Kavita Awaasthi (HINDUSTAN TIMES; August 19, 2020)

“It is so painful to talk about Nishi sir. More than a friend, he was a mentor and guide throughout my career,” says actor Sharad Kelkar remembering the late director Nishikant Kamat, 50, who passed away on Monday. He was battling liver cirrhosis in a hospital in Hyderabad.

Kelkar had known Kamat for the past eight years when he began his journey in films. “My last project was with him for a web show, Rangbaaz Phir Se, where he was the creative producer and edited the show too. I remember, he wasn’t well, yet he came to the set and met everyone. He was a strong-headed and positive person. The last time he fell sick and was serious, he fought hard and was on his feet soon. This time, too, we were hoping he would get well soon. I was constantly in touch with friends who were with him in Hyderabad. He was improving but this disease is unpredictable and Nishi sir was fighting hard but it didn’t work. It’s so sad. Talking about him, I am getting flashes of all the lovely memories with him. I remember, I would drop by at his office in Andheri whenever I could and we would chat for hours sipping tea,” says Kelkar, who worked with the director in two films - Lai Bhaari (2014) and Rocky Handsome (2016).

There has been an outpouring of posts and condolences for Kamat on social media and Kelkar attributes it to the person that Kamat was. “He was a lovable, lively guy with a great sense of humour. He would call everyone Sir, and was a disciplined man on the set. He would encourage everyone and as he was an actor first, then became an editor and a director. I spoke to him right before the lockdown and he was planning a film shoot in London,UK, and was supposed to go on a recce. Due to his ill health, even a small infection could lead to serious concerns yet he never let that stop his work. But he fought till the end and that shows how strong his spirit was,” says Kelkar.

As he forays into regional cinema with his production Baba, Sanjay Dutt says he is open to the idea of acting in Marathi films
Sonil Dedhia (MID-DAY; July 18, 2019)

Months after announcing his foray into production with Prasthanam, Sanjay Dutt has ventured into regional cinema with the Marathi offering, Baba. The actor says that it was an emotional decision to back the project as the Deepak Dobriyal starrer revolves around the deep bond between a father and son. "When I sat for the narration, I was sure that I wanted to produce this film, as I want to be associated with good subjects. It isn't a deliberate attempt to dedicate the film to my father [Sunil Dutt], but he was my rock. I believe that the first person a child looks up to is his father."

The actor is fondly known as 'Baba' in Bollywood. Point this out to him, and he calls it a happy coincidence. "The credit goes to the director [Raj Gupta]. When they came to me, I was pleasantly surprised to hear the title." As he throws his weight behind regional fares, the star is also open to the idea of acting in them. "If something interesting comes my way, I wouldn't mind trying my hand. It's always interesting to try something new."

There is no denying that, at 59, Dutt finds himself busier than ever. While his recently opened production house needs his attention, the actor also has been dividing his time between his four films, Panipat, Shamshera, Prasthanam and Bhuj: The Pride Of India. But he shows no signs of slowing down — his banner is gearing up to bankroll a Punjabi film titled Bank Loan. "We want to create a balance between content-driven and commercial entertainers. A film like Sairat (2016) was a huge success, but at the same time, Lai Bhaari (2014) also did fantastic business. So the idea is not to compromise on content."

As she returns to big screen with Mauli song, Genelia discusses possible second innings in cinema; husband Riteish reveals duo is on lookout for “that perfect script”
Upala KBR (MID-DAY; December 10, 2018)

Two years after her cameo appearance in Force 2 (2016), Genelia Deshmukh has returned to the big screen — she features alongside husband Riteish Deshmukh in a special number, Dhuvin Taak, in his upcoming venture, Mauli. While fans of the duo have missed seeing them together, Riteish admits that he has been cajoling his better half to return to movies. “As a producer, I would love to see her on screen, maybe in a Marathi film. We will do a film together; we are looking for that perfect script,” says Riteish.

