Dashavtar review: A gently woven story of love, faith, revenge and sacrifice

In the heart of the Konkan, Dashavtar weaves a compelling story of a father's artistic passion, his son's struggle with corruption, and the deep-rooted power of folklore and belief.

The Konkan from my memories is this - tall coconut and betel nut trees, wild boar as a delicacy, typical Konkan wadas and the spiritual beliefs of the locals. As much as I have enjoyed plucking mangoes and cashew fruits straight from the trees during the days, the night has brought terrifying yet intriguing tales of the Rakhandar. Ask me what I remember the most and I will say the endless supernatural stories that would dominate the post-dinner talks. So when sitting in the theatre watching the movie, nostalgia was a core element.

Dashavtar showcases this side of Konkan and much more. The iconic Dashavtar theatre, where a local troupe performs stories from Indian epics - ranging from the Ramayana to the Mahabharata - on auspicious days each year, is an integral part of the story. Babuli Mestri, the film's lead character, is a veteran artist from the village of Dongarpatta, famous for his involvement in this tradition. Despite his declining health and worsening eyesight, Babuli refuses to give up his passion for performing. His son, Madhav, struggles with his father’s stubbornness while also facing his own challenges with career and livelihood. The story then takes a turn and gets dark but interesting.

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If you're unfamiliar with the concept of Rakhandar, here's a quick explanation. In Konkan folklore, Rakhandar (or Rakhno) is a mythical protective spirit, often depicted as a towering figure with a wooden staff and sometimes chains around his feet. He is believed to safeguard villages, their residents and their property. In Dashavtar, the village reveres the local guardian spirit, Katloba. It will remind you of Bhuta Kola from Kantara. It’s a similar belief system seen across the Konkan belt, from Maharashtra to Karnataka. 

The movie delves into many critical issues: the realities of rural life, the lack of job opportunities, the exploitation of forests for mining, and the widespread corruption in society. There are several scenes that stand out, but for me, the boat scene with Babuli and the Matsya Avatar in the water is breathtaking. Cinematographer Devendra Golatkar deserves special mention for delivering stunning visual sequences that beautifully capture the essence of the Konkan region. A.V. Prafullchandra’s music stands out, with songs like Aavshicho Gho and Rangpooja, the latter managing to give me goosebumps. It’s the background score that particularly elevates the emotional tone of the film. However, the song at the Hanuman Jayanti performance just before the climax is a complete mismatch and I wish it conveyed the intensity of the scene.

Watch the trailer here!

Subodh Khanolkar’s story, while not revolutionary, offers a fresh take in the climax, where the villagers, disguised as theatre actors, take matters into their own hands. Though the screenplay is fairly predictable at times and lacks some shock value, the revenge drama remains gripping. Guru Thakur’s dialogues are functional, though they don’t leave a lasting impact.

At 80, veteran actor Dilip Prabhavalkar has once again stunned the audience with his performance. His ability to showcase child-like mischief, varying emotions through his stage performances and sharp wit is simply mesmerising. Having already delivered iconic roles like Gandhijiin Lage Raho Munna Bhai, Nanduin Chaukat Raja, Inamdar Bhusnale in Pachadlela, and the evil Tatya Vinchu inZapatlela, this performance stands as another testament to his extraordinary range. I have a soft spot for Mr. Prabhavalkar since he was the very first actor I saw live on stage as a child and stood outside his dressing room for my very first autograph.

Siddharth Menon strikes a perfect balance between the Malvani-Konkani dialect and the generational shift in his role as Madhav. His portrayal of a concerned and conflicted son is both relatable and touching. Priyadarshini Indalkar, as Vandana, shines in the romantic scenes but doesn’t quite make an impact in her more dramatic moments. Mahesh Manjrekar and Bharat Jadhav, unfortunately, don’t bring anything new to their characters, and their presence feels like a distraction from the plot. However, Ravi Kaleas Aaba Tandel (the sarpanch),Sunil Tawde as Hawaldar Janardan Parab, and Aarti Wadagbalkaras Constable Ujwala Sawant deliver solid performances that add depth to the story. The biggest surprise, however, is Vijay Kenkre, who takes on the role of the antagonist and does so with surprising conviction.

The story is strong but the execution could have been more polished and the narrative could have been tighter. While the film manages to excite the audience, it falters slightly in the climax, failing to maintain the same level of intensity. That said, Dashavtar is a testament to the resilience of Marathi cinema as it slowly climbs out of the shadow of the pandemic, delivering stories that are both engaging and worth the audience's time and money.

Dashavtar is playing in theatres near you!

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