Satish Rajwade directed a film called “Badam Rani Ghulam Chor” (2012) based on a play written by Vivek Bele which was superiorly a staged dramatic version, a massive cinematic failure. He’s back again, transforming Bele’s play “Katkon Trikon” into an another staged version. It was quite evident in the trailer of “Aapla Manus”, that it suffers from dummy cinematic conversion. And the film proves it more than anything. Also, just because it stars Nana Patekar – it doesn’t make or boost the film, always remember Priyadarshan’s “Kamaal Dhamaal Malamaal” (2012) which starred a lazy Nana.

Rahul Gokhale (Sumeet Raghavan) and his wife Bhakti (Iravati Harshe) live with Rahul’s senior citizen Father Aaba Gokhale (Nana Patekar), who falls off the balcony. Maruti Nagargoje (Nana Patekar) investigates the couple suspecting it as a suicide or a murder? What follows is a series of kind of Rashomon Effect and testimonies of the individual characters. For a whodunit thriller, the story befits the narrative totally but the shoddy Screenplay and lazy Direction take the thriller towards an edge-of-the-sleep (instead of seat). It starts off as an honest thriller but goes on to become a mechanical thriller, blame it on the “dramatic” dialogues. It works totally for a stage performance – much of the happenings and writings work in theatre setting and not a theatrical one.

It doesn’t even bother to stick true to the genre, it transforms from a whodunit (mechanical) thriller to a moral thriller. The arguments in the first half worked upon Nana Patekar, even when he was wrong, just because he was Nana – that doomed the woman in the film. Also, the film makes an unique point in favour of the “male dominated society”. It is to be noted that, when a veteran star backs such kinds of dialogues, people believe in it. Though, the story challenges the director Satish Rajwade to involve the audience without any repetition, he does manage to – but he always was an average director. It is cherished by the cheap VFX and TV Serial like Production Design cutting the production cost, compromising the cinematic vision and making a below average thriller where the USP is a social worker and also actor of “Natsamrat” (2016).

Post-Natsamrat, Nana delivers his most lazy and dull performance. While he manages to take some help of his baritone for the Nagargoje character, but he couldn’t pull off the Aaba character which remained barely as a caricature. Sumeet Raghavan tries hard, but he suffers from TV Serial syndrome and so does, Iravati Harshe.

Basically, it’s a lazy whodunit thriller which resonates with the “senior citizen” for a chunk of 5 minutes. And there were three instances, where I thought the film finally comes to an end but it stretches ridiculously. While the thrillers are bound to immerse you and keep guessing about the mystery, here, right before the moment it kicks you out. 2 Hours 18 Minutes felt like 4 Hours 18 Minutes.

What’s wrong with the people? Whole theatre was bursting into laughter with whatever Nana spoke or did, it was not even a black humour – even at serious junctures people were laughing and enjoying like a Rohit Shetty Film.

Language: Marathi
Release: 9 February, 2018
Director: Satish Rajwade
Rating: 1.5/5


Copyright ©2018 Ninad Kulkarni. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.


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