No stranger to regional fares, Genelia points out that a Marathi outing has been missing from her fiilmography so far. Impressed by the evolution of Marathi cinema in the past few years, she says that she is looking forward to dabble in them. “I have been part of regional cinema — both mainstream and off-beat. I find Marathi stories so good. When I read the scripts that make their way to our production house, I am bowled over. I have done a lot of work in the South film industry that people here wouldn’t necessarily produce,” she laughs, adding, “I would love to do commercially exciting movies like Mauli.”

The mother-of-two says that her children — Riaan and Rahyl — are the reason she hasn’t plunged headlong into films again. “It’s a full-time commitment once I come back to films. it can’t be a half-hearted effort. Riteish and I have to decide how we go about it. If I go out and shoot, then he will have to take the step of being the homemaker at that time as our children are too little to be left on their own.”

Ask her how Dhuvun Taak came her way and she credits Riteish and director Aditya Sarpotdar for the decision. “They were discussing possible names of actresses who could feature in the song. Next thing I know, Riteish told me that I am doing the song. My initial reaction was no, since I was out of town with our kids. He said, ‘Come for three days, shoot and go back’ and that’s exactly what I did. And I loved being in front of the camera again.”

Nayandeep Rakshit (DNA; December 9, 2018)

Four years ago, Riteish Deshmukh made his debut in Marathi cinema as a producer with Lai Bhaari. His maiden venture went on to do over Rs 40 crore business at the box office. Proud of his Marathi legacy, the actor returns to the same space with Mauli. He tells After Hrs why there has been a long gap between both the movies, how he strikes a balance between regional and Hindi cinema as well as his learnings as a producer. Excerpts…

Would you say that Lai Bhaari is instrumental in changing people’s perception towards Marathi cinema? 
Let’s not give Lai Bhaari that credit. It all started with films like Shwaas (2004) and Harishchandrachi Factory (2009), which won the National Award and were selected as India’s official entries to the Oscars. That’s when people started noticing the kind of content that was being generated in the Marathi industry. There are two parameters for films — content and commerce. But when the numbers started coming in, things changed. It began with Balak Palak (2013) which made Rs 12 crore. Then came Duniyadari that raked in Rs 25 crore. In 2015, Timepass 2 did around Rs 30 crore and after that, Lai Bhaari broke the Rs 40 crore mark as it had action and drama. So, Marathi industry was not only producing content but also making good numbers.

Natsamrat, which released in 2016, set the cash registers ringing with Rs 50 crore. Three months later, Sairat managed to cross the Rs 90 crore mark at the box office. Rs 90 crore in Marathi is almost like a Rs 300-400 crore film in Hindi. No Hindi movie, barring Baahubali, has done that much business in Maharashtra. Interestingly, all these flicks that have done these numbers opened in the same range of Rs 2-3 crore. So, now the aim is to increase the opening figures. But how do we do that? Do we increase shows? Because then, Hindi films will also take these shows up. So, it’s a double fight.

Regional and Hindi cinema fighting for screens has always been the case...
Yes, and it will continue to be so. There’s nothing bad with that. Everyone wants the best for their films. Now, it’s up to the audience to watch whatever they want to. But the only thing is that the other person should at least get a decent opportunity to showcase. Opportunity is an issue here.

You even moved your film, as a sign of love and respect for Shah Rukh Khan’s Zero...
Shah Rukh is doing the biggest movie of his career, in terms of production, and it’s an amazing film that he’s bringing to life. Mauli is the biggest film that my production house is making. The scales are completely different, and so are the budgets. I was releasing it on December 21 because it’s the holiday season. Initially, Total Dhamaal was supposed to open in cinemas on December 7. So, I wanted to keep a two-week gap between both my movies. With Total Dhamaal shifting to February 2019, I realised that if Mauli releases along with Zero, the business of both the movies would get affected. That’s when I decided that my Marathi movie should hit the marquee a week earlier. So, it has worked out well for Shah Rukh and me. And I’m glad we could do so for each other’s betterment.

What took you four years to come back with Mauli?
We were planning to release it sooner. We had developed it and announced it. However, later, we realised it’s not what it should be. After that, I got busy.

