In her autobiographical account Aahe Manohar Tari (Though Everything Seems Beautiful, 1990), Sunita too wrote about a lesser-known, human side of of Pu La with all his flaws and weaknesses. Doesn’t that scene show the human side of him, a different shade of his personality?” There is a scene where Pu La and Sunitabai decide not to have a child. There is one scene where he has been shown drinking socially. The objection that he has been portrayed as a drunkard is rubbish.
#Pl deshpande vyakti ani valli how to
People have an option not to watch it but you do not have the option to tell me how to do it. “I have made a film that I wanted to make, and not the film which many of the critics have in their heads.
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Manjrekar has defended his film, arguing that he was reaching for a more human portrayal of the icon. Subsequently, family members of Joshi and Barodekar, relatives of Pu La and Sunitabai came out in protest.
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A piece carried in Loksatta in January raised questions on the portrayal of Pu La as well as his contemporaries like classical vocalists Bhimsen Joshi, Vasantrao Deshpande and Hirabai Barodekar. His satire was never a mockery of people and situations around him, which the film seems to be showing,” says writer and educator Mangala Godbole, biographer of both Pu La and Sunitabai. “There is a difference between an artist taking creative liberty and distorting the facts. Some of the jokes that Pu La is seen cracking in the film, are, according to some, far from the kind of humour he was known for. Critics of the Mahesh Manjrekar film have been riled by what they call are factual errors, as well as a depiction of Pu La “in a bad light”, especially in scenes that showed him smoking and drinking. As Maharashtra celebrates Pu La’s birth centenary this year, a two-part biopic on him, Bhai: Vyakti ki Valli, has sparked a fierce debate. He was a writer, playwright, humorist, scriptwriter, composer, singer, actor and also a socially vocal and active philanthropist - and this list is still insufficient to describe who he was. Waryawarachi Warat - A large part of this play is one man show.There is arguably no other person in Marathi arts and culture, who is more widely adored and respected than Purushottam Laxman Deshpande or Pu La to his loved ones. Teen Paischya Tamasha is an adaption of The Three Penny Opera which also means the same in Marathi In the end a poet who is the protagonist's pen friend helps her gain confidence which gives her the power to walk. It also captures the conflict between the protagonist's father and her brothers and how life has changed after the government over took their territory. The protagonist is a daughter of a King or Zamindar of a princely state in India. Sundar Mi Honar meaning 'I will be beautiful' is a serious drama highlighting the struggle of a middle aged lady who is unable to walk due to some ailment. Vanga Chitre is about his visit to West Bengal.Īn account of known and / or noted personalities which he himself (Pu La) came across / befriended. Jave Tyancya Desha is about his visit to the United States Of America, Italy and Hungary.
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Purvarang shows colours of eastern and far eastern countries (Purv means east in Marathi). The writer in him created magnificent narrations of these journeys with a unique touch of humour.Īpoorvai - talks about travel experiences in The U. Teen Paishyacha Tamasha - Bertolt Brecht's The Three penny OperaĪs a traveller, he visited many Eastern countries in southeast and East Asia, United States Of America and Europe. Ti Fulrani - George Bernard Shaw's Pygmalion Kanhoji Angre(Translation of English novel "Maratha Admiral Kanhoji Angre" by Manohar Malgoankar) Kay Wattel Te Hoeel – 1962.based on Helen and George Papashvily's Anything Can HappenĮka Koliyane – 1965.based on Ernest Hemingway's The Old Man and the Sea He translated several noted works to produce absorbing Marathi plays. Pu La liked to call his adaptations as Bhaavaanuvaad or "translating expressions" rather than just words.