baboo band baaja
baboo band baaja (marathi) – producer: nita jadhav. director: rajesh pinjani
baboo band baaja movie review: a sneak peek into the life of a vidarbha bandwallah .
baboo band baaja | f. i. g. h. t c. l. u. b
baboo band baaja movie review: a sneak peek into the life of a vidarbha bandwallah. | mad about moviez
baboo band baaja is a simple, heartfelt story of what appears to be parents’ struggle to make things better, and turns into something so painful, it takes a piece of your heart .
unpredictable incidents set in all roil up a spate of questions – is baboo going continue studying or join his father’s band? is life finally going to change, despite the fact that his mother is striving hard? baboo band baaja is a hard - hitting film showing the irrepressible surge to soar in life, pitted against the vicious grip of circumstances .
with respect to remakes, i don’t think some movies can be remade into any other language. baboo band baaja is essentially a film from vidarbha and remaking it into hindi would be equivalent to killing the authenticity of the subject .
all in all, baboo band baaja is a worthy addition to the marathi new wave, which, like a lot of good iranian cinema of the ’80s and ’90s, uses children’s stories as a medium of socio - political critique .
baboo band baaja manages to take a slice out of village life and place it before audiences who are ordinarily subjected to, well, tripe. like deool, it is one of those films that makes the marathi film industry proud. i only hope that there are enough screens that are showing this film with subtitles, so that the audience is not limited to only people who understand marathi. baboo band baaja is a film worth investing in, not just financially, but emotionally as well .
produced by nita jadhav and directed by debutante rajesh pinjani baboo band baaja is a film about the significance of education within the rural areas of the country. the story shows the irrepressible urge to soar in life despite getting caught up in unfavourable circumstances .
the traditional ‘bandwalas’ of rural india are an integral part of every ceremony like a child birth or a marriage or a funeral procession. but the tragic thing is that they are thought as untouchable and never get the respect for their art and skills. “baboo band baaja” is a story of a poor ‘bandwalaa’, jaggu, who has lent his instrument to get some money due to unavoidable circumstances. now he has to hire his own instruments back and restart his own band party named after his son – baboo. jaggu advices baboo’s mother, shirmi, wants him to learn and become a shcoolteacher. she decides to help her son again’s all odds. ————————————————————————————————————baboo band baaja is a tug - of - war between fate and hope… babbo is the son of a band player living in dreadful poverty. his father has resigned to the idea that his son would have to carry on their family tradition of playing the band at the functions in the village. by contrast, his mother is doing everything possible to get him educated. though all his music instruments are mortgaged, the father helplessly dreams to restart his band one day – baboo band party .
marathi film baboo band baaja by rajesh pinjan and dooman river / la riviere tumen by zhang lu bagged the government of maharashtra' s best marathi and international films awards respectively at the 9th pune international film festival (piff), which concluded here on thursday .
among the marathi film awards, the jury recommended special mention for acting of sachin khedekar in taryache bait. abmcm award of rs 25, 000 for best cinematographer went to raja fadtare and sandeep varadkar for baboo band baaja, best screenplay award of rs 25, 000 went to saurabh bhave and kiran yadnyopavit for taryanche bait .
adopted a much more bright and positive outlook. amazingly, the makers of baboo band baajaa were observant enough to find a story in vidarbha which was equally if not more captivating than that of the cotton farmers .
we first heard about baboo band baaja when it bagged three national awards – for best first film of a director, best actress and best child artist. the film has been ready for quite sometime and it finally released last friday. some of the theatres are screening the film with subtitles. here’s mohit patil ‘s recco post for the film .
the 58th national film awards were announced recently. here is the list of winners: • best feature film: adaminte makan abu (malayalam) • indira gandhi award for best debut film of a director: baboo band baaja (marathi) • award for best popular film providing wholesome entertainment: dabangg (hindi) • nargis dutt award for best feature film on national integration: [ … ]
jaggu is a man who runs a band that plays at every occasion in the village, be it a funeral or a marriage. a band that he has named after his only son, baboo. baboo’s mother does odd jobs for a living and has big dreams for her son – she wants to educate him in the best possible manner, against all odds. but their circumstances are such that they can’t even afford to buy him a school uniform. jaggu, on the other hand, believes that his son should take after him in the band, since that is what the men in their family have been doing for generations. stuck in the middle is baboo, a bright little kid who is always thrown out of class for some reason or the other .
