हिरोती म्हणजे काय ? असा प्रश्न आपल्याला विचारला तर अर्थ कळण्याचे कारण नाही. हिऱ्याला पैलू पाडण्यासाठी उपयोगात आणले जाणारे एखादे साधन असावे असे तर्कट एखादी व्यक्ती चालवेल. मुळात हिरोतीशी साध्यर्म साधणारा मराठीतील शब्द आहे मिरची पूड. मिरच्या वाळवून पूड केली की बनते ते तिखट. हिरोती हा झाडीबोलीतील शब्द. तिखट हा अर्थ देखील परिपूर्ण नाही असे जाणकार म्हणतात. तिखट ही चव आहे. हिरोतीला चक्कीतून दळलेली मिरची म्हणता येईल. हिरोती हे नाम आहे. तिखट हे विशेषण. गुळाचा समानार्थी शब्द गोड होऊ शकत नाही. तसा हिरोतीचा अर्थ तिखट होणार नाही. बोलींच्या अभ्यासातून अशी बरीच रंजक माहिती पुढे येते.
विदर्भातील झाडी, वऱ्हाडीखेरीज विश्वकोषीय मराठीची अनेक रुपे आहेत. अहिराणी, आगर, खान्देशी लेवा, चंदगडी, पोवारी, कोहळी, तावडी, मालवणी, वाडवळी, सामवेदी, संगमेश्वरी Ahirani, aagar, khandeshi leva, chandagadi, powari, kohali, tavadi, malavani, vadavali, samvedi, sangameshwari यांचा उल्लेख बरेचदा होतो. आदिवासी प्रदेशातही कोरकू, गोंडी, माडिया खेरीज कातकरी, कोकणा, कोलामी, देहवाली, परधानी, पावरी Koraku, gondi, madiya, katkari, kokana, kolami, dehvali, pardhani, pavariअसे उपभाषा प्रकार आहेत. भिलालांची निमाडी, मथवाडी, मल्हार कोळी, मावची, मांगेली, वारली, हलबी, ठाकरी, ‘क’ ठाकूरी, ढोरकोळी, ‘म’ ठाकूरी Nimadi, mathvadi, malhar koli, mavachi, mangeli, varli, halbi, thakari, k thakari, m thakariहे त्यांचे आणखी काही प्रकार. भटक्या-विमुक्तांचा संवाद आणखी वेगळा. त्यात सांकेतिक बोलींचा समावेश आहे. कुचकोरवी, कैकाडी, कोल्हाटी, गोरमाटी, गोल्ला, गोसावी, घिसाडी, चितोडिया, छप्परबंद, डोंबारी, नाथपंथी डवरी, नंदीवाले, पारोशी मांग, पारधी, बेलदार, मांग गारुडी, वडारी, वैदू Kuchkoravi, kaikadi, kolhati, gormati, golla, gosavi, ghisadi, chitodiya, chhapparband, dombari, nathpanthi davari, nandivale, paroshi mang, paradhi, beldar, mang garudi, vadari, vaidu या बोलींचे रंग निश्चितच भाषेचा ओलावा वाढविणारे असतील.
पूर्व विदर्भाशिवाय दुर्गचा परिसर, मध्यप्रदेश, आंध्र आणि तेलंगणाच्या काही भागातही या बोलीचा विस्तार आढळतो. पूर्व विदर्भालगतच्या भागात आधी ८० टक्के झाडीबोली होती. प्रमाण भाषांमुळे बोलीचे महत्त्व हळुहळू लोप पावले. त्यातील शब्दांच्या गमतीजमती अनेक आहेत. कोंडणे म्हणजे बंद करणे. कोंडारणे या मूळ झाडीबोलीतील शब्दामुळे तो रूढ झाला असे सांगितले तर आश्चर्य वाटेल. बोलींमधील श्रमविभागणी व्यापक असल्याचे तथ्य अभ्यासाअंती पुढे येते. साधारणतः गुरे राखणाऱ्यांना गोपाल हा शब्द संस्कृत किंवा हिंदीत येतो. झाडीबोलीत गायी राखणाऱ्याला गायकी, म्हशी राखणाऱ्याला म्हसकी आणि गुरे राखणाऱ्याला ढोरकी असे वेगवेगळे शब्द आहेत. अशी वाटणी शेतातील कामांवरून देखील आढ‍ळते. धानाची म्हणजे भाताची शेती पूर्व विदर्भात होते. तिथे शेतात भाताचे रोप लावण्याच्या क्रियेला रोवणी म्हणतात. पाणी भरणाऱ्याला पानकर, पेंड्या टाकणाऱ्याला पेंडकर अशा पोटशब्दांची यादीही दिसते. प्रमाण भाषेपेक्षाही बोली अशा वैविध्याने नटल्या आहेत. संस्कृत आणि झाडी या समकालीन भाषा असल्या तरी संस्कृतपेक्षा झाडी जुनी असल्याचा दावा अभ्यासक हरिश्चंद्र बोरकरांनी केला होता. मराठीपेक्षाही झाडीबोलीची Jhadiboli ज्येष्ठता सिद्ध करण्याची तयारी त्यांनी दर्शविली होती. मराठी बोली साहित्य संघाचे ते अध्यक्ष आहेत. यंदा जानेवारीतील संमेलनाचा समावेश केला तर झाडीबोली साहित्य मंडळातर्फे २४ झाडीबोली संमेलने घेण्याची कामगिरी झाडीबोली चळवळीच्या नावावर नोंदली आहे. भरीव शासकीय मदतीविना चालणाऱ्या अशा तळमळीला दाद द्यायला हवी.
झाडीबोलीत रुळलेला आणखी एक शब्द म्हणजे बेंडवा. रात्री ज्या टोपल्यात किंवा वेताच्या कमानीत कोंबड्यांना एकत्र केले जाते, तो बेंडवा. प्रमाण मराठीत त्याला कोंबडीघर म्हणता येईल. बोलींना बेंडू नका, त्यांना मुक्त करा ही साद अनेकदा दिली जाते. त्यातील बेंडणे या बेंडव्यातून आले असते. पूर्व विदर्भात माडिया, गोंडीचा संकर आहे मेळघाट परिसरात कोरकूचा प्रभाव आहे. कोवे कोवे कुई कुई, नीवा तोकतकु पालनेई... म्हणजे काय? बालपणी एक बडबडगीत अनेक शाळांमधून शिकविले जायचे, बंदर बंदर हुप, तुझ्या शेपटीला तूप. या ओळींचे माडिया रुपांतर म्हणजे कोवे कोवे. लोकगीतांमधील सहजता अशी असते. भावले ते स्वीकारले अशी भावना त्यामागे असते. ही स्वीकारार्हता सहजतेने बोलींमध्ये संक्रमित झाली तर लिपींमध्ये येऊ न शकलेले मोठे 'घबाड' गवसेल. 'चिऊ ये, काऊ ये, दाना खा, पाणी पी, भुर्रकन उडून जा' अशा गोष्टी कुठल्याही पुस्तकात नसतात. पिढीजात कथनातून झिरपलेले हे अस्सल वाङ्मय फक्त प्रमाण भाषांमध्येच असते असे नाही. 'कोवे कोवे कुई कुई' ची दखल महाराष्ट्र राज्य शैक्षणिक संशोधन व प्रशिक्षण परिषदेने आदिभारती-माडिया –गोंडी या शिक्षकांसाठी काढलेल्या हस्तपुस्तिकेत घेतली आहे. अगदी पहिलीच्या मुलांसाठी माडिया गोंडीतून काढलेले पुस्तक म्हणजे आदिभारती. खूप छान, फारच उत्तम अशा वेगवेगळ्या विशेषणांनी मराठीतील अर्थ ध्वनित करता येतो. माडियात मात्र त्यासाठी बेस हा एकच शब्द आहे. लई बेस हा त्याचा अलीकडील ठाशीव ग्रामीण अविष्कार. माडिया गोंडीत वेल्हे वेल्हे म्हणजे लवकर लवकर. हाटुम म्हणजे बाजार. हा बाजारहाटशी संबंधित शब्द आहे की काय याची कल्पना नाही. असे अनेक शब्द नागपुरी, कुडाळी, भिल्लीतही Nagpuri, kudali, Bhilliअसतील.
