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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.

Guns of Independence

While India has made big strides in defence self-reliance, a truly ‘Atmanirbhar’ military machine remains elusive.

India likes to see itself as a rising power, capable not only of defending its borders but also of shaping security beyond them. For that ambition, self-reliance in defence is a necessity. Over the past decade, successive governments in New Delhi have spoken the language of ‘Atmanirbharta’ (self-reliance), tying it to the broader ‘Make in India’ campaign. On paper, the progress is striking: defence production has surged to Rs. 1.51 trillion, exports have risen tenfold in less than a decade to more than Rs. 23,000 crore, and Indian-made platforms from artillery guns to radar systems are finding buyers as far afield as the United States and France.


Yet statistics, however dazzling, can be deceptive. True Atmanirbharta is not measured merely by output or export numbers but by the ability to design, develop and sustain advanced technologies without recourse to foreign suppliers. By that yardstick, India is still some distance from its goal as the gap between aspiration and reality remains wide.


Self-sufficiency mirage

India’s defence industry has long been defined by dependence. During the Cold War, Moscow supplied the bulk of its hardware. Even today, Russia remains India’s largest supplier, though its share has declined as New Delhi diversifies. French fighter jets, American transport aircraft and Israeli drones dot Indian inventories. Even when equipment is ‘indigenously produced,’ critical components often come from abroad. Fighter engines, advanced sensors, jet trainers and submarines are all still imported in varying degrees.


The government deserves credit for narrowing this gap. The Defence Acquisition Procedure has been revised to privilege domestic suppliers, a negative import list bans procurement of certain categories from overseas, and industrial corridors are being set up in Uttar Pradesh and Tamil Nadu. Yet India’s climb towards self-sufficiency is slowed by stubborn obstacles.


Stumbling blocks

The first is infrastructure. Defence production demands reliable power, fast transport links and robust supply chains. Too often, Indian manufacturers face bottlenecks that delay deliveries and inflate costs. The second is skills. A large share of the workforce lacks the training needed for high-precision manufacturing or for research in advanced domains such as artificial intelligence, hypersonics and quantum technologies. Skilling programmes exist, but they lag behind the pace at which the sector is expanding.


Finance is another stumbling block. Access to capital for small and medium enterprises is cumbersome. For many firms, navigating procurement red tape is as challenging as developing the product itself.


A fourth weakness lies in regulation. Defence remains overburdened with approvals, certifications and quality checks that are lengthy, opaque and prone to bureaucratic delay. While designed to safeguard standards, the process too often strangles innovation.


Finally, innovation itself remains thin. India spends barely 0.7 percent of GDP on research and development across all sectors, far less than China or Israel. Within defence, public sector undertakings dominate, while private firms and start-ups face hurdles in accessing research grants or testing facilities.


Bridging these gaps will require a mix of persistence and imagination. The state must spend more on research, but also change how it spends by opening laboratories and test facilities to private firms, universities and start-ups. Competition should be encouraged between public-sector giants and nimble private players, not stifled.


The workforce must be upgraded through large-scale skilling initiatives that link universities, technical institutes and industry. India’s young demography is an asset; but without specialised training, it risks being squandered. The Strategic Partnership model, envisaged as a mechanism to pair Indian firms with global giants for technology transfer, must be made to work. Too often, such schemes get stuck in paperwork or mistrust. Successful partnerships could help India master technologies from jet engines to undersea warfare systems.


Defence start-ups should be given easier access to credit lines and venture funds, backed by government guarantees. Procurement should be streamlined, with single-window clearances replacing the tortuous approval maze.


India should also court foreign direct investment more openly. A more liberal FDI regime could bring not just capital but also know-how. The aim should not be to shun foreign firms but to embed them into local supply chains, gradually building domestic competence.


Exports, meanwhile, must be scaled up not only for commercial gain but also as an instrument of diplomacy. Supplying equipment to partners in Africa, Southeast Asia and the Indian Ocean will expand India’s influence and create leverage against rivals such as China, which is aggressively marketing low-cost arms in many of the same markets.


The government’s target of Rs. 3 trillion in defence production and Rs. 50,000 crore in exports by 2029 is ambitious but not implausible. Ultimately, Atmanirbharta must not become an exercise in protectionism or accounting triumphalism. It should be judged by whether India can design and produce next-generation systems on its own, whether drones that can match Chinese swarms, or naval platforms that can secure sea lanes without imported engines. India is better placed today than ever before to reach that standard. But the road to true self-reliance is long, steep and strewn with obstacles. Dreams of a global role rest on whether it can master that climb. They demand relentless execution.


(The author is a retired Naval Aviation Officer and a defence and geopolitical analyst. Views personal.)

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