Renu Desai, producer of upcoming Marathi film Mangalashtak Once More, shares with Debarati Palit Singh her passion for the craft
What prompted you to produce Mangalashtak Once More?
I have done a lot of production work in the last 10 to 12 years. During this time, I had mentioned to my husband (Telugu superstar Pawan Kalyan) that whenever I would start independently producing movies, I would make a Marathi film, more so because I am from Pune. Given my background and connections, it would have been very easy for me to produce a Telugu film but honestly, I made Mangalashtak Once More because of my emotional connect with this city and with Marathi films.
When I was looking for stories, I came across this script by writer Samir Joshi. I liked his clarity of thought and details in it, so I decided to produce the film.
How was the transition from being a superstar’s wife to being an independent film producer?
The transition has been very smooth. Thanks to Kalyan, I have been part of several projects and have been associated with production work of those films right from the moment they were conceptualised. Starting from script, story and music sittings, I have been involved in all aspects of filmmaking. So I exactly know what happens during colour correction or in a music sitting. I am extremely passionate about the art of filmmaking and I do not think of it as a 9-to-5 job. Also, I think 12 -13 years is a good amount of time to learn any subject.
As far as Mangalashtak… is concerned, I have been a hands-on producer.
You started off as a model, then became an actor and ventured into production later. How has the journey been?
It’s definitely different when you are working with someone who can guide you. Pawan is a big personality and I knew he is watching my back, and that he would correct me if I went wrong.
But when I decided to become a producer, I wanted to do it on my own. It would have been easy for me to ask for his help. But I purposely took it up as challenge. It is my own journey. Starting from reading the script, meeting the actors to music directors, I have done everything on my own. Pawan has never called up anyone saying ‘My wife is coming to meet you… Please entertain.’
Most film industries are male-dominated. Was it easy being a woman producer? Did you face any challenges?
You need to know your work — only then will the person sitting opposite you know that you mean business. I know my business. So they do not mess with me and it helps me survive in the industry.
When Mukta Barve and Swapnil Joshi signed the film, they saw my passion, conviction and commitment towards cinema. They did not sign the film just because I am Pawan Kalyan’s wife. When these big actors from the industry agreed and understood my viewpoint, I knew I was on the right track.
And we face challenges in every field. In cinema, it’s even more because here you are dealing with humans. There’s a lot of human psychology at play. People change, everyday they face issues in their lives, so I have to decide when to get angry or when not to get angry with them, when to be lenient or when to be strict. That’s an art.
There were reports about you being aggressive on the film set?
When a man shouts, it is not taken the wrong way. But when a female boss raises her voice, it gets offensive. Had I kept quiet just to avoid tarnishing my image, I would have done injustice to my work. With repeated warnings, certain departments were asked to improve their work, but they failed. Any boss will sack such people. I haven’t done anything wrong. Because I am a female producer and I come from the South, the whole picture has been painted wrong.
What do you think of the Marathi industry after working in it?
After completing an entire film, I am in a position to comment. The people here are extremely talented but somewhere they lack motivation. That’s because the returns are not high. They need to push themselves a little more, and they need to achieve perfection.
You juggle several roles. How do you manage motherhood?
I have to give a certain amount of time to my children. I make it a point to feed them at least one meal a day. Either they are with me, as our industry is flexible or I attend to all their needs before I leave for work. I never compromise when it comes to my children as they are my priority.
Source: sakaaltimes
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Ragunandan (Boman Irani) is a multi-billionaire in Milan. Gowtam Nandan (Pawan Kalyan) is his grandson. Raghunandan disowns his daughter Sunanda when she marries a guy of her choice. Raghunandan and Sunanda have no communication for decades. After getting old, Raghunandam who is going through guilt asks Gowtam to convince his daughter and bring her back. The rest of the story is all about how Gowtam convinces his attha and fulfils the wish of his grandfather.
Story - screenplay - direction: It’s a simple story of a guy who wants to unite two families. What makes this simple story work is the setting up of backdrops and treatment given by Trivikram. Trivikram has a finest class taste. He has implemented all his worldly knowledge and taste into creating characters and writing dialogues. He has also made sure that there is loads of entertainment and right sentiment in key scenes. The dialogue writer helps him in getting the mood of scene across to the audiences with humor dialogues and sugar-coated message-oriented dialogues. Trivikram has exploited the strengths of Pawan Kalyan to maximum extent to entertain us. There are over 5-6 key sentiment (family oriented scenes) that bind the entire story. He filled the rest of the story with pure entertainment. Though we laugh with crowds in entertainment scenes, it’s the family oriented scenes that stays with you when you come out of the theater.
Other departments: Music by Devi Sri Prasad is excellent. The background music is so good that you will not notice it (which means that bgm goes with flow and don't dominate it). All songs are well scored and excellently shot. My personal favorite is ‘ninnu choodagane’. Kiraak song has excellent steps in it. Aradugula bullet song sets the tone to the film. Bapu Bomma is classy. Cinematographer Prasad Murella surprises you with an outstanding cinematography. Dialogues by ‘maatala mantrikudu’ Trivikram form the heart of the movie. The right dialogues touch your heart at the right moment. ‘ekkada neggalo kaadu ekkada taggalo telisinodu goppodu’ dialogue during climax stands as a testament. Art director Ravinder Reddy has done fabulous work with house set erected in Ramoji Film City. A guy sitting beside me was asking where that house is located. Action sequences choreographed by Peter Hein are excellent and entertaining. Editing by Praveen Pudi is smooth. Production values by Sri Venkateswara Cine Chitra (BVSN Prasad) and Reliance are excellent. 
First half of the film is superb and second half is equally good. Pawan Kalyan’s performance and Trivikram’s excellent story telling skill makes sure that your heart is touched at times and heartily laugh all the time while watching the movie. Pawan Kalyan redefines the entertainment value with his performance in Atharintiki Daaredi. Trivikram entertains classes as well as masses equally. Go and watch the film in big screen to get entertained along with the rest of the crowds!! SAY NO TO PIRACY!!!
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