V. S. Khandekar

THE FLOWERS STILL SMELL: WHAT IS LIFE? IT IS A MANIFESTATION OF ALL SEASONS RIGHT FROM THE SPRING TO THE AUTUMN, FROM THE SHADING OF ALL LEAVES TO THE APPEARANCE OF NEW FOLIAGE, EVERYWHERE. THE TENDER YEARS OF CHILDHOOD ARE LIKE SAPPY STORIES WHILE THE OLD AGE IS A TRAGEDY. LIFE AWAKENS WITH LOTS OF DREAMS, GETS READY TO CARRY THE CROSS OF MANHOOD AND ENDS INTO A TRAGIC ORDEAL, HOW, WHEN, NO ONE CAN TELL. STILL, THE FRAGRANCE FROM THE PAST GIVES CONFIDENCE TO LIVE LIFE AGAIN WITH NEW ENTHUSIASM. THESE SHORT ESSAYS REVEAL THE FACT THAT THE HUMAN LIFE IS ACTUALLY A SEARCH FOR THE LOST FRAGRANCE OF LIFE. THESE SHORT ESSAYS ARE DISCERNING, ACUTE YET THEY HAVE A DELICACY IN THEIR COMPOSITION. IN A WAY, THEY ARE REVEALING HIS TRUE SELF, THROUGHOUT THEM HE HAS TRIED TO DIGEST THE BITTERNESS TO WHICH THE AUTHOR IN HIM WAS EXPOSED. HE ELUCIDATES THE INNER CORES OF LIFE WITH HIS INTROSPECTIVE VISION. HIS WORDS AND EXPRESSIONS GIVE REASSURING STRENGTH TO THOSE WHO ARE FADE UP WITH LIFE, WHO HAVE LOST THE FRAGRANCE IN THEIR LIFE. THESE WORDS MAKE LIFE TOLERABLE FOR THEM. THESE ESSAYS CARRY ALL THE SIGNS AND SYMPTOMS OF HIS PROGRESS AS AN ESSAYIST. THEY ARE HIS INTENSE EXPOSITION OF A LIFE FULL OF EXPERIENCES

IN THIS WORLD AROUND US WE COME ACROSS MANY MISFORTUNES, HARDSHIPS. WHO CAUSES THEM? MAN IS NOT THE ONLY ONE RESPONSIBLE FOR IT. IT IS NOT JUST HIS WICKEDNESS THAT CAUSES IT. HIS INTELLECTUAL AND SOULFUL FEEBLENESS IS AS MUCH RESPONSIBLE. THERE IS A STEADY CONFLICT BETWEEN OUR TWO MINDS. ONE BLINDLY ABIDES BY ALL THE NATURAL FEELINGS AND ONE VOTES FOR THE CULTURAL ASPECTS OF THE SOCIETY. COMMON MAN FAILS TO UNVEIL THE CURTAIN OVER THE CONFLICT TO FIND THE TRUTH. HE IS SIMPLY UNABLE TO PICTURE THE VASTNESS OF HUMANITY BEAUTIFULLY ON THE BACKGROUND OF THE PROBLEMS AND QUESTIONS CREATED BECAUSE OF THE MACHINES. TILL THESE PROBLEMS ARE SOLVED AND THESE QUESTIONS ARE ANSWERED, EVERBODY S LIFE WILL BE SHADOWED DURING THIS REFORMATIVE PHASE.

SHORT ESSAYS FROM ZIMZIM DESCRIBES A STORY WITH SENSORY DESCRIPTIONS. V.S.KHANDEKAR NOT ONLY TELLS STORY, BUT ALSO MAKE A POINT BY GIVING REASONS. IN THESE ESSAY'S A WRITER TRIES TO CONVINCE HIS READERS TO ADOPT HIS POSITION ON A POINT OF VIEW OR ISSUE AFTER HE PROVIDES THEM SOLID REASONING IN THIS CONNECTION.

