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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.

Tracing the Legacy of the Alam in Moharram Observances

The alam symbolises both the eternal victory of Imam Hussain and the sorrow of martyrdom.


The alam is a key feature of Moharram observances, displayed in processions and imambaras alongside tazias—replicas of Imam Hussain’s shrine in Karbala, Iraq. The word alam means flag or standard, or the colour assigned to a military unit in modern parlance.


In Moharram, the alam symbolises both the eternal victory of Imam Hussain and the sorrow of martyrdom, recalling how his head and those of his followers were raised on spears and paraded through cities.


The tragedy of Karbala occurred in 680 AD, fifty years after the Prophet Mohammad’s death, when the Umayyad ruler Yazid declared himself Caliph and demanded Imam Hussain’s allegiance. As was customary, he sought Hussain’s submission by asking for his hand under his own. Refusing to legitimise Yazid’s unjust and tyrannical rule, Imam Hussain chose martyrdom, sacrificing himself and his 72 followers in the battle of Karbala on the 10th of Moharram, 61 Hijri (10 October 680 AD).


The alam often features a metal hand atop a decorated wooden mace, symbolising Hussain’s hand raised above Yazid’s. This hand also represents faith in the holy five—Mohammad, Ali, Fatima, Hasan, and Hussain. The bearer of the alam is called the alambardar, and three legendary flag bearers in Islamic history are Maula Ali (father of Imam Hussain), his brother Hazrat Jafar, and another son, Hazrat Abbas.


Like Ali, Jafar and Abbas symbolised valour and victory. In the Battle of Maota, Jafar lost both arms. Islamic tradition holds that Allah granted him emerald wings in heaven, inspiring the entirely green alam adorned with wing-shaped emblems at the top. In the Battle of Karbala, Abbas, commander of Hussain’s small force, lost both arms while attempting to fetch water for Hussain’s thirsty children during Yazid’s blockade. His alam, known as Abbas ka alam, features a small fabric mashk (water bag), pierced by an enemy arrow and spilling water onto the sands of Karbala—a symbol preserved in the alam ever since.


Attached to the alam is a rectangular banner called a patka, embroidered with gold and silver. Originally, the alam bore a green faraira (flag), but today it is usually black or white with red marks symbolising Abbas’s blood. The use of embroidered banners likely derives from Muslim courts and royal processions, where similar rectangular banners inscribed with Quranic verses were common. Such banners also appear in Christian religious processions across Iraq, Syria, Central Asia, and Europe. For example, the tower atop Jaisalmer’s Badal Palace is known as the “Tazia Tower” for resembling the tazias carried during Moharram.


In India, Shia rulers of Awadh, Murshidabad, Bengal, Hyderabad, Rampur, Mahmudabad, and other principalities infused azadari (Moharram observances) with royal splendour. They organised majestic tazia processions and built palace-like imambaras adorned with glasswork, mirrors, carpets, and precious metals. The alams made of gold and silver, along with richly embroidered patkas, echoed royal banners. Indo-Islamic traditions enriched each other over time. The tower atop Jaisalmer’s Badal Palace is known as the “Tazia Tower” for its resemblance to tazias paraded during Moharram.


Today, these alams are displayed annually in public and private imambaras across the subcontinent. The symbolic hand atop the alam has evolved into many designs and sizes The Taimuri alam at Mahmudabad Fort is a rare antique. At the same time, full-length alams—now uncommon—are preserved in the imambaras of Nawab Luft Ali Khan and Badshah Nawab Sahab in Patna, and at four sites in Lucknow: Qasr-e-Hussaini, Naya Najaf, and the imambaras of Agha Baqar and Ghariyali. In Iraq and Iran, similar massive alams are carried on roller stands.


Exquisite Awazi alams, featuring precious stones dangling from the insignia, and finely embroidered patkas are found at Deputy Azeem Sahab’s imambara in Sultan Palace, Wazirganj, Lucknow.


Awadh historian Ammar-e-Yasir holds an enchanting collection of antique alams and provides insightful commentary on their variety. Each design bears a specific name—Par-e-Buraq, Jangi Alam, Doo Saifi, Naiza, Tughra (calligraphy), Mahi (fish), Taoos (peacock), Sher Daha (lion-headed), Zareechy (wooden patka), and Awazi. The Zulfiqari Alam is prominently displayed on the mimbar (pulpit) of Lucknow’s Kala Imambara.


The hand on the alam also has a participatory significance. During Moharram majlises, devotees raise both hands in unison, responding to the cry “Labbaik Ya Hussain” (“We are here, O Hussain!”).


In India, three major alam processions stand out: Bibi ka Alam in Hyderabad, and Fatah-e-Furat and Shab-e-Ashur in Lucknow. Significant Moharram gatherings also take place in Srinagar, Zadibal, Badgam, and Kargil in Jammu & Kashmir.


(The writer is a lawyer and an expert in history and culture. Views personal.)

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