Movie Review: Dhyanimani (2017)
Genre: Thriller
Star Cast: Mahesh Manjrekar, Ashvini Bhave, Abhijeet Khandekar, Mrunmayee Deshpande
Director: Chandrakant Kulkarni
Rating: 3.5/5 stars
Review by: Tejas Marathe & Kalyani Mitragotri
“Baghu Naka” was a campaign which advised viewers to refrain themselves from watching this movie. The unique way of campaigning definitely increased the curiosity and interest of the audience towards this movie. The literal meaning of the word “Dhyanimani” means, something in your heart and thoughts. Thoughts are most important, since thoughts always give rise to feelings, which ultimately result into actions. The movie is a socio-psychological thriller adapted from the acclaimed drama of the same name.
The movie begins with Aparna Karandikar (Mrunmayee Deshpande), who seems worried once she comes to know that she is pregnant from her husband Sameer (Abhijit Khandkekar). Aparna believes that pregnancy is end of the excitement in her married life and she won’t be able to spend quality time with her husband any longer. Her father realizes her concern and advises the couple to visit his student’s resort which is in Roha, for a change. Mr. Sadanand Pathak (Mahesh Manjrekar) is the manager at Yashmala Resorts, which is surrounded by sublime natural beauty. Sadanand is married to Shalini (Ashwini Bhave) who is a housewife and love spending time with her son Mohit. Sameer who is a psychologist and his wife Aparna visit Yashmala resorts to spend some time together for four days. Shalini spends time in taking care of Mohit’s routine activities like cleaning his room, keeping food ready when he returns from school, stitching his trousers and conveying his smallest possible demand to his father Sadanand. Mohit has gone for a school trip and was expected to return by night. Shalini is worried since Mohit has not returned, and her concern is seen from her body language which upsets Sameer & Aparna. What we experience is a hair raising psychological thrilling moment. Is Mohit Lost or dead? Will Sameer be able to unfold the mystery and help Shalini, when his own wife Aparna is carrying?
Mahesh Manjrekar shows his acting abilities and he has totally nailed the last scene which demanded intense acting. Ashwini Bhave has acted equally well and her concern for her child is seen clearly through her eyes. It is her alter ego, which it the high point in this film. The surprising package is Abhijit Khandkekar, who comes out as a matured actor in this thriller. Mrunmayee Deshpande has a small role and she delivers well. All in all, it’s a good package from acting perspective.
In 1995, Chandrakant Kulkarni directed the Marathi play Dhyanimani written by Prashant Dalvi. Now in this movie, he comes up with brilliant direction as far as film’s artistic and dramatic aspects are concerned. The music for the movie is composed by Ajit Parab and lyrics are penned by Sandip Khare. “Ashi Kashi Vedi Maya” is the only song in the movie. Playback singer is Madhura Datar and she has taken this meaningful song to a different level. After many days, we get to hear some rich lyrics. The background score given during some of the thrilling scenes is way too classy.
Some people live life at a different level, not worrying much about what the society will think about them. There are no negative points as such in this movie, however this is not everyone’s cup of tea. It address the real meaning of a life partner and those deep routed feelings. The roots to a problem are sometimes related to the social, psychological & biological problems and only a few matured audiences will be able to digest this.
Overall
The taste of audience is changing. There is a scope for intelligent cinema. Marathi movies are on a roll and this is one movie will make Marathi people feel proud. Dyanimani has a strong plot, well woven story, perfectly developed characters and amazing acting. People who love intense movies, just cannot afford to miss this, however the movie is not meant for audience who want to relax for 2 hours with a bucket full of popcorn and cold drink.