फक्त बोली नव्हे पालीही वाढली पाहिजे. सर्वच भाषांमध्ये संशोधन व्हायला हवे. त्यासाठी ग्रामीण भाग पालथा घालायला हवा. डॉ. गणेश देवी यांचे कार्य यादृष्टीने खूप मोठे आहे. विदर्भ संशोधन मंडळाची स्थापना १९३४ मध्ये झाली. नव्या मराठी राज्यात भाषा संशोधनाचे काम जोमाने व्हावे आणि विदर्भासाठी तसे स्वतंत्र खाते असावे अशी अपेक्षा ज्येष्ठ साहित्यिक ना. रा. शेंडे यांनी विदर्भ साहित्य संघाच्या १९६० मध्ये झालेल्या संमेलनाच्या अध्यक्षपदावरून व्यक्त केली होती. परकीय भाषांची भेसळ आपल्याला चालते. रेडिओ मिर्ची हा शब्द खासगी संगीत वाहिनी म्हणून आपण स्वीकारला. रेडिओ या इंग्रजी शब्दासोबत हिंदीतील मिर्ची जोडली जाते. लोकप्रिय होते. हिरोती उपेक्षितच राहते. वस्तुस्थिती तशी झोंबणारी आहे. एकमेकांच्या बोलींना हिणविण्यापेक्षा मराठी उन्नत करायला हवी. मध्यंतरी अमरावती विद्यापीठाने कवी विठ्ठल वाघ यांच्या नेतृत्वात प्रादेशिक भाषांमधील म्हणी, वाक्प्रचार शोधून काढण्याचा प्रयत्न केला. अन्य विद्यापीठांपर्यंत ती चळवळ पोहोचली नाही. गावांकडे चला, बोलींकडे वळा अशी घोषणा देऊन बोलींचे उत्खनन झाले तर मायमराठी अलंकृत होऊ शकेल.
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What is a heroti? Because if you do not know the meaning of the question asked. The diamond aspect should be brought to a tool used to carry a person that tarkata run. Basically, the word is likely to hirotisi sadhyarma Marathi chili powder. Chili powder and dried chillies that makes it. This jhadibolitila word hero. This also means that the hot question is not perfect. The taste is hot. Hirotila cakkituna Broken and ground pepper will say. This is the name of the hero. Hot that adjective. Synonyms can not be sweet jaggery. As hirotica means will not be hot. Next comes a lot of interesting information about the dialect of the study.
Vidarbha trees, there are many silver varhadikherija visvakosiya craving. Mentioned Ahirani, Agar, khandesi leva, candagadi, Powar, pumpkin, Dias, Malvan, vadavali, Sama Veda, was quite sangamesvari. Korku tribal Pradesh, Gondi, media and Katkari, Konkan, kolami, dehavali, paradhani, the power of the Doric style. Bhilalanci Nima, mathavadi, Malhar Koli, mavaci, mangeli, died, halabi, Thackeray, 'C' Thakur, dhorakoli, 'm' Thakur and some of their type. And another bum-vimuktanca dialogue. Including indicative mum. Kucakoravi, Kaikadi, acrobat, goramati, Goldie, Vice, smith, citodiya, slater, contortionist, nathapanthi davari, nandivale, Parola demand, Fowler, suppressed demand snake charmers, Vdara, charlatan or language will certainly raise the moisture mum color.
East vidarbhasivaya remote area of Madhya Pradesh, Andhra Pradesh and Telangana find this bid to expand some areas. East vidarbhalagata before the area was jhadiboli 80 percent. Rate the importance of the elimination of steps gradually bhasammule bid. There are many words in the gamatijamati. Cage is shut. Kondarane be surprised if he said that it was customary .That original jhadibolitila. The fact is that bolimmadhila sramavibhagani extensive further study. Cattle usually comes from Sanskrit or Hindi word Gopal had happened. Jhadibolita rakhanaryala singing cows, buffaloes and cattle are various words that rakhanaryala mhasaki rakhanaryala dhoraki. The division can also be found in the field kamanvaruna. Paddy rice cultivation is the former Vidarbha. There is action to pierce the dictate of the rice plant in the field. Water bharanaryala panakara, pendya takes pendakara seems list of potasabdanci. Bhasepeksahi bid rate are such diversity natalya. Although the trees are contemporary Sanskrit and Sanskrit scholar than was claimed Harishchandra borakaranni old trees. He was offered to prove marathipeksahi jhadibolici seniority. Marathi Sahitya Sangh bid to have the president. If the meeting is in January this year, including the performance of the 24 Board Meetings jhadiboli jhadiboli material is recorded in the name of jhadiboli movement. Should heed such a passion that followed massive government madativina.
Another word is unaccustomed jhadibolita Bend. The night is topalyata or chicken with bamboo kamanita, he Bend. Marathi kombadighara rate can be said to him. Do not bend dialect, is often given to them free of Saad. This might have been the bendane bendavyatuna. East Vidarbha Madia, gondica is a hybrid effect is korakuca Melghat area. Covey Covey Cui Cui, Neva tokataku palanei ... What? Childhood taught in many schools to go from a badabadagita, monkey monkey hoop, you tailed ghee. Media conversion lines of Covey Covey. Simplicity is the lokagitammadhila. Had to be accepted that such a feeling. The admissibility of the heart and not be so easily mum was infected in lipim 'windfall' gavasela. 'Chiu, the cow, the grain and eat, drink water, go away bhurrakana' book are not any such things. It is not just the quantity of genuine literature ancestral kathanatuna jhirapalele bhasammadhyeca. "Covey Covey Cui Cui 'notice of the state of Maharashtra is the manual for teachers drawn from this Council of Educational Research and Training adibharati-media gondi. The first book is drawn even children Madia gondituna adibharati. Very nice, can be very good implied meaning in Marathi such different visesananni. However, there is only one word for it madiyata base. LI rural base of his recent thasiva invention. Madia gondita Velhe Velhe that early. Hatuma the market. This is not aware of what the word is related to shopping. Many words Nagpuri, Kudal, the bhillitahi.
