Rajwade and Sons (2015)

My Reviews,

Sachin Kundalkar is a well-known director in Marathi cinema, recognised for exploring a wide range of subjects. Human relationships, emotional yearning, and questions of identity are recurring themes in his films, and Rajwade and Sons (2015) is no exception.

As the title suggests, the film revolves around the Rajwade family, a well-established business family spanning three generations. It explores how these generations interact with one another, navigate conflicts, and respond to changing times and perspectives. Beneath the family drama lie some thought-provoking questions. Can financial security and material comfort truly guarantee happiness? What happens when the life we have grown accustomed to begins to feel restrictive? And, perhaps most importantly, do we have the courage to step out of our comfort zone and question the choices we have always taken for granted?

The Plot

The Rajwade family owns a prestigious jewellery business in Pune, and the name commands considerable respect across the city.

The film opens with the entire family moving out of their old bungalow in the heart of Pune. As part of a redevelopment project, the property is set to make way for a high-rise tower. In the meantime, the family relocates to another residence until the new building is ready.

At the helm of the Rajwade family is Rameshrao Rajwade (Satish Alekar), a staunch traditionalist who firmly believes in upholding age-old values and customs. He exercises tight control over the family business, with his two sons and son-in-law expected to follow his orders without question. In the Rajwade household, joining the family business is not a choice but an expectation passed down from one generation to the next. Pursuing an alternative career is simply out of the question. Even following one’s personal passions is discouraged, as anything that might affect the reputation and image of the family’s jewellery business is considered unacceptable.

Even when it comes to the redevelopment project, Rameshrao presents his design to the family members, who accept his decision without question. His authority within the family is such that his choices are rarely challenged.

His wife, Susheela (Jyoti Subhash), is the matriarch of this affluent household. A sensible and level-headed woman, she has spent years following her husband’s wishes, accepting his decisions as a way of life.

Rameshrao’s two sons are Vidyadhar (Sachin Khedekar) and Shubhankar (Atul Kulkarni). Vidyadhar’s wife is Sarita (Poornima Manohar) while Shubhankar’s wife has passed away and he has a school going daughter Tanmaya. Rameshrao’s daughter, Laxmi Joshi (Mrunal Kulkarni), is married to Vaibhav (Rahul Mehendale), who lives with the Rajwade family as their ghar jamai (a son-in-law who resides in his wife’s parental home). Vaibhav also works alongside his father-in-law in the family business.

Interestingly, the women in the family have little say in business matters. Although Laxmi is a director in the company, her involvement appears to be limited to signing documents as instructed by her father, without necessarily understanding the business decisions behind them.

Laxmi once dreamt of becoming an actor. During her college days, she had even performed in the acclaimed Marathi play Wada Chirebandi, which, incidentally, also revolves around a joint family. However, her aspirations were firmly dismissed by her father. As a Rajwade daughter, she was expected to uphold the family’s standing and remain rooted in Pune. The idea of leaving the city to pursue a career in the film industry was unacceptable to him. Instead, she was married off at a young age to a wealthy man.

It is evident that all three of Rameshrao’s children have grown accustomed to accepting their father’s decisions without question. The same expectations are likely to be imposed on the next generation. But will the younger members of the family submit to these conventions just as readily? Anay (Alok Rajwade), Virajas (Siddharth Menon), Shweta (Krutika Deo), and Ananya (Mrunmayee Godbole) represent the future of the Rajwade family. Through them, the film explores whether deeply entrenched family traditions can survive when confronted with a younger generation’s aspirations and desire for independence.

The younger generation of the Rajwade family has, in many ways, been born with a silver spoon in its mouth. Accustomed to a life of privilege, comfort, and financial security, they have enjoyed opportunities that many can only dream of. Yet, not everyone is willing to accept the future their parents and grandfather have mapped out for them.