A NEST PROTECTS THE NEWLY HATCHED, WINGLESS BIRDS, BUT ONCE THE BIRDS GROW AND DEVELOP WINGS THEN THE SAME NEST ACTS AS A CAGE FOR THEM. WE HUMAN BEINGS FEEL THE SAME WAY ABOUT OUR FAMILY, HOME, GOD, RELIGION, LOVE, FARMING, EDUCATION, BUSINESS ETC. AT A VERY EARLY STAGE, THAT OF A CHILD, WE FIND EVERTHING BEAUTIFUL. WE FEEL PROTECTIVE INSIDE OUR SHELTERS. ALL OF THESE ABOVE MENTIONED PLACES HAVE BUILT AND NURTURED THE SOCIETY. BUT REALLY THINKING, ARE ALL THESE ASPECTS USEFUL IN TODAYS MACHINE MINDED CULTURE? THE INGENIOUSLY TALENTED AND COMPETENT YOUNG PEOPLE FROM THE MIDDLE CLASS HAVE CAGED THEMSELVES. THEIR COMPETENCY FAILS TO CROSS THE WALLS OF THEIR HOUSES. THEY ARE CONFINED INSIDE THEIR CIRCLES. THEY JUST BLAHBLAH ABOUT THE POLITICAL AND SOCIAL REFORMATION BUT THEY DO NOT DARE TO ACT UPON IT. ON THE CONTRARY THEY IGNORE THEIR DUTIES. THEY JUST DO NOT WANT TO LEAVE THE SECURED BOUNDARIES OF THEIR NESTS. THEY HAVE TREMENDOUS LUST TOWARDS PERSONAL LIFE AND EXTREME DISPASSION TOWARDS THE SOCIAL LIFE. THIS APPROACH HOLDS THEM FROM STEPPING ON TO NEW PATH. THEY PREFER TO STUMBLE ON THE SAME PATH WHICH IS FULL OF PITHOLES, WHICH IS FULL OF MISCONCEPTIONS ABOUT EDUCATION, FAMILY MANAGEMENT, DISTRIBUTION OF WEALTH, THE RELATIONS BETWEEN MAN AND WOMAN, ONLY BECAUSE OF THEIR APPROACH TO BE CONFINED TO THE BOUNDARIES OF THEIR HOUSE.

THIS CONSISTS OF SEVENTEEN OF KHANDEKAR'S PROSE ARTICLES. KHANDEKAR STARTED TO WRITE FOR A WEEKLY 'VAINATEY' WHICH WAS PUBLISHED FROM SAWANTWADI. LATER, HE ALSO CONTRIBUTED FOR THE WEEKLY 'AKHAND BHARAT'. THIS PARTICULAR WRITING RESEMBLES SHORT ESSAYS. THE TOPICS ARE RELATED TO DAY-TO-DAY LIVING YET, THE WRITING REFLECTS A THOUGHTFUL PROCESS. KHANDEKAR HAS A UNIQUE STYLE WHICH IS CLEARLY SEEN HERE. THESE ARTICLES HELP US TO UNDERSTAND THE MARATHI CULTURE IN THE LAST CENTURY...श्री. वि.स.खांडेकरांच्या सतरा ललित गद्यलेखांचा हा संग्रह आहे. श्री. खांडेकरांनी लेखनास प्रारंभ केला, तो साप्ताहिकातून. सावंतवाडीच्या वैनतेय या साप्ताहिकात ते नियमितपणे लिहीत असत. त्यानंतर अखंड भारत या साप्ताहिकात त्यांनी असेच सातत्याने लेखन केले. लघुनिबंधाशी जवळचे नाते सांगणारे हे लेखन आहे. त्यातील विषय प्रासंगिक स्वरूपाचे असले, तरी त्यावरील हे लेखन चिंतनगर्भ असे आहे. त्यावर श्री. खांडेकरांची स्वतंत्र अशी मुद्रा उमटलेली आहे. पंचाहत्तर वर्षांपूर्वींची मराठी संस्कृती कशी होती, याचे नेमके चित्रण या सतरा ललित गद्यलेखांच्या संग्रहातून अभ्यासू वाचकाला आढळेल.

THIS IS COLLECTION OF KHANDEKAR S METEORS. THEY ARE VERY FEW IN NUMBER BUT ARE INTENSE IN FEELINGS. THEY HAVE THE UNIVERSAL TOUCHING PHILOSOPHY. METEORS IS A TITLE IN ITSELF, A TYPE, A PARTICULAR WAY. BUT, SOMETIMES THEY ARE IN THE FORM OF LEGENDS. SOMETIMES, THEY ARE DRESSED WITH A PHILOSOPHICAL TOUCH. SOMETIMES THEY ARE IN THE FORM OF PROSE BUT HAVE THE TREMULOUS FORM OF POETRY. THE READERS WHO ARE GREATLY FOND OF KHANDEKAR S LITERATURE AND WHO ARE VERY WELL FAMILIAR WITH HIS STYLE NEED NO OTHER DESCRIPTION OF THIS BOOK.