Not only bid should be increased to Pali. Research should be in all languages. The air blow through the rural part. DR. Ganesh Devi's work is so great about. Research was founded in 1 9 34 wheels. It should be a separate account in the new language Marathi freshly research work for the state and expects the senior literary Vidarbha not. Ra. Shende had expressed the president's meeting with the team in the 1 9 60 wheels literature. We carried out the adulteration of foreign languages. Private music channel Radio Mirchi as you accepted the word. Radio Mirchi Hindi or English sabdasobata is added. Was popular. Hero remains upeksitaca. The fact that, as is trenchant. Hinavinya than one dialect of Marathi should be advanced. Pending regional languages sayings, led by the poet Vithal Wagh Amravati University, tried to find a phrase. Other vidyapithamparyanta that movement is not reached. Let gavankade, bolinkade
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It's not the language of money alone that makes Maharashtra rich. When the western state speaks, it does so in 38 different tongues and more, making it one of the most linguistically wealthy places, according to a recent language survey.
The results of People's Linguistic Survey (PLSI), a community-driven documentation of Indian languages by Vadodara-based Bhasha Research and Publication Centre, will be out in August. And Maharashtra scores pretty well with its tally of 12 varieties of Marathi and 38 other languages spoken by adivasis, tribals, nomadic tribes and denotified communities.
"Maharashtra ranks fairly high in the per capita language rate, which is much above that of the Hindi belt, West Bengal, Tamil Nadu and Andhra Pradesh," says Ganesh Devy, award-winning writer and chairperson of PLSI. Hindi, Bengali and Telugu have more speakers than Marathi. However, Hindi-speaking states have space for only 30 more languages while West Bengal has 26 and Andhra Pradesh has 18 more tongues. The topper is Arunachal Pradesh, which has more than 90 languages, followed by Assam and Orissa.
The survey was meant to get a snapshot of India's linguistic heritage based on data from the last two years. The researchers identified and documented 790 languages, some of which were earlier categorised as dialects.
According to Devy, Maharashtra was able to keep alive most of its languages, especially the ones that didn't make it to the government census, because of the absence of large-scale invasions in the 18th and 19th centuries. "The peasantry could live without fear of plunder unlike in other states. When the speakers survived, the languages also remained," says Devy, winner of UNESCO's Linguapax Prize in 2011.
Unlike in Arunachal Pradesh, where Hindi is replacing many of the local tongues, Maharashtra has seen Marathi helping in the sustenance of languages spoken by small communities. "The growth of Marathi, ever since rural and Dalit writers started contributing in the 70s, has been dependent on a greater recognition of the identity for languages like Pardhi and Keikadi. This has given the languages a cultural self-confidence," says Devy, who is from Pune.
The Maharashtra-leg of the survey, which had 80 contributors, found out that the rapid urbanisation changed the styles and rhythms of spoken Marathi. "This migration (to Western Maharashtra) has made Marathi more responsive to grammatical flexibility," says Devy.
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A bid to preserve the heritage of local dialects in the region has begun with the launch of a project to record and produce a dictionary of the local Marathi dialect spoken by East Indians in the Mumbai region.
The project is being undertaken by the Mumbai Gaothan Panchayat, an organization formed to promote the interests of the people living in traditional gaothans (villages). Panchayat leader Gleason Baretto said the dictionary will be in Marathi and English and will serve to preserve the language of the region.
The East Indians, the local Christian community along with other Hindu communities, constitute the earliest inhabitants of the region.
One of the organizers of the project, Prem Moraes, said several teams will work on the dictionary."We will take into consideration the various types of Marathi spoken by the different communities in the region. We know that the Marathi spoken in Bandra is different from the Marathi spoken in the gaothans in Marol, and will make allowances of it,'' he said.
Reacting to the move to preserve the heritage of the region, head of the Head of history department of St Xavier's College Fleur D'Souza commended the project.. "Dialects are disappearing all over the country and the globe and this effort will go a long way in instilling a sense of pride in the local community and an interest in their language. Many people have stopped using the language,'' she said.
Prof D'Souza said that care should be taken when implementing the project by consulting experts in the field so that the research can be conducted in a professional manner. All the cross-cultural trends which influenced the Marathi dialect should also be taken into consideration, she said.
Film documentary maker Luke Mendes who has done work on western region cultures said that it was important to have a broad-minded approach to the project. The main language spoken in the Mumbai region was 'Kokni' which is spoken in the Konkan region in different ways. While this is similar to popular Marathi in many ways it is also different as the region had a distinct cultural identity for a long time before the state of Maharashtra came into being in the 1960's.
Mendes said the Kokni spoken in the region has influences from other cultures as well. Apart from Sanskrit it has been influenced by Portuguese during the time the city was ruled by the Portuguese. Prem Moraes said the project should be ready by next May and will be put up on the community website.
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As a couple of home ministry circulars seeking to promote use of Hindi in office work and official social media accounts elicit angry reactions from regional satraps, statistics show that while Hindi remains the most spoken mother tongue in the country, the percentage of those listing other scheduled languages as their mother tongue is almost 59%.
As per the 2001 census, around 42.2 crore people listed Hindi as their mother tongue, of which 25.79 crore spoke Hindi in its pure form, and another 16.41 crore in 49 mother tongues similar to Hindi. Overall, around 41.03% of the population declared Hindi or its sub-groupings as its mother tongue. As for other scheduled languages, Bengali was the most spoken mother-tongue after Hindi (with 8.11% of the country's population citing it as their mother tongue), followed by Telugu (7.19%), Marathi (6.99%), Tamil (5.91%) and Urdu (5.01%).
Importantly, barely a dozen states - including Uttar Pradesh, Madhya Pradesh, Bihar, Chhattisgarh, Rajasthan, Uttarakhand, Himachal Pradesh, Haryana, Delhi and Jharkhand - had a majority of their population listing Hindi as their mother tongue.
While the percentage of those citing Hindi as their mother tongue has steadily grown since 1971, most other scheduled languages have seen a decline in speakers as a percentage of the population. The percentage of Hindi-speaking people in the total population grew from 36.99% in 1971 to 38.74% in 1981 and 39.29% in 1991, before touching 41.03% in 2001. However, Bengali-speaking population fell marginally from 8.17% in 1971 to 8.11% in 2001, Telugu speakers from 8.16% to 7.19%, Marathi speakers from 7.62% to 6.99%, Tamil speakers from 6.88% to 5.91% and Urdu-speaking population from 5.22% to 5.01% over the corresponding period.
Among the 22 scheduled languages that have seen a rise in percentage of population listing them as mother tongues are Punjabi (from 2.57% in 1971 to 2.83% in 2001), Maithili (from 1.12% to 1.18%), Kashmiri (0.46% to 0.54%) and Nepali (0.26% to 0.28%).
