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For pink to label something that is not power, strength or courage but this movie outcast the belief of opinions and highlights the most talked but least understood scenario of harassment in its true sense, it comes with a critic storyline of how a power in hands and ignorance for its norms lays a domino of struggle, insult and false accusation to the victims portrayed as verdicts by the accused, all in name of power and privilege to belong to family who accepts and supports harassment by not labeling as crime but, mistake. PINK: the name carries the misogyny of the deliberate and frail portrait painted for all women out there in world. I better do it quickly because my next watch in an hour's time is Dilwale J I am still trying to deal with the emotions it has evoked in my heart. The love story is moving and the visual extravaganza accompanying it leaves you overwhelmed. Tanvi Azmi as the Peshwa's mother is also wonderful.īajirao is a movie worth watching.
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She especially shines in the haldi kumkum scene. She is an intelligent actress and brings compassion to a role that could easily have been played shallowly just as a wronged wife. She plays the role with dignity and beauty. Priyanaka Chopra as the Peshwa's wife Kashibai is excellent. She has innocence and purity and a stature that demands respect but the feistiness she displays in the first few war scenes is either missing or too subdued later. Deepika is ethereal looking though a bit stiff. His Marathi accented Hindi adds to his character. He could have done with a little less of the big rolling eyes to show all sorts of emotion but he looks in perfect form and conveys the greatness of the Peshwa, as a master General, a strategist and a liberal minded intellectual who is thwarted in his attempt to give his love a legitimacy that ultimately kills him. I also wish the romance could have had more scenes to show us a deepening of the emotion that drives a great warrior into his decline and a warrior princess to abandon her home for her love.
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It is only towards the end that Bhansali reverts to type with a few scenes that are overly dramatic but yet given the greatness of the emotion it is trying to portray, it doesn't seem too over the top. The movie is well paced and hugs the story line closely without getting into digressions. Somehow it didn't quite gel with the stature of the person. The music also by Bhansali is lyrical though somehow I couldn't imagine Bajirao singing a song with words like 'dushman ki vaat laavli'. The war scenes are striking and the bird's eye view of how wars were fought was an eye opener. The costumes and the sets are opulent and transport you back into the era. The movie is a visual masterpiece like all of Bhansali's films. The parallel thread about how the Peshwa's wife Kashibai copes with this intruder in her life and the Peshwa's mother and the priest's rejection of Mastani to preserve the Peshwa lineage form a perfect stage for the love story to play out. At its core is a love story between two extraordinary people and that emotion is strong enough to carry the movie through. If Kashibai had never met Mastani and if they hadn't danced to Pinga it would not have taken away one iota from the movie.
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Each scene in the movie is a painting in itself, with one scene in which Kashibai is sitting framed in a doorway straight out of a Raja Ravi Verma painting.Ī long-winded disclaimer about how the movie is based on a book but has taken certain fictional liberties to make it more entertaining prefaces the movie. The movie, Bajirao and Mastani all are beautiful.