V. S. KHANDEKAR WAS BLESSED WITH THE RARE GIFT, HE WAS BLESSED WITH A SENSITIVE MIND. HE HAD THE ABILITY TO SEE EVERYTHING. HIS SIGHT REACHED THE PLACES WHERE EVEN THE SUN RAYS FAILED TO REACH.THIS BOOK IS THE COLLECTION OF HIS STORIES WHICH WERE NOT PUBLISHED. THESE WERE WRITTEN BETWEEN 19741976. THEY ARE SYMBOLIC, EMOTIONAL, PIOUS AND SUBTLE. THEY ARE FULL OF COMPASSION, SYMPATHY TOWARDS THE MANKIND. WRITER HAS SEEN THEM THROUGH HIS INNER EYES. THEY ARE NOT JUST WORDS PUT TOGETHER, THEY CREATE A CONSCIOUSNESS. THEY BRING THE BRIGHT LIGHT FOR THE LIFE BUT ALSO BRING THE PLEASANT MOONLIGHT. THESE STORIES HAVE AN ABILITY TO KEEP THE MARATHI LITERATURE ALIVE EVEN AFTER THE DEATH OF HUMANITY.

THE STORIES IN THIS BOOK WERE WRITTEN 15-20 YEARS BACK BEFORE THEY WERE PUBLISHED. WHEN THE AUTHOR WENT THROUGH THEM BEFORE PUBLISHING HE WAS ASTONISHED WITH THEM. HIS MINDSEET WAS VERY MUCH DIFFERENT THAN THAT EARLIER. HE WANTED TO ALTER THE STORIES, BUT STOPPED HIMSELF FROM DOING SO. HE HAD A STRANGE MIXTURE OF FEELINGS. HE FELT THAT THOSE WERE HIS STORY BUT YET HE DIDN T KNOW THEM. HE REALISED THAT TIME CHANGES A PERSON INSIDE-OUTSIDE. AT MOMENTS, HE THOUGHT THAT THE AUTHOR OF THE STORIES. I.E. HE HIMSELF THEN WAS A DIFFERENT PERSON FROM WHAT HE WAS NOW. HIS MINDSET HAD CHANGED COMPLETELY. HE FELT A PITY AS HE COULD NOT X-RAYED HIS MIND THEN AND NOW. HIS STYLE DURING HIS EARLY YEARS AS A STORY WRITER WAS SIMILAR TO RAM GANESH GADKARI. AT SOME PLACES, HIS STORIES EXAGERRATE A LOT. STILL THE AUTHOR DID NOT MAKE ANY CHANGES IN HIS STORIES AFTER 10 YEARS, BECAUSE HE BELIEVED THAT AFTER A LONG TIME THE CHANGES THAT TAKE PLACE INSIDE ONE S MIND WILL HARM THE CORE OF THE STORY AND HE ALSO REALISED THAT FOR AN AUTHOR ALSO IT WILL BE DIFFICULT TO EXPERIENCE THE SAME FEELING WHICH PREVAILED HIS MIND WHILE ORIGINALLY WRITING THE STORY. THAT ILLUSION WHICH CREATES A STORY IS NOT A SLAVE. SO CORRECTING OR CHANGING THE STORY TO MAKE IT BETTER MIGHT DAMAGE IT ACTUALLY. HENCE, THE AUTHOR DID NOT CHANGE ANY OF THE STORIES WHILE PUBLISHING THEM 15-20 YEARS AFTER WRITING THEM.

THIS IS THE 14TH COLLECTION OF KHANDEKAR S STORIES. THE FAMOUS WESTERN STORY WRITER "BATES WRITES ABOUT THE SHORT STORY, A FORM OF LITERATURE - ""A STORY SHOULD NOT BE WRITTEN WITH THE INTENTION OF IMPLEMENTING A MORAL, OR TO FEED THEM A SUGAR-COATED DOSE OF PHILOSOPHY OR TO PRESENT THEM A TOTALLY DIFFERENT ASPECT OR TO MAKE THEM AWARE OF THE DISTINGUISHING CHARACTERISTICS OF BEST AND WORST. ON THE CENTRARY THEY SHOULD WRITE, OUT OF THE CURIOSITY ABOUT LIFE, TO HIGHTEN THE LIVELINESS, TO GIVE IMMENSE PLEASURE - THEY SHOULD BE READ AND UNDERSTOOD BY THE READERS. THE STORY WHICH REFLECTS THE FEELINGS AND EMOTIONS IN A WRITER S MIND AND THE STORY WHICH MAKES THE READERS AWARE OF THESE FEELINGS IS A TRUE STORY AND IS A BEST STORY TO MY KNOWLEDGE. KEEPING THESE ASPECTS WELL IN MIND, THE READER CAN ENJOY KHANDEKAR S STORIES IN A BETTER WAY.

