Baji Rao I - Wikiwand
This article is about Kashibai, the first wife of Bajirao I and her life. The love story of Peshwa Bajirao and Mastani caught the eye of director. Bollywood News – Priyanka Chopra agreed to play Kashibai in Bajirao Mastani because of Sanjay Leela Bhansali. egauteng.info Nizam told Baji Rao that he was going to Delhi to repair his relationship with the After Baji Rao's and Mastani death in , Kashibai took the 6 year-old.
If we go beyond the Marxist Feminist understanding of familial love and different equations of exploitation, there is a much more confined linguistic dilemma, between loves. If the object is same i.
Even in the later part of the movie, we can see a dance performance, by both Kashibai and Mastani. For the first and last time, both of them in this movie share the screen simultaneously, that too in a dance performance. Both the characters of Kashibai and Mastani are necessarily relational in existence. Bajirao, along with his Peshwa identity sets up the characteristic horizon for Kashibai and Mastani.
The matter has now gone to Maharashtra chief minister Devendra Fadnavis who has assured to check out the issue. Water has been portrayed as a medium of confluence. At a point, when Mastani is kept under reconnaissance at Shanivarvarha, Peshwa comes to meet her.
Bajirao goes in the middle of the fountain that was placed in front of the palace of Mastaniwhere he offers Mastani to come. Here water has become a sign which washes up the religious and political barriers in the way of love.
Mastani’s Son, Shamsher Bahadur I
In the last few minutes of this movie, the director shows that, while suffering from high fever Bajirao suddenly wakes up and goes out of his taint. He steps down towards a talav or lake, where he becomes unable to find Mastani. He halucinates that the soldiers are marching with their horses in the water. So water creates an expression of emotional convergence between two, beyond the repressive religious divisions.
On contrary to that interpretation, one may argue that water symbolizes distance in the movie.
Bajirao washes up the religious distance and rift by going down to the fountain. Even in other period films, like Mughal-e-Azam and Jodha Akbar, colour plays an extremely vital role to signify love as an aesthetic element.
Yellow, blue and scarlet are mostly Skillman, Teri. Both Ragamala pages have an almost square format, and in each the composit composition ion is divided into rectangular compartments of varying size and shape. Interestingly, Mughal-e-Azam Azam depicts Jodha as the mother of Salim, who is already married, so she was costumed in various colours.
On the other hand, in Jodha-Akbar, Akbar, the colour combination of the costumes of Jodha changed eloquently, after she got married and obviously, in a Muslim family. Thus, we can find the appropriation of Mughal ccolours olours by the Rajputs. It was Shulamith Firestone who primarily appropriated love as a machinery of exploitation, which is being formulated within the macro as well as micro institutions, like family, community, state, and here my contribution is nation.
Paranjape, obtaining a psycho-analytical understanding, symbolizes Gandhi as an anti-Oedipal personality. That means, to achieve his love, which is the nation the mother figureGodse kills his father.
What Paranjape probably has overlooked, is the relation between Gandhi and the nation. But, this structure of the love-dynamics goes beyond the form of a family. So the myth of functional exploitation is out of queries. Gandhi can not be treated as the dominant husband of nation, who always tries to repress his wife economically. The basic reason behind the fact is that, Mahatma, although being Mahatma, used to consider the nation to be his mother, and not as his spouse!
But I feel, it is necessary to show, how the theorization of love under a heteronormative rubric actually works within different kinds of nationalist discourses. Sexual identity makes the matter much more patriarchal, as the dominant describes itself as essentially a male if not masculine and the dominated structurally becomes the female if not effeminate.
What is important here is the conflicting binaries of discourses. It boosts up the perception that what can be conquered, what can be won, what can be dominated has to be elementarily feminine, whether in case of territory or nation.
Most of the Bollywood period films, collapses the issue of gender, sex and religion, brilliantly. Firstly, lets talk about Bajirao Mastani. Bajirao Mastani has portrayed the Paranjape, Makarand R. The Death and Afterlife of Mahatma Gandhi. It narrates a story of a triangular love between 3 persons. Two of them are Hindus in religion, and the third, who is Mastani herself, has a Muslim identity.
Now, Bhansali, unlike Gowariker the director of Lagaan plays with religion in a much intricate way. The narrative deals with women and religion softly.
Bajirao Mastani - Wikipedia
He places her within the cultural even sometimes religious framework of Islam, as her mother was said to be Muslim. But, as to establish the view of conquest, the director has cleverly softened and sensitized the notion of religion, which only can play the function of an obstacle. Till this point, we have nothing compulsory to do with nation. The eldest son of Bajirao, Balaji, as he grows up, becomes the villain in the lovestory.
The character of Balaji cannotbe theoretically fitted within the Freudian psycho-analytical characteristics of Oedipus. But what can provoke our thought is that, the competetor of Balaji, was not only his father Bajirao, but his brother Shamsher Bahadur son of Mastani and Bajirao could have a greater possibilty to threat the political power of Balaji. There, Shamsher would be treated as a re-incarnated form of Bajirao.
Anyway, whatever the gender-dynamics is, struggle for power is a constant factor apart from the heteronormative underpinnings. Water, again as a signifier of distance and rift, gets portrayed in a scene, where Bajirao visits the Nizam of Hyderabad, for a political pact. Being angry and desperate, Bajirao crosses the trench and comes closer to the Nizam.
