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By:

Abhijit Joshi

31 August 2024 at 10:09:24 am

Sunetra Pawar’s Trial by Fire

The greatest challenge before Maharashtra’s first Deputy CM is not merely to govern, but to forge a political identity that is unmistakably her own. Politics often rewards the loudest voice. The modern political arena thrives on sharp sound bites, relentless television appearances and instant responses on social media. Yet, some leaders begin their journey not with thunder but with quiet resolve. Maharashtra’s Deputy Chief Minister Sunetra Pawar finds herself at precisely such a moment. In...

Sunetra Pawar’s Trial by Fire

The greatest challenge before Maharashtra’s first Deputy CM is not merely to govern, but to forge a political identity that is unmistakably her own. Politics often rewards the loudest voice. The modern political arena thrives on sharp sound bites, relentless television appearances and instant responses on social media. Yet, some leaders begin their journey not with thunder but with quiet resolve. Maharashtra’s Deputy Chief Minister Sunetra Pawar finds herself at precisely such a moment. In recent days, she has been drawn into an avoidable political controversy after the Maharashtra Congress dubbed her as “Gungi Gudiya” (“mute doll”) following a media interaction in which she chose not to answer journalists' questions. The remark quickly snowballed into a wider debate about the language used against women occupying high constitutional office. It also revived memories of the same epithet once directed at late Congress Prime Minister Indira Gandhi before she went on to become one of India’s most formidable political figures. Until recently, Sunetra Pawar remained largely outside the glare of frontline politics. She was better known in Baramati for her work in education, healthcare and social welfare than for fiery speeches or electoral campaigns. Her public image was that of a composed, private individual who preferred institution-building to political theatre. Political Limelight That changed in 2024 when she entered electoral politics, contesting the Lok Sabha election from Baramati against her sister-in-law, Supriya Sule. Though unsuccessful, she later entered Parliament through the Rajya Sabha, where she quietly focused on organisational responsibilities and social initiatives rather than cultivating a high-profile parliamentary persona. The defining moment came in January this year with the tragic death of her husband, Ajit Pawar, one of the state’s most experienced and influential political leaders. His passing created a political vacuum within the Nationalist Congress Party. At a moment of uncertainty, Sunetra Pawar stepped forward to shoulder responsibilities that few had imagined she would inherit so soon. Within days, she became Maharashtra’s first woman Deputy Chief Minister - a milestone in the state’s political history. But such transitions are rarely straightforward. Political parties often struggle when towering personalities disappear, and observers had predicted that the NCP might witness internal divisions. Maintaining organisational cohesion during a leadership transition is itself a considerable achievement, particularly in a state where political loyalties are often fluid and intensely personalised. However, much of the public conversation around Sunetra Pawar continues to be framed through comparisons with Ajit Pawar. The contrast is obvious. Ajit Pawar was known for his decisiveness, administrative grip and unmistakable public presence. Sunetra Pawar, by contrast, has generally remained soft-spoken, measured and reluctant to engage in unnecessary confrontation. Her supporters see restraint, dignity and maturity but critics see hesitation and insufficient public engagement. Neither assessment is entirely unfair. That is why the recent Beed incident acquired significance beyond a routine press interaction. When reporters sought her comments on law and order and she chose to leave without responding, the political vacuum was quickly filled by her opponents. The Congress’s “Gungi Gudiya” remark predictably provoked protests from the NCP and criticism from leaders across the ruling alliance, many of whom argued that such language diminished the dignity of a woman holding one of the state’s highest offices. Sunetra Pawar’s own response was notably restrained. She said she would offer a “fitting reply at the appropriate time.” The remark was consistent with the temperament she has displayed since entering public life. Leadership is ultimately judged not only by composure but also by visibility. Every major political figure eventually reaches a point where inherited legitimacy must give way to earned authority. Indira Gandhi had to step beyond Jawaharlal Nehru's towering legacy before she was recognised in her own right. Rajiv Gandhi, too, had to emerge from the shadow of Indira Gandhi while navigating extraordinary political circumstances. Their journeys were shaped by vastly different contexts, but they illustrate a universal truth: every successor must eventually become an original. Sunetra Pawar now confronts a similar, though far more modest, challenge. She must cease to be viewed primarily as “Ajit Pawar's wife” and come into her own. Distinct Identity That transformation cannot be achieved through symbolism alone. After all, lasting political stature is built through decisions, administrative outcomes and public confidence. To her credit, she has remained engaged with governance, regularly attending official programmes, reviewing development projects and interacting with citizens instead of chasing daily headlines. Yet the next stage of leadership demands something more. She will need to engage more confidently with the media, articulate her government's priorities in her own voice, and establish an administrative record that reflects independent judgement rather than inherited expectations. These are demanding tasks, but they are neither unusual nor unattainable. It is still too soon to measure Sunetra Pawar’s political legacy. She assumed responsibility at a moment when both her party and the state were adjusting to an unexpected transition, and has so far navigated that passage with composure. Yet political inheritance has a limited shelf life. While quietness, in itself, is neither a virtue nor a weakness, it acquires meaning only when it is accompanied by clarity and conviction. If Sunetra Pawar is to leave an enduring imprint on Maharashtra's politics, it will not be by echoing the style of Ajit Pawar or by answering every taunt from her opponents. It will be by developing a public voice that reflects her own instincts, her own priorities and, ultimately, her own leadership. (The writer is a political observer. Views personal.)

