Teaser of the upcoming movie Ziprya was released recently to a great response. The film, based on the acclaimed novel of the same name by celebrated Marathi writer Ziprya, has been directed by Jedar Vaidya. It has been produced by RD Productions and Divas Production and presented by Ashwini Ranjit Darekar.

You might have spotted little children polishing boots outside railway stations. These kids who should have ideally been in school, work day in and day out just to buy food enough to satisfy their hunger. The film has attempted to draw up an empathetic picture of these unfortunate lot.

Well, the film isn’t all cry, though. There’s also a joyful song in which they gaily sing, ‘Hum Woh Jute Hain, Jo Zameen Pe Hote Hain, Par Taare Choote Hain’.

The screenplay has been adapted from the novel by the director Kedar Vaidya. Chinmay Kambli, Prathamesh Parab, Saksham Kulkarni, Amruta Subhash, Aman Attar, Devansh Deshmukh, Nachiket Purnapatre will be seen in prominent roles in the film. Samir Saptiskar and Troy – Arif have composed music for the film and Samir Samant have penned the lyrics. The camera department has been helmed by Rajesh Nadane and Umesh Jadhav has choreographed the dances.

Meanwhile, Jhiprya has been honoured with 3 awards at the Maharashtra State Awards for Editing (Devendra Murdeshwar), Art Direction (Vinayak Katkar) and Make-up (Prakash Nimkar).

The film will be releasing all over Maharashtra on 22nd June.

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Zee Studio has further solidified its reputation as a studio that not only belts out one massive hit film after another but also supports meaningful and artistic ventures like its latest movie Nude. The Ravi Jadhav film, which has already won high praise in India, has now even bagged top honors at the prestigious New York Indian Film Festival by bagging the Best Film and Best Actress (Kalyanee Mulay) there.

Kalyanee Mulay’s performance as the mother who poses as a nude model for students of an art college, to fund her son’s education has been universally acclaimed. Critics have also praised the film’s message of giving dignity to the profession of nude modeling. The breathtaking visuals, mellifluous background score and performances by the rest of the cast are the other aspects for which the film received applause. And to top it all, Nude is also a success at the box office.

On this occasion, a rather pleased and satisfied business head of Zee Studios, Mangesh Kulkarni, said,“We are ecstatic with the kind of response our film Nude got to post it’s screening at NYIFF and especially proud for it to have bagged both Best Film and Best Actress awards. The award does not belong only to Nude but to everyone who dares to tell extraordinary stories through cinema”.

Director Ravi Jadhav, who was elated on winning the two big awards, said, “The film has always stood tall against all odds and there is a remarkably rugged renaissance across Marathi cinema. It is a triumph of an art”.

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You can’t ever tell where your destiny will take you. Taekwondo player Himanshu Visale would certainly attest to the former statement. Only last year Himanshu was participating in international Taekwondo tournaments and had even managed to win a gold. But the martial arts champion has now found a new vocation, that of acting! Yes, he would soon be seen on the big screen as he’s making his debut in the upcoming Marathi film titled Sobat. Produced by Kashmira Films and presented by Gurunath Mithbavkar, Sobat will be releasing all over Maharashtra on 25th May.

Actress Monalisa Bagal will be seen opposite Himanshu Visale in the lead role. The film also stars Ruchira Jadhav, Girish Pardeshi, Smita Gondkar, Nagesh Bhosale, Pradeep Velankar, Vijay Gokhale, Manoj Takne, Abhilasha Patil, Ashwin Patil, Kaustubh Joshi among others. Directed by Milind Ukey, Sobat is a love story of the young college-going Karan and Gauri who tie the knot despite opposition from Gauri’s family. He reasons that if the youth can vote at the age of 18 years, then why they don’t have the right to choose their own life partner? An 18-year-old is treated as an adult by the court in case of crimes, but can’t marry someone. The film attempts to raise such pertinent queries in an entertaining manner.

