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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.

Turncoats Hold Key in Western Maharashtra Contest

Updated: Oct 22, 2024

Western Maharashtra

Sharad Pawar, the Machiavelli of Maharashtra’s politics, has once again demonstrated his strategic prowess by undermining his nephew Ajit Pawar and disrupting the ruling Mahayuti coalition as the Assembly polls inch closer. Having already engineered political splits that thwarted the Mahayuti’s performance in key constituencies during the Lok Sabha election, the elder Pawar is now setting his sights on ensuring similar chaos in the upcoming election.


The Mahayuti is facing growing internal strife in the ‘sugar heartland’ of western Maharashtra owing to defections from the ruling BJP and Ajit Pawar’s NCP to Pawar senior’s NCP (SP).


By exploiting local rivalries, Pawar senior has significantly weakened Ajit Pawar’s position within the Mahayuti, especially in Assembly constituencies within Baramati, Kolhapur and Solapur.


Harshavardhan Patil, a former Congressman-turned-BJP leader from Indapur (in Baramati) and bitter rival of Ajit Pawar, recently quit the BJP to rejoin Sharad’s camp. Patil’s had major grievances when the Ajit-led NCP faction had aligned itself with the ruling BJP-Shinde Sena last year.


A seeming rapprochement between Ajit Pawar and Harshavardhan Patil was effected by state BJP leader Devendra Fadnavis ahead of the Lok Sabha polls to ensure that Patil campaigned wholeheartedly for Ajit’s wife, Sunetra Pawar, who was fielded from the Baramati Lok Sabha seat as the Mahayuti’s candidate. However, Sunetra Pawar crashed in Baramati contests, losing to her sister-in-law, Supriya Sule.


Besides securing the adhesion of the disgruntled Patil, Sharad Pawar recently poached Sanjeev Raje Naik-Nimbalkar, the brother of Ramraje Naik Nimbalkar, a senior member of Ajit’s faction and a prominent figure in the Phaltan region.


In September, Pawar senior managed to engineer the defection of BJP leader from Kolhapur Samarjeet Ghatge, said to be close to Deputy Chief Minister Devendra Fadnavis. Ghatge has been seething ever since his arch-rival Hasan Mushrif, a cabinet minister and another key member in the Ajit Pawar-led NCP, aligned himself with the ruling coalition in wake of Ajit’s rebellion.


Ajit Pawar’s decision to split the NCP founded by his uncle, Sharad Pawar, last year and join forces with the BJP last year seemed like a bold move to stake his claim in Maharashtra’s political landscape. But the uneasy alliance has been more of a liability than an asset for both Ajit and the Mahayuti.


The cracks in the Mahayuti alliance became starkly visible in the immediate aftermath of the recent Lok Sabha election, with Ajit Pawar’s faction winning just one of the four seats it contested - a poor showing that tarnished his image as a kingmaker. Secondly, the undivided NCP’s traditional vote bank—Marathas, Muslims, Dalits, and a section of OBCs—has not fully transferred to the BJP, leaving Ajit’s faction vulnerable within the coalition.


BJP leaders in western Maharashtra, once sworn adversaries of the undivided NCP, have expressed unease at having to compromise with Ajit’s faction which was a Johnny-come-lately in the Mahayuti bandwagon. Such leaders have been resolutely opposed to shaking hands with NCP leaders of Ajit’s faction, whom they had hitherto bitterly fought against. This is the chink in the Mahayuti armour that Sharad Pawar has sought to exploit with remarkable success.

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