Aamir-Hirani set for first-ever biopic on Dadasaheb Phalke

Mumbai: Almost 81 years after his passing, the first-ever biopic of the Father of Indian Cinema, Dhundiraj Govind Phalke – revered as ‘Dadasaheb Phalke’ – will soon start rolling and is scheduled for a 2026 release.


The film shall be directed by Rajkumar Hirani with mega-star Aamir Khan slated to play the role of the humble and multi-faceted personality, who created history in India as the producer-director of the first feature film, “Raja Harishchandra”, 115 years ago.


His grandson, Chandrashekhar Pusalkar-Phalke said that the film has been written by Hindukush Bharadwaj and his son Aviskhar Bharadwaj after painstaking efforts spanning four years, deep-diving into Dadasaheb Phalke’s life and his mind.


“The Bharadwajs have put their heart-and-soul into the venture. We had multiple sittings and I disclosed to them many yet-unknown facets of Dadasaheb, as told to me by his daughter (my mother), Vrinda Pusalkar-Phalke, over the years. I was told that when Hirani heard about it, he readily agreed for the venture,” Pusalkar-Phalke told ‘The Perfect Voice’.


Hindukush Bharadwaj said that along with his son, the duo virtually moved mountains to understand the legendary film-maker, went to public-private libraries to hunt for materials on his life, pored over media-reports of that era, books in various languages, speaking to octogenarians linked with Bollywood, etc.


“We worked on the old cameras of that era to comprehend how Dadasaheb must have functioned, doing everything for the first time with limited resources, we tried out the trick photography as he did manually, retracing every possible aspect of his film-making life. Then, we discussed everything threadbare with Pusalkar-Phalke and other descendants to authenticate each point,” an excited Bharadwaj told The Perfect Voice.


The senior Bharadwaj said that when Aamir Khan heard the story, he had tears in his eyes and he declared that there was no way he could miss working on this historical biopic.


Set against the backdrop of India’s Independence Movement when the life of the young Dhundiraj starts from scratch, growing as an ordinary artist, fighting all odds and then went to found and bequeath the world’s largest indigenous film industry to the country.


Bharadwaj and Pusalkar-Phalke said that the pre-production works are on, with a Hollywood studio creating AI-based designs for the period-feel of the film, and the actual shooting will commence in October 2025 with a planned 2026 in theatres.


“This is no longer a commercial venture. Hirani, along with Abhijat Joshi and ourselves treat it as a ‘tribute’ to the great soul Dadasaheb Phalke who left an indelible mark on Indian history,” said Bharadwaj.


“Given the efforts, the involvement of stalwarts in every department, we are optimistic that the proposed film will make it to the Oscars,” smiled Pusalkar-Phalke, who unveiled the official website (www.dpiam.org.in) as ‘Dadasaheb Phalke International Awareness Mission’ in Feb. 2025.


The legend called Dadasaheb Phalke

Born in Trimbakeshwar (Nashik), Dadasaheb Phalke (April 30, 1870-Feb. 16, 1944) – with original surname of ‘Bhat’ – was educated in Mumbai’s Sir J. J. School of Arts and Kala Bhavan in Baroda (now, in Gujarat).


Barely in his early-forties, he created history with India’s first full-length film, “Raja Harishchandra” (released May 3, 1913), made after great personal sacrifices.


Interestingly his ancestors, the Bhats, supplied cut banana leaves to the Peshwas, and the vocation was traditionally known as ‘Phalke’, hence that occupational surname stuck, and later became historical.


As the country, then under British rule, remained in awe of the maiden silent film, Dadasaheb Phalke made two more films, “Mohini Bhasmasur” (1913) and “Satyavan Savitri” (1914).


He shot into limelight with the first-ever blockbuster hit film of India, “Lanka Dahan” (1917), in which he also introduced the fascinating concept of a ‘double-role character’.


Chandrashekhar and his wife Mrudula remember how their grandpa unfailingly credited his doting wife, Saraswati Phalke for his success in film-making - that has now mushroomed into a gigantic entertainment industry that ranks among the biggest money-spinners for the national economy.


“He made a total of 75 films, of which only one was a talkie, ‘Gangavataran’ in 1937. Many of his films became very popular, plus he was a visionary, a trendsetter in several aspects of film-making which inspired future generations,” said the Pusalkar couple.


Pusalkar-Phalke describes his Grandpa as “accidental film-maker” who had equally mastered other arts drawing, painting, photography, theatre, model-making, printing and learnt magic from the American wizard Carl Hertz (1859-1924) – but his passion for films made him immortal.


“We have been appealing to confer ‘Bharat Ratna’ on Dadasaheb Phalke, but there is no response from successive governments. We shall keep trying…” said the Pusalkar couple.

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