Talking about his debut, Himanshu said, “The producers cast me in their film on seeing my picture on the posters that were plastered all over after I had won the gold medal in the Taekwondo competition. Though I have no acting experience, I have taken part in school plays in my childhood.

“It was a pleasure to work with the entire team of Sobat and especially with an experienced director like Milind Ukey. We had done extensive rehearsals, so the shoot was a breeze.”

Talking about his future plans Himanshu said, “Well, I haven’t decided if I would pursue acting full-time, but if ever an opportunity arises I would definitely think about it.”

It would certainly be interesting to see a Taekwondo master like Himanshu performing on the big screen when Sobat releases on 25th May. Wishing him all the luck!

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Ganapati Bappa Morya! Yes, Ganesh Chaturthi is here, and the joyous cries of Ganesh bhakts are going to ring through the air. Maharashtra’s favourite God is going to be the center of attention of the state for a couple of weeks now. The whole atmosphere is going to drown in the Ganpati fever!

Now, no Sarvajanik Ganapati is complete with a loudspeaker blaring music. They would do better if they restrict the music coming out of the speakers to devotional songs. Ganapati has also been a God that has had a song dedicated to it in many of our films; these days one Ganapati song is mandatorily added to nearly every Marathi film. So, just to make it easier for the Sarvajanik Ganesh Mandals, we have come up with a list of Ganpati songs which we consider to be the best of the lot. We have restricted ourselves to Hindi and Marathi films of the recent past.

So here we go,
Morya Re- Don ( 2006 )
Composed by Shankar-Ehsaan-Loy and sung by Shankar Mahadevan himself, the song is still a popular Hindi Ganpati song. What set this song apart is that the composition has a vintage Bollywood feel to it and isn’t exactly a devotional song/aarati. Javed Akhtar has also worked magic with the lyrics. The song is an adieu to the God during the visarjan ceremony.

Hey Lambodar – Morya ( 2011 )
This song from Avadhoot Gupte’s Morya has to be one of the most innovative experiments in composing a Ganapati song. It has been composed in the style of a Qawwali and the producers even got the recently deceased legendary singer Amjad Sabri to sing for them.

Deva Shree Ganesha – Agneepath ( 2012 )
A devotional song alright, but packed with such fervor that it never fails to give you goosebumps, courtesy the arrangement. Ajay-Atul shot to fame in Bollywood with this album which had other quite a few lovely songs. If you ever need to get your adrenalin pumping, this song should work most times! It has also been sung by Ajay with great energy.

https://www.youtube.com/watch?v=vnDbGgzs_To

Sur Niragas Ho – Katyar Kaljat Ghusli (2014)
The musical, which was a big Marathi hit last year, was full of delectable songs. Shankar-Ehsaan-Loy had reworked a few of the original classics from the play on which the film is based, and had also composed a few original. ‘Sur Niragas Ho’ is one of them. Sung by Shankar Mahadeven in his typical elegance, it indeed sounds like an innocent prayer to the Elephant God.

Shree Ganeshaya Dheemahi
Originally from Ajay Atul’s album Vishwa Vinayak, this divine composition was used again in the Mahesh Manjrekar film Viruddh starring Amitabh Bachchan in the lead role. I wonder there would be anybody else more competent to sing this song other than Shankar Mahadevan. The highly nuanced and graceful composition and voice put you into a trance of sorts.

So these are the songs we felt are the Top 5 among the Ganpati songs in films. If our list doesn’t match yours, please feel free to recommend your favourite Ganpati songs in the comments section.

– Rasik Tirodkar

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The college romantic comedy Photocopy had its music launch recently. At the event I got an opportunity to chat with Vijay Maurya who has written the screenplay and has also directed the film. An actor popular for his roles in Hindi films, Photocopy is his debut as a director. Here are excerpts from the conversation:

How did you get into direction?

