Tag Archives: Sudeep Chatterjee

Bajirao Mastani (2015)

Bajirao Mastani review.

written by Souranath Banerjee

‘Cheeteh ki chaal, Baaz ki naazar aur Baji Rao ki talvar par sandeh nahi karte, kabhi bhi maat de sakti hai.’

My Ratings: 4/5.

Almost twelve years back in 2003, director Sanjay Leela Bhansali wanted to make a film Bajirao Mastani with Salman Khan and Bajirao-Mastani-poster2Aishwarya Rai in the lead roles. But fate had some other plans. 

Finally in 2015, the film was made, i may add very beautifully made, with a fresh cast, Ranveer SinghDeepika Padukone and Priyanka Chopra.

Now, there are rarely any Bollywood films (if any) that are so pleasing to your eyes that the story, content and characters almost get sidetracked by the sheer beauty of each and every frame.

Bajirao Mastani is one such example of cinema.

Mr.Bhansali along with his cinematographer Sudeep Chatterjee and production designers Saloni DhatrakSriram Iyengar and Sujeet Sawant have managed to create stunning painting-like-shots (many Bajirao-Mastani-poster3of the frames in the film actually resembles classic paintings of famous Marathi painters) and have enthralled us with these great visuals through out the film.

And talking about the story of the film, (without going into the debate of how much historical authenticity it has), I would say it comes under the classic ‘doomed love story’ category, where love wins only through destruction of them who are in love!

Baji Rao Ballal Balaji Bhat, a great Maratha general of the early 1700, who though happily married and Hindu, falls in love with a charming half-muslim princess Mastani and eventually makes her his (second) wife.

But Baji Rao’s family (especially his mother and brother) are not too happy about this second marriage. So correspondingly, they humiliate Mastani and try to kill her a couple of times.

Bajirao-Mastani-poster7At the end, they do understand that ‘Baajirao Ne Mastani Se Mohabbat Ki Hai, Aiyashi Nahi’, but by that time it was too late!

Acting wise. superb performance by Ranveer Singh; his way of speaking Marathi, his body language as a warrior, his confident dialogue deliveries – basically he did look the part.

Deepika Padukone and Priyanka Chopra also did great job, and played out the perfect love triangle scenario.

Even the secondary characters Tanvi Azmi (as mother), Milind Soman (as minister), Aditya Pancholi (as the rival), Vaibbhav Tatwawdi (as brother) and Mahesh Manjrekar (as Maratha King) – all were at their best.

The content is relatively simple but the presentation is creditable, a Bajirao-Mastani-poster4bit too loud often (specially the dialogues) but again, that’s the part of Sanjay Leela Bhansali’s filmmaking style I guess.

A clever move to put a disclaimer in the very beginning of the film which basically said that the film doesn’t claim to be faithful to any historical facts; and then only did all the fuming historians calm down and concentrate on their popcorn tub.

Don’t forget the numerous elaborately choreographed dance sequences; decent musical score by Sanchit Balhara and Sanjay Leela Bhansali himself.

Do watch it in big screen to absorb the opulence and grandeur of this film.

P.S – Bajirao Mastani is banned in Pakistan since it is regarded as ‘a historical drama that is indirectly against Islam and Muslims.’ (No idea why or what that means).

Poster courtesy: www.muchask.netdailyroabox.comwww.bollywoodmdb.com

Chotushkone (2014)

Written by Abhikendu Deb Roy

Ratings: 4/5.

Cinema and Death – these two issues connect and bind together every reel of Srijit Mukherji’s sixth outing Chotushkone.

Playing with the film tones in Jaatiswar, adding elements of a thriller in 22shey Srabon or introducing a number of sub plots in Hemlock Society – Srijit seems to have culminated all his learnings from his past outings in his recent release and he undoubtedly looks improved.

When the masters of cinema – Aparna Sen, Goutam Ghose, Chiranjit Chakraborty and Parambrata Chatterjee – form the four angles of the mystique thriller, you know that nothing go wrong in the acting department. Parambrata, however, receives a special mention for his outstanding act in the climax.

Apart from these four, an ensemble cast of Paayel Sarkar, Indrasish Roy, Rahul Banerjee among many others play their part sincerely and honestly. But that one cameo that stands out from the rest is of Kaushik Ganguly’s. His acting is undoubtedly going to leave you spellbound during his 3 minutes appearance.

Srijit has taken a few real life elements from the four leads of the film – two of them being Aparna Sen’s “Trina Di” and Parambrata’s “Hawa Bodol Katakuti” reference. The dialogues, penned by Srijit himself, are a reflection of his intelligence (as always) and keep us engaged throughout.

Cinematographer Sudeep Chatterjee, a favourite at the YRF studios who has Dhoom 3 and Chak De India to his name, works wonders for the film. Shot in 5 different tones, the film distinctly allows you to enjoy the visual orgasm.

With indoor sequences predominant in the film, the set design has been looked upon intricately. A self potrait wall-hanging is a common factor present in all the four directors’ residents.

Editor Rabiranjan Moitra could have been better with the scissors as the film, with a 2 hours 21 minutes running time, seems a bit stretched. Also one or two subplots look redundant.

The music composed by Srijit’s favourite, Anupam Roy complements the film pretty well. Lagnajita’s “Bawshonto Eshe Gechhe” fits perfectly in the Paayel-Indrasish shoot sequence. Boba Tunnel is another favourite. The film, like 22shey Srabon, ends with a Rupankar Bagchi number.

Indradip Dasgupta’s background score sinks in as your heart races through every moment of the movie.

They say, “Too many cooks spoil the broth.” Srijit proves it wrong with his fresh new preparation, ready to be served and enjoyed during the Pujas. Go, taste it as it will soothe your tasting buds.