Marathi film TINGYA, produced by Ravi Rai's Small Town Boy Productions and directed by Mangesh Hadawale has been selected in the Pune International Film Festival!
The sixth Pune international film festival (Piff) will kick off at Ganesh Kala Krida Rangmanch on January 10 in the presence of celebrities from the world of cinema.
The venues are E-Square, Inox, Ganesh Kala Kreeda Rangmanch and National Film Archives of India (NFAI).
The festival will have several sections like international films, Marathi films., student film category, world cinema, country focus, retrospective, tribute, Indian panorama, gems from NFAI, blockbuster films of Indian cinema 2007 and films of life time achievement awardees.
The information and broadcasting ministry, government of Maharashtra, Pune municipal corporation, National Film Development Corporation, NFAI, Maxmueller Bhavan, Alliance Francaise, Film and Television Institute of India and Whistling Woods International will be actively involved in the 8-day event.
The committee is headed by city MP Suresh Kalmadi followed by noted film director Jabbar Patel as festival director, Sabina Sanghvi as vice-chairperson and advisory board comprising Yash Chopra, Subhash Ghai, Hema Malini, Manmohan Shetty, Sham Shroff, Nitin Manmohan and Milton Shefter (US).
132A, University Road,
Pune- 411 016
Inox Leisure Ltd.
21/A, Film Centre,
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Shree Ganesh Kala Krida Rangmanch
Pune- 411 042
Monday, December 31, 2007
Wednesday, December 19, 2007
Mangesh Hadawale honoured in Pune
Mangesh Hadawale talking about his career in Drama
Mangesh Hadawale in press conference at Asian Film Festival
Satish Alekar greets Mangesh Hadawale with words
Mohan Aagashe talks about Mangesh Hadawale
Tuesday, December 11, 2007
With a belief that films were a medium for dialogue and communication among people, 27-year-old Mangesh Hadawale's journey to gain foothold in the film industry was a struggle period of two years. 'Tingya' written and directed by the young filmmaker hailing from a family of farmers, was screened in the Indian Panorama section last night at the ongoing 38th IFFI here. Armed with a script which dwells into innocence and emotion of a child in the backdrop of a grim reality of farmers suicides, Mangesh, who always wanted to be a filmmaker, knocked the doors of 41 producers till he found his wave length matching with noted television producer Ravi Rai. ''The two years of finding a producer was a painful process,'' he admitted. ''Since I was poor in communicating in English, I came into contact of Mr Rai through a common friend whom I had approached to write the draft of a letter to animal welfare board seeking permission to shoot since bulls featured prominently in my film,'' Mangesh said while addressing a press conference. Ravi Rai, who was also present, said , ''I asked Mangesh to narrate me his film's story in two minutes so that I could mention the details in the draft letter. I was impressed and asked him about the producer. When he said he had no producer, I offered to produce it myself. I asked Mangesh whether he would make the film exactly as he had scripted it.'' Speaking about his experiences with producers before he met Mr Rai, Mangesh said he had approached Mukta Arts promoted by Subhash Ghai, Pritish Nandy Communications (PNC), Ashutosh Gowarikar to name a few. ''Mukta Arts told me that they do not produce regional films.
But, later I came to know that they are doing one Marathi movie.
While Gowarikar told me that he was busy with Jodhaa Akbar. He also said that I should go ahead with my movie in case I found a producer. In fact, I received a SMS from him wishing me luck for the screening of my film in the Indian Panorama section,'' Mangesh said. He said some producers wanted me to cast Urmila Matondkar as 'Tingya's mother and incorporate a scene where Tingya's father goes to watch a Rakhi Sawant item number. A graduate in dramatics from the Pune University, Mangesh said he had made it clear to producers, whom he approached, that he wanted non- actors in his film and would shoot at actual locations. Besides, the film would be made in Marathi, he added. ''I associate myself with lot of incidents depicted in my film.
Since, 1993 on an average 26 farmers commit suicide every day in different parts of Maharashtra,'' he said.
