Synopsis – The tale of romance between an Indian General, Peshwa Baji Rao I & his second wife, Mastani.

My Take – After being in news for almost 15 years, director Sanjay Leela Bhansali‘s most ambitious magnus opus has finally arrived! So does the film live up to its expectations? After directing films like Khamoshi, Hum Dil De Chuke Sanam, Black, Guzarish, Goliyon Ki Rasleela Ram Leela & Devdas, fortunately this is one of SLB‘s best! Its A Well-Made, Well-Acted Motion-Picture, that holds your attention at throughout. The film carries the distinct imprint of director Sanjay Leela Bhansali‘s style and vision, whether it’s in the film’s visual grandeur or his pet theme of star-crossed lovers. Like his earlier films it explores the madness of love, but with more restraint and finesse than these earlier ventures. In typical Bhansali fashion, injury becomes a metaphor for the leading pair’s tormented love. At several times, the film also pays homage to another classic Hindi romance Mughal-e-Azam, especially in the lavish detailing of the song “Deewani Mastani“. Like all Bhansali films, it is also a given that this film is visually spectacular, with extravagant costumes designed by Anju Modi, opulent sets of palaces, courts and boudoirs, and elaborately-staged dances. Debates such as Hindu – Muslim, being the 2nd wife, having a illicit relationship are all very important topics touched upon in this historical love story, and fortunately all this done without hurting any sentiments. Actually one most note that for a film based almost 200-300 years back Bajirao and co were very forwarding thinking, and these topics mad the film thought provoking at many instances, especially the religious elements. But at the heart of the film it is a tragic love story of two warriors, who were hated but all, but loved deeply. SLB gets all the emotions in the film right, one feels for all three of leads in the film. The angst, the sorrow, the love, the longing, all these emotion are on full display in the film. Based on the Marathi novel Rau, the story follows Bajirao (Ranveer Singh) who is appointed as the Peshwa (Prime Minister) of Maratha king Shahu Maharaj (Mahesh Manjrekar).  After quickly indicating his military prowess, the film jumps to his meeting with the the half-Rajput and half-Muslim warrior princess Mastani (Deepika Padukone) who seeks his help to defend her kingdom Bundelkhand, which is under siege from the Mughal army.

Love blooms soon after they fight together on the battlefield, setting up the long-drawn conflict between Baji Rao’s love for Mastani and opposition from the royal family, courtiers, and his first wife Kashi Bai (Priyanka Chopra). Admirers of K Asif’s Mughal-e-Azam will find echoes of that peerless 1960 historical in the many debates between responsibility to the state and duty to the heart, some of the song sequences and Mastani’s incarceration by Bajirao’s scheming mother Radhabai (Tanvi Azmi). While the first-hour is arresting, the second-hour takes a dip & the pace drops. Also, the film overstays its welcome by a good 20-minutes, that certainly needed some trimming. A crisper & sharper second-hour would’ve only enhanced the overall impact! The dazzling song sequence Deewani Mastani is a direct nod to Mughal-E-Azam’s piece de resistance, the song Pyar Kiya Toh Darna Kya, but it has its own touches. In Asif’s movie, the courtesan Anarkali openly declares her love for the prince Salim before a court presided by his aghast father, the Emperor Akbar, in the Palace of Mirrors. As Anarkali defiantly dances, her image is reflected several times over on the glass-encrusted ceiling. In Bhansali’s movie, Mastani’s similarly rebellious act stuns the court and seduces Bajirao, but also makes Kashi realize for the first time that her husband now belongs to another woman. Their is no doubt that SLB has directed the film with enviable ambition. The scale of the film is something to watch! The visual appeal is tremendous. But, what makes the film further more memorable, is its human-conflict between its primary characters. The relationship of Bajirao & Mastani is sharp, and even the relationship between Bajirao & his first wife Kashi, is compelling. Watching the warrior torn between love, politics & religion, often grabs your attention. I was involved in Bajirao’s quest to give his women the respect they deserve, despite the evil-heads who intended to ruin it. Having said that, the film isn’t without its share of blemishes. The problem is Bhansali’s own self-indulgence overpowers the real life story. In this movie he pays homage to his own movies in the lavish musical numbers, ‘Kahe Ched Mohe’ and ‘Dola re Dola” from Devdas, and this in itself is not problematic, what is problematic he lifted the same choreography styles, the same camera angles and movements, and in the case of ‘Pinga’ the same situation that leads to the song, of the two leading ladies meeting in a dramatic confrontation and then agreeing to celebrate a religious festival together dancing for the man they both love. I can sympathize why the Peshwa descendants and historians are protesting. It was not necessary Mr Bhansali, not only did you mutilate history, but it was totally out of character. The other indulgences Bhansali makes that ruins the story is in he how paces, directs and scripts the the meetings of Bajirao and Mastani.

He is trying to make every meeting, every glance, every word shared sound like Shakespearean poetry and to enhance the profundity, many of their shots are in slow motion and the actors emote with the precision of a puppet. I consider Bhansali to be one of the best directors in Bollywood, because he has his own unique signature atheistic that is felt in his movies, every shot is immaculately designed, choreographed, lit and scored. Every sequence shows his craftsmanship. He even matches them to the mood, dialogue, sets and costumes. This is a hallmark of a great filmmaker, but when overdone, it is like seeing the mirrors during a magicians disappearing act. In this movie as a craftsman he exceeds himself — oh what beautiful sumptuous imagery, gorgeous lighting, epic camera work, brilliant use of CGI. I had no idea Bhansali had such a deft handle on CGI. The few war sequences looked much more realistic and polished. The acting is phenomenal! Ranveer Singh has always delivered fabulous performances, but this performance will be remembered until the end of his career as the performance that catapulted him into the hearts of the Indian cinema lovers. He has done a brilliant job and as a viewer, we laugh, cry and root for him throughout the movie! He’s the out and out star of the film. Priyanka Chopra is her usual magnificent self, nothing else can be expected of her after delivering award winning performances. She lights up the scenes she’s in. It’s amazing how she’s good at dance, acting and emoting on screen! Her pain as Bajirao’s first wife is captivating and makes the viewers feel for her! What else can be said about the ruling queen of Bollywood, Deepika Padukone, that hasn’t already been written!! She is a spectacle all by herself! She makes us cry, laugh, weep, and look at her in awe! She’s fabulous in the kathak number, “mohe rang do laal” and she shines in every scene of the film! Especially in the scene where she meets Kashibai and in the scene where she is jailed! Her eyes are truly the window to Mastani’s soul! She matches Ranveer‘s energy and their chemistry is undoubtedly historic and classic! What fabulous acting! The supporting cast is a marvel in itself, Tanvi Azmi as Bajirao’s mother is fantastic! Her acting abilities are par excellence, couldn’t have imagined anyone else in that role! Milind Soman is likable. On the whole, ‘Bajirao Mastani‘ is visual spectacle which should be lauded for surreal direction, exemplary CGI and commendable performances. Give it a watch!!

Director – Sanjay Leela Bhansali

Starring – Priyanka Chopra, Deepika Padukone, Ranveer Singh

Rated – PG13

Run Time – 158 minutes