Atul Parchure, Renowned Marathi Actor, Dies at 57 After Battle with Cancer

Mumbai, October 14, 2024: Atul Parchure, a prominent name in both Marathi and Hindi film industries, passed away at the age of 57 after a prolonged battle with cancer. Parchure, known for his comedic brilliance and impactful performances, left a lasting legacy in Indian cinema, television, and theater. He passed away in Mumbai, where he was undergoing treatment.

Early Life and Rise to Fame in Marathi and Hindi Cinema

Atul Parchure was born on November 30, 1966, in Mumbai, Maharashtra. His love for the performing arts began early, leading him to pursue a career in theater before transitioning to films and television. He became a household name due to his remarkable ability to bring characters to life with humor and depth, especially in Marathi cinema.

His stage performances in plays like “Vasu Chi Sasu,” “Priyatama,” and “Tarun Turk Mhatare Arka” were well-received, showcasing his talent as a versatile actor. Parchure’s rise to fame continued as he made a successful transition into films, both in Marathi and Hindi cinema.

Bollywood Success and Memorable Comedy Roles

Atul Parchure’s comedic timing was legendary, and he brought that unique skill set to Hindi films. Some of his most notable performances include roles in popular films like “Navra Mazha Navsacha,” “Salaam-E-Ishq,” “Partner,” “All the Best: Fun Begins,” “Khatta Meetha,” and “Bbuddah… Hoga Terra Baap.” His effortless ability to switch between dramatic and comedic roles made him one of the most beloved actors in both industries.

Television Stardom with “Jaago Mohan Pyare” and Awards Recognition

Parchure’s talent was not confined to the big screen; he was equally beloved on television. His performance in Zee Marathi’s hit show “Jaago Mohan Pyare” alongside Supriya Pathare and Shruti Marathe earned him widespread recognition. Parchure portrayed the protagonist, Mohan, with finesse, making the show one of Zee Marathi’s most popular series. He reprised his role in the sequel, “Bhago Mohan Pyare,” further cementing his place in Marathi television history.

For his outstanding work in the serial, Parchure was awarded the Best Actor and Best Comedy Character awards at the Zee Marathi Utsav Natyancha Awards 2019, a testament to his wide-ranging talent and audience appeal.

The Battle with Cancer and Untimely Death

Atul Parchure’s vibrant career was tragically cut short when he was diagnosed with cancer. Despite his battle with the disease, Parchure continued to work in the industry until his health worsened. He passed away on October 14, 2024, leaving behind a grieving film fraternity and countless fans.

The news of his passing has left the entertainment industry in mourning, with tributes pouring in from colleagues, friends, and fans who remembered him as a talented actor and a kind-hearted individual.

Atul Parchure’s Lasting Legacy in Indian Cinema

With over three decades of work across films, television, and theater, Atul Parchure’s legacy as a comedic genius and versatile actor will endure in Indian cinema. He not only made people laugh but also inspired future generations of actors with his dedication to the craft.

His contribution to Marathi and Hindi entertainment, particularly in comedy, has been profound. Atul Parchure’s performances continue to be celebrated by audiences who cherish the roles he played throughout his life.

Atul Parchure’s passing marks the end of an era for Marathi and Hindi cinema. His battle with cancer may have ended his life prematurely, but his legacy will live on through his memorable work. He will be fondly remembered as one of the most talented and cherished actors of his generation.

Saripodhaa Sanivaaram (transl. Is Saturday Not Enough), directed by Vivek Athreya, is a 2024 Telugu-language vigilante action thriller that promises adrenaline-fueled action while touching upon themes of anger, justice, and redemption. Starring Nani, S. J. Suryah, and Priyanka Mohan, the film is a stylish blend of mass masala entertainment and emotional depth, making it a unique entry into the vigilante genre.

