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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.

Echo of Corruption in Punjab

Punjab’s politics reflects a deeper national malaise, where corruption, sensational rhetoric, and historical analogies overshadow policy, eroding public trust

New Delhi: Indian politics has reached a juncture where the highest executive office in the land is increasingly viewed not through the lens of patriotism or policy, but as a target for ridicule. Recent events in Punjab have made this decline even more apparent.


The political debate between the Aam Aadmi Party (AAP), led by Chief Minister Bhagwant Mann, and the Bharatiya Janata Party (BJP) has moved beyond mere allegations, descending into public and controversial jabs, including a comparison of the Prime Minister to Aurangzeb.


The BJP retaliated by likening AAP leader Arvind Kejriwal to Ahmad Shah Abdali, signaling that political discourse has largely degenerated into invective and historical analogies rather than substantive debate.


Recurring Corruption

Corruption has long been a recurring theme in Punjab politics. Since the formation of the Bhagwant Mann government in March 2022, several MLAs and ministers have faced allegations.


The most notable case involves Industry Minister Sanjeev Arora, whose residences and offices were raided by the Enforcement Directorate (ED) between May 9-10, 2026, on charges of money laundering, resulting in his arrest.


While AAP described this as BJP’s “Operation Lotus” and an act of political vendetta, the BJP framed it as a legitimate anti-corruption measure.


It is not just ministers, but several MLAs are under investigation as well. Health Minister Dr. Vijay Singla was dismissed in 2022 after corruption evidence emerged.


In 2023, Bathinda Rural MLA Amit Ratan Kotfatta was arrested for allegedly taking a bribe of 500,000 rupees, while Amargarh MLA Jaswant Singh Gajjan Majra faces allegations of bank fraud and money laundering.


Other MLAs, including Raman Arora and Amarjit Singh Sandhoa, are implicated in corruption and extortion cases.


In total, about five to six senior leaders currently face substantial allegations, though official numbers remain limited.


Political Climate

This political turbulence is not limited to allegations alone. Kejriwal’s comparison of the Prime Minister to Aurangzeb, a figure often seen as antagonistic to Indian culture, and BJP’s counter with Ahmad Shah Abdali demonstrates a slow erosion of restraint and maturity in Indian political culture, which is descending into low-level, sensationalist discourse. Sometimes, it feels as if the world’s deep state has deeply entrenched itself in Indian politics. It may recall that three or four years ago, a person based in the United States openly claimed that billions of dollars were being spent to influence a change of power in India.


The judicial delays in handling corruption cases further aggravate the situation. Many politicians face allegations for years, with investigations and court proceedings dragging on, spreading public frustration and disillusionment.


Prolonged delays, coupled with accusations of the misuse of agencies for political ends, such as the controversial case of Sadhvi Pragya Singh Thakur, who was allegedly wrongfully implicated in the 2008 Malegaon bomb blast, raise serious questions about the foundations of democracy.


In Punjab, this problem has become particularly acute. The ongoing rhetoric between AAP and BJP has heated the state’s political climate. On May 10, 2026, AAP organized protests across Punjab and burned effigies of BJP leaders. BJP responded by dismissing these actions as a “victim card” and fear-driven reactions. In this environment, it becomes difficult for the public to discern whether anti-corruption measures are genuine or politically motivated retaliations.


The use of historical figures such as Aurangzeb and Abdali in contemporary political rhetoric signals a shift in focus from policy and governance to personal and political vendettas.


Kejriwal’s comparison of Prime Minister Modi to Aurangzeb, claiming that the current government, like Aurangzeb, is oppressing Punjabis and encroaching upon their rights and resources, prompted the BJP’s counter, equating Kejriwal with Ahmad Shah Abdali.


This exchange intensified the political rhetoric even further.


The political climate in Punjab, and at the national level, illustrates that institutional strength alone is insufficient for a healthy democracy. Political ethics, transparency, and respect for public expectations have become imperative.


Only leaders genuinely committed to serving public interests can maintain trust in society; otherwise, the democratic potential risks being trapped in a rhetorical quagmire filled with Aurangzeb and Abdali analogies.

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