The simmering discontent comes to the fore through an incident involving Ananya, Laxmi’s daughter. Ananya aspires to enter the modelling world by participating in the Miss Pune contest. She is also aware that Rajwade and Sons is looking for a model to showcase its jewellery collection. However, despite her interest, she is not even considered for the role.

When Ananya goes ahead with a photo shoot, the family convenes a meeting to address what they perceive as her unacceptable behaviour. The message is unambiguous: she cannot pursue her dreams because she belongs to the Rajwade family and must protect its reputation. Ananya challenges this reasoning, pointing out that their family’s reputation hardly extends beyond Pune.

Frustrated by the elders’ refusal to understand her aspirations, Ananya storms out of the meeting, with Anay following her. For the first time, the younger generation’s dissent becomes unmistakable. What was once simmering beneath the surface now begins to emerge as an open challenge to the family’s deeply entrenched values and expectations.

The elders often complain that the younger generation has received everything on a platter. But this raises an obvious question: whose fault is it? Aren’t the parents and grandfather equally responsible for bringing up their children in an environment where privilege comes with little freedom to make independent choices?

The younger members of the family carry on their carefree ways. They visit their old bungalow before it is demolished, having secretly arranged duplicate keys without informing the elders. During one such visit, they stumble upon a trunk and other belongings of Vikram Rajwade, Rameshrao’s son, who had left home many years ago after an “incident” that is never spoken about by the elders. Apparently, Vikram had also “stolen” some money when he left. His whereabouts remain unknown, and Rameshrao has made it clear that his estranged son will have no place in the redeveloped family residence or inheritance.

Then comes an unexpected turn of events. While the family is enjoying lunch, Vikram (Amit Riyaan) suddenly walks in. Having spent years away from home, he has built a life on his own terms, doing things that a Rajwade is traditionally not expected to do. He has worked independently, travelled abroad, settled down, and married. By all appearances, he has done well for himself without relying on the family or its business.

Vikram’s arrival affects every member of the household in some way, but it is the younger generation that is most deeply influenced. Here, at last, is someone from their own family who has dared to break away from its rigid conventions and chart his own course. His very existence challenges the belief that the Rajwades’ prescribed way of life is the only path to success and respectability.

Vikram is more than just an unexpected guest who gatecrashes the family’s comfortable existence. He is the rebel, the disruptor, and, above all, the catalyst who sets in motion a process of change within the Rajwade household.

Whether the younger generation will find the courage to take that leap is revealed as the film progresses. Along the way, there are some startling revelations about various family members which make things complicated as everyone struggles to come to terms with the reality and the way forward.

The Music

The film has only 2 songs (Tagmag and Mokale) which can be termed more as poetry set to tune. Tejas Modak is the poet and Debarpito Saha the composer.

My Thoughts

Sachin Kundalkar explores several themes in Rajwade and Sons. At one level, it is a family drama, but beneath the surface, it examines the patriarchal mindset prevalent in affluent business families, the position of women in family-run enterprises, and the struggle for independent thinking. The assumption that women are incapable of handling business affairs, or that younger family members must automatically follow in the footsteps of their elders, comes under scrutiny.

The bond between the siblings, both old and young, feels genuine. The older generation has largely accepted its circumstances and settled into the life laid out for them. The younger generation, on the other hand, appears carefree but carries an underlying sense of dissatisfaction. They have everything they could ask for in terms of material comfort, yet something seems to be missing. This contrast is one of the film’s more interesting aspects.

As far as the performances are concerned, most of the cast members leave a mark. However, Rameshrao’s character comes across as excessively rigid, almost incapable of understanding the changing aspirations and expectations of the younger generation. His assessment of Vikram, his intentions, and the approach e proposes lack the maturity and wisdom one would expect from an elderly family patriarch. Vikram’s character, too, feels somewhat vague at times, leaving certain aspects of his personality and motivations insufficiently explored.

