In an exclusive chat with The Pioneer, Kshitij Patwardhan opens up about the shifting landscape of art and criticism, his experience working in Singham Again and more
Kshitij Patwardhan, a multifaceted writer and screenwriter, has made a significant impact in the Marathi film industry. His diverse background in computer science, journalism and advertising has shaped his unique writing style. His writing journey commenced around 2010, following stints as an advertising copywriter and reporter. His educational foundation in computer science and a master’s degree in communication and journalism laid the groundwork.
“I have been fascinated by writing since my teenage years. I explored various forms—advertising, political communication, journalism, radio writing and jingle writing. This exposure helped me grasp different facets of writing.”
Patwardhan’s first commercial full-length play marked his entrance into the Marathi entertainment arena, leading to his debut film. “Starting as a reporter, then copywriter, playwright and screenwriter was quite a journey,” he reflected.
His maiden success came with the 2010 Marathi play, directed by Sameer, now a renowned director. “The play was a sensation in Maharashtra, drawing young audiences back to theaters,” Kshitij proudly shared, adding how the film was translated into 5 languages, adapted into a motion picture, how he completed 480 Marathi shows and over 300 Gujarati shows, oh and also received major Maharashtra awards.
“This success validated our writing’s relevance to youngsters and today’s audience,” the Taali screenwriter emphasised adding, “Understanding the audience, staying updated with trends and experimenting with genres keeps my writing fresh.” His inspiration stems from real-life experiences, literature and cinema.
Following his success in Marathi cinema, he ventured into Hindi cinema, driven by curiosity. “The transition stemmed from curiosity. Regional industries often harbour biases about Hindi cinema being inaccessible, money-centric and style-driven, relegating creativity.” Determined to form his own opinions, Kshitij explored Hindi cinema.
Maddock Films offered Kshitij his first break! Director Michel Musale approached him as a consultant for Sajini Shinde Ka Viral Video (Netflix). Impressed by his work, they collaborated, making Kshitij the dialogue writer and additional screenwriter.
This partnership led to two more projects: a recently filmed project slated for release next year and another written specifically for Maddock Films. Mikhil Musale introduced Kshitij to Ajay Devgn’s assistant, securing him a spot on the writing team for Singham Again.
“Previously, I collaborated solely with Sameer. This time, I worked with two female writers, Anushin Chaudhary (Aria, Grahan) and Parinda Joshi (acclaimed book writer and film writer). “They taught him invaluable lessons: inclusivity, female perspectives and challenging biases. These writers enriched my writing, making it more inclusive and fresh. I learned to shed assumptions and adopt new lenses,” Kshitij reflected. On the response to his work, Kshitij humbly acknowledged, “Audience love has been pouring in since 2010, growing daily.” His focus remains on crafting relatable, relevant and responsive stories.
With projects in Hindi cinema, he aims to explore socially relevant themes. Sajini Shinde Ka Viral Video addressed the pressing issue of suicide abatement. “We wanted to start a conversation,” he explained. “Sometimes, living is an act of courage. We aim to give hope to those struggling, reminding them to hold onto hope and goodness.” This message resonated globally, trending in several countries.”
However, with Singham Again, during a brainstorming session with Rohit Shetty, Kshitij proposed re-telling the Ramayana through Singham’s character. “I felt Singham embodied Prabhu Ram’s philosophy—justice, righteousness and respect for women.” Rohit Shetty was impressed and the idea evolved collaboratively with fellow writers.
Working with nine writers was “interesting and democratic.” Going further, he described the process: “We had story and screenplay writers for six months, followed by dialogue writers. After gaining objectivity, we returned with fresh perspectives, providing feedback.” This approach gave the film an edge. “It was like a classroom of writers,” he reminisced. “We shared food, thoughts and books with childlike enthusiasm. We’ve become friends for life.” Rohit Shetty’s inclusive approach fostered a supportive environment.
He recalls visiting the sets of Singham Again twice, specifically for the Ramayana-inspired portions. “Rohit Shetty values writers’ input,” he noted. Dialogue writer Shantanu Srivastava was also present on set.
But what about Shakti Shetty’s character, portrayed by Deepika Padukone? Reports claim an exclusive film on it; we ask him and he says, “The idea emerged from a brainstorming session, but development was Rohit Shetty’s vision.” He wasn’t directly involved in writing Shakti Shetty’s character.
Going ahead, he acknowledges the prevalence of biased reviews driven by ideology. “Reviews are no longer instinctive; they’re influenced by agendas or personal beliefs.” He distinguishes between constructive criticism and unjustified bashing, emphasising the value of fair reviews. Patwardhan stresses the importance of being open, gathering life experiences and understanding human nature. “Craftsmanship is secondary; emotional impact comes from compassionate observation and imagination.”
Talking of his upcoming projects, there’s a Maddock film, India’s first AI-based Marathi play, nearing 100 shows, an untitled Hindi film and songwriting credits in multiple Hindi and Marathi films.
