Review: Bajirao Mastani is a slow paced cinematic jewel

Rating: ***1/2

‘Bajirao Mastani- the love story of a warrior’ is a historical romance film produced and directed by Sanjay Leela Bhansali (SLB). The film is based on Marathi novel “Rau” by N.S. Inamdar. After Hum Dil De Chuke Sanam and Devdas, this is SLB’s third and the most awaited film based on a triangular love story.

Bajirao Mastani takes off with appointment of Bajirao (Ranveer Singh) as the Peshwa of Marathwada kingdom. Through his astute war leadership, Bajirao acquires a majority of Indian kingdoms for Marathas. In the honor of his historic deeds, a palace Shanivaarwada is made for him and his family. Soon, the stories of his fearless leadership get widespread.  Mastani (Deepika Padukone) approaches him and seeks his help to save her kingdom Bundelkhand. Although Bajirao is already married to Kashibai (Priyanka Chopra), Bajirao and Mastani fall in love with each other. Mastani is a dancer and a warrior princess with half Muslim blood. 

Will Kashibai, Bajirao’s mother Radhabai (Tanvi Azmi), his brother Chimaji (Vaibhav Tatwawdi), the Brahmins (including Aditya Pancholi) and people of Marathwada accept this love? What ensues forms the rest of the film.  

The titular performance of Ranveer Singh is the most spectacular. He tries to fit in the shoes of the famous Peshwa to the letter. Except for a few places, his Marathi diction remains intact. Through his swaying emotions as a fearless warrior, a friend to his wife and a helpless lover he effortlessly gives an epic performance. Deepika Padukone, as the beautiful and brave Mastani speaks volumes through her eyes and gait. The year 2015 clearly belongs to her for choosing diverse portrayals in Piku, Tamasha and now, Bajirao Mastani. Priyanka Chopra as the distraught wife is earnest as ever (except that her diction falters at most places). She is con-vincible as the betrayed Peshwinbai (wife of Peshwa). Tanvi Azmi does a great job as the Bajirao’s widowed mother.  

But the main star of the film is SLB for his aesthetic sense of story-telling and eye for detail. His eye for detail can be made out from the elaborate Angarakhas worn by Ranvir, his shoes, the Parda (curtains) used by the widowed mother Radhabai etc. He has taken extreme care of avoiding 21st century technology and making the sets appear to be of 18th century. That’s where SLB’s victory lies in making a period film. Even when he has shown use of technology e.g. use of reflective mirrors and water in Kashibai’s room so that she can directly see her husband when he is in the Sheesh Mahal; it looks historic albeit majestic. Viewing all this makes you acknowledge the enormous efforts made by SLB’s team in recreating an unseen long-past era. 

The most important elements of the film are the cinematography and the costumes. Sudeep Chaterjee’s cinematography is responsible for the majestic, stunning shots. The palatial locations of Jaipur, Wai and Madhya Pradhesh are carefully chosen. Apparently, 21 grand sets were made by Production designers (Sujeet Sawant, Sriram Iyengar, Saloni) especially for this film. According to recent news, one of the sets based on Lahore’s Sheesh Mahal has been retained as a museum in Film city. The costumes designed by Anju Modi add to the grandeur and larger-than-life feel of the characters and the sets.

The music is composed by SLB himself (with assistance of Shreyas Puranik) and the score reverberates with the sets.  Each of the songs is a musical and choreographical treat- from Deewani Mastani, Pinga, Malhari and the classical song Mohe Rang do Laal by the living Kathak legend Birju Maharaj.  The war scenes are taken to another level with the background score added with the clang of the swords, the hooves of the horses and the chants of ‘Har Har Mahadev’ of the warriors. 

There are many scenes which create magic, the most nostalgic one being Radhabai and Kashibai’s dialogue where they share their pain while stitching a flag. The climax peaks and is awe-inspiring with the realization of Bajirao’s dialogue of doobta hua sooraj (the setting sun), ugta hua chand (the rising moon), sookhe patte (dried leaves), rang badalta kesariya asmaan (saffron skies), bewaqt ki bearish (untimely rains) and two souls uniting forever. 

The film ends tragically but not without conveying the message of tolerance between religions. This seems to be quite apt in today’s times when people are discussing intolerance everywhere.

I could not help comparing Bajirao Mastani with the legendary Mughal-E-Azam. The commonalities between the beautiful Anarkali (Madhubala) then and a mesmerizing Mastani (Deepika) now;  the lovelorn Salim (Dilip Kumar) then and the helpless Bajirao (Ranvir Singh) now;   K. Asif’s eye for detail then and SLB’s meticulousness now. 

SLB’s Bajirao Mastani may not be perfect but is nothing less than an epic. At 2 hour 40 minutes, it is slow yet mesmerizing. Watch the film for Ranveer’s majestic performance and SLB’s artistic vision. 

-Reviewed by Dolly Bolly