The film’s resolution is another area that disappoints. The eventual outcome does not feel entirely convincing, and the narrative could have benefited from exploring the younger generation’s struggles in greater depth. What happens when they finally step outside the protective confines of the family business? Do they succeed in carving out independent identities, or do they discover that life beyond their privileged world is far more challenging than they imagined? Such an exploration would have lent greater weight to the film’s central questions.

Does the film serve as an eye-opener? The answer remains ambiguous. More importantly, does Rameshrao undergo any meaningful change of heart? This is a question the resolution could have addressed more convincingly.

One of the film’s strengths lies in the way the director plants seemingly small and incidental details from the very beginning and gradually connects many of them as the story unfolds. These subtle directorial touches add depth to the narrative and demonstrate his attention to detail. The film also benefits from its clean, glossy visual presentation, which complements the affluent world it portrays.

Ultimately, Rajwade and Sons raises relevant questions about privilege, family expectations, and the freedom to make one’s own choices. While its themes are compelling and its treatment often engaging, the film’s somewhat unconvincing resolution prevents it from reaching its full potential.

The Making Of The Mahatma (1996)

My Reviews, ,

With the approach of 2nd October and it being Mahatma Gandhi’s birth anniversary, comes the inevitable reminder of the many films and other content portraying his life, ideas and legacy. Among them, Richard Attenborough’s Oscar winning biopic Gandhi (1982) is perhaps the best known. Ben Kingsley’s portrayal of the title character was widely appreciated. I recall the film used to be telecast on Doordarshan, probably every year(?).

But Attenborough’s Gandhi is far from the only film to have explored the Mahatma’s life. One such creation is Shyam Benegal’s The Making of the Mahatma (1996) or its Hindi version Gandhi Se Mahatma Tak, which takes a particularly interesting approach: instead of beginning with the internationally recognised Mahatma Gandhi, it looks back at the young Mohandas Karamchand Gandhi (MKG) and the experiences that shaped him during his years in South Africa. The film ends at the point when Gandhiji ends his stay in South Africa after 21 years.

This movie was jointly produced by the National Film Development Corporation (NFDC) of India and the South African Broadcasting Corporation. It is based on the book Apprenticeship of a Mahatma by Fatima Meer. Rajit Kapur played MKG and won the National Film Award for Best Actor.

The Plot

It is 1892. A very young MKG (Rajit Kapur) lives in Rajkot with his wife Kasturba (Pallavi Joshi) and 2 sons Hiralal and Manilal. MKG is a qualified barrister at law from London. He has received a letter from South Africa. Seth Dada Abdullah, an Indian businessman is fighting a court case against his brother. MKG has been invited to support the handling of the case in addition to the other attorneys. Kasturba is not very keen when she hears this. Its been hardly a year since he came back from London. He tries to convince her. The pay will be good and he needs to spend only a few months abroad. The decision is made and he arrives in Durban in 1893.

MKG is about to have life impacting experiences right from time he arrives in South Africa. It is interesting to note that the young MKG would dress up in smart European clothes and consider himself at par with the other barristers, most of whom are British. Mr Baker is Abdullah’s advocate. He meets MKG and they go to the local court together. The judge asks MKG to remove his turban while he is inside the court room. (As per the rule only Muslims are permitted to wear a turban as part of their faith). MKG explains that removing the turban in front of the judge would mean showing him disrespect but the judge doesn’t care. MKG prefers to leave the court than compromise on his principles.

Later, he boards the train to Pretoria. MKG has a reservation in the first class compartment. A British man boards the train at Pietermaritzburg. He is furious to see an Indian (termed as coolie) in the compartment. MKG is ordered to shift to the luggage van that is fit for coolies. MKG refuses to budge from his seat and is forcefully thrown out from the compartment for the simple reason that he is not an European. MKG sits on the platform and ponders on the discrimination faced by him only because of his skin colour. He faces a similar situation when he reaches Charleston the next day. He has to travel in a horse coach in order to reach Pretoria. But he is not allowed to sit inside the coach because he is an Indian/ coolie. He can only sit with the coach driver. He opposes this rule but is insulted and gets beaten later.