It all started from acting, of course. But then you work with very talented writers and directors and then you get inspired from them. I used to write from college days and slowly found success. Success in the sense people started liking my writing work. That is also how I got inspired from directors I was working with and have now got into direction.

You mentioned that certain directors you worked with inspired you. Who would those be?

Anurag Kashyap with whom I worked in Paanch and Black Friday; Imtiaz Ali (Socha Na Tha); Nishikant Kamat (Mumbai Meri Jaan); Nagesh Kukunoor (Bombay to Bangkok). Working with all these directors inspired me to direct a film.

How did Photocopy happen to you?

The producer Neha Rajpal and I have a common friend in composer Shailendra Barve. They asked Shailendra whether they know Vijay Maurya as they wanted me to write the film based on a story in their mind. Shailendra introduced us to each other and that is how I got attached to the project.

What made you take the decision to direct Photocopy?

First of all the story by Neha and Akash Rajpal was very charming. It is about twin sisters falling in love with the same guy. It is a beautiful story with a lot of potential to be fleshed out into a film. I have admired the cinema of Vijay Anand, Mansoor Khan and Imtiaz Ali. They have made romantic films in their own style and with a difference. After the producers approached me with the film, I told them that I will work on the script first. After finishing the script I thought I could attempt to direct the film and at least manage to come up with 10% of what the above mentioned director have achieved. I conveyed this to the producers and they were glad to hear this. And then we started with the filmmaking process.

Now that you have turned director would we continue to see you acting in films as well?

Yes, certainly. But I have become very choosy about the roles. I recently played the lead role in a Konkani film named Naachom la Kumpasar for which I won the Goa State Award. It has been running to packed theatres for the last one and a half year.

I am curious to know your mother tongue.

My mother tongue is Hindi, but I have been born and brought up in Mumbai so Marathi comes easily to me. And Konkani is not too different from Marathi either.

And what about directing films in the future?

It all depends on the script. If the screenplay is good enough I would certainly like to direct a film. I have been directing ad films for a while now. I have made at least 150-200 ad films. But this is my first feature film, so the excitement is that much higher.

Interview By : Rasik Tirodkar

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• Movie Review :  Kanha (2016)
• Producer : Pratap Sarnaik
• Directer : Avadhoot Gupte
• StarCast : Vaibbhav Tatwawdi, Gashmeer Mahajani, Gauri Nalawade, Sumedh Wani, Kiran Karmarkar, Prasad Oak, Omprakash Shinde
• Writer : Sachin Darekar, Avadhoot Gupte
• Music : Sachin Darekar, Avadhoot Gupte
• Genre : Drama
• Review By : Rasik Tirodkar

Rating : 2/5

Kanha Marathi Movie Review :

Avdhoot Gupte’s Kanha is built on the same template as that of Morya. At the backdrop of a Hindu festival (Gokulashtami in this case) two factions are involved in a game of one-upmanship that turns ugly due to political interference. Morya did have issues, but the plot, which felt novel back then, kept you engaged. Kanha has the same issues as Morya and the generously borrowed plot adds to the misery of watching the film.

The Govinda troupe of Jai Ekta lead by Raghu (Gashmir Mahajani) have the world record of building the highest human pyramid of nine layers to their name. Post that feat a court order restricting the height of the human pyramid meant that no other group now has the chance of eclipsing their world record, much to the frustration of the rival group of Jai Bajrang lead by Malhar (Vaibhav Tatvawadi).

Raghu resting on the past laurels of his Jai Ekta troupe, never misses an opportunity to humiliate Malhar. At a pre Dahi Handi event, in the spur of a moment, Malhar’s Jai Bajrang troupe manages to equal the world record. Local politician Shivajirao (Prasad Oak) witnesses this and manages to convince Malhar to repeat the feat, despite it being illegal, at the main Dahi Handi event organised by him. Raghu’s mentor (Kiran Karmarkar) meanwhile aspires to stand for the local elections and wants to make the most of the Dahi Handi festivities. Interference of politicians turn things ugly. Those who have seen Morya can predict how the film will end from miles away.