Does it become difficult to juggle between the two industries?
It is difficult but the responsibility I have for my Marathi films and productions is much more. I have to sit on everything — right from the font of the poster to whose name will be placed where. In the case of my Hindi films Housefull or Dhamaal franchise, I only have to do my photoshoots and promote the film. Life as a producer is challenging, engaging and extremely gratifying. It’s amazing to see how a script comes to fruition.

Is Mauli a takeaway from Lai Bhaari?
No, it’s not a part two. It’s a different story. But the essence and the premise remains the same.

People are increasingly remaking Marathi films in other languages… 
There’s a certain sense of recognition today. Cinema and entertainment will soon be language agnostic. I’m watching a Spanish series with subtitles on my TV and enjoying it as it’s exciting. Mumbai is a true cosmopolitan city in the country where statistically 35 per cent of the population is Marashtrian while the remaining constitutes people from different corners. When a film becomes the talk-of-the-town, everyone gets excited to go and watch it. The non-Marathi speaking audience has also started watching our films, which is a great boon to our industry.

Have you ever thought of dubbing Mauli in Hindi and releasing it across India?
No, because if I had thought that way, I would have made it in Hindi. One should not confuse the basic core reason behind creating a movie. And that’s your audience. A Hindi version will take away a lot from the way I wanted to make the Marathi movie. Dubbing is an option. Mauli and Lai Bhaari both can be remade as great Hindi films too. But as of now, let’s see what happens.

Lai Bhaari was a huge success. So, the expectations from this film are quite high. Are you feeling the pressure? 
No. Lai Bhaari, Sairat and other films were loved by the audience and that’s why they fared so well at the box office. If Mauli has to do the same business as Lai Bhaari, it has to be appreciated by viewers. Because of my debut Marathi film, I got the courage to make Mauli a bigger film in terms of budget, scale, action and songs. But if you think I’m looking at a business more than Lai Bhaari, then no, I can’t gauge that right now. Box office figures don’t matter, people’s reactions do. If people connect to the film, it will do good. Unfortunately, today we’re only discussing collections, which are immaterial. In recent times, smaller films have done Rs 100-crore business solely because of their strong connect.

Nayandeep Rakshit (DNA; December 2, 2018)

Riteish and Genelia Deshmukh, who have been married for six-and-a-half-years, are one of the most adorable couples in Bollywood. Time and again, there have been talks about the two doing a film together and the former had admittedly told us sometime ago, “I want Genelia to do a full-fledged Marathi movie with me.”

Now, the jodi will reunite on screen for a song in Riteish’s upcoming production, Mauli. Reveals a source, “Their chemistry has always been loved by the audience. So, when the Housefull 4 actor saw there was scope, he got Genelia to do a Holi song with him for Mauli. Titled Surf Laavun Dhuvun Tak, it’s an out-and-out fun track in sync with the spirit of the festival of colours.”

Interestingly, they were last seen together four years ago, in a similar festive track in his debut Marathi film, Lai Bhaari.

Confirming the development, Riteish adds, “I don’t want to miss any opportunity to work with Genelia. I have actually forced her to do the number. It felt so good to dance together after four years and that too on an Ajay-Atul composition. Hopefully, the audience enjoys it as much as we did.” The song launches today.

Nayandeep Rakshit (DNA; May 7, 2018)

Four days ago, Riteish Deshmukh flagged off his next Marathi production venture — Aditya Sarpotdar’s Mauli — which has the actor playing the lead. Now, we can confirm that the makers of the actioner have found their leading lady in Saiyami Kher.

Riteish confirms the news, “We were looking for a fresh face to cast in Mauli and found that in Saiyami. She is young, vivacious and fits the character of a firebrand Marathi mulgi to the T. We look forward to working with her.”

Saiyami tells us, “I’m delighted to work in a language that I am very proud of — my mother tongue Marathi — that, too, opposite Riteish in his home production. He successfully introduced a new genre of action and drama to Marathi cinema with Lai Bhaari.” This will be the young actress’ second project and her debut in Marathi films.

