Tejasswi Prakash's Marathi film Mann Kasturi Re's co-star Tushar Ghadigaonkar passes away at 32
Mann Kasturi Re actor Tushar Ghadigaonkar reportedly passed away by suicide at the age of 32. The Marathi film fraternity is shocked and devastated as they have lost a talented gem. He had been a part of several Marathi films and other projects. He was seen in Tejasswi Prakash's debut Marathi film Mann Kasturi Re.
Tushar Ghadigaonkar passes away
According to Times Now, 32-year-old Tushar Ghadigaonkar died by suicide on Friday, June 20, 2025. Reportedly, the actor was struggling with a lack of work and stress, due to which he took this extreme step. Marathi actor Ankur Wadve confirmed the news of Tushar's demise on social media and expressed his grief. He wrote in Marathi, "Why, my friend? For what? Work comes and goes! We must find a way, but suicide is not the way… Tushar Ghadigaonkar, you lost- and with you, we all lost."
In Mann Kasturi Re, Tushar Ghadigaonkar played close friend of the male protagonist Abhinay Berde, who essayed the role of Siddhant Sawant. Meanwhile, Tejasswi Prakash was the female lead in the movie. It also marked the debut of the actress in the Marathi film industry.
About Tushar Ghadigaonkar's work
Tushar Ghadigaonkar starred in several Marathi films such as Mann Kasturi Re, Bhaubali, Zombivli, and others. Beyond his on-screen roles, he was deeply involved in theatre, earning acclaim for his performance in the popular Marathi musical play Sangeet Bibat Akhyan. He also appeared in the Bollywood film Malal, portraying the protagonist's friend. His other notable projects included Clove Mirchi, Unad, and Hey Man Bawre.
Disclaimer: If you know someone who is having suicidal thoughts, anxiety, going through depression, or is suffering from a serious mental illness, reach out to a nearby doctor, mental health expert, or an NGO for immediate help. There are several helplines available for the same.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Scroll.in
an hour ago
- Scroll.in
This book is an alternative account of literary beginnings in modern India through women's writings
'If an unskilled potter makes a lovely pot of his imagination, and if it becomes crooked while drying or heating in the kiln, he still puts it for sale in the market. Similarly, I have written this book to the best of my insufficient ability and placed it before you.' In this foreword to her first novel, Kashibai Kanitkar (1861–1948) dons the unassuming persona of 'an unskilled potter' to highlight two interconnected challenges – the toil of turning the manuscript into a book, and the trial of new authorship. The novel, Rangarao, began to appear in instalments in the Marathi magazine Manoranjanani Nibandha-chandrika in 1886 and stayed incomplete when the magazine closed down. Kanitkar managed to complete the novel over a decade later in 1898, but would not be able to publish it till 1903. The author explains the delay: 'Both the author and the owners of the printing press have suffered severe domestic problems, which is why the book is being placed before readers in this form. I am sorry about this but am unable to make amends.' Kashibai Kanitkar laces her apology about the unexplained domestic troubles with humour, submitting that any reader who takes upon the task of criticising her book or finding errors would find themselves with 'errata that would make a book of 800 pages, while the original [Kanitkar's novel] has only 400'. Kashibai Kanitkar actively worked towards building a body of work that included a posthumous biography of a contemporary, a collection of short stories, several essays as well as translations. In other words, we have a literary enterprise: an oeuvre that represents one author's strivings and vision but also extends a claim to a collective output – other writers, other women. At hand is thus a literary-historical moment of authors who are not isolated voices but remain interconnected in their reflexivity, in their measure and (uneven) participatory engagement with each other, as well as their purported audience – predominantly female – both within the diegetic space of the text and beyond. The growing presence and consistent influence of print culture in India induced a significant output of printed texts in English and native Indian languages in the 19th century. The proliferation of printers and printed material took place in simultaneous engagement with a growing literate audience, and the corpus of printed material continued to be predominantly religious or polemical in nature (driven by social reform motivations, such as pamphlets propagating widow remarriage). This ensured the centrality of print for public debates around the 'women's question' even as literary texts by women began to receive increasing public attention and appreciation from the mid-19th century. Around the 1890s, a noticeable acceleration and close succession of publications by women can be said to form distinctive literary constellations. Over the next four decades, a combination of factors contributed to a growing literary tradition, 'a feminist inheritance more powerful and complex, but at the same time more troubling, than narratives of suppression and release might allow us to suspect'. In fact, an elucidation could be offered for the inauguration of a distinct clustering of literary creativity, with its most delineated enunciation in the autobiographical frame – the 'I' that speaks to/of its literariness (of voice, structure, device, subtext) and demonstrates its confidence in the immediacy and reliability of the life narrative. The writers and texts studied in this book attempt varied formulations of the experiential first-person voice, either through shorter compositions (essays, letters, speeches), biographical studies, book-length autobiographies or even autobiographical fiction. The disparate backgrounds and inclinations of these writers defy easy classifications, offering instead a tapestry of revelations: an ardent student of both biomedicine and English literature (Krupabai Satthianadhan), a woman in her seventies who sets off to travel the world (Dosebai Cowasjee Jessawalla), the daughter of a social reformer who becomes a princess (Sunity Devee), a celebrated stage actress in Calcutta (Binodini Dasi), the first woman from India to complete her law education in England (Cornelia Sorabjee), a writer who strives for literary visibility in a celebrated family of writers (Swarnakumari Debi Ghosal), a young woman whose travelogues carry an unsaid tale of passion and failure (Atiya Fyzee), an educator of unprecedented social insurgency whose also seeks reform in poetry (Savitribai Phule) and so on. Several of these writers are self-taught, while others benefited from structured institutional education, but the shared commitment was to the written and the published word. Publishing meant the inevitability of public response, though this was more likely to invite censure rather than celebration for the author. The texts selected for study here offer two explicit assertions about narrative voice: firstly, a claim to writing as an act and an identity, and secondly, the gendering of both act and identity by the reflexive references to the author being a woman. For the first time, both personae – I am a writer and I am a woman – were being claimed in the Indian public sphere in a manner that was desirable and exciting, in that it had almost no precedence.
