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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.

News or Theatrics? Inside Indian TV’s War Spectacle

The seriousness of the tense situation between warring countries demands restraint, responsibility, and factual reporting—qualities sorely lacking in the reckless theatrics playing out on our news channels.

Events on almost all news channels on the evening of 8th May-25 were truly theatrical. Indian media outlets, it seems, had taken upon themselves the full responsibility of 'entertaining' the nation amid the tense situation between India and Pakistan. And entertain they did—with an intensity and dramatism that bordered on absurdity. The fine line between journalism and fiction was not just crossed but completely obliterated.


As tensions escalated between India and Pakistan, news channels began their coverage with fervour, quickly transforming factual reporting into a high-stakes spectacle. Viewers might have felt like they were watching a live commentary of a thrilling T20 cricket match, not serious news about a potentially catastrophic military conflict. The visuals were dramatic, the music ominous, and the language hyperbolic, as if the goal was to create fictitious victory against Pakistan rather than responsible factual reporting.


Anchors delivered a barrage of 'breaking news' bulletins in thunderous voices, breathlessly narrating a sequence of astonishing developments. These announcements, amplified with bold red graphics and exaggerated sound effects, rapidly captured public attention. Initially, these reports — laden with patriotic fervour — felt exhilarating. For anyone confident in the prowess of Indian defence forces, the headlines seemed plausible,

trustworthy, and even morale-boosting.


However, as the night wore on, the reports grew increasingly fantastical. Claims emerged of simultaneous attacks on all major Pakistani cities, fires engulfing urban centres, the arrest of Pakistan’s army chief Asif Munir, and even Indian forces capturing Islamabad. Each claim seemed more unbelievable than the last, and yet, they were delivered with utmost confidence and in as much as the loudest possible way. At this point, the narrative tipped from dramatic to dubious. This was not journalism — it was storytelling masquerading as news.


The situation was made worse by the presence of self-proclaimed military experts and retired defence personnel who surprisingly endorsed these claims. In some cases, they even applauded and shouted, further legitimising the sensationalism. Their role, which should have been to provide context and critical analysis, instead became one of cheerleading. Their presence lent an air of credibility to otherwise questionable content, misleading audiences who assumed these individuals were offering informed perspectives.


For a moment, it seemed the long-awaited national dream of a decisive victory over Pakistan — and the complete eradication of terrorism — had finally come true. Emotions ran high. Social media exploded with celebratory messages. But the stark contrast between reality and media portrayal became too glaring to ignore. A closer inspection of credible sources and official statements revealed a far more complex and restrained scenario. These channels and the anchors were even more shameless the next day when they realised what they had done in their shows the previous evening. Of course, their tone was a little down but still with the same unconfirmed and factually not proven events.


The downfall in journalistic standards isn’t new. Even if it is across all media houses. Ever since the onset of cutthroat competition in the news industry, the quality of television news reporting shows has steadily declined. The TRP (Television Rating Point) race has driven media houses to prioritise viewership over veracity and drama over diligence. But this recent episode marked a new low. The media has an immense responsibility to inform and shape public opinion constructively. Instead, what we witnessed was a reckless, almost dangerous, abandonment of that duty.


This is not the first time Indian media has faltered during a crisis. The 2008 Mumbai attacks also revealed how careless coverage could jeopardise security operations. Then, as now, the consequences of irresponsible journalism went beyond misinformation — they posed real threats to national security. During the Mumbai siege, live broadcasts potentially helped terrorists monitor the security forces' movement. Such precedents should have prompted caution, not carelessness.


India’s digital media is increasingly becoming an object of ridicule on the global stage. In an era where disinformation can have tangible and lasting effects, credibility is everything. The current trajectory — where speculation is aired as certainty, and entertainment overshadows ethics — only deepens the crisis of public trust. If corrective measures aren’t taken swiftly, the damage to national morale, democratic discourse, and international credibility may be irreparable.


The government must recognise the gravity of this issue and act accordingly to restore accountability in news reporting. There is a pressing need for regulatory frameworks that uphold journalistic ethics, penalise misinformation, and reward factual accuracy. Media literacy among the public also needs to be improved so that viewers can distinguish between genuine news and manufactured narratives.


The time has come to demand better from our media, from our experts, and from those who hold the power to influence millions. Journalism must return to its roots: reporting the truth, holding power to account, and serving the public interest above all else.


(The author is a professional residing in Germany. Views personal.)

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