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When was the last time a Marathi film was covered extensively in English media? When was the last time a theatre showed a Marathi film as late as 3 am (in Satara, Maharashtra)? When was the last time one heard that a Marathi film right after few weeks of its release caught the fancy of film-makers across languages and if reports are to be believed, it will be remade in all four South Indian languages besides Gujarati and Hindi? Also when was the last time we heard a Marathi film getting released in Kerala and Chennai? Lastly when was the last time a Marathi film ran for six straight weeks (it is still running in theatres with shows throughout the day)? Such has been the frenzy of the Marathi film Sairat (loosely put Wild).
The film is getting wilder and wilder and just like the teenagers in the film, it has broken norms related to regional cinema and not conformed and constricted to its geography if one takes into account its all-pervaded acceptance. So, what exactly has worked for the film? Most importantly, why it has worked so well with the non-Marathi audience even after six weeks of its release? To understand this, one needs to understand the various ideas which were thoroughly executed in the film.
Sairat is a perfect confluence of what is familiar and what is personal. The demarcation is conspicuous when the plot of the film is juxtaposed with seething symbolism and personal truths that expose our deep-seated violent, inhuman and destructive conditionings. In large sense, it caters to both an aesthete of cinema and escapist consumer of cinema in Marathi and non-Marathi audiences.
The personal truths
The most striking feature of Sairat is its treatment. It is not just a love story of an oppressed caste boy and a high caste girl. It is much more than that. It is the evocativeness in the treatment of the story and it is largely due to the film's director. In most films based on caste politics, social oppression and injustice there is high likelihood that the filmmaker would be from upper caste who would present an outside-in picture of the story. But since the director of the film Nagraj Manjule himself being of the same caste as the protagonist, there is touching authenticity and depth to the narrative. Piyush Roy, a film historian with University of Edinburgh says, "After a long time I have seen a film on people from oppressed caste by a person from the same caste. This gives a startling honesty and evocative depth to the narrative. It gives an inside-out perspective on the regressive social mores of our society."
Besides this, there are five critical overarching elements of the film that have worked with non-Marathi audience. First, it is the credible and realistic performances of the characters of the film. Since the young protagonists—the boy and the girl and their friends have been from chosen from small villages it gives emotional credibility and authenticity in the way they have performed. None of these actors are trained, which makes the film look fresh. Roy of University of Edinburgh says, "Love stories always work with fresh faces. Acceptance is high when a lover story is conveyed through fresh faces. In case of Sairat, it is not the fresh faces but also their performances which make them endearing. It is like Alankara rasa. If the person is not attractive no amount of embellishments would make her look attractive. In Sairat, it is the performances of the actors which enhance their attractiveness."
Second, it is the truthful depiction of characters and their interactions and their language reflect an innate genuineness which resonated with the non-Marathi audience. Archie's confidence is rooted in her caste and so is Parshya's shyness. But her confidence is adequate enough for us to not to dub her as arrogant. She can be a true fantasy of rural and semi-urban men. She is not a feminist, she is not a rebel but she is clear-headed and assertive. This makes her accessible to non-Marathi audience. Even the raw emotional moments in the film are quite identifiable. The ways in which Archie and Parshya express their love, meet in fields, and the way Parshya's friends dance when Archie calls Parshya are all relatable. Also the language of the film is quite rooted in its milieu. These scenes are not for gimmick. There is a striking authenticity in which Archie speaks in Telugu and the scene in which she returns to Parshya after a disturbing fight with him shows the depth and the mettle of the two actors.
There is a great deal of contemporariness in which the film's director presents characters and their interactions and their surroundings. The village shown in the film is very accessible and contemporary. It is not a typical village of cow dung and no electricity. One sees characters with mobile phones. It is a 2016 village. This genuine portrayal has worked with the non-Marathi audience. There is realism and subtlety in the reasons for the fights and the director has reined in their tiffs to such an extent that they don't seem plain melodramatic and ugly. This makes the love story pre-and-post interval genuine and real.
The film's director has also kept in mind the coherence in the narrative to a large extent. He has kept in mind to practicality of situations also. In scenes where Archie gets jewellery from her home before she elopes and their friends decide not got along with them to Hyderabad show that the director has kept in mind realities in mind.
Thirdly, it is symbolism in the film that numbs us and makes us think. The juxtaposition of the rise of Archie's new domestic life with the fall of her father's political career, the use of sunny and captivating daylight in open spaces in the first half of the film and the dark and claustrophobic feel of the second half of the film, the swift editing in depicting leap of time (from teenage love to real world), and the climax shot which shows through the child the kind of future we are giving to the posterity are not just fertile and intellectual imagination of the director, They are the unhealed wounds which may not show any mark on the surface but are continually felt in interactions with the society. It also shows that villages and villagers have progressed in materialistic and infrastructural sense but they continue to cling to their deep-seated prejudices. The non-Marathi audience could identify with these facts.
Also it is the subtitling of the film which has worked with non-Marathi audience. Roy of University of Edinburgh says, "The film's subtitles are quite in sync with the emotions of the characters. The makers have given close attention to subtitles keeping in mind non-Marathi audience. Even the subtitles of the songs played in the film are in sync and one gets the poetry of the song quite well. They express emotions quite well for non-Marathi audience." Lastly, the music and the background score of the film plays a crucial in making narrative of the film serves both commercial and aesthetic purposes.
Besides, the aforementioned realistic elements in Sairat which have made non-Marathi audience love and appreciate, there are certain commercial elements the directly intelligently weaved into the story. Ashok Rane, a veteran film critic and historian observes, "It is the packaging of the film that has worked for Hindi viewers. It packages the commercial entertainment elements required to make viable love story and the popular images which pan-India Hindi audience is used to watching in a typical teenage love story. Just like taste buds, Hindi audiences are used to certain kind of presentation of love stories. The director has catered to those notions and perceptions in an intelligent way." He adds, "The first half of the film is kept breezy and light. The second half is realistic. So one gets engaged in the first half and then gets a realistic experience in the second half. This has worked well in bringing in audiences to the theatre."
Keeping these commercial imperatives in mind, the director has also not sacrificed on entertainment and message quotient. One enters the theatre with anticipation of a good entertainment and comes out numbed. Till the last scene of honour killing, the film hardly makes one realise that it would end in honour killing. Also one is not constantly reminded about the castes of the boy and the girl throughout the film once the director has established it. This shows how the director did not get away from the message of the film even though it so personal to him.
It is also the time at which the film has released that has worked for the film. When was the last time did one see a well-made and engaging love story especially a teenage love story in Hindi cinema? A few moments of thinking and one realises that it was long ago. In its quest for depth and complexity in narratives, Hindi cinema, it seems to have lost its own idiom of filmmaking. In the past decade or so, there have been very few Hindi films which have shown presented a fresh treatment of old themes such as love story. Just like Qayamat Se Qayamat Tak in the 1980s, Sairat has come at a time when the audience has been deprived of such simplicity of plots and narratives. In fact, Sairat is a grim and stark reminder to Hindi cinema that it has lost simplicity in its plots, which has been an integral part of its long tradition.
