top of page

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.

The People Paradox: When Teams Stop Behaving Like Families

Over the next few weeks, I’ll explore the invisible side of growth: people.

Not the spreadsheets, not the strategy decks … but the quiet human mechanics that decide whether a company truly scales or quietly stalls. These essays won’t offer full-stop solutions. They’re observations, patterns, lived confessions from years of watching teams evolve and drift. If the Cognitive Load Trap series exposed how systems overload the mind, this series turns the lens outward to the unpredictable world of human behavior inside those systems.


The Drift

Every company that grows begins with warmth. A handful of people sitting too close, finishing sentences, staying late not because they must but because the dream feels shared. Someone jokes, “We’re like a family here,” and everyone nods, half-embarrassed, half-proud.


But somewhere between the fifteenth hire and the fiftieth, something shifts. Deadlines replace dinners. Updates replace conversations. The same word ‘family’ starts to sound like a promise the company can’t keep. No one betrays anyone. The drift is quieter than that.


The myth

The idea of family culture was born in a world where families themselves were predictable. Fathers, sons, cousins worked together, argued together, retired together.


Loyalty was inherited. Conflict was seasonal, not existential. That world is gone.


Today’s families are nuclear, migratory, practical. We love each other, but we also outgrow each other’s dreams. Affection no longer guarantees alignment. Yet many businesses still chase that nostalgia … trying to freeze a vintage idea of togetherness in a generation that prizes autonomy.


The result is confusion on both sides: leaders wondering why loyalty feels fragile, and teams wondering why care comes wrapped in control.


New Reality

Workplaces today are emotional hybrids. People want safety and freedom, mentorship and mobility, structure and space. They join for purpose, stay for momentum, and leave when growth feels asymmetrical. It isn’t disloyalty. It’s evolution.


The same independence that makes people ambitious also makes them transient. And so, every growing business faces the same paradox:


When Care Turns into Control

At one design firm … let’s call it The Workshop … the founder still spoke the language of family. “We take care of our own,” he’d say proudly. But for younger managers, the word felt loaded. It meant unpaid overtime, emotional policing, and decisions made “for your own good.”


They didn’t want to be his children. They wanted to be his colleagues. When one senior designer resigned, her note said, “I didn’t leave because I stopped caring. I left because caring here meant never being free.” That line stayed with me. Because that’s what happens when affection outlives alignment.


Hidden Cost

Leaders who cling to the old family metaphor unknowingly create two kinds of fatigue:

  1. Emotional fatigue: constant closeness leaves no room for honest distance.

  2. Cultural fatigue: every disagreement feels personal instead of professional.


The more a company insists on being a family, the harder it becomes to have the conversations real families avoid … about accountability, mismatch, and change.


Family to Tribe

Maybe it’s time to retire the word. A company isn’t a family anymore. It’s a tribe, a moving formation of people who travel together while their purposes align. Tribes evolve. Members join, contribute, move on, sometimes return. What keeps a tribe alive isn’t blood; it’s direction.


The leader’s role isn’t to hold everyone forever. It’s to make the journey worth staying for.


Final Reflection

The People Paradox isn’t about blame. It’s about seeing that modern humans no longer fit inside old metaphors. Teams aren’t families. They’re living ecosystems … breathing, rotating, constantly renegotiating why they stay. And that’s not decline. That’s evolution.


(The writer is Co-founder at PPS Consulting. He helps growth-stage leaders design systems where people and performance evolve together. Views personal.)

Comments

bottom of page