Rashmika Mandanna takes on the monumental role of Maratha queen Yesubai Bhonsale in the highly anticipated historical drama Chhaava, sharing the screen with Vicky Kaushal, who portrays Chhatrapati Shivaji Maharaj. The film’s grand trailer launch on January 22 at Mumbai’s iconic Plaza Theatre showcased the cinematic spectacle to come, leaving Mandanna herself visibly moved.

Overwhelmed by the opportunity, Mandanna expressed her profound gratitude and jokingly declared her readiness for retirement after this career-defining role. “It is an honour. From a girl coming from the South to play Maharani Yesubai is the most privileged and special thing I could ask for in this lifetime,” she shared, her voice thick with emotion.

The weight of portraying such a significant historical figure was palpable, as she confessed the trailer itself brought her to tears. “I tell Laxman sir that after this, I am happy to retire,” she added, highlighting the immense responsibility and impact of the role. Her admiration for Kaushal was also evident, describing him simply as “God” in his portrayal of Shivaji Maharaj.

The journey to embodying Yesubai Bhonsale was one of both excitement and apprehension. Mandanna recounted her initial shock at director Laxman Utekar’s offer, questioning how he could even consider her for such a pivotal part. “I remember being absolutely shocked how did Laxman sir even think of giving me a role like this to play? I just surrendered,” she explained.

The challenge was further amplified by the lack of direct references for portraying such a majestic and influential historical personality. She emphasized the importance of surrendering to the director’s vision and the rigorous preparation involved, particularly mastering the nuances of the language. Extensive rehearsals and unwavering dedication were key to bringing the character to life, she stressed.

Chhaava, a Maddock Films production with music composed by the legendary A.R. Rahman, boasts an ensemble cast including Ashutosh Rana, Divya Dutta, Neil Bhoopalam, Santosh Juvekar, and Pradeep Rawat. The film is slated to hit theatres on February 14th, 2025, a strategic release timed to precede Chhatrapati Shivaji Maharaj Jayanti on February 19th.

With its impressive cast, stunning visuals, and compelling narrative of a powerful historical period, Chhaava promises a cinematic experience that will resonate with audiences.

Mamta Kulkarni, a prominent Bollywood actress of the 1990s, has embarked on a transformative journey, embracing a new life as a Sadhvi (Hindu ascetic) and assuming the esteemed position of Mahamandaleshwar within the Kinnar Akhara, a monastic order dedicated to the transgender community.

This significant shift in her life culminated on Friday at the Mahakumbh Mela, a massive Hindu pilgrimage. There, she officially took sanyaas (renunciation), receiving blessings from Acharya Mahamandaleshwar Dr. Lakshmi Narayan Tripathi following a detailed hour-long discussion about her spiritual path and commitment.

Now known as Shri Yamai Mamta Nandgiri, she is readily identifiable in her adopted saffron robes and Rudraksha garland. Videos circulating on social media platforms vividly capture her in this new spiritual guise, reflecting her complete transformation. The transition wasn’t sudden; according to Tripathi, Kulkarni had been in close contact with the Kinnar Akhara for a year and a half, signifying a period of contemplation and preparation before this public declaration.

The appointment, however, has been shrouded in a degree of secrecy by the Kinnar Akhara. Following the ceremony, Kulkarni and Tripathi met with Ravindra Puri, the President of the All India Akhara Parishad, to discuss her views on religion and her integration into Akhara’s structure. Kulkarni shared her insights, drawing a parallel between her spiritual awakening and a story from the Ramayana, showcasing her understanding of Hindu scriptures.

Kulkarni herself expressed immense joy at participating in the Mahakumbh, emphasizing the profound spiritual significance of the event. Tripathi, in his confirmation of the appointment, stated that the Kinnar Akhara doesn’t restrict its members’ artistic expression, allowing Kulkarni the freedom to pursue devotional roles if she chooses.

The Kinnar Akhara, established in 2015 by Tripathi, has been instrumental in promoting the inclusion and respect of the transgender community within mainstream Indian society. Kulkarni’s decision, viewed against this backdrop, underscores a profound spiritual shift and a commitment to social inclusion within a unique spiritual framework.

Her journey, from the bright lights of Bollywood to the serene path of a Sadhvi, is a compelling narrative of transformation and dedication to a higher purpose. Kulkarni’s past life as a successful actress, starring in films like Karan Arjun, Krantiveer, and China Gate, adds an intriguing dimension to this extraordinary life change.

Yugo Suko’s “The Legend of Prince Rama,” a 1992 animated masterpiece, finally graces Indian theatres, fueled by nostalgia and a stunning 4K remaster. For generations, this adaptation of the Ramayana has been a cherished memory, viewed countless times on Doordarshan and YouTube, in both Hindi and English dubs. But the big-screen experience transcends mere nostalgia; it’s a revelation. Witnessing Suko’s era-defining animation in breathtaking 4K is a cinematic event in itself, justifying the theatrical release.

The film recounts a pivotal section of the epic, encompassing Rama’s exile, Sita’s abduction, and the subsequent war between Sugriva’s Vanara army and Ravana’s demons. While the story is familiar to most Indians, the film’s power lies in its seamless blend of timeless animation and the simplicity of the original narrative.

Despite its age, the animation holds up remarkably well. The digital remastering ensures that the visuals, already lauded three decades ago, shine even brighter on the big screen, a testament to Suko’s artistic vision. For those scarred by recent, less successful Ramayana adaptations, “The Legend of Prince Rama” offers a welcome balm.

The new dubbing, however, presents a mixed bag. Replacing the iconic voices of Amrish Puri, Arun Govil, and Shatrughan Sinha from the original, it initially feels jarring, particularly the disconnect between the familiar visuals and unfamiliar voices.

Yet, the new dub is not inherently bad; it’s simply a product of its time, adopting a more dramatic, cinematic style befitting a modern theatrical release. It contrasts with the simpler style of Ramanand Sagar’s influential television series, offering a more heightened, theatrical delivery. Importantly, the new dub complements the animation without overshadowing it, preserving the narrative’s inherent simplicity.

The soundtrack, featuring Sanskrit versions of classic tracks like “Janani Main Raamdoot Hanuman” and “Vaanar Sena,” might feel unfamiliar to those accustomed to the Hindi versions. But Vanraj Bhatia’s music remains enchanting, seamlessly integrated into the film’s tapestry. For newcomers to this adaptation, the change will be barely noticeable.

“The Legend of Prince Rama,” while arguably the best animated Ramayana adaptation, isn’t without flaws. Its simplified portrayal of Ravana, omitting his intellectual depth and presenting him solely as an evil asura, feels reductive. Similarly, the exclusion of Sita’s agni-pariksha streamlines the narrative but sacrifices some essential nuances.

The unnecessary inclusion of an intermission also detracts from the viewing experience. Despite these minor shortcomings, “The Legend of Prince Rama” remains a visually stunning and emotionally resonant cinematic experience, a must-see for both nostalgic viewers and newcomers alike.