top of page

By:

Bharati Dubey

17 May 2026 at 1:38:10 am

Raja Shivaji sparks a new era for Marathi cinema

Mumbai: As Raja Shivaji marches steadily towards the Rs 100 crore mark, the film has reignited debate around the future of the Marathi film industry. Having already crossed Rs 80 crore at the Indian box office, the historical drama is now only the second Marathi film after Sairat to achieve the milestone. Its success has raised a larger question within the trade: can a major blockbuster finally attract sustained investment into Marathi cinema, an industry often marked by cycles of growth and...

Raja Shivaji sparks a new era for Marathi cinema

Mumbai: As Raja Shivaji marches steadily towards the Rs 100 crore mark, the film has reignited debate around the future of the Marathi film industry. Having already crossed Rs 80 crore at the Indian box office, the historical drama is now only the second Marathi film after Sairat to achieve the milestone. Its success has raised a larger question within the trade: can a major blockbuster finally attract sustained investment into Marathi cinema, an industry often marked by cycles of growth and slowdown? Much of the buzz surrounding the film stems from the support it received from prominent Hindi film stars, several of whom reportedly came on board to back the project and the industry. Trade analyst Girish Wankhede believes the film’s biggest achievement lies in the scale of collaboration it represents. “The real strength of Raja Shivaji lies in its creative ensemble star cast, which Riteish Deshmukh successfully brought together. By roping in heavyweight Hindi stars like Abhishek Bachchan, Sanjay Dutt, and Salman Khan, the film showcases the immense combined value of cross-industry collaboration. This strong gesture of Hindi cinema’s biggest names extending full support to a Marathi project has created a powerful impression, generating tremendous curiosity and respect for Marathi cinema among audiences, investors, and other industries. It underscores how Marathi films can now command pan-Indian attention and star power,” he says. At the same time, Wankhede feels it may still be premature to call the film a runaway commercial success given its production scale and costs. “What is heartening is the visible new energy and creative fuel that Riteish Deshmukh has infused into Marathi cinema. With him at the helm of affairs, the film looks strong and polished, and this momentum, further amplified by the star support, is already drawing serious attention from investors who were earlier hesitant about the regional space,” he adds. Producer Suniel Wadhwa, Co-Founder and Director of Karmic Films, says the film’s performance could play an important role in rebuilding investor confidence in theatrical cinema. “The success of Raja Shivaji could significantly improve investor confidence in theatrical cinema, especially at a time when many non-film investors have become cautious about the sector. If the film succeeds as a large-scale theatrical event rather than just an opening weekend phenomenon, it will reinforce the belief that culturally rooted Indian stories still possess massive commercial potential across regions and demographics,” he says. However, Wadhwa points out that the industry continues to face deep structural challenges. “One of the biggest is the shortage of true theatrical stars who can create urgency for audiences to step into cinemas. Streaming has created visibility, but not necessarily ticket-selling mythology. At the same time, India remains heavily under-screened, and even strong films often struggle with inadequate show slots, limited showcasing windows, and overcrowded release calendars. Many films today are judged within the first 48–72 hours, leaving little room for organic word-of-mouth growth,” he says. According to him, the theatrical business is evolving rather than disappearing. “Audiences are now reserving cinema outings for event-driven experiences — spectacle, emotion, mythology, action, horror-comedy, and culturally resonant storytelling. Films that can create that collective viewing urgency will continue to attract both audiences and serious investment capital,” he adds. The Marathi film industry has witnessed a mixed year so far. More than two dozen films have released, but only a handful — including Raja Shivaji, Kranti Vidyalay Marathi Madhyam, Aga Aga Sunbai Mahnatay Sasubai, and Super Duper — have performed strongly at the box office. Veteran journalist Dilip Thakur believes Marathi cinema has already begun regaining momentum after the slowdown caused by the pandemic. “New Marathi films are getting launched regularly. The upcoming film Bapya had its screening at Sunny Super Sound, which was attended by non-Marathi journalists in big numbers. The story of Bapya is complex and difficult to make. The point here is that a producer agreed to put his money into the film. Sabar Bonda was another difficult subject which won an award at Sundance. So, producers willing to invest money in such subjects is one positive sign,” he says. Thakur also points to the continued appetite for mainstream Marathi entertainers. “The boom after Sairat still exists in Marathi cinema. There was a setback for four years because of Covid, but the industry has gained momentum. Ravi Jadhav’s new film Fulawara, based on tamasha folk art, will soon go on floors in Pune,” he says. He further notes that Marathi cinema is increasingly attracting investors from outside the industry. “Most Marathi films have non-Marathi investors. They are putting in money because there is business in Marathi cinema. But not every film becomes a hit. Subhash Ghai also produced a few Marathi films. If the subject is good, people are willing to invest,” he adds. Not everyone, however, is convinced that one major hit can alter the industry’s fortunes overnight. Nitin Datar, president of the Cinema Owners Association, remains cautious about reading too much into the film’s success. “Only one film success is not going to bring investors. In the last five years, out of nearly 500 films produced, the success rate has not been encouraging,” he says. Datar acknowledges that the presence of Hindi stars has helped boost the film’s commercial appeal but stresses that Marathi cinema still lacks enough bankable stars capable of consistently drawing audiences to theatres. “The production houses and directors have attracted audiences. Unfortunately, producers haven’t been successful in attracting financial assistance, which has resulted in low production and advertising budgets. But if films succeed in pulling audiences over the weekend, exhibitors automatically increase shows and reduce screenings of underperforming films from other languages. The audience is always there, waiting to visit theatres in large numbers for a good film,” he says. For now, Raja Shivaji has undeniably given Marathi cinema a strong moment in the spotlight. Whether that momentum translates into long-term financial confidence and sustained industry growth remains the larger question.

