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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.

Nerves of Steel

Vikram Misri, India’s Foreign Secretary, did not pound the lectern nor did he reach for jingoistic soundbites. Instead, he dismissed Pakistan’s wild accusations with quiet derision - “ludicrous”, “frivolous”, “a deranged fantasy” (in his latest press conference). His words often cut sharper than missiles.


It was Misri’s unfazed tone, precise, firm and utterly devoid of triumphalism, that has stood out during the briefings, his voice full of clipped restraint amid the thunder of missiles and misinformation.


“We have defended and reacted in a responsible and measured fashion,” he said during a daily briefing post-Sindoor, brushing aside Pakistan’s theatrics with a diplomat’s scalpel.

Misri’s words matter. He represents not just the Indian government’s formal voice abroad but also its inner logic which has been a mixture of resolve and restraint.


His career has tracked some of the most volatile turns in South Asia’s post-Cold War geopolitics. And now, as India faces a Pakistan seemingly more willing to provoke and less able to calculate the costs, Misri is the man chosen to give India’s response both gravitas and coherence.


Born in Srinagar in 1964, Misri grew up in the shadow of conflict in Jammu and Kashmir. After schooling in Gwalior and a degree in history from Delhi University’s Hindu College, he completed an MBA at XLRI, Jamshedpur, briefly working in advertising before finding his calling in diplomacy.


His talent for quiet efficiency earned him the trust of three prime ministers - I.K. Gujral, Manmohan Singh and Narendra Modi. In a system where proximity to power often breeds notoriety or missteps, Misri instead built a reputation for being unflappable, discreet and clinically well-briefed.


Internationally, his career reads like a checklist of strategic flashpoints. He was Deputy High Commissioner in Sri Lanka during tense times, Ambassador to Spain and later to Myanmar, and finally India’s envoy in Beijing during one of the chilliest periods in Sino-Indian relations (2019–2021), which included the bloody Galwan clash. As Deputy National Security Adviser from 2022 to mid-2024, he handled strategic affairs at a time when India’s foreign posture was hardening under pressure from both China and Pakistan.


When Pakistan, reeling under Operation Sindoor, turned its ire towards Indian cities and temples with missiles and accusations, Misri dubbed Pakistan’s attempts to divide India among communal lines a “deranged fantasy that only the Pakistani state can come up with.” That acidulous turn of phrase, wrapped in officialese, was vintage Misri.


His calm presence has helped New Delhi project an image of maturity even as its armed forces hit back hard. The bombing of eight Pakistani military sites in retaliation for cross-border attacks marked one of the most audacious Indian operations in recent years. Yet Misri’s message was not of aggression, but of inevitability.


Behind the scenes, Misri has been deeply involved in shaping India’s diplomatic push to highlight Pakistan’s double game to the world which is courting bailouts from the IMF while subsidising terror groups. As a son of Kashmir, Misri knows well that real national security lies not in chest-thumping but in clarity. Today, India is a country that walks the knife-edge between strategic patience and assertive posture. In Vikram Misri, it has found a custodian of both.

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