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Mulshi Pattern (2018)
Blame It On Parvin Tarde's Nonlinear PATTERN
MULSHI PATTERN's trailer aroused feeling that it's not going to be just film but gaiety of dialogues medley, rustic action and intense performances however film has scarcity of celebration. There is no amalgamation between Pravin Tarde the writer, Pravin Tarde the screenplay writer and Pravin Tarde the director; blame it on non-linear story telling design. It does not help to establish the character of Rahulya played by Om Bhutkar as we keep meeting him on various vital junctures of his life. Linear story telling with few scenes of earlier part of his prosperous life may have done wonders as viewer would have witness the scaling graph of protagonist. Director has not given completeness to Om Bhutkar's scenes and feels like those are wrapped in haste. But scenes of Upendra Limaye are well shot, performed and also allotted the precise screen time require to convey the standpoint of his character Inspector Kadu. Cinematographer Mahesh Limaye's work is skilful in bits and pieces, even his camera work is also responsible for not establishing some of the scenes, camera moves in different direction when important lines are said.
From last ten years Om Bhutkar has provided meticulous performances in all the small and supportive roles he has played so far; EK CUP CHYA, MASALA, DEOOL, FASTER FENE are few films to name. Pravin Tarde's nonlinear "pattern" wrecks what could have been Om Bhutkar's breakthrough film.
Naal (2018)
Package Targeted at "Family Audience"
NAAL's story is heartfelt but not meant for full length feature film or it's a failure of screenplay writer who does not bother to create noteworthy scenes and sub-plots. Unlike FANDRY and SAIRAT narrative of film is not societal but it's set in the same locale which interferes in recitation of story. Director hints at social issues in rural area through visuals and dialogues but does not emphasize it (resulting less impact or worthless scene) because he suddenly realizes genre of film is family-drama and invest himself more in creating exciting, emotional family scenes. In this process director avoids or is short of creativity to take this story in maze of protagonist's environment and instead tries to fill such shortcomings with monotonous and irrelevant kaleidoscope images, landscapes, and slow-mos.
In the end NAAL is a package, targeted at "Family Audience" to earn cries, cheers and cash.