if a little tugging at your heartstrings is what you need, then baboo band baaja is the film for you this weekend. this multiple national award - winning film is a simple story of the tough circumstances a family in a village face, and the manner in which they deal with it. embellished with some earnest performances that are hard to forget, this little gem is the kind of film that we should feel responsible to support .
bandwallahs are common in all places in india. the peculiarity of the vidarbha bandwallah is that he doesn’t play only at weddings but also at funerals and other occasions like the birth of a child. baboo band baaja is a heartening story of such kind of a band member and his family’s struggle to lift themselves up from abject poverty. the film is also a fine portrayal of a tug - of - war between fate and poverty. a done to death subject? the struggles of a ‘bandwallah’ to meet his ends were hereunto undiscovered in cinema. and therein lays the film’s strength .
in a surprise move, the awards jury urged the government to shell out an additional rs. 2. 5 lakh to ensure that both actors, as well as the two women selected for the best actress award — tamil actor saranya ponvannan for thenmerkku paruvakkatru and marathi actor mitalee jagtap paradhar for her performance in baboo band baaja — and the four children chosen for the best child artist award, did not have to split the prize money as was usually the case .
now, whether the film will be applauded by the masses remains to be seen. the director - producer rajesh pinjani though doesn’t plan to release it any soon. he hopes to get it to various international festivals first and gain some reputation. with the difficulty involved in releasing an offbeat marathi film in india one hopes that baboo band baaja is bought by some foreign distributors like gabhricha paus did. the similarity of the title of the film to the popular yashraj film band baaja baarat will be helpful to the cause of the film or would go against it also remains to be seen. but there is no doubt that the film is very likely to strike a chord with filmgoers. let’s hope that the film does get a good release and reaches a very wide audience which it certainly deserves .
thank once again for recommending and making us aware of another good film from marathi cinema. hope the film gets a wide release and ends up going the gabhricha paus way. hope that the similarity of the tile wrt yrf ‘ band baaja baarat doesn’t harm its prospects. keep up the good work n thanks for the recco .
rajesh pinjani’s debut film, baboo band baja, was made nearly two years ago and even won 4 national awards including best actress, best child artist and best debut feature last year. but it’s taken this long for his poignant tale of rural exploitation and poverty to finally get a well deserved, even if belated, theatrical release .
baboo, played convincingly by vivek chabukswar, is a sincere student who shows interest in studies but due to his economic conditions there are quite a few obstacles in his way. having a father who doesn’t encourage his schooling also doesn’t help. but baboo doesn’t lose his resolve to learn. his mother makes him a makeshift notebook out of a few loose pages. baboo’s school teacher though doesn’t approve of the notebook and punishes him by repeatedly hitting it on his head. while facing the punishment baboo is more worried about his book and pleads with his teacher to stop hitting him not because it is hurting him but the notebook, made with so much love by his mother, will tear .
after watching the marathi film, the border director got so emotional that he decided to remake itbollywood’s veteran producer and director jp dutta, who is known for his memorable films like border, refugee, loc, kargil and umrao jaan is all set to remake an award - winning marathi film. the 63 - year - old recently watched baboo band baja and [ … ]
last month, miranda house travelled back to the' 70s as meghna gulzar and alia bhatt shot for raazi in the college. it was the first time that most of the students were witnessing a film shoot and they tried their best to get a glimpse of the actress.' raazi' is the latest addition to the list of films that have been shot in du, which goes back to' do dooni chaar' (2010) and' band baaja baaraat' (2010) .
there are a few poignant moments between jaggu’s wife shirmi and their son baboo. a scene where the school pant for her son that shirmi trades with vessels ends up being too loose, brings a smile on your face .
( for a riveting tale of a father reluctant to educate his son, a mother who fiercely believes in its liberatory value, and the son who is caught in the crossfire, ‘baboo’ is an outstanding debut project by director. )
jaggya wants baboo to become a band member like him. the reason for this call isn’t a father wanting to see his son to be like him, but his presumption that there is no other way out. “we villagers are in no way helped by the technological advancements, ” he argues, “all that has changed is the number of airplanes flying above our heads”. throughout the film, we see his mother as a heterodox in a comparatively orthodoxical society. she wants to educate her son and goes to great lengths to earn money to buy books for baboo, whose school master won’t allow him in without books and uniform. she’s elated when she gets a pair of khaki shorts in exchange for a larger vessel, which can be used as her son’s school uniform. and she is enraged when she discovers that the reason for her husband’s anger is the fact that baboo has lost his rattle and not that he has lost his school bag .
