later .
' without working on any other film. during the time i was finishing work on the other films i was already training just to increase the stamina of my heart so i would be prepared for weight training later. it was two months of basic preparation and then another three months of heavy weight training. we then shot the first half of the film and then waited a gap of 50 to 60 days. in 43 of those days i lost 17 kg. this had to be done under very able guidance and checkups. i kept a journal, both for food and drink, as well as hours slept. i would say this is not advisable to do without guidance. i don’t smoke and i don’t drink so my trainer found it easier to prepare me even if age was not on my side, as i am 44 and that could make things difficult. so full credit goes to my personal trainer .
hcb – did you read dr. anand yadav’s novel or meet the author in order to approach your character ?
- yes, of course. i had not read the novel before i was contacted for the film, but i immediately read it after i was told the story and it helped me a lot. not only this, but also the films (from that time) that i saw, the biographies of
’ is also about human beings, about what a person goes through to get what he wants, about the set definitions of how a man should be or how a woman should be, especially in the indian context, where these definitions are very stark. the film talks about gender politics, my character grows long hair for the kind of job that he does on stage and the film shows how society reacts to this .
so beyond research, you have to empathize with the character while reading the script. additionally, for some characters one may prepare by doing a journey from the internal to the external, but in ‘
’ i prepared by doing a journey from the external to the internal: in the way i was changing my body i could better understand the character .
hcb – many women surely wish they could be as charming and convincing as guna since y our mannerisms as guna the dancer are impeccable. give us your recipe. did you work with someone in particular on your walk and gestures ?
- yes. this work was done with choreographer phulwa khamkar. she worked quite hard and vigorously on me. when i started shooting, after all the heavy weight training, the heaviness of my body was an issue as i could not do the exercises required by the choreographer but after the first schedule, every afternoon she taught me all these movements. all the credit goes to her .
’ not only talks about gender politics but also touches the subject of how artists may be judged by society or their families, as art is considered an occupation that does not earn enough or can even hurt a family’s honour. did you ever have to overcome that type of difficulty or judgement in your own life when you decided to become an actor ?
- the only thing i faced was the worry of my parents because they wondered what would happen to me. no one from the family was in the profession so they hardly knew it and they were basically concerned with the uncertainty of this profession, which is natural. however, these days all these ideas about artists (and family honour) as shown in ‘
’ and surely learnt a lot from kamal hassan. you are now the key to understanding cinema maybe for other actors who are starting to enter cinema, we are thinking for example of sonali kulkarni. do you enjoy introducing your fellow actors to your experience of cinema ?
! i love talking about cinema! i tell them what i know and i can just share my experience with other actors… this is of course very subjective. i make it a point to talk about my experience because i have had the chance to work with eminent people in cinema, this of course depending on whether some people want to listen to me
’ also focuses on the hardships of living in rural india at the time (unemployment, rumours that reach all corners of a village). we could not help but think of another film that has been released recently in hindi and is doing very well, called ‘
- we have always dealt with the topic. all the movements of art films of the 1970s... many of them dealt with rural india. commercial cinema, meaning hindi commercial cinema of the late 90s and early 2000s, is sometimes necessarily urban or even takes place in western countries. in the case of ‘
’, there is a kind of fresh thinking about the problems of rural india. it is interesting to see the way the film has connected these rural problems to the city. it is a social political scenario in india that reflects the divide between india and bharat .
marathi cinema has almost always dealt with the subject of rural india because it has had a wide rural audience. in fact with the modern wave of cinema urban problems have also become more present. it is still a point of debate whether rural maharashtra is the real maharashtra. in'
’ at the munich film festival was very successful. tell us a bit more about how it all went .
one of the screenings we were quite nervous because germany was going to play against england at the same time. the screening coincided with that match and we were really quite nervous about it. surprisingly the auditiorium was full. we had had the first screening just the day before and the word - of - mouth publicity was brilliant so the next day the audience was almost full .
the parameter of how people have liked a film is generally how people react to the q and a session after the film has ended. how many people have walked out during or after the film? how many people are really interested in knowing more about the film, in talking to the director? i was really happy that almost 96% of the audience stayed back, they asked questions, they wanted to know more. actually, the organizers had to stop and take it outside because the people for the next screening were waiting outside! so it was quite an overwhelming response i must say. it was not that only indians from munich had come… no, that was not the case. very few indians and maharastrians had come for the screening. most of the audience was basically local. really heartening .
right now i would not deny either possibility but i cannot say when and how .