Kanha tries to put forward an argument of considering the competition between Govind troupes to break the Dahi Handi as a sport. But the argument is so weak and laughable that you just can’t take it seriously. Quite like Morya, the characters here also have a tendency to go on long preachy monologues. In one such monologue by Malhar, the cap on the height of the human pyramids is considered as a discouragement to compete in Dahi Handi competitions. The character then, much to our bewilderment, asks if Sachin Tendulkar would have become the world beater that he was if there ever was a cap on the highest number of runs scored in Test cricket after Gavaskar set that record. Such an absolutely illogical comparison does a great disservice to the basic idea of considering Dahi Handi as a sport.

Kanha does manage to grip you in the beginning of the first half despite the overbearing ‘been there, done that’ feeling. The whole world of the chawls with the boys and girls prepping hard for the Dahi handi is drawn up in a fairly engaging manner. But besides this the screenplay is rather shoddy. Save for Malhar, the characters are either cardboards or caricatures. We don’t care much for any character. Sub-plots are hastily abandoned and the climax lacks the necessary punch.

Avadhoot Gupte’s soundtrack for the film also doesn’t create much of an impact, either. The songs sometimes feel forcibly inserted into the film and are an obstacle for the narrative to move forward.

Feminists would also be up in arms with the film as it seems to condone regressive ideas. The love interest of Malhar played by Gauri Nalawade blames a girl for perverse behavior of men. Her crime being – wanting a slim figure. Gauri’s character thinks that men get the license to harass women on the streets, just because a few girls want a toned body to attract the opposite sex. It is a classic case of condoning the ‘men will be men’ mindset. Not to mention that Gauri Nalawade is terribly miscast and looks very awkward in the role of a girl who prefers to sweat it out in the gym than spend hours in the saloon.

Gashmir Mahajani is Marathi cinema’s answer to John Abraham – a muscular hunk (the film objectifies his body generously), but just cannot express with his face; his dialogue delivery is comparatively better, though. It is Vaibhav Tatwawadi in the lead role of Malhar who saves the day. Vaibhav has grown to become a reliable actor with a good screen presence. He gets the most screen time and his performance is what makes the film watchable. Vaibhav is the rare actor from the new crop who shows promise to carry a commercial film entirely on his shoulder in the near future.

Overall:

A heavily borrowed plot from Morya makes the proceedings, especially in the second half, rather dull. Apart from Vaibhav Tatwawadi’s performance, the film has little else to recommend.

The post Kanha Review: Suffers from Morya hangover appeared first on MarathiStars.

• Movie Review :  Chaurya (2016)
• Producer : Nilesh Navalakha, Vivek Kajaria, Sameer Asha Patil & Ashwini Patil
• Directer : Sameer Asha Patil
• StarCast : Kishor Kadam, Milind Shinde, Ganesh Yadav, Pradeep Velankar, Digvijay Rohidas, Dinesh Lata Shetty, Tirrtha Murbadkar, Ganesh Panpat, Shruti Kulkarni
• Writer : Sameer Asha Patil
• Music : Mayuresh Kelkar
• Genre : Drama
• Review By : Rasik Tirodkar

Rating : 3/5

Chaurya Marathi Movie Review :

Last week, I had mentioned that things are looking brighter for Marathi cinema in the coming months after a rather poor start to the year. The strangely attractive promos of Chaurya had certainly made it one of the most anticipated films among Marathi cinema aficionados. And the film doesn’t fail those expectations. Chaurya is a commendable attempt at making a film in a style and mood that has hitherto been unseen in Marathi cinema.