On reaching Pretoria, he meets Mr. Baker. MKG tells him that he is unable to get a room in a hotel. Mr Baker explains it is on account of colour prejudice prevalent there. They have a talk about religion. MKG says he doesn’t know much about his own religion but would like to know about other religions. Baker invites him to attend a church sermon.

In another incident, MKG is thrown off from a pavement because the house next to it belongs to a British man (President Kruger). Coloured people are not allowed even to walk on the pavement of a European’s residence. MKG notes that being a barrister and a man of high status have no bearing on his place in society. He meets Tayyab Seth, Abdullah’s cousin. Over the next few months, he manages to attempt a reconciliation between the cousins and the case comes to a closure. It is time for MKG to leave for India. But the Indian people in Pretoria have other plans thanks to the British.

A new Indian Franchise Bill has been introduced due to which Indians would lose their right to vote. Further, this would lead to losing the right to trade, own property and finally the right to remain in Africa as British citizens. The Indians request MKG to stay and take up the case. He said there are other Indian attorneys who can do this. But apparently, the other attorneys are Christians and the other Indian communities do not trust them. MKG questions this reasoning but takes up the case.

The petition against the British is filed on behalf of the Indians, signatures are collected. MKG applies to practice as barrister in Natal. This application is approved in spite of opposition by the Natal Law Society. MKG realizes the need to bring the Indians together and form a regular association. This gives birth to the Natal Indian Congress on 22 August 1894. MKG is made the honorary secretary. As an attorney, MKG is introduced to more problems faced by the Indians. Indentured labour was a system of bonded, contract-based labour that European colonial powers used to replace enslaved labour after the abolition of slavery in the 19th century. These labour used to be mistreated and beaten by their European masters. MKG represents many such Indians in court.

Then there is the issue of the poll tax of 25 pounds per person in South Africa levied on adult Black and Indian residents, used as a tool for forced labor coercion and financial subjugation. MKG writes a pamphlet describing the inhumane nature of the conditions and opposing the tax implementation. The British are not amused and this results in more restrictive measures to avoid the influx of Indians into South Africa. MKG is attacked by some British men. He refuses to register a case against them stating their act of violence was a result of their ignorance.

These incidents continue and the Indian community suffers. MKG goes to jail multiple times. During the Boer War, he suggests that as a British citizen, they should side with the British. (They do so by acting as stretcher bearers to carry the dead and wounded from the battlefield.) MKG is of the opinion that this will demonstrate that the Indians are on the side of the British and it will be easier to gain concessions. But that is not what happens. The British only care about their interests and the rich resources of South Africa.

MKG starts a newspaper Indian Opinion and uses his resources to keep it going. But a time comes when the losses start mounting. He gets inspired by the writings of John Ruskin and starts a farm in Phoenix where they could grow their own food and carry out other activities including publishing the newspaper. It was also here that his philosophy of “satyagraha” took birth which became a means of non-violent resistance to take on the colonial power.

MKG continues with the struggle against the British who bring in more oppressive measures against the Indians. This culminates in to the historic “Great March” in 1913, where over 2,000 workers from Natal march across the border into the Transvaal region to protest against the discriminatory colonial immigration and tax laws introduced by the British.

In the midst of his fight for the rights of the Indians, we also come to know about the details of his family life. MKG doesn’t like the local Indian schools and he cannot send his children to the European schools. So he decides to teach them himself. His views on untouchability are revealed in the incident involving the chamber pot and there is a heated argument with Kasturba on this topic.

The family receives costly gifts when they are returning to India but MKG convinces his sons that the gifts should be returned. Kasturba doesn’t agree, she is a practical woman. She is already concerned because MKG has exhausted most of their resources including her jewellery. She is thinking about her sons’ marriages and the expense involved. Surely, these gifts would come handy on those occasions. She voices her opinions to MKG very strongly.

