The deep rooted culture and heritage of Maharashtrians is reflected in their names. Here's a list of Marathi baby names (मराठी मुलांची नावे) for boys . Here is a list of Marathi Baby Boy Names along with their meanings. Boys Names A to Z - Baby Boy Name - Meanings; Currently we have Boys Names Beginning with letter A in our Marathi collection.

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The purpose of this list is to help Marathi parents in choosing names for newborn baby. Most important task is giving a name to the baby that would be parents. Indian Hindu Baby Names. Page 2 www. Table of Contents. Baby boy names starting with A. Apr 22, Babies are gift of God to their we have a huge collection of Marathi Baby Boy Names And Meanings. Name your baby.

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A Long List of Marathi Surnames That Should Not Have Existed

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Goddess Parvati Names. Goddess Saraswati Names. Goddess Sita Names. God Ganesha Names. God Shiva Names.

God Krishna Names. God Rama Names. God Vishnu Names. God Hanuman Names. God Brahma Names. In these films, characters belonging to the low castes are portrayed. Besides, all these films are highly commercialized and hence the issue is not focused with enough sensitively, unlike in the above mentioned films.

Hindi Names

There are many similar films that play the Dalit card in Bollywood, but the intention behind these movies is more to gain cheap brownie points than to look at the issue with any seriousness. The technical brilliance and artistic excellence are neatly undercut by the pretentious hypocrisy presented in the narrative. Caste and Marathi Cinema: The first Marathi cinema was made in Jabbar Patel are some well known directors. Marathi cinema has always focused on either rural stories with dominant Maratha characters or brahminical urban set ups.

Caste issue was rarely focused in Marathi films. The list is not exhaustive but only suggestive. Jabbar Patel and it talks about power, politics, caste and ethics. This film shows the classic conflict and confrontation between a middle-aged, penniless drunkard teacher earlier freedom fighter , called Master, and the sugar baron Hindurao-Dhonde Patil. Though these are two protagonists, the story revolves around the character Maruti Kamble, a dalit military man who has gone missing.

The confrontation saamana between two protagonists is the theme of the film against the backdrop of the missing dalit character. Zunj It is the story of a primary school teacher and the son of the chief of the village known as Patil. As the film begins, everyone believes that the teacher is upper caste, as she is well-behaved and educated.

Later, the villagers realize that she is from the lower caste. The father of the hero is against their relationship.

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The youth of the village who want some change support the love affair where the older generation has a problem accepting the relation. Jabbar Patel and produced by Usha Mangeshkar. The film is about the tribal community called Thakar.

This Mohan Agashe and Smita Patil starrer shows all the traditions of the tribe. The film has a classic paradox, where in the end the hero succeeds in his revenge, against queen honey bee but loses his wife. The film highlights a strong, independent tribal woman who dares to abandon her husband as she considers him useless and falls in love with a drummer and lives with him.

Mukta Directed by Dr. Jabbar Patel, Mukta is a film about an upper caste girl and her relationship with her political family members, liberal parents, a black American friend and a very close dalit friend. She returns from the United States to her ancestral home and her political family after a long time. Her grandfather is a veteran of Maharashtra's co-operative movement and was an 10 influential politician.

At the university, she is doing Sociology and joins a street theatre group of Dalit activists.

There she meets group's leader Milind Wagh, a fearless dalit student leader and poet. Her family is upset with her closeness with this dalit student leader. The family's unease increases when her black friend from America Julian arrives. Then the story revolves around the relationship between Mukta, Milind and Julian with reactions and discussions with her family members and their positions on it.

Purshotam Kamble is so ambitious that he starts forging a place for himself with an agenda to seek power. To fulfill his political ambitions he gets married to a sexually molested woman Kamal Juvekar. He then uses her to better his prospects in becoming the next Chief Minister. The film is directed by Ujwal Thengdi and it is one of the rare films which have shown a dalit character as ambitious and power hungry as Purshotam Kamble is.

Directed by Chandrakant Kulkarni, the film shows the life journey of a dalit boy who becomes the chief minister of the state and later the home minister of the country. Court Court is written and directed by Chaitanya Tamhane as his directorial debut. The film throws light on the Indian legal system through the trial of an ageing dalit folk singer Narayan Kamble at a Sessions Court in Mumbai.

The critically acclaimed film does not directly comment on caste, but the protagonist is a dalit, and the case registered against him is about a sanitation worker who also belongs to the lower caste. He was born in at Jeur, a village in the Solapur district of Maharashtra.

Though he considers himself 11 casteless, he belongs to a lower caste. He did his M. His first National Award winning short film Pistulya is a reflection of his 'felt experience', Thereafter he made his debut feature film, Fandry in His experiences with caste reflect in his films and poems.

Marathi/Family Relationships

The lead as well as the support actors are all amateurs. The story focuses on a romance amidst caste-based discrimination. The film set in Akolner, a village near Ahmednagar, is about a teenager from a Dalit family, who lives at the village fringe, and falls in love with an upper caste girl. Jambhuvant nickname: Jabya , a pre-teen, lives in a ramshackle house on the outskirts of a caste segregated village with his parents and two sisters one a widow with a toddler.

The family belongs to a low-caste community and earns its living by doing menial jobs. Owing to the caste- ridden power structure of the village society, the boy's father has a timid and submissive personality which is exploited by the upper-caste inland villagers.

Fandry literally means pig in the Kaikadi language. Jabya is disgusted with the predicament of his family and shows interest in school where he also falls in one-sided love with an upper caste girl named Shalini nickname: Shalu. He has never talked to her, but tries desperately to catch her attention. This film is all about the dreams, aspirations and disillusions of that teen-aged boy and his reactions on caste discrimination.

