रजनीकांतची 2.0 चित्रपट कशी आहे? मराठीमध्ये रिवयु वाचा

The problem with 2.0 is that the anti-hero is right, writes Deepa Gahlot

dIpaa gahlaaota Wara

maagaIla kxahI mahInyaaMpaasaUna ho pahaNyaata AalaMya kxI isanaomaa inavvaL Bavya idvya AsaUna Baagata naahI. rjanaIkxaMta saarKaa eKaadaca naT 2.0 laa itaikxT baarIvar yaSasvaI kxr} Saktaao.  dusa%yaa kxaoNaa sTarcao sTasa- itatako xmajabaUta naahIta, mhNaUnaca k`oxiDT\sa maQyao tyaaMcyaa naavaacyaa AaQaI sauparsTar hI padvaI laavalaolaI Aaho, tar AXaya kuxmaarcaM naava +a sagaLyaa sajaavaTIpaasaUna mau@ta Aaho.

2,0 ha SaMkxrcyaa raobaao (taimaL maQalyaa enqaIrna) +a ica~apaTacaa saI@vaola Aaho. jyaata rajanaIkxaMta nao Saas~a&a vaisagarNa AaiNa tyaaca caoh%yaacaa tyaacaa Aa^lTr [-gaao icaT\TI +a yaM~amaanavaacaI BaUimakxa inaBaavalaI haotaI. maagacyaa ica~apaTata icaT\TI SaovaTI duYT banataao va tyaalaa iDsama^nTla kxravaa laagataao.  saI@vaola maQyao pahayalaa imaLola tyaa Qaataumaya jaIvaacaM parta yaoNaM (kxLta naahI ha raobaao sanaglaasaosa kxa vaapartaao) AaiNa taohI saupar paavasa- Gao{]na.

ha saI@vaola ekxa naaTyamaya pa`saMgaapaasaUna saur} haotaao jyaata laaokxMcyaa hataataUna AaiNa  taaimaLnaaDUcyaa Saaor}msa maQaUna Acaanakx maaobaa[-la Kaocalao jaa{] laagataata, jyaamauLo maaobaa[-la Qaarkx KaUpa ~asta haotaata va ekxca gaaoMQaL {Dtaao.  ha saI@vaonsa KaUpaca laaMba Kaocalaa gaolaaya jyaata maaobaa[-la DIlar maaobaa[-lacyaa DaoMgaraKaalaI caoMgar}na martaao AaiNa ekx pa`Sasta paMjaa sagaLo maaobaa[-la Tavasa- jamaInadaosta kxrtaao.    

maM~aI AaiNa paaoilasa gaaoMQaLlaolao Aahota, Da^. vasaIgarNa Aapalyaa AnaakxlanaIya Saas~aIya BaaYaota kxahItarI kxarNaM dotaata jyaacaa inaYkxYa- ha kxI maaobaa[-la igaLNaa%yaa raXasaavar inayaM~aNa imaLavaNyaasa tao Asamaqa- zrlaoyata tyaamauLo icaT\TIlaa paunha AaNaNaM Baaga Aaho.  tyaaMcaI AisasTnT naIlaa (A^maI ja^@sana) ijacaa [maaoSnala [nToilajaonsa TI.vhI. AaiNa isanaomaa mauLo Balataaca vaaZlaaya, taI KaUpa KauSa haotao.

Fla^Saba^kxcyaa maaQyamaataUna AapaNa ho pahataao kxI ekx saBya Aa^ina-qaaolaa^ijasT paXaIrajaa (AXaya kuxmaar) jaao saola fxaonacaa {payaaoga AaiNa T/ansaimaSana f`xI@vaonsaI kxmaI kxrNyaasaazI Sa@taI pa`apta kxrNyaacaa pa`yatna kxrta Asataao, jyaamauLo paXaI roiDeSana nao marNaar naahIta.  paNa xkxaoNaIhI tyaacyaavar ivaSvaasa zovata naahI mhNaUna tyaalaa laaKaao paXyaaMcaa Aa^ra pa`apta haotaao AaiNa taao svata: saola fxaonsa nao banalaolyaa ihMsakx paXyaacaM r}pa Gaotaao. “Cana DI paI Aaho” AsaM icaT\TI mhNataao jaovha tyaalaa kxLtaM kxI +a sagaLyaa {laqaapaalaqaIlaa jabaabadar paXaIrajaa Aaho. taao gaganacauMbaI [maartaIMnaa jamaInadaosta kxrtaao, ho sagaLM ha^ilavaUDcyaa eKaaVa Sahr barbaad kxrNaa%yaa eilayansacyaa ica~apaTavar}na pa`Baaivata Aaho, tarIhI +a ivaQvaMsaamauLo doSaataIla [tar BaagaataUna kxahI pa`itaik`xyaa yaota naahI, jagaacaM saaoDa.

SaMkxr AaiNa tyaaMcyaa TImanao saI jaI Aaya var KaUpa maohnata GaotalaIya, paNa taaNalaolaa @laayama^@sa sahnaSa@taI pailakxDcaa Aaho, 2.0 caI sagaLyaata maaozI ADcaNa hI Aaho kxI Kalanaayakxca paRiqvalaa vaacavaNyaata laagalaaya, maga ekxa raobaaolaa, jaao hjaarao paXyaaMcaa naaSa kxrNyaata gauMtalaaya, tyaacaI qaT\Ta kxrNyaacaa kxaya AiQakxar? laoKakxanao maulaaMcyaa kxa^ima@sa [takxa hI tak- xdoNyaacaa pa`yatna koxlaolaa naahI. AaiNa saMvaad hI maskxrIvajaaca ilahIlao Aahota, sayanTIsT caI mahana kxlpanaa hI Aaho kxI naogaoiTvh Sai@taMnaa paa^JaIiTvh Sai@taMnaI nyaUT/laa[ja\ kxrNaM (KarMca?) baayakxaMcaa +a jagaata kxahI {payaaoga nasataao, fx@ta Aa&aaQaarI raobaao banaNaM AaiNa fxaonavar}na icaDicaD kxrNaM +apaoXaa (maagaIla Baagaata ho paa~a eoSvayaa- raya nao koxlaM haotaM, +a Baagaata itacaa AavaajahI vaaparlaa naahIyao)  AXaya kuxmaarcaa caohra AQaa- AiQakx lapalaolaa Aaho, paNa Aapalyaalaa ho {majalyaaiSavaaya rhata naahI kxI evaZyaa saaoSala [SyaUja var ica~apaT kxrNaa%yaa AXaya nao ha ica~apaT kxa svaIkxrlaa Asaavaa, kxdaicata ‘paXaI vaacavaa’ ha maud\da ilasTmaQyao saaimala kxrayacaa Asaola.

 

idgdSa-kx :  esa. SaMkxr

kxlaakxar : rjanaIkxaMta, AXaya kuxmaar, A^maI ja^@sana AaiNa [tar

roiTMga  :  2.5 sTasa-

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Deepa Gahlot is one of India’s seniormost and best known entertainment journalists. A National Awardwinning film critic, Deepa has watched more movies and theatre than most people in the country. An author of several books on film and theatre, she has had an extremely successful run as head of theatre and film at the National Centre for Performing Arts, Mumbai, during which she helped nurture several original productions. For Xyngr, Deepa Gahlot reviews theatre and cinema.