He screen tested over 1200 boys to finally select the child actor, who hails from a family of Dhangars (Shephards) to essay the role of 'Tingya'. While the girl Rashida was selected from 700 girls. Ravi Rai admitted that despite being screened at the third eye Asian film festival in Mumbai, Asian film festival in Pune and IFFI, he had not got any distributors for the film. ''The film will be screened at Pune International Film Festival and Mumbai International film festival next year after which it will go to Berlin. I plan to release the film theatrically in April so that more and more children could see it during holidays. I am confident of its commercial success as it has been made from the heart,'' he added. ''I liked the script and the manner in which Mangesh had shot it so much that I wanted to own the film. I do not regret my decision,'' Mr Rai added.
He lamented that his Maharashtrian friends were among those who tried to discourage him from venturing into producing a Marathi film. ''For me there is no segmentation or a fence of language for creativity. Cinema has no language,'' he said.
Friday, December 7, 2007
The authorship presents......
A small town boy production......
TiNGYA- "he felt what no one could even see"
Story, Screenplay and Dialogues:
Cast(in credits order):
Sharad Goekar ----------------Tingya
Tarnnum Pathan --------------Rashida
Ajit Gawande ------------------Paapya
Inesh chauhan ----------------Altaf
Sunil Deo ----------------------Karbhari
Madhavi Juvekar --------------Anjana
Chitra Nawathe ---------------Nani
Vitthal Umap ------------------Banubhai
Kamlesh Sawant --------------Yakub
Mansi Lonkar ------------------Nafisa
Rest of cast listed(alphabetically) :
Ajay Gatlevar -------------------------Yusuf
Anant Bhuwad ------------------------Bajaratil Mhatara
Balasaheb Chaugule ------------------Dr.Jadhav
Bhausaheb Hadawale -----------------Dhondiba
Bhausaheb Awate ----------
Bhimaji Waman -------------
Mamtaram Hadawale -----------------Sudam
Satish Desai -------------------
Sudhakar Bhanushe ------------------Tatya Sahukar
Vikas Auti ------------------------------Pandu
Vidya Patwardhan -----------
Vijayalkshumi Londhe -----------------Sakhubai
Original music by:
Backgraund music by:
Director of photography:
Film editing by:
Sound design by:
Art director :
Costume design by:
Second unit director or assistant director:
Shantanu rode (associate director)
Amit Rai (Chief assistant director)
Vijay Manjrekar (1st assistant director)
Prashant Sable (2nd asst director)
Being content-rich facilitates an idea’s intelligent execution, believes Mangesh Hadawale. The debutant filmmaker is already grabbing attention with his Marathi film, Tingya. Shown at the recently concluded Fifth Asian Film Festival, the film closely analyses moments of innocence that question the discrimination between human beings and animals, from the eyes of seven-year-old Tingya.
Played by newcomer Sharad Goekar, Tingya is among the several non-actors who lend the film its much-appreciated authenticity. “Out of a starcast of 72 actors, more than 40 of them are non-actors chosen from Maharashtra’s rural heartland. Most of them saw the film camera for the first time, let alone having any experience in acting,” says Hadawale.
A dramatics graduate from University of Pune’s Lalit Kala Kendra, Hadawale spent four years to make the movie. He scripted the movie, as well. This was a result of a strong brainwave that hit Hadawale one fine night and he ended up writing the movie in one go—a catharsis of sorts. “I had to give vent to all the conflicts going on in my mind,” he says. But his script was turned down by various producers 41 times, until Ravi Rai came along.
Now his endeavours have paid off. Aamir Khan is already keen on watching Tingya and a meeting with the star actor-producer-director coming February, should yield good results. “I’ll be discussing a story idea with him,” says Hadawale, who will also shooting his first Hindi film Chhutta Na Mila, in March.
He prefers to reserve the right to scripting and directing his stories. “I want to direct my own scripts, instead of having another filmmaker lend his interpretation to my ideas. Very often, such an execution backfires and the film turns out to be a disappointment,” says Hadawale.
