Starring: Prajakta Mali, Phullwanti, Gashmeer Mahajani, Ajinkya Deo, Sharad Ponkshe, Ramesh Pardeshi, Sayaji Shinde
Director: Snehal Tarde
Set in the 18th century Pune at the peak of the Peshwa empire, Tarde’s ‘Phullwanti’ was touted as one of the most hyped Marathi releases of the year. Revolving around the age old clash between art and intellect, ‘Phullwanti’ is loosely based on a novel of the same name, written by highly acclaimed author, historian and scholar Babasaheb Purandare.
‘Phullwanti’ brings to life the Peshwa era with commendable attention to detail in its depiction of Pune – the capital of the Peshwa empire, and the cultural capital of modern day Maharashtra – its culture, and its people.
When an established, renowned but arrogant dancer Phullwanti (Mali) is persuaded to come to Pune and perform in the Shaniwar Wada palace, she locks horns with one of the King's couriers, Vyankatdhwari Narsinh Shastri (Mahajani) - a much celebrated and respected scholar of Hindu philosophy and literature. Her irritation with him during a brief encounter turns to rage when Shastri makes a remark about her dancing skills while she is dancing in the Peshwa court. An enraged Phullwanti is seen asking for justice to the king and demanding her insult be avenged. She invites Shastri to a musical dual, wherein she will dance and he will play the pakhwaz. According to the conditions of the dual, should Phullwanti miss three beats while dancing, she will serve Shastri as a maidservant for the rest of her life. However, should Shastri lose he will be paraded around the city while wearing Phullwanti’s dancing anklets.
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The wager wreaks havoc in the lives of everybody involved. Phullwanti’s dancing company, Shastri’s wife and family and the people in Pune in general can be seen worrying and debating about the outcome.
The film, which is now on Prime, sets a good pace and build-up to the big day, with some good exploration of various sub-plots and themes. What should’ve been the highest point of the film, however, is rather hurried and brushed over. When Phullwanti intentionally loses the contest after falling in love with Shastri, she is seen eager to enter his house. However, this sudden turn of events is not only abrupt but also unconvincing. Phullwanti’s internal journey from hate to love for Shastri is entirely absent, making her character arc weak and strange. The immense potential in the plot is lost when the film misses out on exploring the emotional journeys and intricacies which could’ve enriched the plot otherwise.
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A special note for the cast, however, is in order. Both Mali and particularly, Mahajani, do a very good job in portraying their respective characters. Mahajani's expressiveness brings out depth to the character while Phullwanti’s arrogant nature is brought out well by Mali. The supporting cast, too, does a fitting job in carrying out the sub-plots.
Overall, however, despite lavish sets and costumes, ‘Phullwanti’ not only fails spectacularly to do justice to Pundare’s novel, it also does not live up to its own build-up in the first half; a story with great potential lost to inept directing and story writing.