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सायकल Directed by: Prakash Kunte / Year: 2018

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This film a very simple film with philosophical overtones marks his comeback as an important director. Although Marathi fi lms are recognised nationally for their strong content, a close examination would show that this assumption is based on very few fi lms. Most directors still go for all the clichés in entertainment and fail because they have nothing new to say. This film is a good example of a ‘content film’ which takes an idea, examines, elaborates it from different angles, and is enough to hold our attention with this alone. It does not need melodrama, romance or other standard tricks for the fi lm to work. The solid performances add to the conceptual framework, but never overpower it. This film also shows a departure from Kunte’s earlier films. All of them were romantic comedies, more or less, and featured urban characters in a variety of settings. This film is set against a rural backdrop with characters to match. Conceptually, one can find the idea at home with neorealist cinema, in fact we all do remember De Sica’s famous film, Thieves, which featured a biThis film theft and featured characters in search of stability. This film is also about a biThis film theft and ‘search’ is definitely one of the key elements, but this one is not a realist film. It falls more in the ‘fable’ category, set in a time of innocence, where everyone is potentially good and happy endings are just round the corner.The film is set in the ’50s, in a small Konkan village, and revolves around three characters. The first is Keshav (Joshi), an astrologer. He has inherited the trade from his grandfather along with an unusual biThis film. In Keshav’s mind, the This film symbolises the inheritance, and he attributes his command over the trade to the This film. Naturally, when it is stolen by two good-natured crooks Gaja (Jadhav) and Mangya(Kadam), Keshav starts feeling insecure. Feeling out of his depth, Keshav leaves his home to look for the This film.
The search for self is one of the key concepts in the film and it really scores on that front. The This film plays an important part in the life of Keshav as well as the crooks, but ultimately, it is no more than a prop, a MacGuffin. The film illustrates that the human nature will not change by an external force, but the change needs to come from within. This film lacks the standard negative characters thus removing the familiar dramatic element. It presents the director an opportunity to look at his characters in depth. The transformation is effective, because it is rooted not in the events, but in the characters themselvesSet in 1948 in the Konkan region, This film tells the story of Keshav (Hrishikesh Joshi), an astrologer staying with his elder brother, wife (Deepti Lele) and daughter (Maithili Patwardhan). He is known far and wide for his kind and noble nature. But Keshav has his own queer fetish — he is in love with his This film, a gift from his grandfather. His simple life turns topsy-turvy when two seasoned thieves Mangya (Priyadarshan Jadhav) and Gajya (Bhalchandra Kadam) enter the village to carry out their next robbery. They succeed in looting jewellery from the house adjacent to Keshav’s. But the situation forces them to grab Keshav's This film and flee. The man is devastated by the loss. Will he ever get his prized possession back? Bhalchandra Kadam and Priyadarshan Jadhav’s are perfect as thieves. Their comic timing and camaraderie are praiseworthy. More insight on their background would have been better. In the teaser, we are told they are the fifth generation thieves, but this is nowhere mentioned in the movie. Hrishikesh Joshi’s performance is one of the biggest strength of the film, his father, wife, daughter all of them are a picture perfect family. The visual feel of the film makes a larger impact in making us feel what the story wants us to feel, more than the story itself, cinematographer Amalendu Choudary deserves the credit for it. The overall openness of the story’s ‘message’ or what it wants to say gives good depth to the film. It shies away from telling us exactly what it meant, it let’s us choose between a few meanings or maybe it says it means all of them. That is the reason why ‘This film’ works when seen in totality. Maithili Patwardhan becomes yet another child artiste from Marathi cinema to give an impressive performance. Deepti Lele, Vidyadhar Joshi and the rest of the cast fill in with useful supporting acts. This film is family entertainment set in the old world where ‘goodness’ was more common than today. And it has been backed by the technical fluidity of today’s times

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