Movie Review: Bajirao Mastani

Sanjay Leela Bansali’s magnum opus “Bajirao Mastani” originally conceptualized with Salman Khan & Aishwarya Rai – post their “Hum Dil De Chuke Sanam”  success, in 1999 – in the lead, has  finally been served, though, with the “Goliyon ki Ras Leela” cast,  Ranveer Singh as Bajirao, Deepika as Mastani & Priyanka Chopra as Bajirao’s wife Kashibai. Tanvi Azmi plays Radhabai, Bajirao’s widowed mother,  Irfann Khan plays the sutradhar lending his surreal voice to the narration & the film is based on Nagnath Inamdar’s book “Raau”. The long disclaimer at the beginning of the movie was meant to assuage the hurt feeling of the Peshwa’s descendants who protested Bansali’s liberal recourse to cinematic liberties for what they felt distorted history.

EROS’s Bajirao Mastani was pitted against YRF’s “Dilwale” leading to an ugly fight for single screens just like in 2012 when Sharukh Khan’s “Jab Tak Hai Jaan” was pitted against Ajay Devgan’s “Son of Sardar”. YRF, then, had bundled their movie with “Ek Tha Tiger” to usurp more screens & it is EROS’s turn to replicate the same strategy; they have done so with “Bajrangi Bhaijan”. Clearly, this shows who the real superstar of Indian cinema is: Salman Khan.

The movie begins with the Maratha court deliberating on Balaji Vishwanath’s successor as the new Peshwa; Bajirao, despite being only 20 years old, wins the duel despite competing claims from more experienced hands. The political landscape of the times can be gauged by the statement Bajirao makes after the litmus test: The sand mould is Hindustan, the peacock feather placed on the mould is the Mughal kingdom & the arrow that struck at the roots of the feather breaking it into two, the Maratha strategy to win Delhi. This impresses the Maratha King Shahu Maharaj; Bajirao follows through on his promise with impressive victories conquering most of the territories south of the Vindhyas. He then sets sights on the North. That is when he gets an unexpected visitor. 

Mastani enters as a messenger from the King of Bundelkhand, Maharaja Chatrasal, seeking Maratha help to counter the Mughals who had besieged their kingdom. Initially reluctant through, Bajirao is impressed by Mastani’s persistence & finally goes for a cavalry dash to Bundelkhand in 2 days against the normal 5, catching the enemies by surprise &wins an impressive victory against the Mughal General, Mohammed Bangash. “Cheeteh Ki Chal, Baaz Ki Nazar Aur Bajirao Ki Talwar Par Sandeh Nahi Karte, Kabhi Bhi Maat De Sakti Ha”. Expectedly, cupid strikes the couple & the rest is history. 

The remaining part of the movie is about how Mastani – a half Rajput & half Persian Muslim progeny of Chatrasal - suffers the indignation of unacceptability from the Peshwa household, especially from Bajirao’s brother, Chimaji Appa & a scheming Radhabai. Tanvi Azmi - who went bald for the role -  reminds one of Ila Arun’s character “Maham Anga” in Jodha Akbar. Palace intrigues are well scripted & Tanvi Azmi comes out trumps; perhaps, she is the best actor in the movie. Mastani’s struggles are reflected in the heavy dialogue “Kiski Talwar Pe Sar Rakhu Ye Bata Do Mujhe, Ishq Karna Agar Khata Hai To Sazaa Do Mujhe”. Priyanka, though plays a dignified wife.

Kashibai, though initially traumatized by Mastani’s entry into her life reluctantly reconciles to the reality & tries to help her assimilation into the family.  Her angst is reflected in what she tells her husband ”Aap Hamese Hamari Zindagi Maang Lete Hum Aapko Khushi Khushi De Dete, Par Aapne Toh Humse Hamara Ghuroor Cheen Liya". Selfless, that she is, she foils a plan to kill Mastani; however, despite her noble efforts,  when Bajirao is on a Deccan expedition - to crush the NIzam’s revolt - Mastani is incarcerated by Radhabai & finally  Bajirao & Mastani meet their ends – Bajirao after his 40^th military victory and Mastani in prison. This is poignantly reflected in the dialogue “Hamare Dil Ek Saath Dhadakte Hai Mastani… Aur Ek Saath Rukhte Bhi Hai…”

The grand canvas is supported by grandiloquent dialogues. The interplay of “Ishq” (love) & “Ibadat” (Worship) has the impact on the audience  - especially the younger ones & the references in the movie about the preference for “saffron”  or “green” alluding to religious proclivities, attacks religious bigotry & serves as a remedy for our troubled times.

The sets are luxurious & the “Diwani Mastani” song reminds one of the Sheesh Mahal in Mughal-e-Azam & the immortal song “Pyar kiya do darna kya”; perhaps it was Bansali’s ode to the ageless movie.  Similarly, Bansali, cinematic escapades like bringing Chandramukhi (Madhuri Dixit). & Paro (Aishwarya Rai) together for the “Dola Re” song in Devdas continue & is replicated through the “Pinga” song in this movie.

Deepika is evolving into a fine actress with every passing movie & in this film she has succeeded in neutralizing her accent; she still needs to work on her dance moves though.  Along with Akshay Kumar she is known in the industry for her fitness levels & she excels in the fighting scenes for which she specially learned Kalaripayattu.

Ranveer looks the role of a warrior with his chiselled body & rich baritone. Only when he encounters Raja Murad – the Nawab of Hyderabad - does his tone not match up. His use of Marathi lingo is also apt & he carries, excellently, the emotions of a man torn between a doting wife - whom he considers more a friend - & a lover whom he is keen to deliver respectability & justice, even if it means fighting the dogmatic clergy of the day or his Mother. He did suffer some injuries during the demanding shoot earning the sobriquet “Nazuk Nawab” from Priyanka.

Priyanka was shooting for Quantico in the US & Bajirao Mastani in India at the same time; two different characters from two different worlds. She has made the transition effortlessly without displaying the inherent stress of the busy schedule. The designer has revealed the detailed research behind building the character: no makeup for Priyanka; use of the crescent bindi & no sindoor in the hair partition in trend with those times; & no use of kajal for it was only used by the Mughals then. Priyanka imbues the character with dignity, selflessness & grace.  Bansali’s penchant for detail is reflected in each frame which finally shows up more as a portrait; no wonder this film took about  400 laborious days to shoot.

The costume drama looks ravishing due to cinematographer Sudeep Chatterjee’s work, Bansali dabbles in Music too & produces predominantly classical fare & supports it largely through elegant Kathak dance movements. Sets are outstanding & there is a talk to convert them into a museum so that art lovers can enjoy the thorough fare.

In the quest for “love” the director seems to have missed the “political” plot of those times; more on that would have delighted the informed. The battle scenes are ephemeral & not detailed; more on that would have been insightful since Bajirao died an undefeated general. The scene where Bajirao attacks the Nawab’s army, alone, does not do justice to his reputation; it was hilarious although it was meant to elicit a few whistles from the audience. The movie had the potential to evolve into a terrific historical but fails at that task; it is still worth a watch though, for it is a Bansali movie: grand in scale with lavish costumes, aesthetically brilliant with lavish sets & wonderfully choreographed. You move out of the theatres humming the line "Bajirao Ne Mastani se Mohabbat ki Hai, Ayyashi Nahi".