An epic retelling of an interesting chapter from Maratha history

Soon after Farzand and Fatteshikast, Digpal Lanjekar’s to start with two motion pictures in the series of films focused to the bravery of Chhatrapati Shivaji Maharaj and the Maratha army, the author-director returns with a bang in the third film of the sequence – Pawankhind.

The movie, which was delayed thanks to the pandemic, is based mostly on 1 of the most well-known incidents from Maratha background – the Struggle of Pavan Khind. At the outset, the makers make it crystal clear that this is not a entire documentation of the fight, its prelude or aftermath, but a cinematic recreation intended to showcase the bravery of the Marathas concerned in this battle. So, there are cinematic liberties taken in this retelling, but the crux of the story is maintained.

The tale about the Fight of Pavan Khind (previously regarded as Ghod Khind) and the bravery displayed by Bajiprabhu Deshpande and the Bandal military of 600 from the Siddhi Masud and the troopers of the Adilshahi Sultanate is effectively identified throughout Maharashtra. The final result – Chhatrapati Shivaji Maharaj’s prosperous escape from Panhalgad to Vishalgad. But, does Lanjekar realize success in recreating this important chapter from Marathi heritage on display? Definitely!

Pawankhind is a extensive cinematic experience that is in shape for the massive screen. The film is ambitious in attempting to explore this tale in two and a half several hours, but it mostly succeeds in creating the correct construct up and ambience that sales opportunities to a great climax. From laying out the rationale and the figures included in it, to the siege of Panhala by Siddhi Jauhar, the escape program and the genuine fight, Pawankhind lays out all its cards in entrance you chronologically, even though inducing a dose of heritage, drama and even comedian relief in in between. The film does not miss out on offering owing credit history to the vast majority of the generals who assisted Shivaji Maharaj realise his dream of Swarajya.

As for the actors, it’s not an quick job to convey some of the most very well –known names from the Marathi movie and Television set market together in a multi-starrer of this scale. But the casting section and makers pull off this feat. Chinmay Mandlekar as Shivaji Maharaj, Ajay Purkar as Bajiprabhu Deshpande, Sameer Dharmadhikari as Siddhi Jauhar, Aastad Kale as Siddhi Masud, Ankit Mohan as Rayaji Bandal, Mrinal Kulkarni as Maasaheb Jijau, Akshay Waghmare as Koyaji Bandal each actor has presented his best to their roles. Even the supporting solid has some memorable performances from Kshitee Jog as Badi Begum, Harish Dudhade as Bahirji Naik, Shivraj Waichal as Harpya, Rishi Saxena as Rustam Zaman. One more notable performance that stands out is that of Ajinkya Nanaware as Shiva Kashid, the gentleman who resembled Shivaji Maharaj and sacrificed himself for his king. The scenes involving Ajinkya and Chinmay are bound to deliver tears to your eyes.

Even though Pawankhind excels in storytelling, the complex factors, while superior, could have been better. The background score overpowers dialogues in some vital scenes, and the motion choreography in some scenes fails to make the reduce. Even so, all claimed and performed, the whole crew has finished its finest to make this a massive display screen working experience. Probably with a even larger spending budget, these items can be ironed out in the pursuing movies of Lanjekar’s sequence.

For now, Pawankhind is a wonderful look at, and at the cinemas only.