Working I Films’ Baapya (Marathi; UA) is a story about sex change.
Anil Borkar (Girish Kulkarni) is a fisherman who lives in the village with his second wife, Vishakha (Devika Daftardar), son Sanju (Aryan Mengji), and two little daughters. Sanju is Anil’s son from his first wife, Shailaja (Rajshri Deshpande). Anil and Shailaja meet after 10 years but by then, Shailaja has had a change of sex and is now called Shailesh (Rajshri Deshpande). Why did Shailaja opt for sex change? How do Anil and their son, Sanju, react to Shailesh?
Sameer Tewari and Vikrant Katkar’s story is very different for the Marathi film-going audience. But it doesn’t seem likely that they would enjoy a story of this kind. The duo’s screenplay is quite alright as it keeps the viewers engaged. However, the basic point about sex change will not be easy for the viewers to digest. Also, the back story of the sex change surgery is so ordinary that there’s no thrill which the audience would experience. The change in the stance of Anil and Sanju vis-à-vis Shailaja/Shailesh is largely unexplained. On the plus side, a couple of emotional scenes between Shailesh and Sanju touch the heart. Dialogues, penned by Gaurav Gajanan Relekar and Nikhil Ashok Palande, are good at places and average at others.
Girish Kulkarni acts ably as Anil Borkar. Rajshri Deshpande performs well in the roles of Shailaja and Shailesh. Shrikant Yadav is alright as Anil Borkar’s friend, Shinde. Devika Daftardar is good as Vishakha. Aryan Mengji lends average support as Sanju. Varsha Dandale entertains as Vishakha’s mother. Gauri Kiran (as Shailaja’s sister) and Ananda Karekar (as Shailaja’s brother-in-law) lend adequate support. Atharva Fadnis (as Sanju’s friend, Babadya), Shravani Abhang and Ira Parvade pass muster.
Sameer Tewari’s direction is quite sensitive but the script lets him down. Music (Edo & Jo, Abhijit Chandrakala and Joel Crasto) is ordinary. Lyrics (Edo & Jo, Shounak Narale (Asar), Muktal Telang and Guru Thakur) are alright. Pooja Kale and Anupam Hinge’s choreography is fair. Joel Crasto’s background music is quite impactful. Rao Nandakishore’s cinematography is nice. Santosh Phutane’s production designing is proper. Neil Natu’s editing is fairly sharp.
On the whole, Baapya does not have much to entertain or engage the Marathi film-going audience and will, therefore, not score at the ticket windows.
Released on 15-5-’26 at Mukta A2 Bharatmata (daily 1 show) and other cinemas of Bombay thru A.P. Communications. Publicity: okay. Opening: dull.
