Panghrun (2022) :
Movie Review -
Love triangle is one of the most complicated themes to handle for any filmmaker even when you think of Old Hollywood films. Whether it was the biggest hit of all time like 'Gone With The Wind' to modern blockbusters like 'Doctor Zhivago' (1965) and 'The Graduate' (1967) - all having illicit relationships, they all had something gone wrong somewhere in the concept. On the other hand, you have evergreen classics like 'Sunrise' (1927) and 'Casablanca' (1942), which may remain unmatched forever. In Marathi Cinema this concept hasn't come out like often, but once in a while we had some good films. Manjrekar made Kaksparsh exactly 10 years ago, to show what we were missing. The purity behind the subject won everything despite the slow narrative because ultimately it built up that slow-burn. Post Kaksparsh, Mahesh seems lost. He hasn't made a single film that can be remembered by the audience and critics. 'FU', 'Me Shivaji Park', 'Vyakti Ki Valli' and his last release 'Nay Vara Bhat Lonchya', nothing remarkable was there. Thankfully, he had a classic like 'Natsamrat' that we still remember. Clueless, wandering in the search of quality product, Mahesh gets back to his periodic love story to revive the same formula of Kaksparsh and makes Panghrun- only to deliver another forgettable film.
You know, periodic-love story is a genre where purity of the content matters the most, and while handling that you secretly create a drama that finds the connect to every kind of audience. Kaksparsh didn't have any vulgar scenes or dialogues as in directly, but yes, indirectly it said a lot through those intimate activities. Panghrun falls in the same club, but it has lots of impurities and flaws. Moreover, it's a highly predictable film that fails to keep your interest alive till the end. The love story is set against the age gap and that's alright, i mean we had V. Shantaram's hard-hitting feminist masterpiece 'Kunku' (1937) on the similar storyline, but Panghrun, despite being contrary to Kunku's subject, doesn't really create any sort of bond. At least, nothing like that showed up on screen. A window dancer, who fancies some happily British officer, is married to an older man, very much to her demur. Soon, she finds herself suitable for him and tries to interest him, but the man, who is still immersed in the memories of his first dead wife, detains himself. The third angle comes into play a major part here. A young boy, disciple of the man, finds his wife attractive and soon the infatuation turns into physical pleasure. While Kaksparsh was equally divided, Panghrun is more about masculine side than the feminine one. Even that happens when the female character is fantasizing it, so naturally the practical sense vanishes and for bad. If you remember Satyajit Ray's Bengali Classic 'Ghare Baire (1985), which explored the same subject of extramarital affair or infidelity whatever you say, then you will quickly catch the shortcomings here.
Gauri Ingavale who has remained mostly a child artist so far, has come to maturity. No matter if her character looks a little insipient, her performance is way more mature. Amol Bavdekar suits the age, attitude and singing qualities of the character and maybe that's why he looks like a perfect fit for the role. Rohit Phalke's over-expressionist act may irritate you a little but rest of the time he makes a fine actor. For classical Musical lovers, Panghrun is a real treat. Not mentioning all, but definitely top 3 - 'Hi Anokhi Gath', 'Sahvena Anurag' and 'Ilusa Ha Deh'. The film loses the pace because of the excessive use of songs and background music. Every dramatic scene is followed by an unnecessary score which looks fine at the beginning, but gradually begins to spoil the momentum.
Mahesh Manjrekar is to blame for the writing, if not his direction. He has written Panghrun in such outdated manners that you even forget the periodic importance of the story. Halfway through and you already know what's gonna happen and even that how's gonna happen. Rohit Phalke's constant endeavour to make physical contact with Gauri, her platonic engagement with him and then realising the sin when things have gone out of hands, all that is so dated and mediocre. Just like 'The Gone With The Wind' takes 4 long hours to realise that the girl was a fool. That was still okay for the late 30s but dear Paghrun, it's 2022 and it's not okay at all. On the positive side, the film has some beautifully shot moments that are full of hearts and brains. The pre-climax scenario is messy but it survives somehow as the final conclusion makes more sense. Overall, an average film that can be watched once but if let me warn you, it's no match to Kaksparsh. Not by far.
RATING - 5/10*