Saiyami is taking forward the legacy of her grandmother Usha Kiran, who was a huge name in Marathi cinema. In a career that spanned over five decades, the yesteryear actress was known for films like Daag, Patita, Chupke Chupke and has received several top honours.

“Mauli will always be very close to my heart as it takes me back to my Maharashtrian roots. I will really miss my grandmom on this journey because she would have been proud to see my Marathi debut. I’m really excited and seek everyone’s good wishes and blessings,” she says. Incidentally, Saiyami’s aunt, Tanve Azmi, had played Riteish’s mother in Lai Bhaari.

Rachit Gupta (BOMBAY TIMES; April 11, 2018)

Riteish Deshmukh has a busy year ahead, with two Bollywood films lined up for release. He says, “I’m working on Total Dhamaal and Housefull 4. The previous installments of both these films have fared well and hence, expectations are already high. So, there is a lot of pressure.”

Having said that, Riteish also believes that any film with strong content, if released at the right time, will do well. It really doesn’t matter if they are part of a popular franchise. “The genre of the film could make a difference to its box-office prospects. Comedies like Total Dhamaal and Housefull 4 have a better chance to succeed, but at the end of the day, it’s about getting your content and release date right. If those parameters are in place, the film will work well,” he says.

That’s not all. Riteish Deshmukh, who made his debut in Marathi cinema with Lai Bhaari in 2014, is all set for his second outing in the language. Riteish will soon begin work on Mauli, which was first announced in 2015. The film, however, was later put on the back burner because of creative issues.

The actor, who is also an acclaimed producer in Marathi film industry, says, “Mauli is going on floors soon. Sometimes, what happens after a success like Lai Bhaari is that one tries too hard to figure out what one wants to do next. You have already set a benchmark and you don’t want to slip. But then, it doesn’t always work out the way you planned. Fortunately, in Mauli’s case, we got the film back on track.”

Mauli, an action drama directed by Aditya Sarpotdar and written by Kshitij Patwardhan, will be produced by Riteish’s production house, Mumbai Film Company.

Radhika Apte on the furore over her nude scene being leaked, and hubby Benedict’s support through it
Mohar Basu (MID-DAY; September 21, 2016)

Radhika Apte has been in the news more for the leak of her nude scene in Parched than for her performance. One would assume she is seething with rage at an irrelevant slice of the film taking the focus away from the issues at its core. But when hitlist caught up with her, she was surprisingly nonchalant. “I didn’t react when it happened. You can actually find any nude scene of any film on YouTube. I did the film, didn’t I? I want everybody to watch the movie. I was never under the impression that I should do the film but it shouldn’t be shown openly. That would be prudish, right?”

With statements like ‘nude scenes can be liberating’, she has earned the reputation of bold. But she says that she isn’t trying to be groundbreaking. “If I were one bit worried, I would be diplomatic, measured with my words. What others look upon as bold is just who I really am. I can’t fake it and I don’t want to have double standards,” she adds.

Supportive husband
For a married woman, it could be difficult but for Radhika, her violinist husband Benedict Taylor is her support system. “When he watches my films, he doesn’t respond as a husband, he responds as a viewer. Every person has a point of view. Sometimes, he likes what I do, sometimes he doesn’t. As a husband, he doesn’t really have a say. I don’t really have to take anybody’s permission to decide what I work on. He (Benedict) is one of the most liberal men I have met. He encourages me to break boundaries. This kind of support from the whole family helps. You don’t have another battle to fight at home at least. But, support is irrelevant, in the end. Not everyone has family backing. It is good to have it but if you don’t, you can still make it all by yourself.”

Mainstream ambition
She’s known for parallel cinema, but has no qualms about dancing and singing onscreen. She says, “I did Lai Bhaari which was a masala flick. I love dancing and I like good, peppy music. But the film should offer something enticing. I don’t want to be reduced to a small role that has no scope for performance. Luckily, mainstream films are becoming content-rich. I never had a plan for a career but I can’t bring myself to do movies that I don’t enjoy watching.”