’, a kannada film in which he will be appearing alongside nana patekar, yogesh and ruby parihar.'
' releases on october 1st. the hindi cinema blog recommends booking the date in your calendar !
thanks for stopping by, bunty! there is great filmwork being done throughout the various film industries in india. i do agree with atul in saying that the more local (the more indian) a plot gets, the more universal is its reach and marathi cinema definitely goes there, in my humble opinion. looking forward to watching more and having you read us often .
image: andher nagri, writer: bhartendu harishchandr, director: b. v. karanth. (np acc. no. 1659 )
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serial no: 1 play / title: saketam playwright: c. n. sreekantan nair performance language: malayalam group, place: calicut universit, school of drama, thrissur, kerala director: abhilash pillai music director: n. k. madhusoodanan design: abhilash pillai place of performance: shriram centre date: 16 march 2000 source / accession no: np / 3241 description / notes: notes on director, group, play, director' s note. a presentation in malayalam. performed during 2nd bharat rang mahotsav 2000 organized by nsd. light: rajesh chavakad; costume: k. p. benny joseph director / actor being documented: abhilash pillai scanned image :
serial no: 2 play / title: mid night' s children playwright: orignal writer - salman rushdie performance language: multilingual translator / adaptor / dramatizer: himanshu b. joshi original language / title / form: english, novel, group, place: national school of drama, 3rd year students director: abhilash pillai actors: nsd 3rd students 2005 music director: shankar venketeswaran design: abhilash pillai place of performance: abhimanch, delhi date: 10 - 15 december 2005 source / accession no: np / 3615 description / notes: based on salman rushdie' s novel. notes on novelist, director, director' s note, synopsis of the play etc. light: dheerendra dwivedi; costume: n. kritika director / actor being documented: abhilash pillai scanned image:
natarang , also spelled natrang ( marathi : नटरंग , an ornamental word for " artist " , especially a theatre artist ) , is a 2010 indian marathi film directed by debutant ravi jadhav and starring atul kulkarni and sonalee kulkarni . composer duo ajay − atul composed the original score and songs of the film . based on natarang , 1978 marathi novel by dr. anand yadav , the film depicts the journey of a young artiste in overcoming hurdles in the form of family , friends , society and to finally realise the unthinkable dream . set in the 1970s , in the backdrop of a village in maharashtra , natarang highlights the emotions related to gender bias and the sacrifices of an artiste for the love of his art .
natarang, also spelled natrang (marathi: नटरंग, an ornamental word for " artist ", especially a theatre artist), is a 2010 indian marathi film directed by debutant ravi jadhav and starring atul kulkarni and sonalee kulkarni. composer duo ajay − atul composed the original score and songs of the film. based on natarang, 1978 marathi novel by dr. anand yadav, the film depicts the journey of a young artiste in overcoming hurdles in the form of family, friends, society and to finally realise the unthinkable dream. set in the 1970s, in the backdrop of a village in maharashtra, natarang highlights the emotions related to gender bias and the sacrifices of an artiste for the love of his art.
natarang, also spelled natrang (marathi: नटरंग, an ornamental word for " artist ", especially a theatre artist), is a 2010 indian marathi film directed by debutant ravi jadhav and starring atul kulkarni and sonalee kulkarni. composer duo ajay − atul composed the original score and songs of the film. based on natarang, 1978 marathi novel by dr. anand yadav, the film depicts the journey of a young artiste in overcoming hurdles in the form of family, friends, society and to finally realise the unthinkable dream. set in the 1970s, in the backdrop of a village in maharashtra, natarang highlights the emotions related to gender bias and the sacrifices of an artiste for the love of his art.