Gabhricha Paus begins with a distressingly familiar image – a body swaying from a tree, its life extinguished by debt and defeat.Īlka and her mother-in-law are determined that Kisna will not be the next victim. “I wanted to be as unsentimental as possible.” “These are people who are doing everything possible, but life goes on and on,” he said. The mordant humour that distinguishes Gabhricha Paus from other films on farmer suicides was a reflection of Vidarbha’s hard-bitten attitude to unrelenting hardship, Manwar said. I grew up in Yavatmal in the Vidarbha region, and although I am not a farmer myself, I knew about the kind of problems they were facing.” “Farmers have been suffering for years, through the ages. “The film is about the farmers, their connection to one another, their way of life,” he said.
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Manwar was equally keen on exploring the wider culture of farming in Maharashtra. It’s just that nobody is talking about it anymore.”Īccording to a report in The Indian Express on October 11, 3,927 farmers in Maharashtra died by suicide in 2019, up from 3,500 deaths in previous years. “Farmer suicides were high then, and they are high even now,” the soft-spoken filmmaker told Scroll.in from Pune, where he lives. He had studied the art form at the Savitribai Phule Pune University but he wanted to move into filmmaking. When Satish Manwar began writing the screenplay in 2007, he was inspired by the headlines. Sonali Kulkarni in Gabhricha Paus (2009). “If I put up a random photo of myself on social media, say, in a sari, or put out an appeal for a social cause, people will tell me about how much they liked me in Gabhricha Paus,” she said. Sonali Kulkarni, the celebrated actor who plays the farmer’s wife, is still sent enthusiastic reminders of her indelible performance by fans. The movie’s enduring power could also be attributed to the continued relevance of the issues tackled by Manwar’s screenplay – the never-ending crisis in Indian agriculture, the unremitting poverty, the lasting impact of a single bad spell of weather on a farmer’s life. As the suicide rate goes up in the village that serves as the setting for the story, a family schemes to save the man of the household from the noose, with sometimes comic results. Perhaps the movie’s endurance has to do with its bold infusion of black humour into a tragedy. Shorn of sentimentality but bursting with emotion, Gabhricha Paus makes its point simply – and powerfully. In 95 minutes, the first-time filmmaker packs in a wealth of detail about the challenges of rural life. Perhaps it is writer-director Satish Manwar’s sensitive, subtle treatment of a difficult subject – the suicide of farmers in drought-scarred Vidarbha. The Marathi cinema world is rife with stories about worthy, modestly budgeted productions that take immense struggles to complete.Įven in this milieu, there’s something especially noteworthy about Gabhricha Paus.
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Gabhricha Paus isn’t the first independent Marathi-language movie to have been made in difficult conditions. Centre blocks 20 YouTube channels, two websites for allegedly spreading ‘anti-India propaganda’.
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