Neha Maheshwri Bhagat (BOMBAY TIMES; September 19, 2016)

Riteish Deshmukh on the trade, changing trends, being on a career high as an actor and producer
Sarita A Tanwar (DNA; July 14, 2015)


Unlike many heroes who start off with solo careers and stubbornly continue doing those till they are forced to retire, Riteish made the most of what was available to him. He came from an affluent background and could have continued making films mainlining him, but he didn’t let his ego get in the way of his dream. Today, he in the position to pick and choose films. I don’t know if success is always sweeter when it comes after a struggle, but it’s got to be lot more satisfying. Today he has earned the position he is at, along with respect. In the last two years, he has come into his own. He is flying high professionally and personally, but remains the same grounded guy I’d met during an interaction during the release of his first film. Here he talks about being on a high, career-wise, about changing attitudes in the trade and the way ahead.

The last two years have been rather significant for you in terms of your career. What do you attribute that to?
I think there are two things. I felt that the growth of the industry in terms of approach towards actors and not trying to cast them in the same roles, trying offbeat casting and people also being excited to see someone new in that role. Probably that has helped. I was lucky enough to have that opportunity be it, acting in Ek Villain, producing Balak Palak or doing a film like Lai Bhaari. Eventually, all these things timed out well for me. Thanks to them, I got Bangistan and YRF’s Bank Chor, which are not the typical comedies that I am associated with.

Grand Masti and Ek Villain took you to a different level, both crossing Rs 100 crores. In Marathi, it was Lai Bhaari that created new records. Is there a feeling of vindication?
One thing I learnt in the last ten years is that once the Friday is over, it’s the past. You have to let go. I have seen a lot of people who are living on Fridays that have really gone back. Saturday is a new day, Saturday is the reality check, you have to move on. As an actor, I feel the only day you should enjoy or be sad about is a Friday. Saturday you have to go out and start work again.

That’s easier said than done, no?
I know, but I have been a part of films that have not worked and of films that have been successes, but I don’t carry either forward. All that matters is the experience that you had while working on the films. Yes, it’s easier said than done, but I consciously try to work towards that, because everyone is on top of the game, everyone is doing great. There is so much to learn from female actors as well as from male co-stars. I saw Ranveer in Dil Dhadakne Do, and he was incredible, the way he did it. It was so easy and so nice, he was so wonderful. So it’s not about, ‘Oh, if I would have done the role would I do the same thing?” It’s about... he did it so differently so what I can do in my next film, that will be so refreshing? I got a chance in Ek Villain and I tried my best, I did my best but the film is done. What next?

You’ve always been a hero of the masses. With Bangistan, are you trying to reach out to a different set of people.
No. Till the time Ritesh Sidhwani called me for Bangistan I never thought that I would be the actor that Excel would approach or Yash Raj would want me for a lead for Bank Chor, but I was glad they had thought of me.

Bangistan looks too similar to Welcome to Karachi.
They are two different films. But it’s about two people caught in two different situations about India-Pakistan so in that way they are alike, but nothing else.

The director of Bangistan used to be a film critic. And he has always voiced his dissent at the kind of films you have done throughout your career. When your director shows contempt for the kind of films you have done, how do you relate to him?
That’s a very interesting question. For many years, I’d stopped reading reviews. So when I was told Karan Anshuman was directing, I was like ‘Okay.’ I don’t hold it against anyone if they dont like any film of mine. I am like ‘you didn’t like the film, everyone’s choice is different, so it’s okay.’ During a conversation much later, I mentioned to him that I had not read any reviews and at the time Grand Masti had released and Genelia told me he reviewed it. Karan said, “Read my review, I have in fact praised Grand Masti”. That’s the time I read the review.

He had praised it?
Yes, he had praised Grand Masti. More than anything, what I like about Karan or any director for that matter is when they narrate the film with a conviction. And it’s important how much a director understands cinema. I go with that feeling. And when Karan narrated it, it was wonderful. I didn’t know and I am not against any director who has had a flop film, no film, successful film...

