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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.

Crass Comedy

Kunal Kamra, India’s self-proclaimed dissenter-in-chief, has again made news - not for wit, but for predictable provocation. His recent stand-up routine in Mumbai where he mocked Maharashtra’s Deputy Chief Minister and Shiv Sena leader Eknath Shinde, triggered an expected political backlash as Sena workers ransacked the venue, filed police complaints and threatened Kamra with dire consequences. Sena leaders accused him of being a “contract comedian” on the Shiv Sena (UBT)’s payroll.


While certain online ‘liberals’ and leaders like Aaditya Thackeray are making this out to be a case of rising intolerance, this episode, in fact, lays bare the sorry state of Indian stand-up comedy. Kamra is no fearless satirist but a partisan hack in a comic’s garb, using his platform less for humour and more as a cudgel for his ideological leanings. His act mocking Shinde, like much of his material, was neither clever nor insightful but a lazy political jab dressed up as comedy, delivered not to entertain but to provoke. His jokes have been predictable, his targets repetitive and his style devoid of nuance.


This is emblematic of the larger decay in the Indian stand-up genre, which has morphed into a refuge for self-righteous political commentators masquerading as comedians. Much of it is neither subversive nor funny but crude, tasteless and unoriginal. Kamra and fellow comedian Samay Raina frequently perform their controversial acts at the Habitat Comedy Club in Mumbai, a venue that has become synonymous with inflammatory content.


Cheap sex jokes and foul language have increasingly replaced Indian observational comedy and satire. Vir Das, another comic who thrives on political controversy, has made a career out of pandering to Western audiences with a predictable mix of self-flagellation and righteous posturing. Instead of engaging with complex issues, Indian comedians peddle easy outrage, appealing to echo chambers rather than audiences. The audience laps it up, proving that India’s comedy scene seemingly values provocation over intelligence.


More disturbing is the hypocrisy. Many so-called comedians claim to stand for free speech but operate within narrow ideological confines. Kamra and his ilk routinely mock Hindu traditions and attack the ruling party but seldom direct their barbs at opposition politicians or controversial figures from the left. Where are their scathing takes on dynastic politics, corruption within so-called ‘secular’ parties or Islamist extremism? The courage they claim to wield is selective. Unlike the likes of Jon Stewart or Ricky Gervais, who skewer both sides, Indian stand-ups have reduced themselves to mouthpieces for one faction.


This intellectual dishonesty is why Indian stand-up remains shallow and ineffective. It fails to capture the breadth of cultural tensions or provide sharp, self-reflective humour. Instead, it serves as a means for self-congratulatory grandstanding. The controversy surrounding Kamra is not about free speech but about bad comedy masquerading as political resistance. If stand-up in India is to be taken seriously, it must first clean its house and most importantly, learn to be funny.

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