another very impressive thing about baboo band baaja is that it has a very keen eye for detail. not a single thing here seems unauthentic or out - of - place. especially, the language used here, is pure gold. if you couldn’t buy the hindi speaking characters in some of our recent urban rom - coms, or the characters not referring to mumbai as bombay or bambai in dhobi ghat, you are bound to be more than satisfied with the language and the actors’ inch perfect dialect here. the instruments that the bandwallahs play in the film, the songs that they play, selecting the dress code for the grand wedding they are appointed for, the astute observations about the local life in vidarbha… discovering these rural life vignettes first hand is pure joy, so i’d rather not spoil it for you .
shantanu rode, the scriptwriter, excels in capturing the nitty - gritties of the life of a typical band member in vidarbha. the songs they play, the instruments used, certain events which are of importance to their livelihood have all a sense of authenticity to them. as the story unfolds we get a sneak peek into the life of the protagonist, jaggu, who once had a band of his own but had to pawn his instruments for some money. he now makes do with playing at funerals and other not so lucrative occasions. his wife shirmi being a ‘bhandiwali’ sells vessels for a living and also accepts old clothes in return for some money. she, unlike jaggu, wants their only son baboo to get educated and break the shackles of poverty. jaggu’s mother who also lives with them tries to be of some help to the family by selling handicraft items. these are the main characters around which the story revolves .
throughout the film it is visible that the makers are trying to tell a story in an honest manner. in a premise tailor made for over the top melodrama, the restraint and the effort to show humor in the routine and also difficult times of life is definitely applause worthy. no wonder then that baaboo band baajaa ended up getting 4 national awards .
one of the film’s biggest triumphs is that it sticks to its business and tells the story of the family’s endeavor with great simplicity and without diverting its focus towards “shocking the viewer with the appalling reality…” etc. i did find the emotions exaggerated at places with the lurid low angle shots of the school master punishing baboo or the histrionics of the wily politician, and wished it weren’t as overstated, but it all works nevertheless .
the film bears a remarkable similarity to jhing chik jhing, which lamented the plight of poor cotton farmers through the spirited story of a sprightly boy. like shyam in that film, baboo is intelligent and precocious. his mother and grandmother dote on him and the former puts herself through extreme hardships to send him to school. his father, on the other hand is world - weary and given to drowning his sorrows in liquor .
the characters are very well written, and the actors who play them are terrific for the most part, save for the school teacher who is baselessly portrayed as an evil baddie, as opposed to someone who is just doing his job. watch mitali jagtap and vivek chabukswar speak through their eyes in one of the best moments in the film; the scene which has hardly any dialogue, in which shirmi readies baboo for school .
pinjani keeps the action rooted in absolute authenticity – the dialect, songs, locations and actors all contribute in equal measure. in fact, unlike recent off - beat marathi cinema, none of the actors are well - known, thus further blurring the lines between reality and make - believe. the three principal players – milind shinde as the father, mitalee jagtap varadkar as the mother and vivek chabukswar as baboo – are quite exceptional .
by keeping the focus firmly on the child’s world – how he is forced to help his father, once the owner of a band but now works as a freelancer and plays at weddings, funerals and sundry occasions, at work, his peculiar relation with a madwoman with whom he flies paper planes, his burning desire to study even when the teacher is determined to throw him out and his camaraderie with friends and neighbours – the director makes it harder for us to look away from this bleak landscape .
the film begins and ends with a funeral. in the first, baboo plays chimes as a stand - in for the regular musician who hasn’t turned up and like the other kids, picks up the coins that the funeral party keeps dropping on their way to the crematorium. in the second, life has served him his first big blow and ensured that this guileless kid who could smile through just about any situation, has grown up before his time and will never be the same again .
by rajesh pinjan and dooman river / la riviere tumen by zhang lu bagged the government of maharashtra' s best marathi and international films awards respectively at the 9 { + t } { + h } pune international film festival (piff), which concluded here on thursday .
the piff special award of rs 25, 000 for a final year direction student from the film and television institute of india was awarded to tathagata singha .
dooman river, a south korea / france production, won a cash prize of rs 10 lakh, which was shared by director lu and producers cuillaume de seille, jeong jin lee and hye kyung woo .
