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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 Polarising Figure in Indian Cricket Coaching

Gautam Gambhir’s tenure as head coach of the Indian men’s cricket team has been a rollercoaster of triumphs and tribulations. Appointed in July 2024 following Rahul Dravid’s successful stint, Gambhir brought a reputation for tactical brilliance from his IPL mentorship, where he guided Kolkata Knight Riders to a title in 2024. Yet, despite notable successes in white-ball cricket, including leading India to victories in the 2025 ICC Champions Trophy and the 2025 Asia Cup, he remains a deeply divisive figure. Many fans, pundits, and even former players express outright disdain for him, often amplified on social media platforms like X.


In my opinion, this dislike stems not just from recent Test cricket failures but from Gambhir’s inherent personality traits—his abrasiveness, perceived favouritism, and a history of controversies—that clash with the expectations of a more diplomatic coaching role. While his results in limited-overs formats are commendable, they haven’t shielded him from criticism, highlighting how personal style can overshadow professional achievements in the high-stakes world of Indian cricket.


SWOT analysis

To understand this paradox, it’s essential to dissect Gambhir’s coaching profile through a SWOT analysis, which reveals both his potential and pitfalls.


Strengths: Gambhir’s greatest asset is his strategic mind and ability to foster winning cultures in high-pressure environments. As a player, he was instrumental in India’s 2007 T20 World Cup and 2011 ODI World Cup triumphs, scoring crucial runs in finals. Translating that to coaching, he has excelled in white-ball cricket. Under his guidance, India clinched the 2025 Champions Trophy, defeating strong sides like England and Australia, with innovative tactics such as aggressive batting lineups and versatile all-rounders. The 2025 Asia Cup win further showcased his knack for player motivation, where young talents like Nitish Kumar Reddy thrived. His IPL legacy—two titles as KKR captain and one as mentor—demonstrates a proven track record in T20 formats, where quick decisions and bold selections pay off. Gambhir’s no-nonsense approach also instills discipline, as seen in India’s drawn Test series in England in 2025, where the team showed resilience against a formidable opposition on away soil. These successes prove he can deliver “good results,” particularly in formats that suit his aggressive philosophy.


Weaknesses: However, Gambhir’s weaknesses are glaring and often fuel the dislike. His communication style is blunt and confrontational, which alienates stakeholders. For instance, post the humiliating 0-3 home Test series loss to New Zealand in 2024 and the recent 0-2 whitewash by South Africa in 2025, Gambhir’s press conferences have been defensive, dismissing critics with remarks like, “I’m the same guy who got results in England.” This comes across as arrogant, especially when contrasted with predecessors like Dravid, who handled setbacks with grace. Critics point to perceived favoritism in selections, such as prioritising IPL performers like Sai Sudarshan (despite a modest Ranji average) over domestic stalwarts like Sarfaraz Khan or Abhimanyu Easwaran.


Social media erupts with accusations of “ego and hate,” with X users labeling him the “worst Test coach” after India lost five home Tests in a year—a stark decline from the fortress India was under Shastri and Dravid. Gambhir’s political affiliations with the BJP and past on-field spats (e.g., with Virat Kohli) add layers of personal baggage, making him a target for those who see him as divisive rather than unifying. His pessimistic demeanor, as noted by former coach John Wright in a 2019 article, where Gambhir was described as “insecure and negative,” persists, eroding team morale during slumps.


Opportunities: Looking ahead, Gambhir has ample chances to turn the narrative. The upcoming 2026 T20 World Cup presents a platform to leverage his strengths in shorter formats, where India’s talent pool aligns with his all-rounder-focused strategies. Transitioning the team post the retirement of seniors like Rohit Sharma and Virat Kohli could be his redemption arc; by nurturing emerging stars and integrating data-driven selections, he could rebuild India’s Test dominance. Collaborations with supportive figures like Suresh Raina, who recently defended him by emphasizing player responsibility over coaching blame, could help mend public perception. If Gambhir adapts his style—perhaps by being more empathetic in media interactions—he could capitalize on India’s vast resources to achieve multi-format consistency, silencing detractors and cementing his legacy.


Threats: The biggest threats to Gambhir’s position are external pressures and internal fractures. Media scrutiny is relentless; outlets like Hindustan Times and India Today have lambasted his “lost in transition” excuses, while Iceland Cricket’s satirical jab about his poor win percentage underscores global ridicule. BCCI’s impatience could lead to his ouster, as hinted in reports of potential replacements like VVS Laxman. Player unrest, fueled by selection controversies, risks a dressing room revolt, especially if veterans feel sidelined. Broader threats include the evolving game—where Test cricket demands patience over aggression—and fan backlash on platforms like X, where hashtags like #SackGambhir trend after every loss. If white-ball successes wane, these threats could culminate in an abrupt exit, mirroring his IPL coaching stints that ended amid reported conflicts.


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

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