It is actually the darkness in Chaurya that makes things look brighter for Marathi cinema. Caught in the rut of family dramas or adolescent love stories in the recent past, Chaurya is a welcome change for those who follow Marathi cinema. The film is set in a fictional temple town of Devmala which is clearly inspired from the real town of Shani Shingnapur. As the legend goes, the village deity punishes anyone who commits a theft in the village. The houses of Devmala don’t even have doors and windows as the villagers have faith in their God punishing any theft. But one day, on the eve of a large procession at the temple, a daring robbery is made on the massive collections of donation from the devotees.The identity of the robbers is withheld. The suspense involved is about who is behind the heist and who would finally get away with the money.

Chaurya doesn’t hold itself back at all. The number of corpses that fall in the opening robbery sequence makes you realise that whatever is in store has seldom been seen before in Marathi cinema. Shot in the background of a devotional song, the gruesome robbery sequence makes you sit up straight and take notice of the film. The sequence also has a darkly humourous directorial touch of having the gang of robbers wear masks of Bollywood stars. Later in the film, the robbers also rather hilariously refer to each other by theBollywood starswhose masks they were wearing and not their real names.

The stolen bag of money keeps changing hands, but it only causes trouble to the one who possess it. It is a trope common to heist films, but here it is rooted to the setting as it can be seen as the will of the village deity working its way on the characters. How I wish though that this wasn’t so heavily underlined and spoon fed by actually spelling it out. There is also a definite Tarantino influence over the film, especially of Reservoir Dogs. Here too we have people directly or indirectly related to the heist meeting each other, rather inadvertently, in a desolate location after the robbery. The characters don’t trust each other and tell their own versions of the robbery (Rashomon effect)which the other accomplices scoff at. Each of them willing to kill each other for the bag of money.The writer-director Sameer Asha Patil also seems to be fond of Westerns as he sets this scene in a vast expanse of a sunbaked arid land. To his credit the characters are rooted and don’t at all come across as ones who don’t belong to the setting.

Though there is certainly a feeling of Tarantinoish hangover on the film, the proceedings are taut till they relate to the robbery and the suspense involved about who will finally get away with money or will anyone at all? The camerawork involves a lot of close-ups of characters to get across the nastiness in their eyes. Milind Shinde as the suspended police officer made to keep a tab on the heist gives the most impressive performance. I flinched at the scene where Milind Shinde playfully presses on the wound of one of the accomplice to make him talk.  Chaurya is one of a kind with respect to Marathi cinema in what it achieves in these portions of the film. There are indeed quite a few rough edges here, but then given that it is the debut film of the director, they can be overlooked.

But what can’t be overlooked are the last portions of the film. It comes across as the director is trying a little too hard to give the film some more depth and not just keep it as a suspense thriller. Here, Chaurya enters Deool territory of commercialization of God and these scenes really test your patience. This stretching of the film dilutes the thrill generated by the earlier parts. Also, showing a character played by Kishore Kadam as the narrator of the film comes across as an intrusion of sorts as it isn’t properly integrated into the whole framework of the film.

P.S.: The producers need to be given special kudos for releasing the film in a format that allows even the deaf and the blind to enjoy the experience of a movie. It is certainly a novel initiative that needs to be replicated by others as well.

Overall:

Chaurya is a brave attempt to make a dark suspense thriller in a style seldom seen in Marathi films. Though not spotless, it is definitely an effort deserving patronage.

The post Chaurya Review: Path-breaking, dark suspense thriller appeared first on MarathiStars.

• Movie Review :  YZ (2016)
• Producer : Sanjay Chhabria & Anish Joag
• Directer : Sameer Vidwans
• StarCast : Sagar Deshmukh,Akshay Tanksale, Parna Pethe, Sai Tamhankar, Mukta Barve
• Writer : Kshitij Patwardhan
• Music : Rishikesh, Saurabh & Jasraj
• Genre : Drama
• Review By : Rasik Tirodkar

Rating : 3.5/5

YZ Marathi Movie Review :

Marathi Cinema is having a particularly ordinary year. We are more than half way through 2016 and there are only a handful films that are worth recommending. But now as we have entered the later part of the year, things are looking brighter. After the charming Half Ticket that released last month, with YZ we now have another marathi film that is worth watching in the theatres. YZ is not only laden with tongue-in-cheek humour as the title and the promos would suggest, but is also a thoughtful film.The note on which the film ends is what left me pleasantly surprised and most impressed.