As a hero, do you find attitude towards you changing after recent successes?
Whose attitude?

The film industry, in terms of the films that are being offered to you?
Yes. For sure. The films that have been offered to me now are different. Also, there are certain roles that people thought I would have done earlier, I like the fact that they now say, “Nahi, nahi... Riteish yeh role nahi karega”. In a way I’m glad they have decided to not approach me with certain kinds of roles.

You refused Kya Kool sequel because you consciously wanted to move away from that genre, but you are doing Great Grand Masti due to the emotional pressure from Indra Kumar. True?
I didn’t do Kya Kool... 3 because I wasn’t doing any adult comedies. Let me just say that I am doing GGM only for Indra Kumar. The only multi-starrer that I am doing right now are Great Grand Masti and Housefull 3.

You’ve emerged as a star in your own right now. Does it then become difficult to do films like Housefull 3 where you are sharing attention?
No. I am doing Housefull 3 because it’s my franchise. I feel it’s my film and I have grown with it, my career has grown with it and above all it has Akshay Kumar, Abhishek Bachchan, so I am working with my friends. There is no competition in terms of, there will never be a time when I am trying to do outdo Akshay or he is trying to outdo Abhishek. Everyone is comfortable and confident about their space.

One hears that now you are rather firm on the choice of heroine opposite you. She has to be of a certain stature. Is that correct?
No, no, not at all. I have never ever got into the casting of a heroine.

Has this change in your stance of doing a certain kind of cinema happened because of fatherhood?
In a way, yes. Marriage and fatherhood are two big life changing things. When you are single, your responsibility is for the day or for the week. When you become a husband then you start planning for the next one year or two years. But when you become a father, your life view suddenly shoots up and extends to the next ten or next fifteen years. And it’s great because I am looking forward to this responsibility.

Lai Bhaari has also given you a lot of responsibility towards Marathi cinema. One hears that you are getting the entire Marathi industry under your wings now.
Lai Bhaari was an attempt to do something more commercial within Marathi space and I’m glad it was received the way it was, and I think I am trying to just be a small contributor in this big wheel.

But suddenly, everyone is looking at you as the new hope of Marathi cinema.
I know I think it’s their bigness (sic) to look at me that way, and I will always try to live upto that. But there have been, and there are legends in Marathi cinema right now, who are doing their best and everyone is contributing towards success of the industry. There are so many advantages in Marathi cinema with regard to the kind of films you can make within limited budget and appreciation that you look forward to because those cinemas won’t be even attempted in the Hindi formats, unfortunately. Marathi cinema is the second choice in the State of Maharashtra, the first choice is always Hindi and we are struggling but hoping that changes. There are a lot of things happening. Hopefully, there is some film that will come and break the Rs 50 crore barrier. We have just broken 40. Hopefully 50 and 60, and Marathi cinema becomes stronger.

Lastly, most actors shield their children from the media. You have set a trend by coming out in the public with the baby pictures on social media. What was the thought behind that?
I wanted him to be part of my father’s birthday. It was my father’s 70th birth anniversary, and it coincided with Riaan’s six months, so we wanted to make that day special. Also, we have travelled with him and are going to travel in the future too. So why all the hiding and telling people, ‘Don’t click pictures’? It’s pointless. Especially, in this day of mobile phones, everyone is a paparazzi. So, we decided to put his pics out there and now I am not bothered. Whoever wants to click can click, but that was a special day and we wanted to make it extra special.

Big Crowds Key As Satellite Rights Revenue Dries Up
Sandhya Soman (THE TIMES OF INDIA; April 12, 2015)

One of the indications that you have arrived as a bona fide Twitter celebrity is when you get your hands on a 'verified' account. It means that Twitter has weeded out the imposters and announced it to the world that you are the one who is really in the news. A few years ago, when actor Swapnil Joshi got the blue tick mark of authenticity, he felt that it wasn't because of his decade-long career in TV and Bollywood but due to a few small-time Marathi movies that he had starred in. Movies, that were specifically made to draw youngsters and had made news for being box office hits.

