Subodh Bhave on adapting the 113-year-old classic Sangeet Manapmaan: 'After Katyar Kaljat Ghusali, I knew I wanted to make a musical film'

Subodh Bhave—actor, director, and writer—is taking on an ambitious challenge by remaking the classic Marathi play Sangeet Manapmaan for the big screen. First staged over 113 years ago, the musical became a phenomenon in Marathi theatre, with performances often running for nearly 12 hours at a stretch.Written by playwright Krishnaji Prabhakar Khadilkar, the five-act play featured legends like Bal Gandharva and went on to define the golden age of Marathi musical theatre. Rich in both music and narrative depth, Sangeet Manapmaan originally comprised 67 songs, 35 of which went on to become timeless classics. Numbers such as Ravi Mi, Khara To Prema, and Nahi Mi Bolat Natha continue to resonate in Marathi households even today.In an interview with The Hollywood Reporter, Subodh Bhave explained why he chose to adapt Sangeet Manapmaan. He said, “After my previous project, Katyar Kaljat Ghusali, I knew I wanted to make another musical film. The search for the right story led me back to Sangeet Manapmaan, which had been sitting on my bookshelf for years. When I read it again, I realised it was the right choice. Marathi cinema rarely explores fairy tales or the fantasy genre, so this felt like a wonderful opportunity to create a musical fairy tale—a fantasy film.”Sangeet Manapmaan is a tale of pride and prejudice, revolving around Dhairyadhar, an honourable commander, and Bhamini, a strong-willed young woman. Set in pre-independence India, the play evoked a sense of patriotism, urging the youth to value courage and honour over material wealth. Its simple narrative was elevated by emotionally rich songs that expressed wisdom, longing, frustration, and social commentary.Adapting the iconic play for a 2025 audience comes with its own set of challenges. Bhave has to condense the expansive narrative into a two-hour film with a significantly reduced number of songs. He has also introduced contemporary sensibilities—Dhairyadhar is shown sharing household responsibilities, while Bhamini is portrayed as a more empowered woman. These changes aim to appeal to modern audiences while preserving the soul of the original.However, trimming down the music remains a bold and risky move, given that songs were the backbone of the original play. The film will inevitably be scrutinised by loyal fans, even as it shoulders the larger responsibility of proving that Marathi cinema can mount grand, ambitious spectacles.