We have heard the story of Tanhaji (I would have spelt it as Tanaaji, but the recent film showcasing the valour of this 17th-century hero calls him Tanhaji, so I will go with that version since this is all about the film) from our mothers and grandmothers in our childhood. The story formed a part of the saga of Chhatrapati Shivaji Maharaj, the super hero who had the vision to dream of Swarajya, and who fought relentlessly throughout his life to realise it.
In Tanhaji: The Unsung Warrior (TTUW), the focus is obviously on this brave military leader, while the Chhatrapati makes a dignified appearance on the sidelines. The film opens with all kinds of disclaimers that are the norm today. The story has been dramatised, and creative liberties taken to enhance its appeal. Here's how the story goes. Tanhaji offers his services in leading the operation to reclaim Kondhana fort, which the Chhatarpati had lost to the Mughals in a peace treaty. His son's wedding can wait, aadhi lagna kondhanyache (let's get Kondhana married first); declares Tanhaji, and embarks on his mission. Scaling the heights of Kondhana is no mean feat. Especially when the fight is against the mighty and menacing Udaybhan Singh Rathore, who is defending the fort on behalf of Emperor Aurangzeb. The Mughal ruler had plans to make the strategic fort the centre of his operations in the South. After a fierce battle, Tanhaji wins the fort for his master but loses his life, eliciting the famous line from the Chhatrapati, gad aala pan sinha gela (we got the fort, but lost the lion). Eventually, Kondhana came to be known as Sinhagad.
Ajay Devgn plays the protagonist convincingly. Action is his forte and he delivers superbly. He is brawn, and brain too. His devotion to the Chhatrapati, and love for his family show his sensitive side. Kajol has a small, supporting role as Savitri, Tanhaji's wife.
Saif Ali Khan portrays the colourful and eccentric Udaybhan to the hilt. He gorges on crocodile meat roasted on a skewer, has no qualms about pushing a guard off the parapet of the fort into the depths of wilderness as a punishment for minor non-conformance, and dances like a madman anticipating a union with his childhood sweetheart Kamal.
Both of them are veteran actors, and that they did well is no surprise. The real surprise package comes in the form of Sharad Kelkar who essays the role of Chhatrapati Shivaji Maharaj. It is not easy to bring to life a legendary personality like him, but the actor has done it in a nuanced way, lending a lot of grace and character to his portrayal. It was so easy to get carried away and overdo his part, but full credit to him and to director Om Raut for not crossing the line.
I watched the film in a hall, in 3D format. While the closeup shots looked good, the long shots looked terrible, reducing the humans and animals to miniature characters. It was pathetic to see a majestic army appear as a toy army with baby elephants and pocket-sized soldiers. While the film switched the long shots and closeups effortlessly, it was a strain to get used to the changing proportions. Also, the lighting did not seem to be appropriate, making the visuals look dull in many shots. I wonder how these lapses occurred in the age of technical excellence. Although the use of computer generated graphics in this genre of films is a given these days, I felt it has taken something away from the production, lending it a bit of artificiality.
However, when the subject matter is strong, making a film which lives up to its demands is challenging for a filmmaker; and the film has done well on this count. It is inspiring, engaging and entertaining all at the same time!
In Tanhaji: The Unsung Warrior (TTUW), the focus is obviously on this brave military leader, while the Chhatrapati makes a dignified appearance on the sidelines. The film opens with all kinds of disclaimers that are the norm today. The story has been dramatised, and creative liberties taken to enhance its appeal. Here's how the story goes. Tanhaji offers his services in leading the operation to reclaim Kondhana fort, which the Chhatarpati had lost to the Mughals in a peace treaty. His son's wedding can wait, aadhi lagna kondhanyache (let's get Kondhana married first); declares Tanhaji, and embarks on his mission. Scaling the heights of Kondhana is no mean feat. Especially when the fight is against the mighty and menacing Udaybhan Singh Rathore, who is defending the fort on behalf of Emperor Aurangzeb. The Mughal ruler had plans to make the strategic fort the centre of his operations in the South. After a fierce battle, Tanhaji wins the fort for his master but loses his life, eliciting the famous line from the Chhatrapati, gad aala pan sinha gela (we got the fort, but lost the lion). Eventually, Kondhana came to be known as Sinhagad.
Ajay Devgn plays the protagonist convincingly. Action is his forte and he delivers superbly. He is brawn, and brain too. His devotion to the Chhatrapati, and love for his family show his sensitive side. Kajol has a small, supporting role as Savitri, Tanhaji's wife.
Saif Ali Khan portrays the colourful and eccentric Udaybhan to the hilt. He gorges on crocodile meat roasted on a skewer, has no qualms about pushing a guard off the parapet of the fort into the depths of wilderness as a punishment for minor non-conformance, and dances like a madman anticipating a union with his childhood sweetheart Kamal.
Both of them are veteran actors, and that they did well is no surprise. The real surprise package comes in the form of Sharad Kelkar who essays the role of Chhatrapati Shivaji Maharaj. It is not easy to bring to life a legendary personality like him, but the actor has done it in a nuanced way, lending a lot of grace and character to his portrayal. It was so easy to get carried away and overdo his part, but full credit to him and to director Om Raut for not crossing the line.
I watched the film in a hall, in 3D format. While the closeup shots looked good, the long shots looked terrible, reducing the humans and animals to miniature characters. It was pathetic to see a majestic army appear as a toy army with baby elephants and pocket-sized soldiers. While the film switched the long shots and closeups effortlessly, it was a strain to get used to the changing proportions. Also, the lighting did not seem to be appropriate, making the visuals look dull in many shots. I wonder how these lapses occurred in the age of technical excellence. Although the use of computer generated graphics in this genre of films is a given these days, I felt it has taken something away from the production, lending it a bit of artificiality.
However, when the subject matter is strong, making a film which lives up to its demands is challenging for a filmmaker; and the film has done well on this count. It is inspiring, engaging and entertaining all at the same time!
Vow, Lata. You have covered every aspect so well. On the story and acting anyone can comment, but observing technical flaws is something that requires a Keen eye and understanding. 3 D is a different format and there are chances to go wrong at any stage. Lighting and magnification plays a major role in 3D stereoscope. You have pointed out those flaws.
ReplyDeleteIn spite of all the flaws, the effort is laudable. But you are flawless.
Hi Sunil, now it is my turn to say wow! These words coming from a veteran and a knowledgeable person like you have boosted my confidence.I appreciate your feedback.Thank you so much for taking the time to read and to say such kind words!
DeleteGreat writing. You have appreciated the film at the same time you have very correctly criticised it also. Very balanced write-up. I appreciate your talent in this respect.
ReplyDeleteThank you so much for your feedback and kind words!
DeleteVery well analysed and written...Now I want to see it:)
ReplyDeleteThank you, hope you like it! :-)
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