YZ is a film of two different halves. The film begins rather humorously with an introduction to the protagonist Gajanan (Sagar Deshmukh) – a single, virgin and socially very awkward man in his 30s. A simpleton to the core, he is born and brought up in Wai and now teaches history in a local college. He dreams of visiting the ancient ruins of Machu Picchu in Peru, at least once in his life time.A shy and non-engineer guy like Gajanan has troubles getting married. He doesn’t have the confidence to approach a woman himself and isn’t a very saleable ‘product’ in the arrange marriage market either.The scenes in the ‘vadhu-var melava’ wherein we are shown Gajanan being introduced with a remark that he has no four-wheelerare particularly humourous. He is transferred to a Pune collegeon a temporary basis for 6 months and comes into contact with the college cool dude – ‘Battees'(Akshay Tanksale). How these 6 months in Pune spent by Gajanan have a profound impact on him as a person and on his life, is what YZ is all about. A kind of coming of age film, albeit of a man aged 33.The early parts of the film are full of funny lines, mostly involving the conversation between Battees and Gajanan, as the former is trying to teach him to develop a personality that would impress women. Battees calls this a YZ attitude. There is nothing really very original in the plot seen before in films like Hitch, but at least the film made me laugh more than a couple of times.

The film breezes through the first quarter of the duration, but without much substance or intent, till Gajanan is visited by the prospective bride Parnarekha (Sai Tamhankar). The Parnarekha chapter of Gajanan’s six month stay has to be the most engaging as her well drawn character sketch gives the scenes a lot of humour born out of situations and character quirks. It has the right mix of content, direction and humour. Saie Tamhankar’s convincing performance goes along way in making her portions of the film so impressive.

As the film enters the second half there is a sudden switch in the mood with the film getting thoughtful. It would have been easier for the makers of the film to stick to the fun filled atmosphere of the first half, but they haven’t and that is certainly commendable. However, as the film starts getting a little depth you cannot shrug of the feeling of the proceedings turning a little dull. Take for example the long preachy speech by Gajanan in his lecture about how we are more interested in building statues of our historical figures but don’t bother to imbibe the values they stood for. Though the thought behind the second half is appreciable, some scenes get a rather cliched treatment like the one in which Gajanan’s Aunt confesses how married life sucked away her love for reading. Wiser from his experience with Parnarekha and courtesy the company of Battees, Gajanan starts to express himself more freely. He develops a confidence to just be himself. He moves out of his Aunt’s house with whom he was staying in Pune and starts living in a rented place. This new avatar of his impresses his cousin’s young friend Antara and she develops feelings for him. Also, Gajanan coincidentally meets his long lost childhood sweetheart Saylee (Mukta Barve) and realises that he still has feelings for her even after all these years. Saylee is in a serious relationship with another man, but still not married. Parnarekha, in the meanwhile, again meets Gajanan in a reformed avatar taking him by pleasant surprise.

So, Gajanan – the once perennially single man – now suddenly has three women in his life with whom he has the possibility of getting into a relationship. As an audience we try to second guess the lady Gajanan will walk down the aisle with, but it is here that the filmmakers pull out an ace byside-stepping all cliches and ending on a note that very few filmmakers in India would have chosen to.

Theatre artiste Sagar Deshmukh delivers a knockout performance in his first major role in a film. The camaraderie he shares with Akshay Tanksale is one of the biggest positive of the film.There is hardly a dull moment when the two are on screen together. Another major plus are the consistently funny dialogue. The other ladies Parna Pethe and Mukta Barve don’t get a lot of screen time, but are well cast.