THIS IS A COLLECTION OF SHORT ESSAYS BY KHANDEKAR, THE SECOND ONE OF ITS TYPE.I WILL DESCRIBE KHANDEKAR S SHORT ESSAY AS THE DALLIANCE OF IMAGINATION AND DELIBERATE THINKING.

V.S.KHANDEKAR IS KNOWN FOR HIS PROSE WRITING, BUT HE WROTE SOME BEAUTIFUL POEMS TOO. THESE POEMS ARE COLLECTED & EDITED BY AVINASH AAWALGAOKAR. THIS COLLECTION INTRODUCES KHANDEKAR AS A POET. HIS UNIQUE WRITING STYLE, COMMAND ON WORDS & UNDERSTANDING OF LIFE MAKES HIS POEM EXTRA-ORDINARY. THESE POEMS MESMERIZES READERS.

THIS BOOK CONTAINS SPEECHES BY V.S.KHANDEKAR WHICH HE HAS DELIVERED ON THE PLATFORM OF VARIOUS LITERARY FESTIVALS. IT COVERS SPEECHES DELIVERED AT MARATHI SAHITYA SAMMELAN, BADODA, GOMANTAK SAHITYA SAMMELAN, MADGAO, SHARDOPASAK SAMMELAN, MUMBAI MARATHI SAHITYA SAMMELAN & SOLAPUR JILHA SAHITYA SAMMELAN. IN THESE SPEECHES V.S.KHANDEKAR PUTS LIGHT ON VARIOUS FLOWS IN MARATHI LITERATURE .

THE HUMAN COMMUNITY IS NOT AS HARMONIOUS OR UNIFORM AS WE THINK. ON THE CONTRARY, IT IS DIVIDED VERY HARSHLY, DISTINCTLY INTO TWO PARTS. ONE PART WORKS ENDLESSLY, EFFORTLESSLY AND THE OTHER PART ENJOYS WITHOUT ANY EFFORTS. THESE TWO PARTS ARE DIVERSE, THEY ARE DRASTICALLY DIFFERENT FROM EACH OTHER. THOUGH THEY LIVE UNDER ONE ROOF, THEY ARE MILES APART FROM EACH OTHER AS IF THEY ARE ON TWO POLES. THERE IS UNEQUALITY EVERWHERE. WOMEN AND DALIT, THE DOWNTRODDEN ARE ALSO PART OF THIS ANTAGONISM, THE INJUSTICE. THE NOVEL HAS THE BACKGROUND OF KONKAN WHERE THE SOCIAL ANTAGONISM IS WORST. IT THROWS LIGHT ON THE POVERY, UNTOUCHABILITY AND IGNORANCE AND ALSO THE EXPLOITATION IN THE NAME OF RELIGION AND TRADITIONS.

THIS EXCLUSIVE COLLECTION OF STORIES COMPLETE BOTH THE TEENAGERS AND GROWNUPS TO INTROSPECT THEMSELVES. MANY PEOPLE HAVE SACRIFICED THEMSELVES FOR THE NOBLE CAUSE OF INDEPENDENCE. THEY SACRIFICED EVERYTHING, THEIR PERSONAL LIVES, THEIR AMBITIONS, THEIR HOPES IN THE OBLATION LIGHTED BY THE LEADERS LIKE GANDHI, NEHRU, SARDAR PATEL, LALA LAJPATRAY, TILAK ETC. THEY A DREAMT OF IDEAL SOCIELY. BUT DO THE NEXT GENERATION KNOW THIS, DO THEY REALISE THE VALUE OF SACRIFICE BY THE EARLIER GENERATION? IF THE GENERATION OF INDEPENDENT INDIA DECIDE TO HAVE THEIR OWN WAY THEN? IF THEY GIVE IMPORTANCE ONLY TO THEIR PERSONAL PROSPERITY AND SELFISHNESS... THEN? WILL THIS OBLATION GET EXTINGUISHED? OR WILL THE MORAL VALUES SHINE AS EVER? V. S. KHANDEKAR PRESENTS THESE QUESTIONS THROUGH HIS STORIES, GIVING US MODERATE DOSES OF HIGH MORAL VALUES ESSENTIAL FOR SMOOTH RUNNING OF THE SOCIETY.