Now, the obstructions between Peshwa and Mastani generally comes from characters who share same religious identity as Peshwa.
It makes the structure much more complicated, and entails the Marathi conservative Hindu nationalist historiography, which supposedly address a self-concerned separatist conservative Marathi power. Now, this dimension of exclusivity of Maratha power and nationalism, can traced through the politics of Shiv Sena, even nowadays. His aim was aconsolidated Hindu Empire that should embrace all Hindustan in its sweep.
We can scrupulously notice, that Savarkar does not mention even a single word about Mastani. In post-independence India of the early s, when boundaries of states were redrawn owing to linguistic affinities, the movement demanded a separate state for Marathi-speaking population, calling it Maharashtra.
So intense were the demands of the movement that massive riots and political struggles took place within the Bombay Presidency during that time. However, Bombay being the economic capital of India attracted people from various regions for job Savarkar, Vinayak Damodar. Translated by Himani Savarkar. Especially, people from Bihar and South India started flocking to the city in large numbers.
The narrative structure of Rau totally differs from that of the Shiv Sena nationalism. Rau uses love as the tool of protest, where the language of resistence among the Shiv Senas are utterly different. The selection of the plot is even more interesting, where, none of them Kanitkar, Keshar, Inamdar establish Bajirao as a pro-Hindu Muslim bashing ruler of Maratha, rather they consciously build up the narrative of all-encompassing, conquering notion of love, which can go beyond religion. Films like, Lagaan also categorically use this discourse of nationalism.
Conquering Swades as here, Gauri can be treated as the genderized body of nationby dismissing the love of a Firangi. The filmMangal Pandey, also portrays a love story, where a British officer falls in love with an Indian girl who was going to be burnt in suttee. The entire set up hold the narrative in a heteronormative conjuncture. The name of that film is Mohenjo Daro.Priyanka Invites Deepika To The Festival - Bajirao Mastani - Movie Scene
Now, this post-release progresses are understandable. But, the process of reification should be questioned again and again. What is the key factor, which makes it a period film, or a historical drama? We can assume, a thing, that historical facts, events and narratives are not the only ingredient of a period movie, or a historical drama.
I mean, if we compare two historical dramas: Jodha Akbar and 2. Bharat Ek Khoj a TV series, released in Doordarshan indirected by Shyam Benegalthe main disjuncture between them is the different narratives they propel and different views they share about history. But the problematic part of it is that, theory reifies and takes both of the films under a same category, although they are immensely different in structure. In this entire paper, I have tried to argue that there are some absolute arbitrary assumption in the mind of the directors, regarding the forms of a period film.
Now, it is a preliminary condition of a period film, that it should target the mass as its audience. Otherwise, the hyper-national sentiments it provides, would not be spread among the common, illiterate citizens of the suburbs and villages. Hence, the film was shelved and Bhansali went on to direct other films. Over the following ten years, media speculation about the production and casting of Bajirao Mastani continued.
My picture would be there and the pictures for Bajirao and Mastani would keep changing. It is a great honour to be selected to play this character. He instructed the crew members to address him as Bajirao, which helped him to remain in his character. He said, "It takes a lot of work and effort to be different from whom I am, and two hours to get ready, complete with makeup and the heavy costumes.
After all this, if someone just tells me, Ranveer, your shot is ready! Just grace under fire. Having never met Bhansali, they started researching on their own by visiting Pune and Satara and learnt about Maratha architecture.
Several years later, when they heard about the revival, they met Bhansali, who was impresses by their research and presentation.
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Once the number of sets and location shots was decided, the production moved forward. Along with the art directors, nineteen art assistant directors, including architects, designers, sketch artists and props artists, were involved.
The two biggest sets were the exact replicas of Shaniwar Wada and the Aaina Mahal, both of which were "high on grandeur and intricacy". Lotus motifs on mud-clad walls and handmade textures were used to give the set a realistic appearance. The set was given a lotus-like design, with walls, ceiling and floor made out of handmade mud embedded with sparkling mirror designs. More than design stencils were used to decorate the hall. Mastani Mahal was built as an amalgamation of Rajput and Maratha architecture.
Mastani's room in Bundelkhand was crafted using a mix of Persian, Mughal and Rajput motifs and architecture. Only earthen diyas and torches were used to light the sets. Almost 30, oil lamps were made for the film and suits of armour were designed for the war scenes. The armour and headgear weighed between ten-twenty kilos and two kilos, respectively.
The props were made in Mumbai and had to be taken to Rajasthan, the outdoor location. What actually made them to fall in love with each other? Mastani left her whole kingdom for a man who wasn't even aware that he "accidentally" married her. But I think her perseverance in pursuing her love, changed his mind and made him fall madly for her despite everything.
If not, who would imagine such a warrior, a Peshwa to be that weak when it comes to love. One more thing that I admire in this movie is, Kashibai and her dialogues. Kudos to whoever wrote the dialogues for this movie. Kashi's dialogues especially are so riveting and soulful at the same time. Complemented with powerful performance by Priyanka, Kashibai is definitely one of the best characters in Indian cinema and I'm not exaggerating.
The scene where Kashi truly expresses her sadness and frustration to Bajirao at the end is such a classic scene. SLB deserves a hats off! Honestly, I think even if the movie is about Mastani, Kashi's role is a more prominent one. Though Priyanka didn't have to dance as much as Deepika, her acting skills were more than enough to prove what a versatile actress she is!