Looks like the Hindi film industry needs to learn a few lessons from Marathi movies' business model — superior content, low budgets and zero reliance on stars. After all, the regional industry has registered 200 per cent profits last year
Sonali Joshi Pitale (MID-DAY; April 5, 2015)

The Marathi film industry seems to have everything going for itself. The number of releases has shot up over the last three years and so have the profits — all this without "superstars" or big budgets.

At the recently concluded annual session of the Federation of Indian Chambers of Commerce and Industry (FICCI), a panel of producer and studio representatives stated that the regional industry had registered nearly 200 per cent profits in the previous year. The much bigger Hindi filmdom, which rides on claims of crores of rupees, the gain was a meagre 0.6 per cent.

Trade expert Komal Nahta says the Marathi filmdom is pegged to be a Rs 150 crore industry. "So, if we consider that they have made 200 per cent profits, that makes it approximately Rs 300 crore. However, I don't agree with such numbers as some films click with the audience and do well at the box office while others don't."

Last year, Ravi Jadhav (top, on left)'s 'Timepass' (pictured on top) raked in a record-breaking Rs 5 crore in its opening weekend. The film was made on a budget of Rs 1.75 crore and went on to earn Rs 30 crore, says the filmmaker, adding: "Planning is something that helps producers. We generally have a schedule of 30-35 days to complete a film. Marathi actors come from theatre, so they are disciplined and allot proper dates. Therefore, the budget of the film hardly goes beyond Rs 2 crore. The film narratives are simple and the shoot happens at real locations, which is why we don't have to spend too much money on the sets."



At the FICCI session, the unanimous view on Bollywood's dismal performance was that most filmmakers depend heavily on the "star system" — the three Khans, Shah Rukh, Salman and Aamir — as it is a safe bet. Producers also have to bear the compensation of an actor's staff and spend heavily on the movie promotions, which have become an ego battle. Eventually, a project tends to go over budget.

"I don't know the methods of calculating profit. But I think an important factor working in favour of Marathi movies is how you control the budget and spend on publicity," says Bollywood actor Riteish Deshmukh, who turned producer for Marathi films with the superhit comedy drama 'Balak Palak' (pic, above) (2013). "In Hindi cinema, there is more competition and producers have to spend a lot of money on marketing, so recovering it all becomes difficult. Someone needs to break this strategy," he adds.



Sandeep Kulkarni, who featured in Nishikant Kamat's critically acclaimed film 'Dombivali Fast' (2005), feels the audience has been able to connect with recent Marathi films due to good content and music. "Films like 'Lai Bhaari' had a novelty factor which drew crowds to the theatres. It was also marketed well. In case of Hindi films last year, only 'Queen' could make profits as it was made on a small budget film and had a good story," says the actor, who will produce the sequel to 'Dombivali Fast'.

Director-producer Paresh Mokashi echoes his views, saying that Marathi culture has always supported good art, and the present-day filmmakers are in sync with the cultural milieu and aspirations of the audience. "Marathi films have never been a star-studded affair; people have always liked the way a story has been presented. So, films belonging to different genres like 'Lai Bhaari', 'Duniyadari', 'Elizabeth Ekadashi' and 'Fandry' have worked well," says the National Award winning filmmaker.

In the last few years, the regional film industry has handed out an assorted platter of coming-of-age films, social dramas, biopics as well as out-and-out masala movies for the masses, which have been a delight for the audience. And the winners, undoubtedly, have been the films with superior content.



Samruddhi Porey, who recently made a biopic on social activist Dr Prakash Amte featuring Nana Patekar and Sonali Kulkarni, says, "We have to face a lot of competition from Hindi and English films, but we are doing well because of quality and not quantity. Even though my film had a social message, it worked well commercially due to promotions. The producers these days are aware about where and how to promote their films and how much money they must spend. We did not go overboard with the promotions but the word-of-mouth buzz helped. The fact that we get subsidy from the government helps. The release date strategy and the absence of a star system also add to the profits."