Plot Overview: The story follows Surya (Nani), an insurance agent grappling with deep-rooted anger issues since childhood. Adhering to a promise made to his late mother, he only channels his fury on Saturdays. This peculiar rule leads to a complex double life as Surya becomes a Saturday vigilante, exacting justice on wrongdoers every week. His path eventually crosses with CI Daya (S. J. Suryah), a corrupt, sadistic police officer whose oppressive reign over the town of Sokulapalem sets up an explosive conflict.

Surya’s personal turmoil, especially his relationships with his estranged sister Bhadra and childhood love Kalyani (now Charulatha, played by Priyanka Mohan), weaves emotional layers into the otherwise action-heavy narrative. As Surya battles personal demons, family issues, and systemic corruption, the film balances vigilante justice with more introspective moments.

Performances: Nani shines in his role as Surya, delivering a grounded yet intense performance. His portrayal of a man torn between family obligations and his desire for justice is compelling. Nani brings out Surya’s vulnerability, making his moral struggles relatable to the audience. S. J. Suryah, as the menacing Daya, is equally impressive. His character’s sadistic nature adds tension to the film, and Suryah’s screen presence keeps the audience engaged. Priyanka Mohan, though playing a more restrained role, adds emotional weight to the story as Charulatha, Surya’s love interest and ally.

Direction and Writing: Vivek Athreya’s direction elevates Saripodhaa Sanivaaram from a simple action flick to a nuanced character study. His decision to explore Surya’s psyche—how he compartmentalizes his rage and violence to a single day each week—adds depth to an otherwise conventional revenge drama. However, at times, the narrative gets bogged down by its own complexities, especially in the middle act, where the film loses some of its momentum.

Athreya also deserves credit for tackling themes like anger management, familial estrangement, and the impact of systemic corruption. The screenplay cleverly balances action with moments of levity, particularly through Sankaram, Surya’s father, who becomes a key figure in the vigilante’s journey.

Action and Technical Aspects: The action sequences in Saripodhaa Sanivaaram are a highlight. Well-choreographed and intense, they fit naturally into the storyline without feeling overly exaggerated. Cinematographer Murali G.’s work enhances the gritty, urban setting, and the tight editing by Karthika Srinivas keeps the pacing brisk during the action scenes. The film’s climax, in particular, delivers a satisfying showdown that brings together the film’s various threads.

Jakes Bejoy’s music amplifies the emotional and action beats of the film. His score effectively complements the tension, though the soundtrack itself, featuring a mix of peppy and intense numbers, might not stand out as much.

What Works:

• Nani’s performance: As Surya, Nani brings emotional gravitas to a role that could have easily been one-dimensional.
• S. J. Suryah’s antagonist: His portrayal of Daya is chilling, adding an unpredictable edge to the film.
• Action scenes: The violence is intense but purposeful, fitting well with the film’s vigilante theme.

What Doesn’t:

• Pacing issues: Some segments, particularly in the middle, could have been tighter to maintain the film’s momentum.
• Emotional depth: While the film tries to delve into Surya’s personal struggles, the emotional beats occasionally feel underdeveloped in comparison to the action.

Final Verdict: Saripodhaa Sanivaaram is a gripping vigilante drama that rides high on Nani and S. J. Suryah’s stellar performances. Although it has pacing issues and some emotional gaps, the film’s intense action and unique premise make it a worthwhile watch for fans of action-thrillers. Vivek Athreya’s smart writing and direction offer a fresh take on vigilante justice, balancing brutality with introspection. Overall, it’s an engaging, well-executed thriller with enough mass appeal to satisfy a wide audience.

Rating: 3.5/5

Ajay Devgn has moved on to his next project after his film Auron Mein Kahan Dum Tha, which starred Tabu for the eighth time, received mixed reviews. A short while ago, there was a lot of excitement about rumors regarding the Son of Sardaar sequel, a comedy movie from 2012.

The action comedy has begun filming in the United Kingdom (UK) with the addition of new cast members, including Mrunal Thakur, and the retention of some actors from the prequel, including Sanjay Dutt. The Bollywood actor made the announcement on his social media platform.

