The Marathi industry makes its share of ridiculous films but it is films like 'Sairat' that reinstate the faith in the power of regional films, especially the Marathi ones. But the masterstroke of Manjule the story-teller and director, is the climax. The film can be divided into two parts the first one, a dream and the second one, reality and both strike a chord. Then there’s the transition from happiness and fun to survival and sadness. Manjule is a master at bringing out the irony in situations and that is on ample display in 'Sairat' as well. Nagraj Manjule’s cameo is memorable.Īlso read: Rinku Rajguru on her National Award mention Tanaji provides comic relief and he does it well. The mass identifies with Parshya and Archi and this is one of the prime reasons that the film stand to gain with. Akash and Rinku are debutantes but their performance is at par with seasoned actors. The viewer doesn’t get bored because something or the other keeps happening.Īnother strong point of the film is that it doesn’t rely on known faces. It could’ve been slightly crisper but throughout, the film has a powerful grasp on its subject. With a running time of almost three hours, one might think it to be a tedious watch. The brilliant music from Ajay-Atul, camera work, and a graph that encompasses happiness and sadness, only add to the quality. 'Sairat' is not just a beautifully woven film it also has elements of a mass entertainer. Parshya and Archi battle odds to be together but will their love triumph the strong opposition from Archi’s father? More importantly, will it stand the test of time? Unfortunately for the couple, Archi’s father comes to know of the brewing romance and things turn topsy-turvy. As they start interacting, Archi too falls for him. The son of fisherman is smitten by Archi and doesn’t miss a chance to catch a glimpse of her. Coming from a rich and influential family, there’s no one who dares to even look at Archi, except Parshya. It is more about innocence, rebellion and a never-say-die spirit. The film though, is not about mushy dialogues and gaudy songs. Parshya (Akash) and Archi’s (Rinku) story does that too. Love stories tend to bank on resistance from the lovers’ families. The difference here is there’s more of hurt pride and egos that goes into making 'Sairat' what it is. With the story revolving around two youngsters belonging to different socio-economical strata of the society, the discrimination angle is there. Unlike 'Fandry', 'Sairat' doesn’t delve entirely on caste discrimination but it has the issue at heart. The director took his time and two years later we have 'Sairat', a film that is worth every bit of the two-year wait. As expected, speculation was rife around his next directorial. I might as well direct all of them,” he said, adding that he is thrilled to be part of the resurgence of Marathi cinema.Nagraj Manjule’s first film 'Fandry' released in 2014 and took the international film festival circuit by storm. Otherwise, there is no point in producing films. “I’ve always maintained that my productions are meant to be directed by other directors while I’ll focus on my own films. I happily gave it to Swapna (director),” he said.Īpart from the title, Bhansali has not contributed to “Laal Ishq”in any way. But when I heard the story of Swapna’s film, I completely thought ‘Laal Ishq’ to be the right title. “I had registered ‘Laal Ishq’ as a title for my future films. The film’s title “Laal Ishq” is from a song in Bhansali’s “Goliyon Ki Raas Leela, Ram Leela”, says the filmmaker. I had registered ‘Laal Ishq’ as a title for my future films. This genre I’ve never attempted as a producer and director,” he said. The film’s title Laal Ishq is from a song in Bhansali’s Goliyon Ki Raas Leela, Ram Leela, says the filmmaker. I wanted to produce this film, because I had never done a Marathi film. “When director Swapna Waghmare Joshi came to me with this idea, I was immediately hooked.