The writer-director pair of Kshitij Patwardhan and Sameer Vidwans have come up with another fine film after last year’s Double Seat. Here’s wishing the pair treat us with more such quality cinema which we haven’t seen much in the recent past.

Overall:

YZ is a consistently humourous film, with a solid performance by the lead actor Sagar Deshmukh. It also leaves you pleasantly surprised by its end.

The post YZ Review : Wellperformed, humourous romantic comdey appeared first on MarathiStars.

The youth of the society have always been the target audience of any film industry. The young audience, more often than not, make or break a film’s success at the box office. So it makes sense to make a film for the youth.

Marathi cinema in the recent past has consistently targeted the youth with its adolescent love dramas.The soon to release film Photocopy starring Parna Pethe and Chetan Chitnis is also a college romance.The music of the film was launched at the popular Dhanukar college in Mumbai. This is certainly a smart way of promoting your film by directly collaborating with colleges. The principal of the college Pethe Madam launched the music of the film to the excitement of the crowd. The cultural committee of Dhanukar College organised the music launch which was attended by the cast and crew of the film. The talented and highly enthusiastic students of Dhanukar treated the audience with energetic dance performances that ranged right from a devotional dance to a crackling performance on Zingat.

Parna Pethe and Chetan Chitnis also shook a leg to the now hit dance number Pipani.The song has been penned and composed by AV Praful chandra. The singers of the hit song Vaishali Samant and Pravin Kanwar were present at the event and treated the audience by singing the first stanza of Pipani much to the pleasure of the audience.The singer-turned-producer Neha Rajpal also spoke a few words about the film and so did the actor-turned-producer Vijay Maurya.

Here’s wishing more such collaborations with colleges to market marathi films and a lot of success to Photocopy for its music andt heatrical release.

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Come Shravan and the festive season begins! In this auspicious month of the Hindu calendar everyone’s favourite festival Gokulashtami arrives. And the fervour and enthusiasm with which the festival is celebrated in Mumbai and its neighboring areas has just to be seen to be believed. Popular composer-director Avdhoot Gupte who has made films like Zenda and Maurya in the past will soon be releasing his latest film called Kanha. As the name suggests, the film is about Gokulashtami and the competition between two Govinda pathaks to construct the tallest human pyramid.

Shiv Sena MLA Pratap Sarnaik’s Vihang Group has produced this film along with YoungBerry Productions and Joe Rajan. Kanha is going to be Zee studio’s next release as well. It is always a matter of interest regarding which film Zee Studios would be releasing and now we know of their association with Kanha.

Pratap Sarnaik’s Sanskruti Yuva Pratishthan hosts one of the most popular Govinda’s in town. It’s own Govinda team holds the record for the highest human pyramid ever. So his obvious love for the subject ensured that no stone was left unturned in the making of Kanha.

The music of the film composed by Avdhoot Gupte himself was launched at a gala event in a prestigious 5 star hotel in Mumbai. The event was attended by who’s who of the world of politics like Praful Patel, Amar Singh and the CM of Maharashtra, Devendra Fadnavis. The marathi film fraternity also made their presence felt.The film has six songs which are sung by Suresh Wadkar, Kailash Kher, Vaishali Samant, Sonu Kakkar, Avdhoot Gupte, Swapnil Bandodkar and Purvesh Sarnaik.

Kanha is about the competition between two pathaks to form the highest human pyramid. It completes the trilogy of films on Maharashtra culture by Avdhoot Gupte after Zenda and Morya. The film has two leads, the energetic and natural Vaibhav Tatwawadi and the hunk Gashmeer Mahajani. The films also stars Gauri Nalawade, Prasad Oak, Kiran Karmarkar and child actor Sumedh Vani.

Kanha is going to be released by Zee Studio all over Maharashtra on August 26th, 2016.

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