Bajirao Mastani: A work of art

BAJIRAO MASTANI IS not conventional Bollywood cinema; stating that is important in today's times when Bollywood continues to be benchmarked against the utter frivolousness of its mainstream movies.
Much like the quick-fixes sought in anything, popular Hindi films are also increasingly seen as 'just entertainment' where everything has to be racy, fast, jovial, happy and 'paisa vasool.'
The challenge thus falls on sensible filmmakers who still have their foot in mainstream Bollywood turf, such as Sanjay Leela Bhansali, to make films that are strong at heart and yet appealing externally.
And when they venture out to focus on the former - the core - and not give in to frivolousness, their battle is against people who have set standards by the mediocrity that defines popular cinema.
That is why in the midst of the Dilwale hullaballoo, a film like Bajirao Mastani must be seen, discussed and brought to more people. And pray, please don't compare it with Bahubali; there is something in cinema called 'genres,' right?
A rich film with a strong emotional core, and lavish setting, Bajirao Mastani is one of Bhansali's most accomplished films to date. Don't go anywhere near theatres that play it if you are looking for thrill-a-minute fun or even the peripheral emotional outbursts you saw (and liked) in Devdas.
The love story of Bajirao (Ranveer Singh), a local chieftain, for Mastani (Deepika Padukone), a brave lady of a different faith, and of Bajirao's wife Kashi (Priyanka Chopra) set against the conventions of religion, society, customs and family is searing and brilliant. It is more than a warrior's tale. It is a love story of epic proportions.
There is a seminal moment in the film when three protagonists - a religious leader, a widowed mother and the hero - come face to face. As symbolisms go, this clash against love (and humanity), familial bonding (and customs) and religion (matters of faith) in this scene says reams about the emotional sub-texts that Bajirao Mastani so valiantly puts across to you.
For a film that could have easily drowned itself in melodrama, Bhansali surprises you with a rare sense of control (unlike some of his earlier works).
Bajirao's inner battle, Mastani's determination and absolute surrender to love, and Kashi's anguish at having her pride hurt in this love triangle gains incredible depth from a powerful script by Prakash Kapadia. It is multi-layered, evocative and gives equal justice to all three central characters.
On the flip side, Bhansali's penchant for unneeded pageantry sometimes drags down the narrative (the controversial Pinga song, for example - totally unneeded).
And so also this nagging doubt that plagues your mind: If Bajirao's both sons were born almost at the same time, how come one grows bigger than the other? (If that was an excuse to have Deepika battle with a child in her arms, well, it is a glaring scripting error.) Unless, Bajirao had two sons - and we are not told of the second one in due course or beforehand.
Bajirao Mastani has power-packed performances. Ranveer shines as the hero, brandishing his sword and swagger with elan; Priyanka, often wearing that baffling expression of hers when confronted with powerful scenes, too has moments that she can be proud of. And Deepika, what else can one say, but hats off, to this breathtaking work - ethereal, vulnerable, strong and determined, all in one.
Bajirao Mastani is not mainstream Bollywood; it is a powerful Indian movie that makes you think - not just about love but also about faith and society from a humanitarian perspective. Miss it, if you like frivolity; go for it, if you love cinema.