This is a very early piece, written in Feb 2016:
It is three hundred years ago. Warrior princess Mastani of Bundelkhand decides to leave her kingdom and live with her new husband, Bajirao Peshwa- Chief Minister of the Maratha kingdom- at Pune. Her devotion to him is so strong that she can overcome all ostracism.
Fans want to see one of the latest star couples of the film industry on screen, and they are given it.
Right after the first battle where Bajirao meets Mastani for the first time, especially after she saves his life on the battlefield, almost every moment is peppered with the romance of the two. Mastani dances in his hall of mirrors to inform him that she has come; Bajirao bribes a boatman with a gold ring (gifted by his first wife Kashibai) to steer him across on a stormy night because Mastani must be rescued; Mastani is seen hugging him in the early modern CCTV technology (of reflections) projected in Kashibai’s room, and in the end, Mastani’s presence is expected to revive him from high fever before an important battle. The film closes with the death of the two individuals trapped in impossible love, and well, the battle whose tension is built up in the last sequence, does not finally occur.
Yes it is done in the “Bollywood” style; bits and pieces of classical performances are mixed with bits and pieces of Maharashtrian folk performances, ending up in the “Bollywood” song and dance- something that is growing steadily as a performance genre. Yes, the scenes will take us back to Mughal-e-Azam, the song from Bhansali’s own Devdas, “Dola Re”, and perhaps for some, impressionist paintings when Kashibai sits indoors, lonely and pensive. Deepika as Mastani fighting battle does not tie her hair beneath her helmet- yes, the stars, through their position in the film, do not have to appear pragmatic in some matters where their appearance itself is the highlight.
Call it PR machinery for Ranveer and Deepika if you want, but the beauty of this piece of work, which hides behind the set design, costume, and animation, and which is enabled by the very presence of the pop-star faces, is the story of two ordinary human beings with desires and dreams that all of humankind has.
Due to the political power and wealth that they are born into, wars, ties with kingdoms, and maintaining a certain social status even in their own family matters, are all the things that occupy their lives. History books tell us that the Maratha kingdoms were enthusiastic about expansion expeditions and tensions among neighboring lands did exist. In the post Aurangzeb period of weakening Mughal control, Bajirao was supposed to have targeted their Empire through their centre- Delhi- to make the house of cards of the Mughals tumble. In the first sequence, through a test of combining theory and practice of warfare, the Bajirao of the film also proves himself worthy of the crown through a demonstration of the same.
It was very simple- expand one’s kingdom and acquire greater revenue. He wanted to take over power from the Mughals, he wanted to conquer geographical territory for political control. We may conclude then that the influence of the culture of the victorious kingdom would follow as secondary, but that was not the intent of his conquest; especially in the film, which is based on the book “Rau” by N.S. Inamdar.
It is three hundred years ago. Warrior princess Mastani of Bundelkhand decides to leave her kingdom and live with her new husband, Bajirao Peshwa- Chief Minister of the Maratha kingdom- at Pune. Her devotion to him is so strong that she can overcome all ostracism.
Fans want to see one of the latest star couples of the film industry on screen, and they are given it.
Right after the first battle where Bajirao meets Mastani for the first time, especially after she saves his life on the battlefield, almost every moment is peppered with the romance of the two. Mastani dances in his hall of mirrors to inform him that she has come; Bajirao bribes a boatman with a gold ring (gifted by his first wife Kashibai) to steer him across on a stormy night because Mastani must be rescued; Mastani is seen hugging him in the early modern CCTV technology (of reflections) projected in Kashibai’s room, and in the end, Mastani’s presence is expected to revive him from high fever before an important battle. The film closes with the death of the two individuals trapped in impossible love, and well, the battle whose tension is built up in the last sequence, does not finally occur.
Yes it is done in the “Bollywood” style; bits and pieces of classical performances are mixed with bits and pieces of Maharashtrian folk performances, ending up in the “Bollywood” song and dance- something that is growing steadily as a performance genre. Yes, the scenes will take us back to Mughal-e-Azam, the song from Bhansali’s own Devdas, “Dola Re”, and perhaps for some, impressionist paintings when Kashibai sits indoors, lonely and pensive. Deepika as Mastani fighting battle does not tie her hair beneath her helmet- yes, the stars, through their position in the film, do not have to appear pragmatic in some matters where their appearance itself is the highlight.
Call it PR machinery for Ranveer and Deepika if you want, but the beauty of this piece of work, which hides behind the set design, costume, and animation, and which is enabled by the very presence of the pop-star faces, is the story of two ordinary human beings with desires and dreams that all of humankind has.
Due to the political power and wealth that they are born into, wars, ties with kingdoms, and maintaining a certain social status even in their own family matters, are all the things that occupy their lives. History books tell us that the Maratha kingdoms were enthusiastic about expansion expeditions and tensions among neighboring lands did exist. In the post Aurangzeb period of weakening Mughal control, Bajirao was supposed to have targeted their Empire through their centre- Delhi- to make the house of cards of the Mughals tumble. In the first sequence, through a test of combining theory and practice of warfare, the Bajirao of the film also proves himself worthy of the crown through a demonstration of the same.
It was very simple- expand one’s kingdom and acquire greater revenue. He wanted to take over power from the Mughals, he wanted to conquer geographical territory for political control. We may conclude then that the influence of the culture of the victorious kingdom would follow as secondary, but that was not the intent of his conquest; especially in the film, which is based on the book “Rau” by N.S. Inamdar.