THIS NOVEL WAS FIRST PUBLISHED IN THE YEAR 1938. THE FIRST THREEFOUR DECADES OF THE 20TH CENTURY WERE SEEING A NEW ERA. INDIAN CULTURE WAS TRANSFORMING DRAMATICALLY. COMMUNISM, SOCIALISM, GANDHISM WERE THE PHILOSOPHIES RESPONSIBLE FOR THIS AWAKENING. THESE PHILOSOPHIES ALSO OPENED THE DOORS TO EDUCATION FOR WOMEN. OVERALL, THE SOCIETY WAS UNDERGOING A SLOW BUT STEADY CHANGE. THIS ERA GAVE ACCESS TO WOMEN IN EACH AND EVERY AREA. THE RESTRICTIONS ON LIVING WERE LOOSENED. THE TRADITIONS AND MORAL PHILOSOPHIES WERE BEGINNING TO SHATTER. THE DISTANCE BETWEEN RICH AND POOR WIDENED IMMENSLY. EVERYONE COULD NOT ACCEPT THESE DRASTIC CHANGES. SOME ACCEPTED GRACEFULLY AND WILLINGLY, SOME ACCEPTED THE CHANGES IN BITS AND PIECES AND SOME REMAINED ALOOF NOT ACCEPTING A SINGLE NEW IDEA, PRAISING THEIR OLD VIRTUES AND VALUES. THIS NOVEL PICTURES ALL THESE CHANGES. MUKUND AND SULBHA ARE THE REPRESENTATIVES OF NEW GENERATION. MUKUND IS FULL OF REVOLUTIONARY THOUGHTS, SULABHA IS INCITED ONLY WITH HER AIM. TATYASAHEB SYMBOLIZES THE OLD GENERATION WHO BELIEVES IN OLD IS GOLD. VIJAY IS THE ODD MAN OUT DISPLAYING THOSE WHO CANNOT ACCEPT THE NEW CONCEPTS WHOLLY AND CANNOT REJECT THE OLD CONCEPTS TOTALLY.

THIS NOVEL IS IN A TRUE SENSE "THE COMPLETE APPERCEPTION OF A WOMAN . THE AUTHOR HAS LEFT IT INCOMPLETE, BUT IT COMPLETES ITSELF WITH THE AWAKENING OF THE MIND SO WE SHOULD NOT CONSIDER IT AS INCOMPLETE. THE AUTHOR HAS WRITTEN THIS NOVEL IN THE YEAR 1950. BUT EVEN TODAY IT IS MOST INTERESTING AND READABLE. TILL THE PUBLICATION OF THIS NOVEL THE NOVELIST WAS KNOWN TO BE A WEAK CREATIVE LITERATURE WRITER, BUT THE ABOVE SAID NOVEL BROUGHT HIS STRONG SIDE IN FRONT OF THE READERS, HE WAS REVOLUTINARY, PENSIVE WRITER AND HAD A VERY SENSITIVE MINDSET AND WANTED TO HELP WOMEN IN THEIR UPLIFTMENT. THE AUTHOR ALWAYS FELT THAT THE MODERN LADY SHOULD KNOW LAW, ESPECIALLY THE SECTION 144. IT IS TRUE THAT SHE IS GOING TO GET MARRIED EVEN AFTER BEING EDUCATED, BUT AFTER AND BEFORE MARRIAGE HER MIND SHOULD GET MOULDED. THE CONTINUOUS PROCESS OF MOULDING, THAT TO OF SOCIAL MOULDING SHOULD TAKE PLACE IN HER LIFE OR IS SHE GOING TO REMAIN A PUPPET IN HER HUSBAND S HAND EVEN AFTER EDUCATION? WHY DOES NOT THE SOCIETY RECOGNISE THAT LIKE THE MALE MEMBERS OF THE SOCIETY SHE ALSO HAS A MIND, A FREEDOM? WHY DOES NOT A MAN CONSIDER A WOMAN AS A FRIEND? WHY IS A WOMAN LOOKED UPON ONLY AND ONLY AS A WOMAN? AREN T THESE QUESTIONS EQUALLY APPLICABLE TO TODAY S WOMAN TOO? EVEN IN THE 21ST CENTURY?