As the movie prepares to start filming in the UK, Ajay Devgn announced the “muhurat” of the picture on social media. He posted a video on Instagram on August 6th, in which the celebrity first goes to a Gurudwara to ask the Lord for blessings. Subsequently, the video featured multiple appearances of Ajay dressed as Sardaar, Mrunal Thakur portraying the “soni Punjabi kudi,” Chunky Pandey dancing to the tunes of a classic Punjabi song, and stunning scenes from the UK. “The journey of #SonOfSardaar2 begins with prayers, blessings, and an amazing team,” Devgn wrote as the caption for this photo.

The action-comedy Son of Sardaar returns with a highly anticipated sequel that promises to bring twice as much comedy, action, and entertainment as it did when it debuted in 2012 and enjoyed enormous box office success. Under the direction of Vijay Kumar Arora, the movie would shoot extensively in the UK before moving on to India for a second big schedule.

Additionally, a nearly eleven-member ensemble cast is anticipated. Son of Sardaar 2, produced by Ajay Devgn and Jyoti Deshpande, N R Pachisia and Pravin Talreja, with co-production from Kumar Mangat Pathak, is presented by Jio Studios and Devgn Films. It is a Devgn Films and SOS 2 Limited production.

Vedaa, starring John Abraham and Sharvari, has been in the headlines because its producers revealed two weeks ago that, despite having applied for their film’s certification well in advance, they still haven’t received a censor certificate. After viewing the movie at the end of June, the CBFC Examining Committee (EC) forwarded it to the Revising Committee (RC). On July 29, the RC finally saw the movie and decided to clear it after the makers gave their statement.

There have been rumors circulating that the movie has not had any cuts made. However, Bollywood Hungama has discovered that the CBFC’s RC made several deletions and adjustments to Vedaa.

Exclusive: CBFC omits 9.14 minutes of footage from the Vedaa film starring John Abraham and distorts images showing money notes being torn.

First, narration and a revised disclaimer lasting one minute and sixteen seconds were requested. Changes were requested to a conversation that contained disparaging remarks about women and social identities. Then, a dangling scene that lasted for two to sixteen seconds was removed. The Jodhpur High Court was mentioned without using the word “Jodhpur,” and it was requested that images of violence within the court’s walls be toned down by 30%. The producers were forced to cut the movie’s duration by 6 minutes and 15 seconds.

Not only that, but there’s also a character heard enjoying a mobile phone audio clip featuring Sanskrit shlokas. The CBFC removed this music.

“Bana” was used in place of the derogatory term “behenkhor.” Additionally, the CBFC requested that images showing currency notes being torn and bits of torn notes be blurred. It was also requested that the line “Brahmin son…Shudra’s son” be removed.

Finally, the filmmakers included genuine references to show that the movie is based on real-life occurrences, such as newspaper stories, court rulings, religious texts, etc.

The CBFC eliminated nine minutes and fourteen seconds from the movie overall. On August 6, Vedaa received a U/A certificate following the completion of the modifications. The certificate states that the movie is 150 minutes long. Put differently, Vedaa lasts for two hours and thirty minutes.

August 15 is when the Nikkhil Advani-directed film opens in theaters.

“Padma Shri Ramesh Patange was the Presiding Officer of the RC,” a source told Bollywood Hungama. It is well known that he approves movies about which the EC has doubts. He just passed the contentious movie Hamare Baraah, thus it should come as no surprise that he also passed Vedaa, albeit with some changes.

Day 4 box office receipts for Auron Mein Kahan Dum Tha: Neeraj Pandey’s romance drama with Tabu and Ajay Devgn has not been doing well in Indian theaters.

Mein Kahan Dum Auron Day 4 box office receipts: This past Friday’s opening performance of Neeraj Pandey’s love drama, which stars Ajay Devgn and Tabu, was significantly below expectations. Sacnilk reports that although it increased steadily over the weekend, it fell on Monday.