It is also reminder of the what ace film director Satyajit Ray, whose ever-so-relevant works serve as a window to a world where 'subtle' and 'restraint' expressions convey deeply-felt observations of human existence, once said, "In order to be universal, one has to be intensely local." Though not strictly local, the film becomes universal only when it makes us realise that even after the couple survive the challenges of existence and eke out a living, their parents' love for them is not enough and strong to overcome the deep-seated caste conditionings. In presenting this, the director does not offer us a new ending. It is because there is no 'new' end to such stories.
विदर्भातील झाडी, वऱ्हाडीखेरीज विश्वकोषीय मराठीची अनेक रुपे आहेत. अहिराणी, आगर, खान्देशी लेवा, चंदगडी, पोवारी, कोहळी, तावडी, मालवणी, वाडवळी, सामवेदी, संगमेश्वरी Ahirani, aagar, khandeshi leva, chandagadi, powari, kohali, tavadi, malavani, vadavali, samvedi, sangameshwari यांचा उल्लेख बरेचदा होतो. आदिवासी प्रदेशातही कोरकू, गोंडी, माडिया खेरीज कातकरी, कोकणा, कोलामी, देहवाली, परधानी, पावरी Koraku, gondi, madiya, katkari, kokana, kolami, dehvali, pardhani, pavariअसे उपभाषा प्रकार आहेत. भिलालांची निमाडी, मथवाडी, मल्हार कोळी, मावची, मांगेली, वारली, हलबी, ठाकरी, ‘क’ ठाकूरी, ढोरकोळी, ‘म’ ठाकूरी Nimadi, mathvadi, malhar koli, mavachi, mangeli, varli, halbi, thakari, k thakari, m thakariहे त्यांचे आणखी काही प्रकार. भटक्या-विमुक्तांचा संवाद आणखी वेगळा. त्यात सांकेतिक बोलींचा समावेश आहे. कुचकोरवी, कैकाडी, कोल्हाटी, गोरमाटी, गोल्ला, गोसावी, घिसाडी, चितोडिया, छप्परबंद, डोंबारी, नाथपंथी डवरी, नंदीवाले, पारोशी मांग, पारधी, बेलदार, मांग गारुडी, वडारी, वैदू Kuchkoravi, kaikadi, kolhati, gormati, golla, gosavi, ghisadi, chitodiya, chhapparband, dombari, nathpanthi davari, nandivale, paroshi mang, paradhi, beldar, mang garudi, vadari, vaidu या बोलींचे रंग निश्चितच भाषेचा ओलावा वाढविणारे असतील.
पूर्व विदर्भाशिवाय दुर्गचा परिसर, मध्यप्रदेश, आंध्र आणि तेलंगणाच्या काही भागातही या बोलीचा विस्तार आढळतो. पूर्व विदर्भालगतच्या भागात आधी ८० टक्के झाडीबोली होती. प्रमाण भाषांमुळे बोलीचे महत्त्व हळुहळू लोप पावले. त्यातील शब्दांच्या गमतीजमती अनेक आहेत. कोंडणे म्हणजे बंद करणे. कोंडारणे या मूळ झाडीबोलीतील शब्दामुळे तो रूढ झाला असे सांगितले तर आश्चर्य वाटेल. बोलींमधील श्रमविभागणी व्यापक असल्याचे तथ्य अभ्यासाअंती पुढे येते. साधारणतः गुरे राखणाऱ्यांना गोपाल हा शब्द संस्कृत किंवा हिंदीत येतो. झाडीबोलीत गायी राखणाऱ्याला गायकी, म्हशी राखणाऱ्याला म्हसकी आणि गुरे राखणाऱ्याला ढोरकी असे वेगवेगळे शब्द आहेत. अशी वाटणी शेतातील कामांवरून देखील आढ‍ळते. धानाची म्हणजे भाताची शेती पूर्व विदर्भात होते. तिथे शेतात भाताचे रोप लावण्याच्या क्रियेला रोवणी म्हणतात. पाणी भरणाऱ्याला पानकर, पेंड्या टाकणाऱ्याला पेंडकर अशा पोटशब्दांची यादीही दिसते. प्रमाण भाषेपेक्षाही बोली अशा वैविध्याने नटल्या आहेत. संस्कृत आणि झाडी या समकालीन भाषा असल्या तरी संस्कृतपेक्षा झाडी जुनी असल्याचा दावा अभ्यासक हरिश्चंद्र बोरकरांनी केला होता. मराठीपेक्षाही झाडीबोलीची Jhadiboli ज्येष्ठता सिद्ध करण्याची तयारी त्यांनी दर्शविली होती. मराठी बोली साहित्य संघाचे ते अध्यक्ष आहेत. यंदा जानेवारीतील संमेलनाचा समावेश केला तर झाडीबोली साहित्य मंडळातर्फे २४ झाडीबोली संमेलने घेण्याची कामगिरी झाडीबोली चळवळीच्या नावावर नोंदली आहे. भरीव शासकीय मदतीविना चालणाऱ्या अशा तळमळीला दाद द्यायला हवी.
झाडीबोलीत रुळलेला आणखी एक शब्द म्हणजे बेंडवा. रात्री ज्या टोपल्यात किंवा वेताच्या कमानीत कोंबड्यांना एकत्र केले जाते, तो बेंडवा. प्रमाण मराठीत त्याला कोंबडीघर म्हणता येईल. बोलींना बेंडू नका, त्यांना मुक्त करा ही साद अनेकदा दिली जाते. त्यातील बेंडणे या बेंडव्यातून आले असते. पूर्व विदर्भात माडिया, गोंडीचा संकर आहे मेळघाट परिसरात कोरकूचा प्रभाव आहे. कोवे कोवे कुई कुई, नीवा तोकतकु पालनेई... म्हणजे काय? बालपणी एक बडबडगीत अनेक शाळांमधून शिकविले जायचे, बंदर बंदर हुप, तुझ्या शेपटीला तूप. या ओळींचे माडिया रुपांतर म्हणजे कोवे कोवे. लोकगीतांमधील सहजता अशी असते. भावले ते स्वीकारले अशी भावना त्यामागे असते. ही स्वीकारार्हता सहजतेने बोलींमध्ये संक्रमित झाली तर लिपींमध्ये येऊ न शकलेले मोठे 'घबाड' गवसेल. 'चिऊ ये, काऊ ये, दाना खा, पाणी पी, भुर्रकन उडून जा' अशा गोष्टी कुठल्याही पुस्तकात नसतात. पिढीजात कथनातून झिरपलेले हे अस्सल वाङ्मय फक्त प्रमाण भाषांमध्येच असते असे नाही. 'कोवे कोवे कुई कुई' ची दखल महाराष्ट्र राज्य शैक्षणिक संशोधन व प्रशिक्षण परिषदेने आदिभारती-माडिया –गोंडी या शिक्षकांसाठी काढलेल्या हस्तपुस्तिकेत घेतली आहे. अगदी पहिलीच्या मुलांसाठी माडिया गोंडीतून काढलेले पुस्तक म्हणजे आदिभारती. खूप छान, फारच उत्तम अशा वेगवेगळ्या विशेषणांनी मराठीतील अर्थ ध्वनित करता येतो. माडियात मात्र त्यासाठी बेस हा एकच शब्द आहे. लई बेस हा त्याचा अलीकडील ठाशीव ग्रामीण अविष्कार. माडिया गोंडीत वेल्हे वेल्हे म्हणजे लवकर लवकर. हाटुम म्हणजे बाजार. हा बाजारहाटशी संबंधित शब्द आहे की काय याची कल्पना नाही. असे अनेक शब्द नागपुरी, कुडाळी, भिल्लीतही Nagpuri, kudali, Bhilliअसतील.