the sant tukaram best marathi film award, comprising rs 5 lakh, shared by director rajesh pinjan and producers neeta jadhav and rajesh pinjan .
the government of maharashtra prabhat best international film director award of rs 5 lakh went to borys lankosz for the film the reverse (poland) .
the akhil bharatiya marathi chitrapat mahamandal (abmcm) award carrying rs 25, 000 cash for best direction was bagged by noted actor vikram gokhale for his directoral debut film aaghaat. the abmcm best actor award comprising rs 25, 000 went to mukta barve for her role in aaghaat .
in the world cinema competition, the jury recommended two special mentions for cinematographer christine a maier for on the path (na putu) (bosnia and herzegovina, austria, germany, croatia) and actor javier bardem for blutiful (spain, mexico). special jury award was given to director of the film puzzle (argentina) natalia smirnoff .
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cineswami takes a look at the film’s to be screened at the international film festival of india in goasantosh sivan’s magnum opus urumi starring malayalam heartthrob prithviraj, pradhu deva, vidya balan, genelia d’souza and arya will open the indian panorama section of this year’s international film festival of india in goa. the jury headed by [ … ]
rajinikanth’s son - in - law dhanush has bagged the best actor awardtamil films swept the 58th national film awards, announced on may 19 in new delhi. awards in most of the prominent categories have been bagged by tamil cinema .
mitalee jagtap varadkar is a national film award winning indian actress from the marathi film industry. she is known for
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for, all around him is the indignity and humiliation of poverty. the father is ridiculed for dreaming of retrieving his musical instruments from the moneylender, there is stiff competition for the few jobs there are even in this small village and not enough food at dinnertime – buying a new school bag and books is a luxury well beyond their reach. the mother talks her way into a job at the cotton mill, but here too, she has to beg and plead with the manager to get her wages. the local politician treats the hamlet like his fiefdom and exploits it for personal gains .
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( holy basil) in the courtyard, the fragrance that rises when you spill water on the soil of dry, hot land .
isn’t the first film to be set in rural maharashtra, but it is one of those films that will not leave me in a hurry, no matter how many housefulls and golmaals i watch along the way. a poignant, touching tale of a simple family ,
has been made with the kind of honesty and sincerity that is rare to find in indian cinema today .
the film is essentially the story of the cards that life deals this troubled family and how they cope with them. the most striking aspect of this film is the lead cast .
as his mother play their parts so well that, for the first time in many years, i forgot i was watching a film. the connect with the characters, their joys, their sorrows, with their very lives felt so real that when the lights came on, first in the interval and then at the end, it felt like a jolt back to reality. no wonder then that
deserves full marks for treating the film the way he has. when making a film like this, it is easy to get over - indulgent. but
keeps any form of indulgence to a minimum, letting the village setting and the spontaneity of his cast do the talking instead. also, a special mention must go to the editor of the film ,
. there is only one thing i can say about him – he has edited the film with love .
is really about the little nuances of life that the director chooses to show – the love that a mother has for her child, the frustrated existence of a man who has resigned himself to the fact that neither he nor his son can ever rise above their financial problems, the spirited grandmother who warms your heart every time she protects the little child from a thrashing, the pride that a mother feels when her son recites the tables of 2. every little scene evokes a little bit of warmth, a little bit of sorrow, and a whole lot of wonder at the choices that the debutante director makes in the journey of the film .
this review is by guest reviewer pradeep menon. pradeep is a filmmaker and a dreamer. he loves books, rain, winters, tea and his parents. cinema, however, is the only truth he believes in. he breathes and bleeds film, mostly in hues of saffron, white, green and blue. you can watch his short films at urltoken .
this page has additional observations, other than the ones noted in the main review .
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a bridegroom on thursday had to return home a bachelor after his bride and her family skipped the wedding at a marriage palace here and went incommunicado .
after wrapping up the shoot of zoya akhtar' s' gully boy', ranveer singh is now gearing up for rohit shetty' s' simmba'. he will be starting the shooting in a month' s time .
with the threat of glanders disease looming large over the city, “baraats” and “ghudchadis” could become less glamorous affairs. delhi government’s move to notify the entire capital as a “controlled area” has put a question mark on traditional mares being used for wedding ceremonies. while there is still no ban on their use for “ghudchadis”, bandwallahs and mare suppliers have been flooded with queries from prospective customers, who are worried about the disease impacting their “once - in - a - life - time function” .
