Why Raj Thackeray still rules the audience

After tasting two consecutive defeats in the parliamentary and assembly elections in Maharashtra, the political pundits and public in general, thought that Raj Thackeray led Maharashtra Navnirman Sena (MNS) was doomed and his political career is finished. With no presence in either house of parliament and but nominal presence in state legislature - MNS has just one member in state assembly - Raj's clout was nowhere to be seen. Even the numerous corporators elected on his party tickets failed to put up any show of performance earning a scorn from public as much as from Raj himself. Thus the railway engine - the election symbol of MNS- was on the downward path. The famed and feared oratory of perpetually angry Raj was but a shadow of its theatrical version seen mere five years ago.

However, even today, when Thackeray's bête noir Shiv Sena is accommodated itself in the roles of partner in power as also the player in politics and state's politics fragmented beyond repair, Raj rules the public mind.

The fact came to fore on Tuesday, June 10, when Raj attended a function to confer Sant Namdev National Award to Prakash Singh Badal, Chief Minister of Punjab. The award was given by Devendra Fadnavis, Chief Minister of Maharashtra and the award was given by Sarhad, an NGO based in Pune. Raj was the Chief Guest at the function. When his name was announced, there was a loud cheer from the audience - a mixed bag of Maharashtrians and Sikh citizens.

He started his speech by addressing 'all Marathi people' and in the same breath added that he deemed Sikhs as Marathi people. There was a loud clapping which was hardly surprising.

Then true to his fame for wit and punches, he quipped that Badal (cloud) had come in Maharashtra on the eve of monsoon so that there may be rain. Every one in the auditorium applauded the nice words of play and novel way of welcome. Even Badal seemed to be curious ad he was seen asking Fadnavis a translation of the humor.

Taking a cue from Sarhad's Sanjay Nahar, Raj then went on to say that Sant Namdev bound Maharashtra and Punjab's cultures in one thread and only a tailor could do this. This was an hitherto unnoticed and unused observation which pointed to the Sant Namdev's caste (Shimpi). Had the public not responded with applause and appreciation, they would be blamed. But the praise was well received and hall resonated with cheers. Even the Sikhs who knew Marathi put their seal of appreciation on the quirky description of the great work this 13th century saint did. Clearly he stole the show. Even Fadnavis borrowed his words to express his feelings.

Raj, like his cousin Uddhav and uncle Bal Thackeray, is adept at capturing the mood of the masses and regaling them to his advantage. He may have lost elections but he has not lost his charms and talent. That is the promise for the time for his partymen.

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Chimanrao for this generation

It has been over a century since C. V. Joshi created the most famous literary character of Maharashtra – Chimanrao. This quintessential middle-class clerk is to the Maharashtra what Feluda is to the Bengal and Swamy is to the Karnataka – though their genres are a distant apart. Chimanrao, a common man serving under the British masters and running the household as thousands of his generation did, is always the butt of the jokes and precarious situations because of his innocence and misplaced priorities. However, it brings out the deficiencies and righteousness imbibed in every educated and civil citizen which remain unmanifest because of want of situation.

In the era of Facebook and WhatsAap, where the innocence gives way to the utilitarianism and pragmatism, the humorous idealism and dreamy naiveté have become a thing of the past. It seemed buried under a layer of forgetfulness.

Sandook, the movie released on June 5, has scratched this layer if not unearthed it and brought back those lovable features and guiltless nastiness on the scene. As I write this, the movie is about to complete its first week and going by the response it is receiving, it seems to make a good stay at the multiplexes.

Sandook is the story of Wamanrao Ashtaputre, a gullible and chronic daydreamer, living with his wife and about-to-become teen son. The movie relies on a plot rooted in the British era, the 1940s, and exploits the ironies, idiosyncrasy and discomfiture of the protagonist to the hilt. It is amply supplemented with the dose of mystery but that part of the film has not come out as strongly as the comical situation have.

Wamanrao's is a lineage of the illustrious men who have registered valor and bravery during the respective periods of Wamanrao's ancestors. As is the way of the Maharashtrians, Wamanrao is too fond of the history and is deeply into eulogizing the glory of his ancestors even to the point of worship. How he nurtures an ambition to join the league of brave hearts, occupied in no small measure by his ancestors, forms the plot of the movie.

Sumit Raghvan is one of the shining stars of the galaxy of non-Maharashtrians who have enriched the Marathi movie and drama world. This is his first Marathi movie but with his acting prowess, he has adeptly illumined this crisply-written and well-executed movie. He is superbly supported by a big star cast including Sharad Ponkshe, Bhargavi Chirmule and Arun Nalawade. The language, the manners and the ambiance takes you to the typical Maharashtrian home of past. The chemistry between Raghvan and Chirmule is amazing.

Their skirmishes of the husband-wife duo as also Wamanrao's frequent misadventures are the stuff what one calls the clean comedy. It is bereft of any slapstick mannerisms or dual-meaning words. The scenes and dialogues are canned in a manner befitting the life a non-descript person who makes fool of himself in an attempt to write a glaring chapter in the history. True to the spirit of the script, Raghvan brings out the suppressed desire of doing something manly and at the goose-like nature of the protagonist. His expressions and dialogue delivery speak volumes about his experience as a stage artist. One wishes to see this multi-talented artist more on Marathi screen in the future also.

Thankfully, the movie has only two songs and they have come out well.

The entire characterization of Wamanrao, portrayed by Raghvan, is in the line of Charlie Chaplin. It is also reminiscent of the Chimanrao and especially his verbal duals with Shyamrao (Sharad Ponkshe) remind of the duals between Chimanrao and Gundyabhau.

There are some discrepancies but they do not obstruct the enjoyment. For example, any married man in 1940s did not have just one son in the family as also the over-friendliness in the father-son duo are also not from that period.

All in all, Sandook is a must watch movie for all Marathi movie aficionados.

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