HOW CHARMING WAS THE IDOL ALL THE DEVOTEES WERE WORRIED ABOUT WHERE TO KEEP THE IDOL. THE IDOL ANSWERED, "THE PURE HEART OF DEVOTEES IS MY HEAVEN. BUT THEN HOW CAN ONE SEE THE IDOL INSTALLED IN THE HEART WITH NAKED EYES? ALL THE DEVOTEES DECIDED TO BUILD A BEAUTIFUL SHRINE FOR THE IDOL. SOME BROUGHT SANDALWOOD, SOME CARVED IT EXQUISITELY, DAY BY DAY; THE HEAVENLY ALLURE WAS APPEARING IN THE SHRINE STEP BY STEP. EVERYDAY THEY STARTED WORSHIPPING IT. SOME STARTED BRINGING LOVELY FRESH FLOWERS FOR IT. EACH DEVOTEE WANTED TO PROVE HIS DEVOTION. THEY ALL STARTED COMPETING EACH OTHER WHILE COLLECTING THINGS REQUIRED FOR WORSHIPPING. THE DDAY ARRIVED. THE IDOL WAS COVERED WITH FLOWERS. THE SHRINE WAS COVERED IN FLOWERS. THERE WAS FRAGRANCE EVERYWHERE. THE HIGHLY LIGHTED SHRINE WAS NOW COMPETING THE STARS IN THE SKY. THE DEVOTEES PERFORMED POOJA WITH A CONTENT MIND AND TURNED TO GO BACK. EACH ONE STUMBLED UPON SOMETHING. EACH ONE BENT TO SEE WHAT IT WAS. BUT NO ONE COULD MAKE OUT WHAT IT WAS. EVERY ONE STAMPED OVER IT AND LEFT. ALAS IT WAS THE SAME IDOL. SOMEONE, SOMETIME HAD TROWN IT OUTSIDE. WHO? GOD KNOWS....

THE STORIES INCLUDED IN THIS BOOK WERE WRITTEN EXCLUSIVELY FOR THE TEENAGERS, BY V. S. KHANDEKAR. MAN SOMETIMES KILLS HUMANITY, CONSCIOUSNESS, RELATIONS, AFFECTION, AND SOUL IN THE GREED OF POWER, MONEY, NAME AND FAME. HINDU CULTURE HAS A WAY TO SATISFY OURSELF, WE LEAVE THE BONES OF THE DECEASED IN A RIVER AND TELL US THAT YES, THE SOUL IS FREE NOW BUT WHERE ARE WE GOING TO TAKE THE BONES OF THE DECEASED HUMANITY? VERY DELICATELY AND TENDERLY, V. S. KHANDEKAR MAKES US THINK ABOUT THIS, THROUGH HIS STORIES. THEY HAVE THE SPIRIT TO AWAKEN OUR CONSCIOUS. THEY IMPRINT THE IMPORTANCE OF HIGH MORAL VALUES.

A LOT HAS BEEN WRITTEN IN MARATHI ABOUT V. S. KHANDEKAR AND HIS WORKS. YET THE HISTORY OF HIS CONTRIBUTION TO THE FILM INDUSTRY HAS REMAINED IN THE DARK. ONE OF THE MAIN REASONS FOR THIS IS THE DIFFICULTY IN FINDING HIS SCRIPTS. NOW FOR THE FIRST TIME, A COLLECTION, 'ANTARICHA DIVA' IS COMING THE WAY OF THE MARATHI READER. THIS LITERARY LAMP IS BEING LIT AT A TIME WHEN THE MARATHI FILM INDUSTRY IS AWAKENING FROM ITS LASSITUDE. LIGHTING THE LAMP OF AMBITIOUS FILMS, IT WILL ONCE AGAIN COMPLETELY TRANSFORM THE MARATHI FILM INDUSTRY IF YOU WISH TO UNDERSTAND AS TO WHY V. S. KHANDEKAR IS CALLED THE MAXIM GORKY OR PREMCHAND OR SHARATCHANDRA OF MARATHI, THIS 'ANTARICHA DIVA' OUGHT TO SPREAD ITS GENTLE, WARM GLOW IN YOUR HEART.