Sources said the government subsidy for regional filmmakers is Rs 30-40 lakh.

BO toppers

Rs 40 crore
Total collection of 'Lai Bhaari' (pictured below); budget: Rs 8 crore

Rs 30 crore
Total collection of 'Timepass'; budget: Rs 1.75 crore

Rs 12 crore
Total collection of 'Dr Prakash Amte'; budget: Rs 2.5 crore

Rs 7 crore
Total collection of 'Elizabeth Ekadashi'; budget: Rs 1.5 crore

MUMBAI MIRROR (December 25, 2014)

2014 has been a very good year for NGE with 100% success rate of your films and your banner is receiving 6-7 trophies at every award ceremony. How are you celebrating it?
This year has been very special for us and there is a lot that I have to be thankful for. We haven't planned any celebrations as such, as all our time now is invested in the next year. We have 4 - 5 films to release in 2015 so we are all gearing up for it.

Your directorial debut, Kick, broke records, when do we see you start your next directorial venture?
I am overwhelmed with all the love we have received. There are no concrete plans for the next directorial film as yet. I need to feel strongly about a story and a script to take it up. As a producer, I have been in the industry for over 27 years now but while directing Kick, I felt like a newcomer. The journey has been unforgettable and I got to learn a lot.

You are an excellent producer, director and a writer (Lai Bhaari). What is next for Sajid Nadiadwala?
As I mentioned earlier, I am all occupied with our upcoming films. Our next with Tiger has gone on floors. Housefull 3 is in the scripting stage. We might start shooting soon. We are going to shoot with Imtiaz and Ranbir for Tamasha's another schedule soon. Phantom with Kabir is releasing in April. So there is a lot happening right now.

Sonali Joshi Pitale (MID-DAY; August 12, 2014)

Shreyas Talpade is a harrowed man. The actor, who recently turned producer with his maiden production, Poster Boyz, is upset about pirated DVDs of his film doing the rounds. Similarly, Ameya Khopkar, the co- producer of Riteish Deshmukh’s film, Lai Bhaari, too is said to be disturbed by the sale of pirated copies of the film.

A source says, “Recently, one of Shreyas’ close friends called him to let him know about pirated copies of Poster Boyz being sold in Mumbai. Lai Bhaari too has become the victim of piracy and this is why Shreyas and Amay met the Mumbai Police Commissioner on Monday.”

Urging the commissioner to take strict action against the culprits, they lodged a complaint with the city police’s anti- piracy cell on Monday. Shreyas and Amay confirmed the story.

Lai Bhaari's National Award-winning director Nishikant Kamat on the fortuitous events behind the Marathi grosser's unprecedented success
Kunal Guha (MUMBAI MIRROR; August 10, 2014)

Vickey Lalwani (MUMBAI MIRROR; July 23, 2014)

Mirror (July 21) was the first to inform you that Salman Khan's Eid release has stiff competition from Riteish Deshmukh's film Lai Bhaari in single screen theatres.

Chief of the MNS Film Wing, Ameya Khopkar, who has co-produced the Marathi film with Riteish's wife Genelia D'Souza, had told us, "We will not withdraw from the screens where our film is doing very well. In the theatres where business is okay, we may give them a show or two."

However, a group of exhibitors tried to play peacemaker and met the MNS, late Monday evening. The meeting was inconclusive and continued on Tuesday. But despite negotiations, Sajid Nadiadwala, who makes his directorial debut with Kick, will get lesser single screens in Maharashtra than what he had asked for.

Leading distributor Ramesh Sippy says, "The matter has finally been settled. Lai Bhaari in its third week will get one or two shows at single screens in the main cities. Single screens in smaller centres will screen the film in all shows."

A source from the unit of Kick says, "The impact of the decision is more psychological than financial. It shouldn't make a big dent in our collections as the reduced number of screens is restricted to Maharashtra. Else, it's Kick all the way. And even here, the multiplexes have no problems in accommodating our film. They can always increase the number of shows."