Sanjay Leela Bhansali’s magnum opus Bajirao Mastani is due for release and there’s an outcry in the political circles for its ban already. The reason being an inappropriate portrayal of Peshwa Bajirao I.
The Peshwas were the designated Prime Ministers of the Maratha Empire, a post created by Maratha emperor Chhatrapati Shivaji Maharaj in the 17th century. The protagonist Peshwa Bajirao I (played rapturously by Ranveer Singh) was a brave general who served under the fourth Maratha emperor Chhatrapati Shahuji Raje Bhosale and his courtship with Mastani, the daughter of an Indian emperor, has evoked copious interest over a lifespan and figured in many writings. Sanjay Leela Bhansali’s attempt at characterizing their mystical love story for the big screen in typical Bollywood style has made historians and politicians seethe over its inaccurate dramatization; rather misrepresentation of the legend, and then the inane lyrics of the song ‘Malhari’. Known for his critically acclaimed big screen musicals like Khamoshi, Hum Dil De Chuke Sanam, et al, Sanjay Leela Bhansali attempts a creative reflection of a historical account with Bajirao Mastani. It’s certainly erroneous to consider his Bajirao Mastani as a documentary that strives to keep the artistic memory and present a historical view of the original folklore along with a soulful commentary. It’s a commercial entertainer, a movie which derives its texture and colourful backdrop from the rich Maratha history.
That Bajirao would have hopped to the tune of ‘Malhari’ the way Ranveer Singh has, or that the real Kashibai would have paired with Mastani at a festive occasion with her spirited and glamorous dancing is anybody’s guess. That’s where movies score a point over reality in providing delight to its faithful audience. But while history has its place in the hearts and minds of the viewer let’s be watchful that after all Bajirao Mastani‘s content must be revered or reprimanded as a motion picture and not be chastised for political gains. It’s an individual’s interpretation of a historical account which can be challenged just as its other contemporary films have been. And as aspirants of true love stories while we will learn about the immortal truth of Bajirao-Mastani from our history books, let the cinemas feed our endless love for entertainment eternally.