फक्त बोली नव्हे पालीही वाढली पाहिजे. सर्वच भाषांमध्ये संशोधन व्हायला हवे. त्यासाठी ग्रामीण भाग पालथा घालायला हवा. डॉ. गणेश देवी यांचे कार्य यादृष्टीने खूप मोठे आहे. विदर्भ संशोधन मंडळाची स्थापना १९३४ मध्ये झाली. नव्या मराठी राज्यात भाषा संशोधनाचे काम जोमाने व्हावे आणि विदर्भासाठी तसे स्वतंत्र खाते असावे अशी अपेक्षा ज्येष्ठ साहित्यिक ना. रा. शेंडे यांनी विदर्भ साहित्य संघाच्या १९६० मध्ये झालेल्या संमेलनाच्या अध्यक्षपदावरून व्यक्त केली होती. परकीय भाषांची भेसळ आपल्याला चालते. रेडिओ मिर्ची हा शब्द खासगी संगीत वाहिनी म्हणून आपण स्वीकारला. रेडिओ या इंग्रजी शब्दासोबत हिंदीतील मिर्ची जोडली जाते. लोकप्रिय होते. हिरोती उपेक्षितच राहते. वस्तुस्थिती तशी झोंबणारी आहे. एकमेकांच्या बोलींना हिणविण्यापेक्षा मराठी उन्नत करायला हवी. मध्यंतरी अमरावती विद्यापीठाने कवी विठ्ठल वाघ यांच्या नेतृत्वात प्रादेशिक भाषांमधील म्हणी, वाक्प्रचार शोधून काढण्याचा प्रयत्न केला. अन्य विद्यापीठांपर्यंत ती चळवळ पोहोचली नाही. गावांकडे चला, बोलींकडे वळा अशी घोषणा देऊन बोलींचे उत्खनन झाले तर मायमराठी अलंकृत होऊ शकेल.
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What is a heroti? Because if you do not know the meaning of the question asked. The diamond aspect should be brought to a tool used to carry a person that tarkata run. Basically, the word is likely to hirotisi sadhyarma Marathi chili powder. Chili powder and dried chillies that makes it. This jhadibolitila word hero. This also means that the hot question is not perfect. The taste is hot. Hirotila cakkituna Broken and ground pepper will say. This is the name of the hero. Hot that adjective. Synonyms can not be sweet jaggery. As hirotica means will not be hot. Next comes a lot of interesting information about the dialect of the study.
Vidarbha trees, there are many silver varhadikherija visvakosiya craving. Mentioned Ahirani, Agar, khandesi leva, candagadi, Powar, pumpkin, Dias, Malvan, vadavali, Sama Veda, was quite sangamesvari. Korku tribal Pradesh, Gondi, media and Katkari, Konkan, kolami, dehavali, paradhani, the power of the Doric style. Bhilalanci Nima, mathavadi, Malhar Koli, mavaci, mangeli, died, halabi, Thackeray, 'C' Thakur, dhorakoli, 'm' Thakur and some of their type. And another bum-vimuktanca dialogue. Including indicative mum. Kucakoravi, Kaikadi, acrobat, goramati, Goldie, Vice, smith, citodiya, slater, contortionist, nathapanthi davari, nandivale, Parola demand, Fowler, suppressed demand snake charmers, Vdara, charlatan or language will certainly raise the moisture mum color.
East vidarbhasivaya remote area of Madhya Pradesh, Andhra Pradesh and Telangana find this bid to expand some areas. East vidarbhalagata before the area was jhadiboli 80 percent. Rate the importance of the elimination of steps gradually bhasammule bid. There are many words in the gamatijamati. Cage is shut. Kondarane be surprised if he said that it was customary .That original jhadibolitila. The fact is that bolimmadhila sramavibhagani extensive further study. Cattle usually comes from Sanskrit or Hindi word Gopal had happened. Jhadibolita rakhanaryala singing cows, buffaloes and cattle are various words that rakhanaryala mhasaki rakhanaryala dhoraki. The division can also be found in the field kamanvaruna. Paddy rice cultivation is the former Vidarbha. There is action to pierce the dictate of the rice plant in the field. Water bharanaryala panakara, pendya takes pendakara seems list of potasabdanci. Bhasepeksahi bid rate are such diversity natalya. Although the trees are contemporary Sanskrit and Sanskrit scholar than was claimed Harishchandra borakaranni old trees. He was offered to prove marathipeksahi jhadibolici seniority. Marathi Sahitya Sangh bid to have the president. If the meeting is in January this year, including the performance of the 24 Board Meetings jhadiboli jhadiboli material is recorded in the name of jhadiboli movement. Should heed such a passion that followed massive government madativina.
Another word is unaccustomed jhadibolita Bend. The night is topalyata or chicken with bamboo kamanita, he Bend. Marathi kombadighara rate can be said to him. Do not bend dialect, is often given to them free of Saad. This might have been the bendane bendavyatuna. East Vidarbha Madia, gondica is a hybrid effect is korakuca Melghat area. Covey Covey Cui Cui, Neva tokataku palanei ... What? Childhood taught in many schools to go from a badabadagita, monkey monkey hoop, you tailed ghee. Media conversion lines of Covey Covey. Simplicity is the lokagitammadhila. Had to be accepted that such a feeling. The admissibility of the heart and not be so easily mum was infected in lipim 'windfall' gavasela. 'Chiu, the cow, the grain and eat, drink water, go away bhurrakana' book are not any such things. It is not just the quantity of genuine literature ancestral kathanatuna jhirapalele bhasammadhyeca. "Covey Covey Cui Cui 'notice of the state of Maharashtra is the manual for teachers drawn from this Council of Educational Research and Training adibharati-media gondi. The first book is drawn even children Madia gondituna adibharati. Very nice, can be very good implied meaning in Marathi such different visesananni. However, there is only one word for it madiyata base. LI rural base of his recent thasiva invention. Madia gondita Velhe Velhe that early. Hatuma the market. This is not aware of what the word is related to shopping. Many words Nagpuri, Kudal, the bhillitahi.