deepak and sapna bahal threw a grand reception for their son naman and daughter - in - law nikita, who recently got married in delhi .
worried that drunken brawl between youths and blaring music is disturbing the' culture' of their village, residents of belawatti have imposed restrictions on baraat. the wedding procession should conclude by 7pm, else a fine of rs 10, 000 will be imposed on the organizer .
the welcome of jitesh singh deo, the lucknow boy, who clinched the title of peter england mr india world, 2017, at the chaudhary charan singh international airport on tuesday morning, was nothing short of a grand one .
one year after the modi government demonetised 86% of india' s currency, the yawning gap between the rs 500 and rs 2, 000 notes is yet to be filled. the rs 200 note is barely in circulation .
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vidarbha. if one is playing word association he / she is most likely to associate this word with farmer suicides. over the years the large number of farmer suicides in vidarbha has, sadly, made the region being identified with it. it has also made for some cinematic fodder .
( the damned rain) was brilliant in capturing the vidarbha cotton farmer’s situation in the drought prone region .
there’s also a parallel love story involving the daughter of a family friend of jaggu’s. this love angle though has not been used only for its own sake. rode, very smartly integrates it into the plot. the character of a crazy woman of the village, astoundingly, is also quite influential to the plot. the script which has no visible loose ends shines out. shantanu rode, who has also written the dialogues for the 2005 animated feature hanuman, is without doubt a man to watch out for .
the acting by the leads is up to the mark. milind shinde who plays the protagonist jaggu is brilliant in showing the despair that his character feels. you completely feel for jaggu as a broke bandwallah especially when he says that committing suicide is also not going to help as unlike the cotton farmers his family isn’t going to get any compensation. it strikes suddenly realize that the state of a bandwallah in vidarbha is no better than the farmers. mitali jagtap vartak as shirmi is spot on. a scene where she acts while also bathing a just born baby, leaves you particularly impressed .
the presence of a cotton mill in the village is given away by the typical siren of a mill which runs in the background when the characters are going about the daily duties. such subtlety deserves appreciation .
i am so happy rasik that you are writing about non commercial films and helping to spread the word of interesting cinema. your review does generate an interest in the viewer to see the film keep it up. oorvazi
yes. and whenever it does release cinema buffs should make an extra effort to actually go and watch it in the cinema halls .
national awards are not always fair. but yes, 4 national awards can’t be ignored .
you are really right on the first count. as low cost low risk ventures big producers should look to produce these small - medium budget regional films not only from maharashtra but from all over the country especially from tamil nadu, kerala, west bengal etc where there is obvious talent. i also think it is high time these regional movies are exposed to an all india audience by subtitling or dubbing through cinema halls or even television channels. i really wish we have a movie channel which shows quality cinema from every corner of india without limiting itself to any language .
thank you. i really didn’t know anything about this. where can one get to read the play ?
i have hard copy of this book, if you are seriously interested i will scan and upload a soft copy .
wonderful review. i am not sure when will i get a chance to see the movie. but i am certainly looking forward to it. . 🙂
if you live in maharashtra then this film is supposed to release in april / may. thanks for the kind words 🙂
i saw the film today at cinemax sion. loved the film. loved milind shinde’s & the kids mother acting as well. the movie is a social commentary on the hardships people have to face in village. have to confess, i almost broke down in the end .
the film shows how fucked up we are as a country, we cant provide basic education to kids and talk about becoming a super power. this film is like a small fish in the river and hope its not overshadowed by bollywood film (read houseful 2 )
kushal i am so so glad watched the film and liked it. trust me only efforts like these encourage me to write on such films .
btw, aditya savnal was of the opinion that the sad ending could have been avoided. what do you think ?
the film is social commentary. at the end if you remember finally things seem to get rolling for the boy, his father able to make some money thanks to that urltoken just when we though all is set for the school buy tragedy strikes him (he loses his mother). this is to show that for poor people, misery’s are never ending. imo sad end was needed to show that misery is a vicious cycle
my immediate reaction after watching the film was like aditya’s. but later as the film sunk in i didn’t feel the end was out of place. and your ‘vicious circle’ point lends the ending even more merit .
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a tug - of - war between fate and hope. it shows the irrepressible surge to soar in life, pitted against the vicious grip of circumstances .
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sweet sentimental love and care... with a pinch of innocence and fun in right amount !
