FILM REVIEW SACHIN CHATTE
Film: Mukkam Post Bombilwaadi
Cast: Prashant Damle, Geetanjali Kulkarni, Vaibhav Mangale
Directed by: Paresh Mokashi
Duration: 1 hour 40 minutes
Rating: * * 1 / 2
Director Paresh Mokashi stands out as one of the most exciting filmmakers on the scene today. Since his debut with Harishchandrachi Factory in 2009, he has explored a variety of genres, producing remarkable films and has been quite prolific in recent years. Much like the legendary Billy Wilder, Mokashi has crafted a social satire (Elizabeth Ekadashi), an engaging romantic comedy (Chi Va Chi Sau Ka), a thriller reminiscent of Sriram Raghavan’s style (Vaalvi), and a family drama (Naach Ga Ghuma). His latest work, Mukkam Post Bombilwaadi, is a comedy featuring an outrageous premise in which Hitler unexpectedly arrives in a small village in Konkan.
Adapted from his own play of the same name, which debuted around the turn of the century, Mukkam Post Bombilwaadi presents a mixed bag on the big screen. While some moments are genuinely humorous, others do not achieve the intended comedic effect. The film benefits from a talented cast that enhances each scene and contributes significantly to the overall experience.
The film’s inclusion of Hitler and a theatrical troupe evokes memories of Ernst Lubitsch’s classic comedy, To Be Or Not To Be, although the similarities end there. Notably, Mukkam Post is set in the same year as the release of Lubitsch’s film, and its premise is intriguingly audacious. In a manner reminiscent of Quentin Tarantino’s approach in Inglorious Basterds, Mokashi takes considerable creative liberties with
historical events.
In this narrative, Hitler (played by Prashant Damle) embarks on a journey to Japan, hoping to turn the tide of the war, while Churchill (Anand Ingale) devises strategies to thwart the Nazi leader. Amidst this backdrop, a theatre troupe in Bombilwaadi, Konkan, becomes embroiled in the unfolding chaos. During his travels, Hitler unexpectedly finds himself in the tranquil village, setting the stage for a series of comedic mishaps. Additionally, Indian revolutionaries are present, resisting British rule, while a British police officer is infatuated with Eva Braun, Hitler’s companion, who affectionately refers to him as “Addu”.
The premise exhibits considerable potential, and one can appreciate how effectively it may have translated to the stage. However, in terms of cinematic execution, it offers much promise yet fails to fully realise it. There was an opportunity to broaden the visual scope on screen, but it ultimately does not meet expectations. While there are several genuinely humorous moments, attributed to the witty dialogue and writing, a lack of consistency is the bane here.
The cast performs admirably; as seasoned professionals, they have established their reputations on stage and demonstrate equal brilliance in front of the camera, showcasing exceptional comic timing. Nevertheless, the film does not quite
reach the same level of excellence.
