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Guru Granth Sahib
Composition, Arrangement & Layout
ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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Theatre, Movies & Cinema
Ashdoc's Movie Review---aapla Manus ( Marathi Movie )
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<blockquote data-quote="ashdoc" data-source="post: 215227" data-attributes="member: 15932"><p><img src="http://www.dekhnews.com/entertainment/wp-content/uploads/2018/02/Aapala-Manus-Marathi-Movie.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p>'Aapla manus' means 'our man' or rather 'our person' in this gender non discriminatory era . It is produced by Bollywood star Ajay Devgan who appears in a very small role in the end . It is his first marathi film as producer . It unfolds as a thriller cum murder mystery but with an interesting angle about the complexities of generation gap between father on one hand and son and daughter in law on the other .</p><p></p><p>Sumeet Raghavan and Iravati Harshe play a modern couple . But their modern lifestyle has an aberration ; they live with Sumeet's father ( Nana Patekar ) like old style joint families . And the old man worries about the liberties of his daughter in law , just like old fashioned people are wont to do . He dislikes Iravati's coming late from her work and dislikes her having sent his grandson away to boarding school to get educated . He is a grumpy old man who is forever complaining about his daughter in law .</p><p></p><p>Iravati is hardly a woman who is going to be quietened by this attitude and gives back to her father in law verbally . This leads to a battle of words constantly between the two and caught in between is the son Sumeet . But one day a huge twist to this situation happens ; the father in law is found fallen from their apartment into the ground below .</p><p></p><p>Into the situation comes police officer Nagargoje , who looks uncannily like a younger and fitter version Iravati's father in law ; indeed he too is played by Nana Patekar . He accuses the couple to have instigated the old man to commit suicide . As the movie progresses the accusations change from suicide to murder charges and the murder charges move from one person to another .</p><p></p><p>So what game is Nagargoje playing ? What is his personal interest in creating twists and turns that turns the couple's life topsy turvy ? The answers are intriguing . But they are sentimental and emotional too , leaving you with a tear in the eye in the end .</p><p></p><p>The film is dominated by the formidable screen presence of Nana Patekar , and his sarcastic drawl rings throughout the movie . Without any loud dialogues , his powerful voice and acting create impact in the movie . Sumeet Raghavan and Iravati Harshe act appropriately too . Background music is decent but there are no songs . Photography and colours are okay .</p><p></p><p>The dialogues of the verbal exchanges between Nana and Iravati have been written by a talented script writer ; every sentence is dripping with sarcastic taunts at each other . Both persons have their good and bad points . But the director does take the old fashioned route ; tilts our sympathy to the old man in the climax . But that is what appeals to our sentiments....Indians are still a traditional people .</p><p></p><p>The idea of both the police officer and the old person whose case he is investigating being played by the same man does add something else to the movie . Both roles have played with aplomb by Nana Patekar . Without flamboyant drama or sensational background music , the film manages to hold attention due to it's clash of egos and lifestyles .</p><p></p><p>Verdict---Good .</p><p></p><p>Three and a half stars out of five .</p></blockquote><p></p>
[QUOTE="ashdoc, post: 215227, member: 15932"] [IMG]http://www.dekhnews.com/entertainment/wp-content/uploads/2018/02/Aapala-Manus-Marathi-Movie.jpg[/IMG] 'Aapla manus' means 'our man' or rather 'our person' in this gender non discriminatory era . It is produced by Bollywood star Ajay Devgan who appears in a very small role in the end . It is his first marathi film as producer . It unfolds as a thriller cum murder mystery but with an interesting angle about the complexities of generation gap between father on one hand and son and daughter in law on the other . Sumeet Raghavan and Iravati Harshe play a modern couple . But their modern lifestyle has an aberration ; they live with Sumeet's father ( Nana Patekar ) like old style joint families . And the old man worries about the liberties of his daughter in law , just like old fashioned people are wont to do . He dislikes Iravati's coming late from her work and dislikes her having sent his grandson away to boarding school to get educated . He is a grumpy old man who is forever complaining about his daughter in law . Iravati is hardly a woman who is going to be quietened by this attitude and gives back to her father in law verbally . This leads to a battle of words constantly between the two and caught in between is the son Sumeet . But one day a huge twist to this situation happens ; the father in law is found fallen from their apartment into the ground below . Into the situation comes police officer Nagargoje , who looks uncannily like a younger and fitter version Iravati's father in law ; indeed he too is played by Nana Patekar . He accuses the couple to have instigated the old man to commit suicide . As the movie progresses the accusations change from suicide to murder charges and the murder charges move from one person to another . So what game is Nagargoje playing ? What is his personal interest in creating twists and turns that turns the couple's life topsy turvy ? The answers are intriguing . But they are sentimental and emotional too , leaving you with a tear in the eye in the end . The film is dominated by the formidable screen presence of Nana Patekar , and his sarcastic drawl rings throughout the movie . Without any loud dialogues , his powerful voice and acting create impact in the movie . Sumeet Raghavan and Iravati Harshe act appropriately too . Background music is decent but there are no songs . Photography and colours are okay . The dialogues of the verbal exchanges between Nana and Iravati have been written by a talented script writer ; every sentence is dripping with sarcastic taunts at each other . Both persons have their good and bad points . But the director does take the old fashioned route ; tilts our sympathy to the old man in the climax . But that is what appeals to our sentiments....Indians are still a traditional people . The idea of both the police officer and the old person whose case he is investigating being played by the same man does add something else to the movie . Both roles have played with aplomb by Nana Patekar . Without flamboyant drama or sensational background music , the film manages to hold attention due to it's clash of egos and lifestyles . Verdict---Good . Three and a half stars out of five . [/QUOTE]
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Ashdoc's Movie Review---aapla Manus ( Marathi Movie )
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