The film shows that his family is not always supportive of his views to give up everything and live austerely. An important scene brings out the strained relationship between MKG and his son Harilal. Harilal is shown to openly oppose his father’s ideology. One wonders if MKG thought of how much his family suffered as a result of his actions?

The Music

Vanraj Bhatia is credited as the music director. The film doesn’t have conventional music tracks. Vande Mataram set is a different tune is played during the final march scene. Interestingly, Usha Uthup sings the song.

My Thoughts

What makes The Making of the Mahatma particularly interesting is that it does not become preachy or spend its time celebrating the greatness of its central character. Instead, the film takes a relatively balanced approach, allowing us to see not only Gandhi’s strengths but also some of his flaws—his occasional rigidity in reasoning, and at times, his unquestioning trust in people and ideas when a more pragmatic approach might have served him better.

Rajit Kapur is excellent as M. K. Gandhi, convincingly portraying a man who is still finding his voice and shaping the principles that would eventually define him. Pallavi Joshi is equally effective as Kasturba Gandhi. Her character is not merely a passive presence in her husband’s life; she questions his actions and decisions from time to time, while also remaining one of his strongest sources of support.

The film was undoubtedly a challenging one to make, given the vast period it covers and the sheer number of historical events that had to be accommodated. Shyam Benegal makes a commendable effort to bring as many significant events as possible into the narrative. At times, however, these can appear abrupt or disconnected, particularly if the historical context is not known.

Nevertheless, The Making of the Mahatma works as both a biographical film and an engaging history lesson. The significant point is perhaps that it does not simply show us the Mahatma; it takes us back to a time when he was still M. K. Gandhi and the gradual transformation of the young lawyer to the status of the Mahatma.

Haatim Tai (1990)

My Reviews,

There was a time when mythological and fantasy films were popular in Hindi cinema. Some of them were full of trick scenes and special effects. Trends changed and the number of such film greatly reduced as the 90s arrived. Haatim Tai is one such fantasy adventure film. It is based on the character of Hatim Al Tai or simply Hatim Tai who was a part of Arab folklore. Apparently, he was a real person well known for his generosity. His reference has been included in the Arabian Nights.

The story of Haatim’s adventures offered a rich potential of fantasy filled entertainment which our film makers took notice of. There was a film called Hatim Tai made in 1956. Babubhai Mistry was credited for its special effects. The 1990 version was produced by Ratan Mohan and Babubhai Mistry took charge of the special effects and direction. The film stars Jeetendra, Sangeeta Bijlani, Sonu Walia, Raza Murad, Satish Shah and Amrish Puri.

The Plot

The film begins with the birth of Haatim whose father is an emperor. The location mentioned is Yemen. The boy grows up to be a young man (Jeetendra). He prays to Allah hoping to spend his life being useful to others. He is shown as a highly helpful and generous man. There is a huge gathering of needy people in front of his palace where Haatim and his servant cum companion Nazrul (Satish Shah) distribute money, clothes etc.

One day, princess Mariam (Reshma Singh?), daughter of a rich merchant Barzat (Raza Murad) comes to him seeking is intervention. Mariam is in love with Munir (Vijayendra Ghatge) but her father is opposing the marriage. He has told her outright that she cannot get married. Haatim is surprised to hear this and goes to meet Barzat.

Barzat tells them the reason for his behaviour. One night, he was sleeping when a fairy called Gulnaar Pari (Sangeeta Bijlani) entered his palace. He wakes up and is surprised to see her. He is enticed by her beauty and grabs her forcefully. Further he is unable to control himself and tries to molest her.

Gulnaar is furious and admonishes him for his behaviour. She curses him that his daughter Mariam will never be able to marry. If she marries, her husband will die the same night and Mariam will turn to stone. Saying this, Gulnaar herself starts turning into a beautiful stone sculpture. Barzat is shocked but manages to plead for forgiveness before she has completed her transformation.

