Bajirao Mastani Movie Review: An impeccable turret of moviemaking with a twisted storyline


Though an elucidated disclaimer says that the story depicts the life of Bajirao Peshva and his love story revolving around Mastani, and that the real events have been changed as per the need, for the purpose of storytelling; it doesn’t make up for wrong idealizing of what Peshva stood for. It’s like saying, “I’m writing a story based on your life and showing you as a man who brought shame on your family.” Now, isn’t that fiction? Technically, yes it is. But, since I’ve used your name and portrayed your character through my writing, the whole story points out one name and it’s yours, and in it you’re a bad person. So yeah, by doing that, I am throwing mud at you. To make myself clear, by altering the real events the writer has in fact done an offense.


I don’t know how many people from India have known about Bajirao Peshva, but its distressing to know that people have resorted to believing the story of the film and have painted an image, that’s by far, isn’t anything like Bajirao. So, other than the manipulation of the story and exploiting the whole Peshva house, the storyline for the film has been neat. The most salient and virtuous aspect on paper are the dialogues. They are the backbone of how the Maratha’s used to live, communicate and rule. They are the embodiment and the structure of the Maratha’s. Prakash Kapadia, who also assisted in writing the screenplay of the film Katyar Kaljat Ghusli, has also penned down few poetic lines, which increase the magnificence beyond praise.

When it comes to directing a historical film, a great responsibility is on the shoulders of the director. More than actors, he needs to be prepared for the guiding the actors, the etiquettes and the manner in which they are supposed to maneuver and act. Personally, I’ve never seen a director so blended in directing a historical love story. His direction cannot be criticized.


And when it comes to acting, Ranveer Singh has left an impact so sturdy, as if it has been engraved on my heart. A fabulous piece of acting from him and it shows. The scene of the last battle, when he walks alone into the army of the opposition and decapitates and destroys a major part of it, is when you’ll realize, you’ve seen something magnificent which cannot be forgotten.

Portraying Mastani, Deepika Padukone has given the performance of her lifetime. She is the dandiest in the film and gives the best judgement to her role. Priyanka Chopra, after her recent success in American T.V. series, Quantico, is captivating beyond measure. Saying that this character played by her is tough, is an understatement. She is a treat to watch.


The Final Word:

With picturesque cinematography and mesmerizing acting, the film directed by Sanjay Leela Bhansali touches the heart, though manipulating the story does not do any good. Gathering all the resources and conjuring a movie, which only focuses on the love story of a man, is not a biography but only an aspect of one’s life and I invite the youth (of at least our country) to think before believing some apocryphal stories. Showing Peshva dancing, or Kashibai and Mastani dancing together with their sarees wore below the belly button cannot be fathomed or forgotten. There are many flaws in respect of the story and the references made, but the worst thing is, they’ve created a fiction on the life of Bajirao Peshva; the Savior of Sanatan dharma.

So for this particular movie I’m going to implement a different rating system.

My Rating:

Acting: 5/5.

Directing: 4.5/5.

Materials or references used: 1.5/5.

Story: 0.5/5.

Overall rating: 0.5/5.


A preposterous film with utter nonsense.


To begin with, the idea of a film by ShahRukh Khan, most of the time is captivating and teemed with fun. But this time around, director Farah Khan has somehow managed to jot down some points from The Italian Job and Ocean’s eleven & create a crass story. She has also made optimum utilisation of her brain that you feel pity for her and exudes a keen sense of poignancy in you after keeping your eyes wide open for about three tedious hours.


ShahRukh Khan somehow manages to be quite subtle in his act. But his dialogues create quite the horror. The film starts with SRK in a ring getting beaten by some guy and the camera angles do quite the trick to be unintentionally funny. In one frame they zoom in on his left nipple, zoom out and then camera zooms in on his right nipple and zoom out again. It makes you wonder about the creativity and knack of both, director and cinematographer. He then says, “Badi badi matches main choti choti cheez hoti rehti hai.” I get it. this is a commercial film and it’s done with a sole purpose of showing its star power to the audience. It doesn’t matter if it has the right intelligence and quality. But this is totally frivolous to have so shallow story and to present it with such ostentation. By far the latter is the most mediocre work of both Farah Khan with SRK. She had set a dismal standard with Tees Maar Khan but Happy New Year does not stay behind compete it.

SRK reiterating dialogues from his previous work is the most mundane stuff in this films. It does not even go to lengths with its sturdy starcast. Sonu Sood has done no good than to flaunt his chest and beat others for saying any word which comes near to ‘maa.’ Sharing small screen space, no other actors leave a lasting imprint on mind. SRK saying “Main Hoon Na” makes it just more worse than it is. It is lazy and disgusting.Deepika Padukone again comes up with her weird accent, she left off in Chennai Express.

The script and story lack colossal amount of intelligence, pragmatic ambiance  There was much left to amplify in it. The direction is not up to the mark, rather it has descended down to cheap presentation to the audience.  Abhishek Bachchan, Boman Irani, Vivan Shah, Jackie Shroff seem to have wasted their talent on nothing. Music considerably is average which is a strong point of the film. The soundtrack ‘Manwa Laage” evokes the romantic feel in the film. Almost all songs have a forced touch breaking every link to this film. This is an opulent and sumptuous film, having a heist of diamonds, a dance competition which has no value and pointless connections to the plot and a love story, lacking its heart and brain. Just because SRK and Deepika Padukone have smidgen of fun to offer, I’m going with 1/5.