Dip on the initial Monday

On its fourth day in India, Auron Mein Kahan Dum Tha was able to make almost ₹1 crore nett, but it failed the infamous Monday test.

This was a significant decrease from the movie’s Sunday profits, which were ₹2.75 crore nett, the biggest it has earned thus far. On Saturday, the movie brought in ₹2.15 crore nett in India. The movie had the lowest opening weekend gross of any Ajay and Tabu movie in recent memory on Friday, taking in ₹1.85 crore net. At the domestic box office, Auron Mein Kahan Dum Tha has earned an estimated ₹7.75 crore nett thus far.

At the box office, the movie faces off against Sudhanshu Saria’s spy thriller Ulajh, which stars Janhvi Kapoor and Gulshan Devaiah. At the domestic box office, other holdover movies such as Nag Ashwin’s dystopian sci-fi epic Kalki 2898 AD, starring Prabhas, Deepika Padukone, and Amitabh Bachchan, and Shawn Levy’s buddy Marvel blockbuster Deadpool & Wolverine, starring Ryan Reynolds and Hugh Jackman, are still doing well. This month’s Independence Day is the last day of new Bollywood releases.

In reference to Auron Mein Kahan Dum Tha

Saiee Manjrekar and Shantanu Maheshwari co-star in Auron Mein Kahan Dum Tha. The movie’s release date was originally scheduled for July 5, but the producers decided to delay it.

Ajay and Tabu, who have previously collaborated on several films such as the Drishyam franchise, Bholaa, Golmaal Again, and De De Pyaar De, are also working together on this film.

According to the Hindustan Times’ review, the movie may have been improved with a little cutting. Unfortunately, Neeraj Panday—who also receives literary credit—excesses himself. The final scene of the movie declares, “Sometimes, it never ends.” Exactly how I felt at one point about the movie.

Review of Kastoori: The inexperienced filmmaker is well aware of the message he wants to convey. He makes effective use of the two young performers as well as his other resources with a level of competence and accuracy that belies his inexperience

In Kastoori (The Musk), Vinod Kamble employs his personal encounters as a foundation for a compelling and uncompromising analysis of how the caste system disempowers those who are already underprivileged.

In the tale that Kamble relates, a youngster from a poor family of manual scavengers has subtle psychological damage from social rejection, which drives him to seek solace from the stigma associated with it.

The teenage protagonist’s quest is used by the movie to highlight all the obvious flaws in exploitation and oppression that are imposed by society.

While the independent Marathi-Hindi film does not hold back, it also does not throw stones at the boy’s tormentors or yell at the top of its lungs to draw attention to the terrible, pervasive injustices that exist. The film was shot in and around the village in the Solapur district of Maharashtra, where the director was raised.

Kastoori’s only goal, which he accomplishes with effectiveness, is to make us aware of the atrocities of the caste system. The story tells the tale of a schoolboy who, in his naivety, thinks that musk can make him forget the offensive smell that his caste-assigned calling leaves on his body and clothing.

Apart from that, Kamble and Shivaji Karde’s script Kastoori explores the intricate and unbreakable social constraints that keep people who are handicapped due to their birth from escaping the harmful roles that are imposed upon them.

After a protracted wait, Kastoori has finally arrived at the multiplexes, highlighting the predicament of indie film in a distribution system that only cares about its bottom line. Anurag Kashyap and Nagraj Manjule present the movie. By the way, it was Manjule’s biting Fandry that gave Kamble the confidence to recount his own experience without resorting to any kind of soft-pedalling.

Gopinath Chavan (Samarth Sonawane), fourteen, goes to religious lectures with his grandmother. He hears a tale of a divinity that materialized from cow poo during one such meeting. He asks his grandmother: Did he not smell bad? No, she answers. She continues, “Since he is a god, he smelled like musk.”

Stories of gods who magically wish away all obstacles could not be more different from Gopi’s situation; however, after spending so much time cleaning toilets, assisting his alcoholic father in dissecting bodies in a hospital morgue, and burying the unclaimed dead, the teenager develops an obsession with his own stench.

