A man must choose between the promise he made to his father and the promise he made to the love of his life.
Ravas - that's what the leading man of Vitthala Shapath, calls the girl he sees for the first time, while she is giving a public speech against female foeticide. And if that wasn't enough, he then proceeds to walk up on the stage, snatch her microphone and tell everyone that girls need to be 'loved'. When she objects to his arrogance and threatens to sue him for objectifying her, he coolly admits that it has been only 13 seconds that he has stared at her, therefore she cannot sue him. All this happens onscreen, while the men in the handful of audience laugh, clap and let out wolf whistles; because objectifying women and pursuing them shamelessly is still considered 'romance' in Indian cinema. Thankfully, a change of behaviour is what it takes for the girl to fall in love with the leading man.
Told in flashback format, Vitthala Shapath is the story of Krishna (Vijay Sairaj), the only son of Janaki (Anuradha Rajadhyaksha) and Ramchandra Sutar (Mangesh Desai). While his father has devoted his life to preaching the teachings of the Saints and Lord Vitthal, Krishna believes that true moksha can be attained through money. He moves around the village with Manya Patil (Anshuman Vichare) and his goons. Manya is the son of sarpanch Nageshwar (Uday Sabnis). While Ramchandra wants Nageshwar to let the village build a Vitthal temple in the village, the latter wants to keep that piece of land for himself. When Krishna, having been through hell and back, takes up the challenge of constructing the temple on that very piece of land, Naina (Krutika Gaikwad) the girl he had been pursuing earlier, helps him out. After many twists, expected as well as unexpected, the storyline attains moksha.
A strong star cast generally leads to a good, entertaining film. There are exceptions, of course, but the statement holds true in most cases. Unfortunately, director Chandrakant Pawar's Vitthala Shapath happens to be the exception. Despite good actors performing well, the lengthy film and the dreadful first half takes away from the entertainment factor. There's song and dance, there's action that fits a South Indian film, and there's a purpose to all the madness on screen, yet there's something lacking.
Pawar, who has also written the story and the screenplay, should have kept the story a little more tight, with not many loose ends. Vitthala Shapath should have ended with the temple part of the storyline, the romance bit seems unnecessary.
Watch it at your own risk.