Bajirao Mastani

.... And I saw it. In Pune itself, but not where it was fiercely opposed, the citadel of Chitpawan Brahmans, Kothrud, but far away in non-Marathi Pune, Amanora. Brought up as Puneri Brahman, definitely not in a staunch fashion, I should have refrained myself from even nearing the cinema halls where it was exhibited. But the better sense instilled by that non-staunch part prevailed and I decided to join the brigade, either one, only after watching the movie. And here I am, not knowing which brigade to join!

Bored to the hilt after watching countless mundane Bollywood movies heralded by dozen or so, 'Punjab da Putters', here was one, off the track, having great potential to take the flag of Maratha pride beyond the seven seas, as for one taking immense pride in being Marathi Brahman [ Why Not ?!] it was the boon, I was apprehensive though, nonetheless looking forward to its release. As expected it met with brickbats from those who were definitely weak in history but proclaimed themselves to be zealots of Marathi culture, without really watching the movie. It had to die down naturally but real jolt came from Mr Bhansali himself, throwing his towel in, at the outset only. The 1st frame of the movie blatantly declares that 'It's a work of fiction and I have taken many liberties for creative en-devour, but not to offend any body's sensibilities [ right or wrong ],[ Who is bothered anyway, not me at least !]  ' as if deflating the hyper-inflated balloon in the beginning before it sees the skies.

It gave me goose pimples when Ranveer Singh attired in heavy metal helmet and armour to match, riding effortlessly on the horse, shouted 'Har Har Mahadev' attacking the enemy in the opening frame. 'That's it, it's going to deliver' was my first instinct. Every frame that ensued went on as if in crescendo till the interval. Marathi culture at its epitome was picturized beautifully. The battlefields came alive on a mammoth scale, maybe on par with any historical from the west. Men wearing circular headgears so typical of that era, over their shaved pates leaving a tuft of hair at the back in the centre, looking every inch regal and staunch at the same time, including light-eyed Aditya Pancholi. Milind Soman didn't have to try hard, he himself being one, chitpawan Brahman. Ladies draped in elegant nine-yard sarees, with hairstyles to match with golden flowers put in their hair, told that research at least some, must have gone in, to create an ambience of a bygone era. Priyanka Copra as Kashibai just glided in the frame, like a blast of fresh air, so came the royal pride as Tanvi Azmi with her bald pate and stern face.
The forts, palaces and citadels of Maratha empire, whether they were in Pune, in Satara or elsewhere, definitely gave an idea of how the architecture was then.  Visits to  Shaniwar Wada relics umpteen times in childhood always brought that feeling of emptiness. 'How would have it looked in its prime time?', was always a thought to ponder.  And I was grateful to Mr Bhansali that he made it real, for me at least.  It being shadowed by Rajasthani Architecture, in my view is rubbish. Interiors of all the palaces are awe-inspiring whether it is Satara's palace, HH Shahu Maharaja's court or Ganesh Mahal of Shaniwar Wada. But the seeds of doubts started getting sowed somewhere on the way. Shaniwar Wada having Sheesh Mahal on the styles of 'Mughal - E- Azam'? And Mastani dancing like  'La Madhubala'? Maybe unfathomable. May be creative liberty. The way you take it, after all, it's not a historical piece. But the feeling of uneasiness started getting repeated. 

Entries of all the main characters are so dramatic that at times they are either unreal or cliche. The unfurling of Mastani's tassel is no doubt dramatic but definitely cliche as it was mostly predictable and has been done away with, in many a movie in the past.
Does script do justice with history, Bajirao, Mastani or Kashibai? So many questions !!

More to follow......