Along with his best buddy and classmate Adim (Shravan Upalakar), he decides to get musk, turn it into perfume, and get rid of the stench all around him. For the two lads, that is a big order.

Obtaining funding to purchase musk from a nearby vendor presents the most significant obstacle. However, motivated by Adim, Gopi decides to figure out a means to achieve his goals. He is sick and tired of the problems his caste identity has brought him.

For Gopi, discrimination is an unavoidable part of daily existence. He is shown scrubbing a toilet in the opening scene of the movie while wearing his school uniform. The boy’s perfume vial is empty, yet he can’t bring himself to discard it.

He hears casteist taunts from his peers. One of them witnesses him clearing gutters with an elderly cousin named Mangal (Ajay Chavan). The next day at school, Gopi gets made fun of. Mangal almost drowns in a sewage tank, but naturally, he gets the blame for the almost fatal incident.

When his indebted father loses his work at the morgue, it hinders his ability to complete his schooling. Gopi takes a job as the doctor’s assistant, which takes up all of his time away from school. He is adamant that he wants to concentrate on his education, but Asha (Vaishali Kendale), his mother, tells him that work is what feeds people, not grades.

She tells Gopi that no matter how much she studies, she would always be a sweeper. At this point, the screen goes black and stays that way for some time. So, for the academically bright Gopi, is this the end of it all? As the prospects disappear, Gopi can only lament his lot in life.

When Gopi refuses to skip school and go to work, Asha tears a textbook in two scenes. He cannot rebel against his mother. It’s clear that Gopi does not enjoy her work in the morgue. However, Kamble chooses to use sound effects rather than actual body parts to depict the horrifying nature of the postmortems that Gopi helps his father and later the doctor with.

For Gopi, even brief moments of delight come from visits to Adim’s uncle’s perfume store. Adim sticks at Gopi’s side the entire 100-minute Kastoori, encouraging him or serving as a sobering reminder of reality. The world is harsh for them, yet the pair persists.

The community speaks Marathi, but Gopi and Adim converse with one another in Hindi. Additionally, Gopi’s family speaks Hindi. There are multiple levels and causes to othering. The two lads must deal with a multitude of differences, including those related to caste, religion, language, and occupation. But they continue with joy.

Gopi triumphs in a contest for writing Sanskrit essays. Republic Day is the day set aside for the reward ceremony. Adim is ecstatic, but Gopi worries that he might not be able to make it to school. There is not much time left for him to get the musk he wants.

A large portion of Kastoori’s strength originates from its rejection of ornate technical details. It’s an easy movie about an intricate reality. The inexperienced filmmaker is well aware of the message he wants to convey. He makes effective use of the two young performers as well as his other resources with a level of competence and accuracy that belies his inexperience.

Kastoori is a must-see if you value movies that make a statement on the society we live in.

Cast:

Samarth Sonawane, Anil Kamble, and Shravan Upalakar

Director:

Kamble, Vinod

the post-COVID era, Prabhas has eclipsed Shah Rukh Khan’s Indian box office total with Kalki 2898 AD.

Now in its fourth week, Kalki 2898 AD shows no signs of slowing down. Despite new releases, the movie is making a considerable profit at the Indian box office, enabling it to join the 600 crore club. Prabhas has personally benefited greatly from this major release since it has allowed him to finally surpass Shah Rukh Khan’s post-COVID domestic collection.

After Baahubali 2: The Conclusion’s unprecedented success, Prabhas found it difficult to regain his form and achieve the kind of success befitting someone of his caliber. He finally turned his career around with Salaar last year, and he raised the bar with his most recent dystopian science fiction blockbuster. He had previously became the second highest-grossing Indian actor after COVID, having crossed the 1000 crore mark.

