There is the Holi song which seems straight out of Even when there is, the pounding background music takes over.īajirao Mastani gets more ambitious with what it intends to do. In fact, the confrontations, the argumentative characters, their high-strung interactions, and emotions are relentless. One dramatic confrontation follows another. Notice how well Bajirao’s teardrop is orchestrated in the scene where he blows the lamps off and bids a sad farewell to his betrayed first wife Kashibai. Crowds are in perfect geometry even as feelings are carefully choreographed. The extravagant setting is backed by a stylised operatic narrative, song ‘n dance set-pieces, declamatory dialogue, and emotions that are forever heightened.
There are many nods to Raja Ravi Varma kitsch with some scenes seeming straight out of his art. Here Bajirao’s political battles, conquests and courtroom intrigues remain a mere backdrop to the more significant matters of heart.īajirao Mastani does scream opulence what with those fountains, chandeliers and drapes, and the headgears and jewellery that seem to weigh the actors down. Rau, his love triangle - of Peshwa Bajirao I, his first wife Kashi and second wife Mastani - is not a historically accurate narrative but one which takes liberties with the period, the setting and the story. He also makes it amply clear in the disclaimer at the very start that though based on N.S. So he is unapologetic about wallowing in visual excess in his latest outing,īajirao Mastani, as well.
Especially, that he will place an intimate love story on a larger-than-life canvas and turn it into a grand, melodramatic spectacle.
Devdas onwards some elements have been a given in Sanjay Leela Bhansali’s filmi universe.
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