Gulnaar acknowledges his apology and leaves him with 7 questions. She will return to her original form once the questions or riddles are solved. So that is the reason for Barzat’s unexpected behaviour.

As expected, Haatim volunteers to attempt and solve the questions. This means he will have to embark on a dangerous journey in search of the answers. But he has made up his mind. Nazrul joins him on his mission. They take leave of Barzat, Munir and Mariam and start their journey.

The journey involves travelling through long stretches of desert and jungles which have surprises along the way. Haatim manages to face the obstacles and solve one question after the other successfully.

They come across men who are tied upside down and women with their heads hanging from a tree. And tree like creatures with blinking red eyes trying to crush them.

There is a young woman who has developed animal like features. And a jinn who wants to eat Nazrul, who has come to meet him disguised as a young girl.

In between all this, Haatim meets Gulnaar Pari’s twin sister Pari Bano (also called Husna). He falls in love with her. Pari’s father Alok Nath is the ruler of Paristaan. He is furious that his daughter has fallen in love with a human being. He orders to teach Haatim a lesson by blinding him. But Allah comes to the rescue of Haatim. There is an earthquake and Pari Bano’s younger brother loses his eyesight suddenly. The boy’s father realizes his mistake and is convinced that Haatim is indeed a Khuda kaa nek banda (i.e. a righteous, virtuous, or godly person”—literally “a good/pious servant of God”).

Having sorted out his romantic life, Haatim moves ahead to solve the remaining riddles. He meet a very old woman who transforms into the beautiful and young Saira (Sonu Walia) after Haatim breaks a highly valuable magical pearl. Saira tells him about Kamlaq the wicked magician (Amrish Puri). Kamlaq was after the pearl and is furious when he cannot lay hands on it.

Kamlaq captures Haatim, Nazrul and Saira. He already has Husna in captivity. This is the final challenge for Haatim. The killing of Kamlaq will solve the 7th riddle.

Will Haatim be successful and defeat the evil magician? Will Gulnaar be free? Will he marry his beloved Pari? The answer is revealed after more magic and special effects in the climax.

The Music

The songs are forgettable and do not add any value to the story. They pop up randomly. The lyrics are by Hasan Kamal and music by Laxmikant Pyarelal. Mohammad Aziz, Anuradha Paudwal, Alka Yagnik, Kavita Krishnamurthy and Anupama Deshpande lend their voices to the predictable tunes. Amrish Puri sings a few lines in the climax song Aaj bachna hai mushkil tera.

My Thoughts

Haatim Tai is a film of missed opportunities. The fantasy genre is interesting with all the special effects that go into its making. That is meant to be the biggest draw for the audience. Unfortunately, the film fails badly in this department. Babubhai Mistry is regarded as a pioneer of special effects but the effort here is sadly underwhelming. Probably, the film’s budget was not supportive of the scale of fantasy that the story demanded. The sets are bad and you don’t feel like watching a film based in the land of the Arabs. The least they could have done was to show fake date trees in the background.

In one scene in the climax, Haatim and Kamlaq fight on a flying carpet. You can see they pass through Duke’s Nose in Lonavala near Pune (screen shot above!). They could have easily used footage of a desert in that scene.

You get tired of hearing that “Khuda kaa nek banda” phrase and Jeetendra has a signature pose throughout the film (that’s the nek banda praying).

Jeetendra looks old and puts in a boring and predictable performance. The other cast members seems to be inspired by him. Satish Shah attempts to add some flavour with his comedy sidekick role. It is left to the dependable Amrish Puri to instill some terror with his villanous act and is fairly successful. Frankly, you are bored by the time the film moves towards the final fight sequence and Haatim overcomes the final hurdle. The film ends on a happy note but cannot say the same about the audience. I wonder if the 1956 version was any better but it would be interesting to find out, right?