Shah Rukh Khan amassed an incredible 1415.64 crores in domestic box office revenue with his incredible comeback last year (543.22 crores from Pathaan, 640.42 crores from Jawan, and 232 crores from Dunki). Shah Rukh was the highest-grossing Indian actor in the post-pandemic era prior to the release of Kalki 2898 AD, but he is now in third position.

With 105 crores from Radhe Shyam, 289 crores from Adipurush, 407 crores from Salaar, and 621.95 crores from Kalki 2898 AD, Prabhas has amassed a total post-COVID collection of 1422.95 crores at the Indian box office. Thus, he has managed to overtake Shah Rukh Khan’s record of 1415.64 crores to secure the position of second highest-grossing actor.

After COVID, Deepika Padukone is the highest-grossing Indian actor, having brought in a staggering 1482.17 crores domestically. It consists of 102 crores for 83, 543.22 crores for Pathaan, 215 crores for Fighter, and 621.95 crores for Kalki 2898 AD.

the top three Indian actors by box office receipts following COVID

Deepika Padukone          – 1482.17 crores
Prabhas                   – 1422.95 crores
Shah Rukh Khan            – 1415.64 crores

Tishaa Kumar, 21, went away while receiving cancer treatment in a German hospital. She is the cousin of Bhushan Kumar of T-Series

On Thursday, July 18, Krishan Kumar, a former T-Series actor and film producer, uncle of Bhushan Kumar and brother of the late Gulshan Kumar, lost his 21-year-old daughter Tishaa. Tishaa fought cancer for a long time before passing away on Thursday.

A close associate of the Kumar family verified Tishaa’s demise. Tishaa was receiving cancer treatment in Germany. In a German hospital, she passed away. According to the source, Thissaa was just 21. After receiving a cancer diagnosis, her family made the decision to send her to Germany for medical care.

That was where she died on Thursday. For the family, this is a really depressing moment.

Regarding Tishaa’s passing, T-Series also issued a statement. “Tishaa Kumar, daughter of Krishan Kumar, passed away yesterday after a protracted battle with an illness,” the spokeswoman said. The family is going through a trying period, therefore we respectfully ask that their privacy be respected.

Tishaa was last seen during the triumph party of Ranbir Kapoor’s Animal. She used to go to events with her father Krishan, who was involved in T-Series.

The makers of Khel Khel Mein shared the first poster from the film, on Tuesday

Delhi New:- The first movie poster for Khel Khel Mein was released by the filmmakers on Tuesday. The movie’s A-list cast, which includes Pragya Jaiswal, Aditya Seal, Ammy Virk, Vaani Kapoor, Taapsee Pannu, Fardeen Khan, and Akshay Kumar, is shown merrily posing together on the poster. “Yaaron waala khel… Yaari waali picture!” was the caption on the post. Band Bajaane waali image… Band Baaje ke mahaul mein. Greetings to the year’s biggest family attraction. Khel Khel Mein will be available in theaters on August 15, 2024.#GameIsOn, Khel Khel Mein.”

Together, Taapsee Pannu and Akshay Kumar have previously starred in movies including Mission Mangal, Baby, and Naam Shabana. Fardeen Khan and Akshay Kumar costarred in the 2007 blockbuster Heyy Babyy. In the meantime, Vaani Kapoor and Akshay Kumar collaborated on the Bell Bottom movie from 2021.

The creators posted a BTS picture from the sets earlier this year with the message, “This Independence Day, enter a crazy world full of drama, comedy, and tons of fun! Put August 15, 2024, on your calendars when Khel Khel Mein opens in theaters.” Just so you know, this is what we are discussing:

Several movies will compete with Khel Khel Mein at the box office. The movie, which is scheduled for release on August 15, will compete alongside Vedaa, starring John Abraham, Stree 2, starring Shraddha Kapoor and Rajkummar Rao, and Doublei Smart (a Hindi-language film). August 15 is also the scheduled release date for Allu Arjun’s Pushpa 2: The Rule.

Wakaoo Films, KKM Film production, and T-Series have all funded the movie.