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Thackeray is a 2019 Indian bilingual biographical film written and directed by Abhijit Panse, made simultaneously in Marathi and Hindi. Following the life of Bal Thackeray, the founder of the Indian political party Shiv Sena, the film stars Nawazuddin Siddiqui as the eponymous person and Amrita Rao as his wife.[3][4][5]The film released on 25 January 2019, the 93rd birthday of Bal Thackeray.

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The film was released on 3700 screens in 50 countries worldwide in Hindi, Tamil and Telugu on January 25th 2019. The film was received well by the critics and the audiences with praises directed especially towards Nawazuddin Siddiqui’s performance.
 

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Cast

Soundtrack

 Rohan-Rohan and Sandeep Shirodkar composed songs for the film while the background score is composed by Amar Mohile. The lyrics written by Dr Sunil Jogi, Manoj Yadav and Manndar Cholkar.

 

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Release

The official trailer was released on 26th December, 2018. [13] Raut has plans to continue the film with a sequel.
 

Reception

Thackeray received mixed reviews from critics.[15] Times of India gave the film 3 stars out of 5 and states: “While the honesty is commendable, it comes across that the lead character’s political motivations lack clarity. Perhaps a more seasoned writer, could have fleshed out Thackeray’s characters and eccentricities a lot better. But, its Nawaz’s nonchalant performance that overshadows the flaws and leaves a lasting impact.” Timesnownews went with 2.5 stars out of 5 and has to say: “A lot of focus is put on making the film a tearjerker by emphasizing the aftermath of the riots, violence and fights that pretty much summed up Shiv Sena’s history under the guidance of founder, Bal Thackeray. The film is good because of Nawazuddin’s performance but it cannot be considered as one of the best biopics ever created.”[16]

Controversies

Popular Tamil and Telugu actor Siddharth has slammed Thackeray for abusing South Indians. 

“Nawazuddin has repeated ‘Uthao lungi bajao pungi’ (lift the lungi and *’#$ him) in the film #Thackeray. Clearly hate speech against South Indians… In a film glorifying the person who said it! Are you planning to make money out of this propaganda? Stop selling hate! Scary stuff!”

Thackeray
Director – Abhijit Panse
Cast – Nawazuddin Siddiqui, Amrita Rao
Rating – 1/5
Some films make it clear where they stand. In the case of Thackeray — written and directed by MNS leader Abhijit Panse, produced by Shiv Sena MP Sanjay Raut, editor of the party’s periodical ‘Saamna’ — there is no doubt about its allegiance. I walked in primed for a film back-pedalling extremism in order to justify the late Balasaheb Thackeray’s actions. I expected scenes depicting the politician as a warm and misunderstood figure, and a film that essentially turns him into a hero. This is not that film.
Thackeray shockingly relishes the most controversial aspects of the polarising leader’s legend. This film plays out like the origin story of a super-villain. We are shown a character who is a proud bigot, a man who indulges in hate-speech, likens himself to Adolf Hitler, and gives orders for erasure of mosques and for the killing of communists. This is not a whitewash, it’s a confession.
It is also a film made with polish — the high-contrast black and white cinematography by Sudeep Chatterjee is quite striking — that feels reminiscent of Ram Gopal Varma’s older, finer work. Charting the rise of a mere cartoonist to one of the most powerful political figures in the country, Thackeray even feels like a prequel to Varma’s Sarkar, a film that paid slavish tribute to the politician. Sarkar, however, had presented the leader as a man of nobility, while Thackeray presents him — exultantly — as a tyrant. See how much power he wields? See the way he threatens politicians, or reduces places of worship to rubble? See the way he gets a cricket pitch dug up? That’s our Tiger.
This may be why the film’s makers cast Nawazuddin Siddiqui in the main role, a man known for playing gangsters and psychopaths. Siddiqui revels in the character’s growing villainy, playing him with the irredeemable smugness of a bad guy from a 90s film. Sure, he wears the thick black glasses and sometimes gets the mannerisms right, but despite the big (and obviously fake) nose, he lacks the towering persona of the politician and never even attempts to speak with Thackeray’s distinctive tones. He sounds like the Nawaz we have come to know, like Ganesh Gaitonde or Faizal or Raman Raghav, someone increasingly drunk on power and eager to kill to get more of it.

Nawazuddin Siddiqui as Balaseaheb Thackeray.

The politics of casting Siddiqui in this part are messy. It is chilling to watch this Muslim actor crow about Hindu supremacy or celebrate the destruction of a mosque, to hear him indulge in full-blown hate speech without any room given for doubt. The film starts out with courtroom whataboutery as Thackeray, adjusting his saffron shawl and multiple rosaries, seems to be trying to explain away his behaviour, but as the film unfolds, the character boastfully owns up to all his extremism. He literally talks about himself as a second coming of Adolf Hitler, probingly at first, but later defiantly, proclaiming himself a Hitler for Maharashtra who will soon be one for the nation.
As a film, the acting is decent, the lookalikes are mostly good (the man playing Thackeray’s father, Keshav, is perfectly cast) and it looks crisp and well produced, with the majority of the film cleverly shot in black and white to depict another time. Despite the slick production and efficient making, the film feels exhaustingly long, primarily because it refuses to believe its protagonist has any flaws.

Thackeray is a work not of propaganda as much as it is a work of pride.