The film has a powerful end which shakes up the viewers and leaves them numb. Sairat Sairat Madness is a love story, and as a story it is not new. A girl and a boy fall in love. On the run from her influential father, they have to deal with the ugly reality of life in a new city with no money and no friends.

Towards the end they manage to adjust with the situation and accept each other and finally succeed in coming to terms with life. We have read such stories and watched such movies.

The new angle to this story is the caste. The girl, Archana nickname: Aarchi is the 12 daughter of an influential sugarcane grower politician from the upper caste and the boy, Prashant nickname: Parshya is the son of fisherman from the lower caste. The uniqueness of the film includes many points like characterization, rural settings, dialogues,language and music.

The film has lots of unconventional things. For one, the heroine is not fair, does not have an hour-glass figure, and is not the usual submissive, abla nari helpless woman.

She is dusky, fearless, dominant and has ability to take her decisions and suffer their consequences. The hero of the film is good looking, but he is no macho. He is better in studies than the heroine, but he is shy and submissive, and gets bashed up all the time.

The girl takes the story forward. Unlike popular cinema, she leads the film. Manjule, There are two more characters, one is a Muslim boy Salim nickname:Salya and another is the handicapped boy Pravin nickname:Langdya who are friends with the protagonists. With these characters the director has again created space for the ignored sections of society. Unlike majority of the Marathi films, the language is not urban and brahminical.

The language used in the film and in songs in contemporary. The rural setting looks real and honest unlike popular rural Marathi cinema, where rural setting is either caricatured or over- dramatized. The film has two parts. One is focused on the love story and songs with great music, and the other is the harsh reality of the world. Manjule has given a twist at the climax and made the end more impactful where he has provoked viewers to think like he has done in Fandry too.

Let the whole world hear it loud and clear. India is now wide awake. We shall prevail. We shall overcome. Manmohan Singh With these remarks, the finance minister Dr. Manmohan Singh concluded his historic speech in the parliament. The opening of the market was the major change.

With private investment 13 in many sectors it was assumed that the economy would get a boost, the entry of private investors would create many jobs as well as wealth, and these reforms would significantly reduce poverty, because in the capitalist world everyone would get the same opportunity to develop.

Hence it was believed that, post-liberalization, people would change their attitude towards caste as money would be more important. Earlier the lower caste person has always been shown as illiterate, poor and dark-skinned; clothes soiled hair unkempt and behavior rough, be it a man or woman.

Sadgati, Ankur, Akrosh or Samana But post the characterization has changed. After the economic liberalization, the lower caste characters have been shown as educated, ambitious and trying to improve the situation for themselves and their families e. Mukta, Wazir, Masaan, Sairat. In these above mentioned two contexts liberalization and portrayal of caste Manjule has thrown a sharp light on dreams and reality.

The capitalist system encourages dreams and imagination, but the reality could be different.

Manjule has depicted this symbolically in both of his movies. After the release of Sairat, there was a huge debate on caste and discrimination on social as well as on mass-media platforms.

There were some Maratha groups that started agitations against the director-writer because they believed that the film targeted the Maratha community and damaged the image of the community. There were many writers-artists-scholars who supported the film and the director, and lots of messages were circulated about the films in support. In Fandry, the young boy has a dream to wear stylish jeans and shirts, the kind he has seen on a poster-boy in the city, to impress his dream girl.

He imagines himself as a hero with jeans and a new shirt and the girl with open hair like a film heroine. His father only can afford to download him a shirt, no trousers. He has to compromise with a new shirt and old pants. But when he tries to talk to the girl, the upper caste boy, the son of the Patil feudal lord makes fun of him and ridicules him. Jabya wants to become fairer to impress his girl and hence manages to get some popular face- powder but before he applies it he makes sure that nobody from his family is watching him.

This urge to become fairer and smarter is again the gift of new economic development. But the film shows that the end result is not positive. The boy imagines the girl who lives in the same village in a short, sleeveless, glittering dress, high heels and with some make-up, asking him for a kiss. He dreams this because he has a poster of actress Katrina Kaif posted on the walls of his house.

The poor, lower caste hero can dream this because the capitalistic system has created that scope for him. But the reality is different. When the time actually comes for the two to kiss each other, the feudal system intervenes. Though the hero is smart enough to know how to use Facebook and mobile phone, he cannot afford to have them; he is dependent on his friends. This underlines the conflict between dream and reality.

When the protagonists elope and start living in unknown city with a dosa-seller single mother, there also the female protagonist loves to watch her favourite popular Marathi serial, the escapist, unreal variety. These scenes not only focus the innocence of the girl, but also show the difference between dream and reality.

After settling down in the new city, both start earning. A change, however, has come in the male protagonist. Earlier, he would be beaten up by almost everyone, but now, suddenly, he starts dominating the girl. He starts doubting her character too. In one of the scenes he even slaps her. In these scenes the feudal male mind set is quite vividly portrayed. The director is obviously underlining the point that in the city, unlike the village system, caste is not a barrier but feudal system can exist.

Nagraj Manjule has successfully and subtly depicted these issues in both his films; hence the films are important to talk about.

Cinema is considered as a popular medium of mass communication. Thus film makers do not want to talk about issues with which the masses are not comfortable.The Guardian. Aarit One who Seeks the Right Direction. Bhavishya Future. The capitalist system encourages dreams and imagination, but the reality could be different.

Indian regional Names. When he was back to his palace, he complained that his feet were.