Time of India
7 hours ago
- Time of India
"Body of work he has done...": Oscar-winning sound editor Resul Pookutty on working with Anupam Kher in 'Tanvi The Great'
Ahead of the release of Anupam Kher 's directorial 'Tanvi The Great', Oscar-winning sound editor Resul Pookutty opened up about his experience collaborating with the cinema icon on his upcoming film. Speaking with ANI, Resul lauded Anupam Kher for his work and said it is quite inspiring to see the "body of work he has done". "Being with him, working with him is like a tribute to the body of work that he has done, you know. As a film student, I really got inspired by his films. I love him as a person, as an actor and a filmmaker," Resul said. The film stars debutant Shubhangi Dutt as 21-year-old Tanvi Raina, a young woman with autism determined to fulfil her late father's dream: to salute the Indian flag at Siachen, the highest battlefield in the journey, as portrayed in the trailer, challenges societal expectations and institutional limitations. Resul Pookutty gives music for Marathi film, calls it his most challenging work till date On the film's subject, Resul said, " Tanvi The Great is not a film about disability. You know, it is not a film about an autistic person but it's a film about celebration of life. This is a film about Conviction. If you decide to do your shortcomings, you know that as a human mind, you will surpass them. How do you surpass them? It is your manifestation. The universe will make you do that, you know. This is a film about that." by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like This Is The Worst Enemy of Arthritis: Throw Out This 1 Food Immediately Joint Health Findings Undo Kher emphasised that the film touches on a "universal problem", the underrepresentation and misunderstanding of individuals with autism. "It's a film from India, for the world," he said, adding that the film's success in international markets reflected its broad resonance. Veteran actors Jackie Shroff, Boman Irani, Pallavi Joshi, and Karan Tacker also feature in prominent roles. The project is backed by Anupam Kher Studios in collaboration with NFDC, with global distribution managed by Excel Entertainment and AA film is scheduled for a nationwide theatrical release on July 18, 2025.
The Hindu
12 hours ago
- The Hindu
From delivering food to delivering dialogues, the stages in the life of a woman theatre artiste from Kolkata
Sangita Sarkar left Kolkata shortly after the pandemic and now she has returned — only that, back then, she was delivering food for Zomato during the lockdown, and now she is directing a play. For her, the bridge between the two phases was the National School of Drama (NSD). 'I was already a theatre artiste when I joined Zomato. I had graduated from Rabindra Bharati University and was part of the theatre group Bohurupee. I joined Zomato during the lockdown mainly to observe people closely and improve my acting skills, and also to make some money to help those who relied entirely on theatre for a living,' Ms. Sarkar, who has been an actor but is directing a play for the first time, told The Hindu. Titled Moonlight, the play is an adaptation of veteran Marathi playwright Mahesh Elkunchwar's work Sonata, and being staged on the evening of July 1 at the Tapan theatre in Kalighat. It's about three women, single by choice, living together, and the friendship and the trust between them, Ms. Sarkar said. Also read:Thespians hail renaming Kolkata's Star Theatre after Binodini Dasi as historic, yet futile Ms. Sarkar says she was still in school when she first contacted the NSD, hoping that she would get to relocate from one school to another, only to be told that she needed to be a graduate in order to apply for admission. That's when she took up theatre and drama at Kolkata's Rabindra Bharati University. In 2019, she applied for a seat in NSD, and months later came COVID-19. 'That's one period I don't want to think about, and yet I cannot ever forget it. That was a time when people could not reach people, they were imprisoned in their homes. I still remember the anxiety of people stationed abroad, who would order food for elderly parents living in Kolkata. I always believed that no job is lowly and the pandemic proved it. Those delivering food may be considered at the bottom of the social pyramid but back then, they were as important as doctors,' Ms. Sarkar said. The resident of Belgharia spent about six months working for Zomato in the early part of 2021, getting a valuable opportunity for human interactions, something that was otherwise missing at the time. 'When a delivery person walks into a restaurant and when a customer walks in — the way they are treated is so different. Only once, when it was raining, did a restaurant owner ask me to wait inside and offered me tea, and asked me if I had eaten. That's one gesture I can never forget,' Ms. Sarkar said. By early 2022, she had joined the NSD, and that experience, like her work for Zomato, turned out to be an insight into human behaviour. 'The NSD broadened my horizons. It made me rich. Once you are there, you rise above caste, language, religion. A place like that makes you wonder why people indulge in violence, why there are wars in the first place,' the artiste said. She recollected her most memorable moment at Zomato, and how it connected to her life as an artiste. 'Once when I rang the bell, the door was opened by a very young girl. She was surprised to see that a woman had come to deliver food on a scooter. Her look was that of amazement and admiration. I can never forget that. In fact, in NSD, we were once asked to perform a 'happy moment' scene, and I borrowed a T-shirt from a Zomato boy to recreate my encounter with this young girl,' Ms. Sarkar said.