Not only bid should be increased to Pali. Research should be in all languages. The air blow through the rural part. DR. Ganesh Devi's work is so great about. Research was founded in 1 9 34 wheels. It should be a separate account in the new language Marathi freshly research work for the state and expects the senior literary Vidarbha not. Ra. Shende had expressed the president's meeting with the team in the 1 9 60 wheels literature. We carried out the adulteration of foreign languages. Private music channel Radio Mirchi as you accepted the word. Radio Mirchi Hindi or English sabdasobata is added. Was popular. Hero remains upeksitaca. The fact that, as is trenchant. Hinavinya than one dialect of Marathi should be advanced. Pending regional languages sayings, led by the poet Vithal Wagh Amravati University, tried to find a phrase. Other vidyapithamparyanta that movement is not reached. Let gavankade, bolinkade
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It's not the language of money alone that makes Maharashtra rich. When the western state speaks, it does so in 38 different tongues and more, making it one of the most linguistically wealthy places, according to a recent language survey.
The results of People's Linguistic Survey (PLSI), a community-driven documentation of Indian languages by Vadodara-based Bhasha Research and Publication Centre, will be out in August. And Maharashtra scores pretty well with its tally of 12 varieties of Marathi and 38 other languages spoken by adivasis, tribals, nomadic tribes and denotified communities.
"Maharashtra ranks fairly high in the per capita language rate, which is much above that of the Hindi belt, West Bengal, Tamil Nadu and Andhra Pradesh," says Ganesh Devy, award-winning writer and chairperson of PLSI. Hindi, Bengali and Telugu have more speakers than Marathi. However, Hindi-speaking states have space for only 30 more languages while West Bengal has 26 and Andhra Pradesh has 18 more tongues. The topper is Arunachal Pradesh, which has more than 90 languages, followed by Assam and Orissa.
The survey was meant to get a snapshot of India's linguistic heritage based on data from the last two years. The researchers identified and documented 790 languages, some of which were earlier categorised as dialects.
According to Devy, Maharashtra was able to keep alive most of its languages, especially the ones that didn't make it to the government census, because of the absence of large-scale invasions in the 18th and 19th centuries. "The peasantry could live without fear of plunder unlike in other states. When the speakers survived, the languages also remained," says Devy, winner of UNESCO's Linguapax Prize in 2011.
Unlike in Arunachal Pradesh, where Hindi is replacing many of the local tongues, Maharashtra has seen Marathi helping in the sustenance of languages spoken by small communities. "The growth of Marathi, ever since rural and Dalit writers started contributing in the 70s, has been dependent on a greater recognition of the identity for languages like Pardhi and Keikadi. This has given the languages a cultural self-confidence," says Devy, who is from Pune.
The Maharashtra-leg of the survey, which had 80 contributors, found out that the rapid urbanisation changed the styles and rhythms of spoken Marathi. "This migration (to Western Maharashtra) has made Marathi more responsive to grammatical flexibility," says Devy.
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A bid to preserve the heritage of local dialects in the region has begun with the launch of a project to record and produce a dictionary of the local Marathi dialect spoken by East Indians in the Mumbai region.
The project is being undertaken by the Mumbai Gaothan Panchayat, an organization formed to promote the interests of the people living in traditional gaothans (villages). Panchayat leader Gleason Baretto said the dictionary will be in Marathi and English and will serve to preserve the language of the region.
The East Indians, the local Christian community along with other Hindu communities, constitute the earliest inhabitants of the region.
One of the organizers of the project, Prem Moraes, said several teams will work on the dictionary."We will take into consideration the various types of Marathi spoken by the different communities in the region. We know that the Marathi spoken in Bandra is different from the Marathi spoken in the gaothans in Marol, and will make allowances of it,'' he said.
Reacting to the move to preserve the heritage of the region, head of the Head of history department of St Xavier's College Fleur D'Souza commended the project.. "Dialects are disappearing all over the country and the globe and this effort will go a long way in instilling a sense of pride in the local community and an interest in their language. Many people have stopped using the language,'' she said.
Prof D'Souza said that care should be taken when implementing the project by consulting experts in the field so that the research can be conducted in a professional manner. All the cross-cultural trends which influenced the Marathi dialect should also be taken into consideration, she said.
Film documentary maker Luke Mendes who has done work on western region cultures said that it was important to have a broad-minded approach to the project. The main language spoken in the Mumbai region was 'Kokni' which is spoken in the Konkan region in different ways. While this is similar to popular Marathi in many ways it is also different as the region had a distinct cultural identity for a long time before the state of Maharashtra came into being in the 1960's.
Mendes said the Kokni spoken in the region has influences from other cultures as well. Apart from Sanskrit it has been influenced by Portuguese during the time the city was ruled by the Portuguese. Prem Moraes said the project should be ready by next May and will be put up on the community website.
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As a couple of home ministry circulars seeking to promote use of Hindi in office work and official social media accounts elicit angry reactions from regional satraps, statistics show that while Hindi remains the most spoken mother tongue in the country, the percentage of those listing other scheduled languages as their mother tongue is almost 59%.
As per the 2001 census, around 42.2 crore people listed Hindi as their mother tongue, of which 25.79 crore spoke Hindi in its pure form, and another 16.41 crore in 49 mother tongues similar to Hindi. Overall, around 41.03% of the population declared Hindi or its sub-groupings as its mother tongue. As for other scheduled languages, Bengali was the most spoken mother-tongue after Hindi (with 8.11% of the country's population citing it as their mother tongue), followed by Telugu (7.19%), Marathi (6.99%), Tamil (5.91%) and Urdu (5.01%).
Importantly, barely a dozen states - including Uttar Pradesh, Madhya Pradesh, Bihar, Chhattisgarh, Rajasthan, Uttarakhand, Himachal Pradesh, Haryana, Delhi and Jharkhand - had a majority of their population listing Hindi as their mother tongue.
While the percentage of those citing Hindi as their mother tongue has steadily grown since 1971, most other scheduled languages have seen a decline in speakers as a percentage of the population. The percentage of Hindi-speaking people in the total population grew from 36.99% in 1971 to 38.74% in 1981 and 39.29% in 1991, before touching 41.03% in 2001. However, Bengali-speaking population fell marginally from 8.17% in 1971 to 8.11% in 2001, Telugu speakers from 8.16% to 7.19%, Marathi speakers from 7.62% to 6.99%, Tamil speakers from 6.88% to 5.91% and Urdu-speaking population from 5.22% to 5.01% over the corresponding period.
Among the 22 scheduled languages that have seen a rise in percentage of population listing them as mother tongues are Punjabi (from 2.57% in 1971 to 2.83% in 2001), Maithili (from 1.12% to 1.18%), Kashmiri (0.46% to 0.54%) and Nepali (0.26% to 0.28%).
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When was the last time a Marathi film was covered extensively in English media? When was the last time a theatre showed a Marathi film as late as 3 am (in Satara, Maharashtra)? When was the last time one heard that a Marathi film right after few weeks of its release caught the fancy of film-makers across languages and if reports are to be believed, it will be remade in all four South Indian languages besides Gujarati and Hindi? Also when was the last time we heard a Marathi film getting released in Kerala and Chennai? Lastly when was the last time a Marathi film ran for six straight weeks (it is still running in theatres with shows throughout the day)? Such has been the frenzy of the Marathi film Sairat (loosely put Wild).