Still, Thackeray is competently and solidly put together, which is why — unlike the easily dismissed The Accidental Prime Minister — people may take this film and its rhetoric to heart. That is the most alarming concern. (Another cause for fear is the fact that this film ends with the words ‘to be continued,’ so we’re in for more of the Balasaheb story, and I assume the filmmakers are already auditioning Michael Jackson lookalikes for a cameo in Thackeray II.)
This film is either oblivious or blatantly self-aware, a work not of propaganda as much as it is a work of pride, the celebration of a legacy of violence. In an early scene the leader jeers at the idea of manhood as being measured by the width of a man’s chest, and later the film goes from black and white to colour with one flower turning orange, a shot that cruelly and unmistakably mocks the end of Schindler’s List. In the final reckoning, Thackeray should be considered a cautionary tale about the ugliness of hate speech. Saying revolting things does not make a revolutionary.

WHAT WORKS:

Only last year did Nawazuddin Siddiqui break his “gangster” image with the biopic Manto, where portrayed the legendary writer and playwright. His performance was heavily applauded as the actor left no stone unturned in essaying the character to perfection. In Thackeray, he is no different. His every move and gesture seems calculated and if you had ever seen the politician in real life, you would see the man reborn in this actor. Nawazuddin is also no stranger to adopting accents and he has had plenty of training with the Marathi language because of his Netflix series Sacred Games. Even the make-up department must be acknowledged for the actor’s striking resemblance to the man he portrays. There are scenes where you forget you are watching Nawaz and not Thackeray himself and the lighting used in these scenes also add to the illusion.
There is not much to say about the story of the film that is not already known. Thackeray pays tribute to the Shiv Sena leader with every frame and dialogue. For the people who knew and loved him, this will be an absolute treat. The movie portrays the politician in a positive light and justifies his actions. It reminds us that Bal Thackeray was not just a man but an ideology that will continue roaring in the state of Maharashtra.
Review:
Like its protagonist, this film is also a rock star. Director Abhijit Panse, who had earlier directed the Marathi film ‘Rege’ (2014), keeps the narrative simple in this Bal ‘Tiger’ Thackeray biopic. Panse treats his protagonist like Don Corleone, The Godfather. From the ’60s until his death on November 17, 2012, this is the man everyone in Mumbai sought. You knew if you had Thackeray’s blessings, you could move freely in Maharashtra. Such was his power, charisma and reach.
To establish what a star he was, the film begins by capturing the mob frenzy outside Lucknow airport, where the Shiv Sena supremo was tried for the Babri Masjid controversy. Looking at the media and crowds thronging the place, a curious bystander asks, “Kaun aaya hai? Amitabh Bachchan aaya hai kya?” Nothing could have delivered the message better. For those of us who were born in the ’50s, Thackeray was Mumbai’s biggest superstar. Everyone knew of this person, who rose from the ranks (he was a caricaturist with Free Press Journal) and went on to become the most-powerful man in Maharashtra, at one point, he wielded his clout across India.
Coming back to the film, the director has struck gold here. He has been helped with enough and more material from writer Sanjay Raut who is a staunch Shiv Sainik. And since Balasaheb’s life reads like a bestseller, this movie plays out like a home-grown version of Francis Ford Coppola’s The Godfather (1972).
Starting his own magazine Marmik, he used it as a mouthpiece to be heard. Encouraged at home by his father Prabhodhankar and his quiet but strong wife, Meena (tai) (Amrita Rao), he himself couldn’t have envisioned his reach and power.
The man, who was content painting broad strokes with a brush, realised through this very craft that the Marathi Manoos was getting the short end of the stick in his very own state. As Mumbai was ruled by the moneyed Marwaris, Parsis, the business-savvy Gujaratis and the Shettys, the Maharashtrians were elbowed out. And this is where Thackeray came in.
He decided to be Bombay’s benefactor. He vowed he would get the Marathi man his rights. What started with a simple – “if you can’t get it, seize it,” became a strategic movement. Mumbai’s Robin Hood, who ‘stole’ from the outsiders to give to his own people, became a household phenomenon in Maharashtra. The brush was replaced with a gun, not in his hands but in the hands of who were ready to kill for him and more importantly die for him.
Such was his power that the police, administration, the central government and the common man all became his fans. Interestingly, Bal Keshav Thackeray’s life provided a lot of fodder. The bespectacled man, who wore rudraksh around his wrists and drank beer each afternoon, was a paradox. He often made controversial statements. Sample this… “I’m ready to befriend the Muslims. However, if they don’t appreciate it, I’m ready to boot them out also.” Long before, others wore saffron, Maharashtra’s very own tiger had roared, “Hindustan is for the Hindus.”  
No one was able to gauge what his next move would be, so his enemies (many of them who were in the most-powerful positions) could never get the better of him. 
The dialogue of this film by Manoj Yadav and Arvind Jagtap is incendiary. But then a lot of it is taken from Balasaheb’s speeches that were often controversial. A lesser man may have been singed. However, Thackeray had amazing qualities. He could ignite a fight and shortly thereafter, he also provided the equipment to douse those fires.
Cinematographer Sudeep Chatterjee has captured the past as well as the present seamlessly and stylishly. The art department has done a commendable job of recreating a sepia-toned Bombay in the first half. And even the second half brings alive the exact colours, prints and backdrop which were associated with the man. Balasaheb’s animal-printed throne in Matoshree and all the other detailing has been taken into account.
Nawazuddin is first-rate. His petite physical form is quite close to that of the Sena supremo. Without too much ado, he borrows the leader’s mannerisms and his demeanour, convincing you that you are seated in Thackeray’s darbar. Amrita has lesser scope. However, she needs to be complimented for not straying out of character or ever attempting to draw attention to herself.  Looking beautiful, she plays the perfect foil to her famous spouse.

SYNOPSIS

From a firebrand journalist to an influential political leader who played a major role in shaping the Marathi identity, Balasaheb Thackeray’s journey is also the story of birth and evolution of Shiv Sena. The film chronicles the life and times of the charismatic leader whose legacy continues to live on through his words and deeds.

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