यशवंत

Andhon ke Shehron mein Aayina Bejhta hoon( I sell a mirror in a city of blind) this is one of the dialogues of YESHWANT(1997) which is so true

The film itself is quite unlike Hindi films, in those times of Yash Chopra's DIL TO PAAGAL HAI and other films where romance, comedy was required this film was considered dry

The film is a no-nonsense film, story may sound too simple but the direction is brilliant by newcomer director

The film doesn't have forced comedy(though some characters are sort of funny) the focus is entirely on the story

we have hardhitting characterization of a women which shows that women are strong unlike Madhuri of DIL TO PAAGAL HAI

The plot moves in a straightforward yet captivating fashion Except some forced songs the focus never shifts The film catches your attention throughout

Direction is superb Music is okay, the popular EK MACHCHAR is good

Amongst actors Nana often accused of being typecast, does his usual stuff but actually carries the film on his shoulders He conveys a lot through his eyes and powerful presence which people may ignore thinking it's repetitive Madhoo excels here especially in dramatics Sadly her career didn't go ahead The reject Atul Agnihotri is okay While late Shafi Inamdar(his last film) is good Amongst villains Mohan Joshi is typecast, Shivaji Satham is good

Story line is the one thats has been hackneyed in the Hindi films, it is a theme that has been utilised in so many films that it is losing appeal to me, and I am certain there are others like me among the the audiences of Hindi films. Patekar is a great actor, but this particular role has been done in a style that is getting to be monotonous. To me it seems that Patekar, will never be a versatile actor, or character actor. In an idustry where typecasting is more of a norm than exception, Mr Patekar has got oi a groove he will never be able to get out of. I still enjoyed the movie the first time. There is an energy in the movie, Patekar's intensity can always generate excitement, the 2nd time,it dint do anything for me. The third time, it was "yeah!yeah! What else is new!" And I changed the Channel. For comparison, I have seen The Khakee a few times, even now if I spent a few minutes with it I watch it till the end.

Could have been better. Only Nana makes this movie as almost great. Many holes and unnecessary elements in the plot make it almost unbearable whereas Nana saves the deal. Story leads to another turn. Several incidents confused me to find the exact story towards the climax. Though the climax is a thing that can be shown in the middle of the movie as a natural scene. Nana acts like he is the best for this role. Though he seems too serious, sometimes dull. Yeshwant a movie full of Nana Patekar, nothing else.

One of the less known yet one of the best performances by Nana. If you liked Nana in Prahaar, you gonna like it for sure. Story is not too complicated but sure writing and direction is superb. Some unusual but good songs have been used like "ek machhar", Thumri "Saanwre". As obvious, Nana has got meaty part of the movie, he has some deep and mind-blowing dialogs which you will remember for sure. If you are a Nana fan, don't miss this.

Late 80s and 90s were adorned by the rhetorical dialogues of Nana Patekar, which carried a special charm; "Pratighat," "Ankush," 'Prahaar," "Krantiveer" to name few. People just loved it and to satiate the taste a super cop story has been weaved into "Yeshwant."

Well the film does grip and has some style to its narrative which makes it worth a watch. But overall the film is pretty hectic and remains an automated persona of Nana Patekar which is just overdone and implausible. The dialogues just run like a bullet train and less goes in. The plot is slim and the ease with which the film ends is a cheat. Perhaps by this film the people had given up the usual Nana Patekar style following which he needed an image change.

Rating: 1 star out of 4.