The film is getting wilder and wilder and just like the teenagers in the film, it has broken norms related to regional cinema and not conformed and constricted to its geography if one takes into account its all-pervaded acceptance. So, what exactly has worked for the film? Most importantly, why it has worked so well with the non-Marathi audience even after six weeks of its release? To understand this, one needs to understand the various ideas which were thoroughly executed in the film.
Sairat is a perfect confluence of what is familiar and what is personal. The demarcation is conspicuous when the plot of the film is juxtaposed with seething symbolism and personal truths that expose our deep-seated violent, inhuman and destructive conditionings. In large sense, it caters to both an aesthete of cinema and escapist consumer of cinema in Marathi and non-Marathi audiences.
The personal truths
The most striking feature of Sairat is its treatment. It is not just a love story of an oppressed caste boy and a high caste girl. It is much more than that. It is the evocativeness in the treatment of the story and it is largely due to the film's director. In most films based on caste politics, social oppression and injustice there is high likelihood that the filmmaker would be from upper caste who would present an outside-in picture of the story. But since the director of the film Nagraj Manjule himself being of the same caste as the protagonist, there is touching authenticity and depth to the narrative. Piyush Roy, a film historian with University of Edinburgh says, "After a long time I have seen a film on people from oppressed caste by a person from the same caste. This gives a startling honesty and evocative depth to the narrative. It gives an inside-out perspective on the regressive social mores of our society."
Besides this, there are five critical overarching elements of the film that have worked with non-Marathi audience. First, it is the credible and realistic performances of the characters of the film. Since the young protagonists—the boy and the girl and their friends have been from chosen from small villages it gives emotional credibility and authenticity in the way they have performed. None of these actors are trained, which makes the film look fresh. Roy of University of Edinburgh says, "Love stories always work with fresh faces. Acceptance is high when a lover story is conveyed through fresh faces. In case of Sairat, it is not the fresh faces but also their performances which make them endearing. It is like Alankara rasa. If the person is not attractive no amount of embellishments would make her look attractive. In Sairat, it is the performances of the actors which enhance their attractiveness."
Second, it is the truthful depiction of characters and their interactions and their language reflect an innate genuineness which resonated with the non-Marathi audience. Archie's confidence is rooted in her caste and so is Parshya's shyness. But her confidence is adequate enough for us to not to dub her as arrogant. She can be a true fantasy of rural and semi-urban men. She is not a feminist, she is not a rebel but she is clear-headed and assertive. This makes her accessible to non-Marathi audience. Even the raw emotional moments in the film are quite identifiable. The ways in which Archie and Parshya express their love, meet in fields, and the way Parshya's friends dance when Archie calls Parshya are all relatable. Also the language of the film is quite rooted in its milieu. These scenes are not for gimmick. There is a striking authenticity in which Archie speaks in Telugu and the scene in which she returns to Parshya after a disturbing fight with him shows the depth and the mettle of the two actors.
There is a great deal of contemporariness in which the film's director presents characters and their interactions and their surroundings. The village shown in the film is very accessible and contemporary. It is not a typical village of cow dung and no electricity. One sees characters with mobile phones. It is a 2016 village. This genuine portrayal has worked with the non-Marathi audience. There is realism and subtlety in the reasons for the fights and the director has reined in their tiffs to such an extent that they don't seem plain melodramatic and ugly. This makes the love story pre-and-post interval genuine and real.
The film's director has also kept in mind the coherence in the narrative to a large extent. He has kept in mind to practicality of situations also. In scenes where Archie gets jewellery from her home before she elopes and their friends decide not got along with them to Hyderabad show that the director has kept in mind realities in mind.
Thirdly, it is symbolism in the film that numbs us and makes us think. The juxtaposition of the rise of Archie's new domestic life with the fall of her father's political career, the use of sunny and captivating daylight in open spaces in the first half of the film and the dark and claustrophobic feel of the second half of the film, the swift editing in depicting leap of time (from teenage love to real world), and the climax shot which shows through the child the kind of future we are giving to the posterity are not just fertile and intellectual imagination of the director, They are the unhealed wounds which may not show any mark on the surface but are continually felt in interactions with the society. It also shows that villages and villagers have progressed in materialistic and infrastructural sense but they continue to cling to their deep-seated prejudices. The non-Marathi audience could identify with these facts.
Also it is the subtitling of the film which has worked with non-Marathi audience. Roy of University of Edinburgh says, "The film's subtitles are quite in sync with the emotions of the characters. The makers have given close attention to subtitles keeping in mind non-Marathi audience. Even the subtitles of the songs played in the film are in sync and one gets the poetry of the song quite well. They express emotions quite well for non-Marathi audience." Lastly, the music and the background score of the film plays a crucial in making narrative of the film serves both commercial and aesthetic purposes.
Besides, the aforementioned realistic elements in Sairat which have made non-Marathi audience love and appreciate, there are certain commercial elements the directly intelligently weaved into the story. Ashok Rane, a veteran film critic and historian observes, "It is the packaging of the film that has worked for Hindi viewers. It packages the commercial entertainment elements required to make viable love story and the popular images which pan-India Hindi audience is used to watching in a typical teenage love story. Just like taste buds, Hindi audiences are used to certain kind of presentation of love stories. The director has catered to those notions and perceptions in an intelligent way." He adds, "The first half of the film is kept breezy and light. The second half is realistic. So one gets engaged in the first half and then gets a realistic experience in the second half. This has worked well in bringing in audiences to the theatre."
Keeping these commercial imperatives in mind, the director has also not sacrificed on entertainment and message quotient. One enters the theatre with anticipation of a good entertainment and comes out numbed. Till the last scene of honour killing, the film hardly makes one realise that it would end in honour killing. Also one is not constantly reminded about the castes of the boy and the girl throughout the film once the director has established it. This shows how the director did not get away from the message of the film even though it so personal to him.
It is also the time at which the film has released that has worked for the film. When was the last time did one see a well-made and engaging love story especially a teenage love story in Hindi cinema? A few moments of thinking and one realises that it was long ago. In its quest for depth and complexity in narratives, Hindi cinema, it seems to have lost its own idiom of filmmaking. In the past decade or so, there have been very few Hindi films which have shown presented a fresh treatment of old themes such as love story. Just like Qayamat Se Qayamat Tak in the 1980s, Sairat has come at a time when the audience has been deprived of such simplicity of plots and narratives. In fact, Sairat is a grim and stark reminder to Hindi cinema that it has lost simplicity in its plots, which has been an integral part of its long tradition.
It is also reminder of the what ace film director Satyajit Ray, whose ever-so-relevant works serve as a window to a world where 'subtle' and 'restraint' expressions convey deeply-felt observations of human existence, once said, "In order to be universal, one has to be intensely local." Though not strictly local, the film becomes universal only when it makes us realise that even after the couple survive the challenges of existence and eke out a living, their parents' love for them is not enough and strong to overcome the deep-seated caste conditionings. In presenting this, the director does not offer us a new ending. It is because there is no 'new' end to such stories.
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