And, what would his films’ USP? “I want my films to stand solely on the basis of a strong script and good screenplay,” says Hadawale, who wants to work with newcomers. “That way, my films will be able to stand out better through content and quality, instead of stars overpowering the script,” he adds matter-of-factly.
For 26-year-old director Mangesh Hadawale, it was a difficult journey to make his film Tingya, which made its debut at the 38th IFFI to acclaim.
The debutant director’s path had several hurdles, foremost being his insistence that the film be narrated in his mothertongue – Marathi.
Tingya is a sensitive tale about a boy and his love for his bull, set against the politically charged background of farmers’ suicides and the life in rural Maharasthra.
The film is part-biographical.
"I have also gone through the same motions as Tingya, “says the first-time director.
Hadawale adds, “It’s as much a commentary on farmers as well as about the love for a boy for his bull whom he considers it to be his friend.”
Thursday, December 6, 2007
Mangesh Hadawale was born in 1980 in a small town in western coastal India. He completed his graduation in theatre from Lalit Kala Kendra (Center for Performing Arts)
From University of Pune and later come to Mumbai to Pursue a career in cinema.
The film TINGYA is his directorial debut. He has written the story, screenplay and dialogues as well for this film.
As I was growing up and coming nearer and closer to sounds that expressed progress, development, growth and the speech that declared advancement, evolution, movement.. They were so void and depressed I felt. I could clearly see behind mask of harmony what I could see. And it dawned on me, that may be we had gained in numbers and figures but we had lost much larger. We had lost a conversation. We had lost a dialogue. And that was only possible in the remote villages or the workers in a mill or similar milieu. That set the writing of Tingya. And this story is not a story of a farmer from Maharshtra. It can be a story of a farmer from Assam, Bengal, MP,UP and any part of India.
It was the time to harvest the potatoes. Karbhari, the village farmer was all geared up to yield the tubers and payback the money he owed to the local village money lender Sahukar Tatya. It was one unfortunate evening that coming back from the graze, Chitangya, Karbhari’s bull fell into the leopard traps and broke his hind leg. Unable to stand on its feet and move, it was not possible for Chitangya to plough the fields. Persistent and constant medication and treatment by Karbhari and his wife Anjana could not resurrect Chitangya to employ. Karbhari now went through shivers. As a little delay in reaping would have the buds on the potatoes. Karbhari did not want to penalize himself more from the sahukar. Pandu, a neighbor farmer from the village had just committed a suicide two days ago as not able to return the money to Sahukar. The only choice he could think was to sell the bull to a local butcher and add some money to buy a young bull who could work. But Tingya, Karbhari’s 7 year old younger son did not think of Chitangya in the same breath. Chitangya was not just the animal for him. Chitangya was his elder brother. He was born with Chitangya. He was two months younger than Chitangya. They had shared so many moments together. They had grown up together. And he had a volley of valid questions to which no one had the answers... “Why wasn’t Rashida’s grandmother being sold to the butcher? She too was old and not working. Why were they all taking care of her and not his Chitangya? Chitangya certainly would not depart.” The death of the old grandmother in the neighboring house and selling of an animal come face to face to reveal the reality.
Chitangya is a painstakingly meticulous film about an emotional love story between a bull and a boy, Tingya. It inquires through Tingya’s innocence the validity of existence. It queries the order of the alive and breathing. Is it the man, animal, bird and the sea or vice versa? Who regulates and classifies the categories? Who arranges and sorts the array of the breathings? Is it legitimate?
Chitangya scrupulously and without a mistake talks about the most dark and turbulent times in the lives of farmers in India? If Coke and Pepsi mean globalization to us, then so true. Our economists have succeeded. The global consumptions have reached in India where water and electricity have yet to come? Does the globalization ends there? Or begins from there? Does the world know that the life of an Indian farmer is cheaper than a handful of coins? Do we also know?