Natarang

It was path breaking film for Marathi film in in 2020 and still not a single film did match this film

Good marathi movies are far in between and when a movie like "Natrang" (yes, its not "Natarang") comes by it certainly qualifies for a definite watch. The director (Ravi Jadhav) deserves a standing ovation. Every soul associated with the movie has poured his heart out and it clearly reflects in the proceedings. The narrative hooks the audience from the word go. The plot is engaging, screenplay engrossing and editing gives it a sleek feel. Noteworthy is the realistic touch in the garb of performance, location and the icing on the cake namely the language and dialect.

۩ Atul Kulkarni:: If there is any reason should you be propelled to watch the movie then make it Atul Kulkarni. Pay special attention to the commitment of Atul from portrayal of a strong physique labourer to a breathing life into the namby-pamby pansy. Nothing short of perfection.

۩ Sonali (with an "ee") Kulkarni:: In comparison to protagonist her character is subdued. But very pretty indeed, the green-eyed beauty captures attention from the word go. Needed more screen time for her character blossom into full glory.

۩ Vibhawari Deshpande:: Sadly her character got completely relegated to backseat resulting to a dwarfed character role. Editing perhaps?

۩ Kishore Kadam:: Effective portrayal. No string attached performance and a very strong screen presence.

۩ Amruta Khanvelkar:: What makes her item number etched in the minds of the audience is her screen presence and the composition of the lavani "Wajle Ki Barah" itself. Fantastic!!

Finally Zee Talkies should be applauded for backing this project. We need more of this.

Just watched this movie, its an absolute masterpiece movie.

This movie is a great example of how great marathi cinema can be.

Amazing performance by all actors special mention to Atul Kulkarni.

Sonali Kulkarni and Kishor Kadam also did an amazing job with their role.

The music by ajay atul is no short of magic

this is a must watch for every Maharashtrian.

Atul sir have made an amazing transformation in the movie, something that needs to be appreciated for sure.

This movie deserves an national award, its that great.

Please recommend this movie to everyone in your circle its a must watch

great work by Ravi Jadhav Sir.

At its heart is Gunvantrao "Guna" Kagalkar, a muscular village laborer with a dream: to revive Tamasha, Maharashtra's folk theatre. When the troupe demands a Nachya a male dancer in female guise Guna volunteers, driven by passion rather than convenience.. The film poignantly traces how his courageous choice challenges rigid gender norms, marginalizes him at home, and eventually makes him one of the finest performers ever.

Atul Kulkarni's Masterclass: he delivers the best performance of his career. His physical transformation-adding weight to appear robust, then shedding it to embody a lithe Nachya is extreme and effective.

Ajay Atul's Unforgettable Score:Ajay Atul's music is not just accompaniment-it is the soul of Natarang. Folk infused yet cinematic, the score-and especially "Apsara Aali," "Khel Mandala," and "Wajle Ki Bara"resonate with emotional clarity. Their work garnered sweeping awards, including the Zee Gaurav and National recognition, cementing their status as musical auteurs .

If you appreciate cinema that challenges gender conventions, stirs the soul, and stays long after the credits roll Natarang is essential.

Marathi film industry was almost dead for me and was only churning out the usual potboilers and non-funny- at-all-and-assault-on-senses comedies from some years. But it's showing signs of recovery and some promise lately. One such entry is Natrang.

Guna (Atul Kulkarni, can't praise enough for his dedication) is an avid Tamasha (folk dance) fan and has talent for writing. After loosing his job he swears to build a troupe but the realizes most important thing they need to find is lead dancer. Pandoba, manager of the troupe played with naturalistic swagger by Kishor Kadam accidentally stumbles upon Naina (Sonali Kulkarni) in Kolhapur ("Lanket Sonyachya Vita"). Pandoba convinces mother (his old flame)-daughter to be partner in the troupe but they want a nachya in their group otherwise threatens to call whole thing off. This sends Guna in real conflict where he has to choose between his social-family-personal image or his dream. He chooses latter in process rises in art industry and falls on personal and social fronts.

Tamasha is famous-infamous in the marathi folklore for various reasons. Making a movie around the secondary character in the show itself is surprising. But he is not mere an actor but a writer (shaahir) of his plays. He plays the part as no one else would and eventually realizes no one else could have. Society often destroys what it doesn't understand. People fail to see he is just a man doing his job. Off-stage he is man he used to be. His on stage image is mistaken with his own sexual orientation. His rebellion is received as an outcast. From society, from family, from his mistress herself who love him all right but in one revealing scene she tells like an actress shelf life of nachya will be short lived. She doesn't want to commit. He is shaken. So are we.

This one is more of biopic of an unusual folk artist but also a very sad one where he has to undergo the ordeal of social banishment, constant humiliation and harrowing acts of cruelty. I was reminded of another film which won Hillary Swank her first Oscar Boys Don't Cry. Writer- director sure deserves the accolades that is been showered on him. Capturing the idyll milieu quite well director moves from laugh to grave subject of its title commendably. Still there were few things where I find it is kind of limited from going for greatness. Like Guna's own personality gets lost in the midst of commercial game where he becomes a pawn or in portraying his relationship with women which is never fully realized. Or film doesn't fully convey the real puzzling situation of fame and infamy he is trapped in.

These are few flaws that bothered me but let me not undermine what this film can mean to Marathi cinema. At one point, Guna decides to come up with what he does best – his own art- as an expression for his salvation. A play around Arjun-Brihaanadda where THE man of all time had to disguise himself as a woman under the circumstances demanded. It's a brilliant idea. And so is the music of the film.

Artist eventually resurrects and refuses to be beaten down and continue to pursue his passion. He succeeds and so does the film.