A Juggernaut Called Jemimah Rodrigues

Jemimah Rodrigues – the cricketing equivalent of that friend who shows up to the party in sweatpants, cracks a dad joke that somehow lands, and then accidentally wins the beer pong tournament. In a sport where Indian women batters are expected to channel the ghosts of Tendulkar and Laxman while dodging curveballs from selectors faster than a rickshaw in Mumbai traffic, Jemimah has carved out a career that’s equal parts fairy tale, farce, and feel-good redemption arc. At 26, she’s the right-handed firecracker who’s just slapped Australia – yes, those Aussies, the ones who treat opposition bowlers like piñatas at a kid’s birthday bash – into semi-final submission at the 2025 Women’s World Cup. But let’s rewind the VHS of her life, shall we? Because if cricket teaches us anything, it’s that highs come with more plot twists than a Karan Johar movie, and Jemimah’s reel is a blockbuster begging for popcorn.


Picture this: It’s 2017, and a 17-year-old Jemimah from Bhandup – that unpretentious Mumbai suburb where dreams are forged in the sweat of local maidans – unleashes hell on Saurashtra in an Under-19 one-dayer. She smashes 202 not out off 163 balls, becoming only the second woman after Smriti Mandhana to notch a double ton in 50-over cricket. It’s the kind of knock that makes coaches spill their chai and scouts scribble her name in permanent marker. By 2018, she’s debuting for India in T20Is against Sri Lanka, followed by ODIs versus England, and suddenly, the nation’s got a new poster girl for prodigy power-hitting. Fast-forward to the 2022 Commonwealth Games, where she helps snag gold, and her ODI stats start looking like a motivational quote: 1,472 runs in 53 matches at an average north of 32, with two centuries and a highest of 123. Awards? She’s got the Jagmohan Dalmiya for best junior domestic batter and a “Breakthrough Performance” nod that screams “future GOAT-in-training.” Highs like these aren’t just career milestones; they’re the cricket gods high-fiving her mid-air, whispering, “Kid, you’re onto something big.”


But oh, the lows – because nothing says “welcome to elite sport” like the universe handing you a participation trophy made of quicksand. Jemimah’s dips read like a tragicomedy scripted by a selector with a grudge. Early on, she was the U-19 queen bee, averaging over 100 with bat and ball (19 wickets as an off-spinner, because why not multitask?). Yet, as she graduated to the big leagues, the inconsistencies crept in like uninvited aunties at a wedding. Dropped from the ODI side more times than I’ve dropped my phone in the loo, she grappled with form that flickered like Diwali lights on a budget. T20Is? Solid, with her aggressive strokeplay turning bowlers into bewildered therapists. But the longer formats? Cue the existential crisis. And then, the real gut-punch: anxiety, that sneaky villain who turns sixes into self-doubt spirals.


Just before the 2025 World Cup, Jemimah hit rock bottom – or as she put it, “I was crying every day.” Dropped from the team amid a rough patch, she confessed to phoning her mom in tears, battling intrusive thoughts that made every net session feel like a therapy couch audition. “When you get dropped, a lot of voices start playing in your head,” she shared post-heroics, her voice cracking like a teenager’s during exams. It’s the unglamorous side of stardom: the pressure cooker of expectations where one bad tournament can make you question if you’re batting for India or just against your own mirror. Jemimah’s lows weren’t flashy failures – no infamous ducks here – but the slow-burn kind, where potential meets the pavement, and you’re left wondering if the pitch is tilted or if it’s just you.


Enter the controversies, because what’s a cricketer’s bio without a dash of tabloid spice? Jemimah’s big scandal hit in October 2024, when Mumbai’s posh Khar Gymkhana – that colonial-era club where memberships cost more than my annual grocery bill – yanked her three-year associate status faster than you can say “foreigner on the green.” The culprit? Her dad, Ivan Rodrigues, a pastor accused of hosting unauthorised “spiritual sessions” (read: Christian prayer meetings) on club turf, sparking wild rumours of forced conversions. Right-wing handles piled on, turning a family faith flare-up into a national circus, with Jemimah caught in the crossfire like a fielder dodging a rogue throw. The club cited “concerns,” but let’s call it what it was: a witch hunt wrapped in bylaws, where her evangelical roots clashed with khaki-short snobbery. Jemimah stayed mum publicly, but the sting lingered – a year later, it’s poetic justice that the same nation now toasts her as a hero, her bat silencing the trolls louder than any press conference could.


And speaking of toasts: Fast-forward to October 2025, World Cup semi-final against Australia. India needs 339 – a chase that sounds like “abandon hope, all ye who enter here.” Enter Jemimah at No. 3, dropped twice (on 82 and 106, because cricket loves drama), yet unfazed, she grinds out an unbeaten 127 off 140 balls, anchoring the impossible. Teary-eyed in the post-match huddle, she spills: “Anxiety nearly broke me, but my teammates pulled me through.” It’s the stuff of legends – from gymkhana outcast to World Cup wrist-slapper, proving resilience isn’t just a buzzword; it’s her superpower.


So, what’s my hot take on Jemimah Rodrigues? In a women’s game that’s exploding like fireworks at India’s 75th Republic Day – yet still begging for the spotlight it deserves – she’s the unfiltered gem we need.


(The writer is a senior journalist based in Mumbai. Views personal.)

Comments

bottom of page