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the film uses all its subplots, which rather smartly towards the culmination. there is metrical dichotomy in the way things fall back into place towards the end. the beautiful symmetry between the first and the last scene of the film more than made up for my feeling of redundancy after the final blow .
58th national awards have been announced. and as expected, most of the winners are from down south. the feature films jury was headed by j. p. dutta, non - feature films jury was headed by a. k. bir and best writing on cinema jury was headed by ashok vajpeyi .
adaminte makan abu (malayalam) – producer: salim ahamed. director: salim ahamed
( for a simple yet evocative articulation of humanist values that frees matters of faith from the constrictions of narrow parochialism. the concerns of abu, son of adam, are timeless and universal in their scope. )
dabangg (hindi) – producer: arbaaz khan, malaika arora khan & dhilin mehta. director: abhinav singh kashyap
moner manush (bengali) – producer: gautam kundu. director: goutam ghose
( for celebrating the union of the human spirit through the life and song of sufi poets in the baul tradition. )
bettada jeeva (kannada) – producer: basantkumar patil. director: p. sheshadri
hejjegalu (kannada) – producer: basantkumar patil. director: p. r. ramadas naidu
( two riveting performances that fuse character and actor into one: to dhanush for the raw, nuanced portrayal of a cocky young man who learns lessons about life the hard way. to salim for a deep, restrained performance of a simple man with an unshakeable belief in his quest for salvation )
( the picture of two mothers whose concern for bettering the lives of their children in the face of untold hardship: as a mother who strives to realise through her son her dreams of a better future. as a fiercely combative single mother who shields her son to the point of sacrifice. )
( for a heart - warming performance as a policeman who discovers his humanity in the process of capturing an escaped fugitive. )
( four actors for expressing with charm and heartbreak the world of the child: for performing with bright, shining eyes and an urchin smile, the razor sharp spirit of a survivor who dreams of excelling. for two brothers bonded by blood and responsibility battling for survival in the underbelly of a heartless city. for capturing the indomitable spirit of a young village boy who is hungry to learn in an environment that closes all doors on him .
( for a sensual and evocative rendering of a heart longing for the beloved. )
( for the visual poetry that augments and reinforces the concern of the narrative and for unfolding the infinite vistas of nascent digital technology in the visual medium. )
( for its kaleidoscopic variety that uses realism, tradition and contemporaneity, soaked in local flavour on an infinite canvas .
for retaining the concerns and values of a biographical account while translating it into the cinematic medium and honouring the essence of the original .
for bringing to life the textures of various characters through articulating their emotion and thought process. )
( for capturing the soft nuances and variations of the artists’ voices and location ambience in a sensorial manner .
for the use of various sound effects along with existing ambience to impart a subliminal experience in this abstract work .
for merging voices, location ambience, background music and other sound effects to create a near - tactile experience that is both real and artistic. )
( for the style and finesse realised in the creation of a set design that is coherent with the futuristic visual style of the narrative. )
( for the admirable detailing and remarkable consistency achieved in the etching of the characters across an extensive time span. )
for minimalistic use of appropriate background score to nurture the essence of the narrative. )
mee sindhutai sapkal (marathi) – producer: bindiya & sachin khanolkar. director: anant narayan mahadevan
( for bringing of age a spectrum of visual special effects in indian cinema and creating a space for the practitioners of this art form on the global map. )
1. best non - feature film – germ (hindi). director: snehal r. nair
2. best debut non - feature film of a director – pistulya (marathi & telugu). producer: nagraj manjule. director: nagraj manjule
16. best direction – shyam raat seher (hindi & engish). director: arunima sharma
17. best cinematography – shyam raat seher (hindi & english). cameraman: murali g .
18. best audiography – a pestering journey (malayalam, punjabi, hindi english & tulu). re - recordist (final mixed track): harikumar madhavan nair
21. special mention: a. ottayal (one woman alone) (malayalam) – director: shiny jacob benjamin b. the zeliangrongs (manipuri & english) – director: ronel haobam c. pistulya (marathi & telugu) – child artist: suraj pawar
joshy joseph (english) and n. manu chakravarthy (kannada & english )
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konkan blues: in killa, we watch the young, pune - bred protagonist delight in the undeniable quiet beauty of his altered surroundings. courtesy: mr filmworks
this past week, i finally watched killa, one of those marathi films that won a loyal viewership last year. i wasn’t disappointed. avinash arun’s coming - of - age tale is full of understated charm. for one, it is beautifully shot, capturing the magic of a konkan seaside village, without ever making it seem too unbelievably lush. torrential monsoon rain punctuates the film, producing both momentousness and foreboding whilst steering clear of both the high drama and romance that rain now signals in popular indian cinema. alongside the ruined fort of the film’s title, the rough palm - fringed beach with its few fishing boats and a vast calm sea stretching into the distance, the rain is also integral to creating killa’s exceptionally vivid sense of place .
it helps that we’re seeing this world through a fresh pair of eyes: those of an 11 - year - old called chinmay (chinu for short), who has just moved to the village. chinu is a city boy from pune, and even as he finds his new schoolwork unchallenging and his new classmates rough and unimpressive, we watch him delight in the undeniable quiet beauty of his altered surroundings: the forded stream, the mincing walk of crabs on the beach. arun zooms in on those small things that seemed so large when we were kids: a gift, a letter, a promise, a visit. here, too, place and time are made constantly relevant, positioning the film within a precise pre - liberalisation social geography — the cycle that impresses the boys is from mumbai, the new - fangled pencil box is from dubai, while the simple konkani fare seems rustic to the pune - bred boy .
what is it about seeing through the child’s eye that makes for such sensitive, observant cinema? richard tapper, in a 2002 book on the ‘new iranian cinema’, makes the interesting observation that “children liberate plots by introducing non - essential actions — generally loafing around on a street or in a rural area” .
indian cinema had satyajit ray, who famously stated his artistic debt to bicycle thieves, and placed children at the heart of his own first feature. though ray’s film most certainly had a plot, based on bibhutibhushan bandopadhyay’s novel, he did cast non - professional actors — and the brother - sister pair apu and durga, lithe of limb and fleet of foot, were what made pather panchali unforgettable. as they stole fruit from neighbours, ran after the sweet - seller, listened for the train and got memorably drenched in a downpour, they produced a startlingly lovely visual and aural record of life in the bengali village. and yet ray’s coming - of - age tale was hardly romantic: the rural idyll killed off one child; the stricken family was forced to migrate to the city .
on the heels of vikramaditya motwane’s udaan (2010) also came a few small - budget hindi films reminiscing about ’80s childhoods: shashi sudigala’s cycle kick (2011) made a cycle the pivot of a tale about two not - well - off brothers — it even gets stolen, a la bicycle thief — while sanjivan lal’s refreshing bubble gum (2011) dealt with the dynamics of an ’80s housing colony .
but for some reason, marathi filmmakers appear to be the ones overwhelmingly interested in childhood. and these coming - of - age narratives seem, more often than not, to be adaptations of their own experience .
perhaps what is surprising is not that there are so many such films, but that there aren’t more of them. after all, even if the necessary 15 - minute bachpan sequence has practically disappeared from our popular films, memories of childhood are the most cinematic thing we all have in our heads .
trisha gupta is a writer - critic based in delhi. follow her on twitter @ chhotahazri
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baboo band baaja is a marathi film directed by debutante rajesh pinjani and produced by nita jadhav . the film tells the riveting tale of a father reluctant to educate his son , a mother who fiercely believes in its liberatory value , and the son who is caught in the crossfire . it stars milind shinde , mitalee jagtap varadkar and vivek chabukswar in the lead roles . the film received three national film awards , including for best actress ( mitalee jagtap varadkar ) and best debut film of a director , and six maharashtra state film awards . 
baboo band baaja is a marathi film directed by debutante rajesh pinjani and produced by nita jadhav. the film tells the riveting tale of a father reluctant to educate his son, a mother who fiercely believes in its liberatory value, and the son who is caught in the crossfire. it stars milind shinde, mitalee jagtap varadkar and vivek chabukswar in the lead roles. the film received three national film awards, including for best actress (mitalee jagtap varadkar) and best debut film of a director, and six maharashtra state film awards.
baboo band baaja is a marathi film directed by debutante rajesh pinjani and produced by nita jadhav. the film tells the riveting tale of a father reluctant to educate his son, a mother who fiercely believes in its liberatory value, and the son who is caught in the crossfire. it stars milind shinde, mitalee jagtap varadkar and vivek chabukswar in the lead roles. the film received three national film awards, including for best actress (mitalee jagtap varadkar) and best debut film of a director, and six maharashtra state film awards.